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

Following this phrase, Mozart avoids the usual predictability of periodic phrasing by repeating the cadence in bars 15-16 with the inclusion of added decoration. At bar 18, we also have the first tutti of the work, with all the orchestral parts playing. The proceeding phrase also overlaps from bar 18, again avoiding the predictability that was common of the Viennese Classical style.

The opening of the exposition of this work contains many features, which are so typical of the classical style, such as the clear melodic line based on chord and scale patterns. 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.

With the opening melodic phrase in the violin, Mozart then doubles this with the first bassoon in bar 38 an octave lower, followed by the same melodic feature in the flute line but an octave above the violin at bar 41, giving a spread of two octaves between the flute and bassoon melodies; a typical instrumental effect found in Mozart's composing of woodwind.

We find a repeated appearance of the pedal note on A in bar 46 in the cello scoring, but this time Mozart is touching on d minor harmony, before moving to d major, with the first violins being echoed by the woodwind, 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.