1. Chapter 13: Other Classical Genres
The Classical Concerto

2. Key Terms Classical concerto Classical concerto movement plan
Double-exposition form
Orchestra exposition
Solo exposition
Cadenza

3. The Classical Concerto
Not identical to the Baroque concerto, but some features were retained
3 movements – fast, slow, fast
Solo virtuosity
Contest between soloist & orchestra
Contest heightened in Classical concerto
Soloist’s agility, brilliance, & expressiveness
Large orchestra’s power & variety of color
Soloist & orchestra held in perfect balance

4. Symphony Movement Plan
I – Moderate to fast tempo; Sonata form
Sometimes with slow Introduction
II – Slow tempo; Various forms used
Sonata form, variations, rondo, or other
III – Moderate tempo; Minuet form
A triple meter dance
IV – Fast tempo; Sonata or rondo form

5. Concerto Movement Plan
Similar to symphony movement plan
Minuet movement omitted
I – Moderate to fast tempo
Double-exposition sonata form
Long movement with cadenza near the end
II – Slow tempo; Various forms used
Sonata form, variations, rondo, or other
III –Fast tempo; Rondo form favored
At times variation form, but never sonata form

6. Double-Exposition Form (1)
Extended variant of sonata form
Capitalizes on solo vs. orchestra contest
Two expositions are used in place of the usual repeat of the exposition
Orchestra exposition
Announces the main themes in the tonic key
Solo exposition
Presents the same themes & some new ones
Adds a real bridge, modulates to second key
Often longer than orchestra exposition

7. Double-Exposition Form (2)
Development serves same dramatic function here as in sonata form
Orchestra vs. soloist contest heightened
Recapitulation a composite of orchestra & solo expositions
Orchestra’s cadence theme given greater prominence
Pause for a solo cadenza just before final statement of cadence theme

8. Double-Exposition Form (3)

9. Mozart, Piano Concerto in A
Written during his Vienna years in 1786
Typical Classical concerto
Three nicely contrasted movements
I – One of his most gentle & songful 1st movements
II – Almost tragic in mood
III – An exuberant & sunny finale

10. Mozart, Piano Concerto in A, I (1)
No fewer than 4 gentle, songful themes
Theme 1, Theme 2, Cadence theme, & new theme
Small orchestra enhances effect
Keeps clarinets, but no trumpets or timpani

11. Mozart, Piano Concerto in A, I (2)
Orchestra exposition sets the mood
Presents themes 1 & 2 and cadence theme
Frequent contrasts between gentle theme and agitated answer – e.g., f response

12. Mozart, Piano Concerto in A, I (3)
Solo exposition features solo piano
Expands on orchestra exposition
Adds modulating bridge & a new theme
Development emphasizes contest
Rapid-fire dialogue
Theme fragments & frequent modulations

13. Mozart, Piano Concerto in A, I (4)
Recapitulation blends the two expositions
Piano & orchestra share theme 1
Bridge now returns to tonic key
Beautiful extension of new theme
Varied solo cadenza written out by Mozart
Orchestra answers with f response
Ends with cadence theme from 1st exposition

14. Conclusions Derives from symphony movement plan
Double-exposition sonata form; no minuet
Some features of Baroque concerto
Solo vs. orchestra dialogue
Ritornello-like f response
Many unique features
Profusion of themes – “pleasing variety”
Dramatic contest between piano & orchestra
Virtuoso, “operatic” writing for solo piano
Improvisatory nature of cadenza