The Piano Concert c-minor, K. 491 differs in its personal expression from Mozart´s other piano concerts wich are predominantly devoted to the bright side of life. There is no longer a dialogic interaction between piano and orchestra. The symphonic structure corresponds to the tendency to utilize the tonal material as extensively as possible for which the minor key offers the best chances. Above all c-minor provides in a comfortable way all keys of the chromatic scale, the so-called Neapolitan degree included. The Piano Concert in C, K. 503 can be seen as the epilogue to those eleven piano concertos written before the “Figaro” in the years 1784-86. In this concert the dramatic expression starts moderating in favour of more careful emotional phrases. Mozart is increasingly interested in refining the harmonic idioms; the sequence of modulation is accelerated.