This lesser-known work by Mozart is modeled on the Partita form, originally developed by French Baroque composers but ultimately usurped by German composers, including J.S. Bach. Mozart's Suite consists of just three movements—an Overture, Allemande, and Courante. Had he not left it in partial form, Mozart would have added four additional movements, including a Saranbande, Minuet, Gigue, and possibly a Passepied, Bourée, or other French dance form.

The first movement of the Suite in C major offers a mixture of elegance and drama in the first half and Bach-like contrapuntal activity in the lively latter half. The form used here is modeled on that of the French operatic overtures of the Baroque period, which featured a slow, dramatic introduction followed by a fast section. Oddly, for as much as the music here looks backward toward Baroque forms and toward Bach in the second half, it seems to augur Beethoven in much of the writing in the opening portion, particularly as exemplified in the Pathetique Sonata No. 8. The second movement Allemande, once again, carries echoes of Bach in its genial busyness and contrapuntal colors. Bach's voice is also noticeable in the succeeding Courante, which exhibits both elegance and sunshine in its lively pacing and light character.

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