This paper is a study of the relationship between piano and orchestra in Mozart¡¦s piano concerto, K.467. The paper includes an introduction followed by three sections and a conclusion. The introduction briefly reviews the origins of the solo concerto. The following section discusses the changing nature of the relationship between tutti and soloist as the solo concerto evolved up until the time of Mozart. The next section is an analysis, with diagrams, of the form of K.467, the first movement being in concerto-sonata form, the second movement in three-stanza song form, and the third movement in rondo form. This is followed by the most important section of the paper which categorizes and discusses four types of solo-tutti relationships used by Mozart in K.467, showing examples from the score. These four types, suggested by Girdlestone in his book Mozart and His Piano Concertos, include: first, the orchestra as accompaniment supporting the soloist; second, the soloist as accompaniment to the orchestra; third, orchestra and soloist cooperating or competing on an equal basis; and fourth, orchestra and soloist entering in turn, answering one another.