Traditionally, this sonata, along with the two subsequent sonatas (A major K.331 and F major K.332), was believed to have been composed in Paris. However, recent research (studies of the autograph manuscript by Wolfgang Plath, Alan Tyson, and others) has revealed that it was composed in Vienna or Salzburg in 1783.

The autograph manuscript, currently preserved in a library in Krakow, is missing measures 60 (latter half) through 64 of the second movement. Furthermore, many discrepancies in dynamic and articulation markings are observed between the autograph and the first edition (Artaria, Vienna, 1784). Therefore, the Neue Mozart-Ausgabe (New Mozart Edition) uses the autograph as its primary source but incorporates many readings from the Artaria edition.

First Movement: 4/4 time, C major, Sonata form

The movement begins with a principal theme based on 32nd-note scales and ornamental figures, and 16th-note arpeggios. Following a transitional passage (m. 19–) featuring decorative figures, a subordinate theme appears in the dominant key from measure 34. A coda (m. 54–) comprising material from both the principal and subordinate themes concludes the first half in G major.

The second half (m. 59–) first modulates from G major to A minor, then returns via G major to the recapitulation of the principal theme in the tonic key (m. 88–). A modified transitional passage (m. 109) leads to the recapitulation of the subordinate theme (m. 121–) in the tonic key, rather than the dominant.

The coda from measure 141 brings back the transitional idea from the beginning of the second half to the concluding section of the first half, thereby closing the movement.

Second Movement: F major

The theme, whose first eight measures and subsequent twelve measures are each repeated, incorporates material reminiscent of the first movement's theme. The middle section (m. 21–) modulates to F minor, the parallel minor. A variation of the theme, characterized by double stops in sixths and thirds and a sustained bass in 16th notes, is presented. When the theme is recapitulated in F major again (m. 41–), the variation from the middle section returns in the tonic key in the coda (m. 61–).

Third Movement: C major, Sonata form

The light principal theme, based on eighth notes, is secured by a 16th-note arpeggiated accompaniment before developing into 16th-note triplet passages. After a transitional passage (m. 21–), a subordinate theme appears (m. 33–).

The motive that begins the second half (m. 69–) is likely an expanded form of the repeated-note figure (m. 59) from the latter part of the subordinate theme. This development of material from seemingly insignificant sections might be considered characteristic of Mozart. The movement quickly proceeds to the recapitulation of the principal theme in the tonic key (m. 96–), followed by the recapitulation of the subordinate theme in the tonic key (m. 132–), leading to the coda (m. 160–).