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Make an outline comparison of the exposition and the recapitulation,showing how Mozart adapts his material when it returns in the recapitulation. The Piano Concerto begins with an eight bar opening phrase

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Introduction

Make an outline comparison of the exposition and the recapitulation, showing how Mozart adapts his material when it returns in the recapitulation. The Piano Concerto begins with an eight bar opening phrase by the string section in a homophonic style with the first Violin on melody, second Violin along with Viola providing the harmony and the Cello with a tonic pedal on A; closing the phrase on the dominant. This is then followed by an answering phrase, one octave higher, by the woodwind. This structure of balanced phrasing, known as periodic phrasing, is a typical characteristic of the classical style; with an "antecedent", by the string section; followed by a "consequent", here provided by the woodwind. ...read more.

Middle

The lack of counterpoint, and the use of the simple functional harmonies in bars 13-14, which along with the help of the short tonic pedals and regular cadence points, define the tonic key A major. The following melody is in heterophony between the flute and with the first violin. Again the regular cadence points continue to state the tonic key. The violin part is essentially an elaborated idea on the flute melody, with octave and unison doubling. The close of the first section is brought about with wind fanfares and pedal notes in the viola and cello, bringing the section to a close on the dominant key of E major. Moving into the second subject we have a greatly reduced texture with a descending sequence, with a basis on repeated notes and a falling scale passage. ...read more.

Conclusion

while the inner parts are playing semi-quaver filling passages with the new motif in bar 52, briefly exploring the relative minor key of f# minor. At this point we are expecting a perfect cadence in the tonic at bars 51-52, however we are given an interrupted cadence. At the second half of bar 52, and onwards, this new motif is inverted in the first violin part in reply to the woodwind. The chromatic scales and crescendos in bar 55 lead to a very hectic violin part with syncopated woodwind accompaniment. This melody also shifts to solo woodwind in octaves with the drop in dynamic with the change of mood at bar 62 for the codetta with the reassertion of the tonic key with the use of I-V chords, in preparation for the soloists entry at bar 67. ...read more.

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