天才的牌戲－透視莫札特鋼琴協奏曲K.271第一樂章雙呈示部奏鳴曲式

Abstract

The evolution of solo concerto's first movement from ritornello to sonata form had become evident during the eighteenth century. Wolfgang Amadeus Mozart, credited for contribution on this evolution, advanced in giving sonata form a double exposition structure in his piano concertos. From sociological viewpoint, the adaptation of double exposition reveals the composer's endeavor to appeal to the rising citizens, as he intended to give up his reliance on court as a craftsman. Double exposition satisfied audiences of different interests, because both the soloist and orchestra were put on an equal basis; therefore, a tempted solution for Mozart in transferring his piano concerto from Norbert Elias called ”Handwerkerkunst” for nobilities to ”Kunstlerkunst” for a broader public. The new device reflects the composer’s hope for promoting his exquisite craftsman art into the free market. As the first piano concerto of complete double exposition in the first movement, K. 271 deserves a closer look on how the composer deals with the materials at hand. Like playing a card game, he deducted motives in order to avoid the repetition which double exposition might have caused, a strategy that shows the composer’s wisdom as well as the interaction between musical forms and social figuration.