This sonata is the third piece in a collection of three sonatas (K.330, K.331, and K.332) published together by Artaria in 1784 (for the dating of the work's composition, please refer to the entry for K.330).

First Movement: F major, 3/4 time

The main theme consists of a flowing arpeggiated motive and a horn-like motive characterized by dotted rhythms in thirds and repeated notes. The transition section (m. 23–) with arpeggios and descending scales moves through D minor and C minor before the secondary theme (m. 41–) appears in C major (the dominant key). The first half concludes after a transition section (m. 56–) featuring a characteristic filling rhythm and a coda (m. 86–).

The second half (m. 94–) begins in C major (the dominant key) using material from the main theme, followed by material from the secondary theme's transition. It modulates repeatedly through C minor, G minor, and D minor, leading to the dominant of F major, where the main theme's recapitulation in the tonic (m. 133–) begins. After a transition, the secondary theme is recapitulated in the tonic (m. 177–), bringing the movement to a close.

Second Movement: B-flat major, 4/4 time

This is a slow movement in binary form with two themes in the tonic and dominant keys. In the second half (m. 21), both themes appear in the tonic key, concluding the piece.

Notably, the second half differs significantly between Mozart's autograph manuscript and Artaria's first edition, leading the Neue Mozart-Ausgabe to include both versions.

This difference lies in the fact that the first edition contains detailed ornamentation throughout, whereas the autograph manuscript includes almost none of these embellishments. While it was common practice at the time to improvise variations when repeating the same musical idea, it is interesting that Mozart chose to publish one aspect of such ornamentation in print.

Third Movement: F major, 6/8 time, Sonata Form

This movement begins with a virtuosic, toccata-like main theme. After the theme's confirmation (m. 7–), a contrasting cantabile second main theme (m. 15–) appears. Following a long transition (m. 22–), a secondary theme (m. 50–) related to the second main theme appears in C minor, followed by a second toccata-like secondary theme (m. 65–) in C major.

The second half (m. 91–) begins in C minor, first treating material from the first main theme. Subsequently, transitional ideas such as the transition to the secondary theme and arpeggios shift the tonality from B-flat major to the dominant of the tonic key, leading to a descending scale passage that flows into the recapitulation of the main theme (m. 148).

In the coda, using material from the transition, the movement concludes Calando (dying away), in contrast to its opening.