Sorry for the delay in responding - I have two editions, the most recent being Breitkopf & Hartel 1981 edited by Henri Kling. It has the number EB3396 and is published in Leipzig.
The older version that I compare it with is a Boosey & Hawkes 1947 B&H 9088. I don't know if it is even still available.
B&H has some explanatory asterisks to show a few of the appoggiatura renderings bars 38-9, 64 mvt 1, 8 mvt2 , 32 mvt3.
Both editions are remarkably similar with spare markings - the majority of slurs are the same in both editions but the B&H has a few that extend over into the next beat (more so in the 3rd movement).
Neither has a printed cadenza.
I would be interested to know if the "agreed" slurs are Mozart's own markings. The use of slur two- tongue two and tongue one -slur three in some performances, doesn't seem to be based on printed markings but most probably introduced by players - quite legitimately I think. Varying the groupings even from one performance to the next can keep up the freshness of phrasing possibilities.
One practice I abhor is carrying slurs over the barline and in some cases over the beat. Slurs help to shape the important and less important "melodic" elements of passages. Anything within a slur is lessened in importance by that effect, where tonguing of group beginnings or even successive notes elevates their significance and contributes to rhythmic shaping as well.
Christchurch New Zealand
Bassoonist / Teacher / Conductor