Mozart completed this work in Vienna on 24 March 1786. He was experiencing the peak of his creativity and was also working on many other important pieces such as Le nozzed di Figaro, piano concertos K482 in E flat major and K 488 in A major. Concert n.24 is very different from n.22 and n.23. The 2 piano concertos in major keys met the expectations of traditional concerts. The particularity of the first movement of concert no. 24 was balanced by the simplicity of the second movement (E flat major). The third movement is a variation in C minor. Mozart wrote 27 piano concertos, only 2 of them are in minor keys: no. 20 in D minor and n. 24 in C minor. However, No. 20 ends with D major in the last movement, which mitigates its tragic character. No.24 is Mozart's only piano concerto that begins and ends in a minor key. This piano concerto has the largest orchestral arrangement of all his other piano concertos. The orchestra consists of clarinets, oboes, strings, flute, horns, bassoons, trumpets and timpani. This is the only piano concerto that has both oboe and clarinet. It is also the only piano concerto in which the soloist plays with the orchestra after the cadenza. The typical first movement of a classical concert will be presented in sonata form (sometimes ritornello form will be combined). The concert begins with an orchestral exposition or ritornello and is followed by a solo exposition. It is possible that the two exhibitions begin with different themes. The expositions will be followed by developments and recapitulation. Before the orchestra's final passage, a solo cadence will appear starting on a V64 chord. The first movement of the piano concerto no. 24 begins with an opening chorus from the orchestra....... center of the card.... ..n 4 in the opening chorus. Coda (m.609-623), its materials and structure clearly come from transition 15. It has broken chord passages in the solo part and chords in the orchestral part. Coda has a C pedal note throughout. The harmonic structure is: if minor: vii07-i= C minor: iv-vii07-i-vii043-i-vii06-i. It is very rare for classical concerts to have a soloist with the orchestra after the cadenza. The recapitulation does not have the primary and final themes of the solo exposition, but it still sounds satisfying and complete to the audience. This is because the structure of the recapitulation is based on the form of the opening refrain (orchestral theme 1-theme2-theme1) which includes the 2 themes of the secondary thematic group, but in reversed/symmetrical order (orchestral theme 1-secondary theme 2 -secondary theme 1-orchestral theme 2-orchestral theme 1).