Appoggiaturas In Turkish Rondo K. 331

We hear always that while the acciaccatura is before the beat, the appoggiatura is on the beat. While the acciaccatura is not accented or stressed, the appoggiatura is always accented. While the acciaccatura has no time value (it is "crushed"), the appoggiatura steals value from the note it modifies. But I often wonder if those appoggiaturas we played so confidently today, are played not the way Mozart intended. If you play them like acciaccaturas (not on the beat) it would make more sense to me, because if we play them like regular semiquavers, then why Mozart didn't write them directly like semiquavers instead of appoggiaturas? What do you think?

read leopold's violin treatise for an explanation of how to perform

the notation just emphasizes that it is a "non chord tone", so the difference is you lean into the note a little bit. It makes it easier to understand the harmony, and how to perform it. The people who change up the time values in performance have no idea what they are doing, and are just exposing their ignorance. It also underlines the importance of notation as a communication medium. However your score can be misunderstood, expect that it will be misunderstood in that way!