been his older son Johann Andreas (born sometime between 1746-8?). Bär hypothesized that he had been given the concerto by Mozart just before leaving Salzburg, thus dating the concerto to between 16 June (performance of the second Lodron Nachtmusik, K. 287/271h) and 26 July 1777 (Nannerl's name day). Bär also believed the dating of the manuscript ("Salisburgo li 16 di Luglio 1777") to be another point in favour of the work's authenticity, as it was in a similar form to those on most contemporary autographs and was in a time that the author of the heading would not have known a violin concerto had probably been written. But Ernest Hess noted that the work had compositional errors, un-Mozartian phrases, weaknesses in instrumentation, and sequences without meaning that Mozart himself had parodied in his A Musical Joke, K. 522, all speaking against Mozart being the author of this concerto. The sixth edition of the Köchel catalogue kept the work as K. 271i, copying the third edition's remarks, but referencing Hess' doubts as to its authenticity. Christoph-Hellmut Mahling asked in 1978 if the work could be by someone else and was copied by Mozart, but noted that most questions regarding the work remained unsolved. He edited the volume of the Neue Mozart-Ausgabe containing this work (and the also doubtful Sinfonia Concertante for Four Winds, K. 297b/Anh.C 14.01) in 1980, placing it in the section for doubtful works, and included all the cadenzas in the original copies. Hermann Schmid called the work thoroughly un-Mozartian based on matters of form and technique, saying "I find in the entire Concerto K. 271i no music which I in earnest would put in a claim for Mozart", and dating the composition to the 1780s to a composer who used different forms and techniques to Mozart. In the 2001 Mozart-Jahrbuch, Mahling reviewed earlier published information and gave new commentary and information. He found the concerto to have not much in common with those of Baillot and much more in common with those of Rodolphe Kreutzer, but also noted that the frequent leaps into the high register (reaching up to D7) without many musical reasons was characteristic of the French composition school of the Paris Conservatoire a little later than the customary dating of this concerto: this school included Baillot and Kreutzer. The unusual usage of pizzicato in the second movement has a precedent in Baillot's Sinfonia Concertante for