The formal dimensions of K. 271 are as extraordinary as the pianistic demands are. Neither before nor afterwards Mozart has ever exposed the solo piano in such a demonstrative way at the very beginning – only Beethoven takes up this idea once more. Letters from this time clearly show how satisfied Mozart was to be able to report his father, who first critically looked upon his son changing from a secure position in Salzburg to the “free musical market” in Vienna on his successful appearance as the capital´s most desired pianist. This social success also produces a high mood, which the six piano concerts of this year clearly reflect. The preference for extraordinarily vivid tempi is striking so for instance in the Concert in F, K.459 where the first movement shows the tempo mark “Allegro”, the “slow” movement is an Allegretto and the finale indicates “Allegro assai” which was apart from “Presto” the fastest tempo mark of that time.