ANALYZING CLASSICAL FORM
676
A second subordinate theme (mm. 5972) is more extensive, because
of the evaded cadences in mm. 68 and 70. Yet even this theme,
together with the fi rst, would unlikely be found as the complete
subordinate-theme group in a sym-phonic sonata-form exposition,
especially with the lack of any substantial caden-tial
expansion.
Th e subordinate-key ritornello may itself conclude with its own
closing section (following a PAC) or remain open-ended on dominant
harmony for the beginning of the solo development.
Closing Section vs. Subordinate-key Ritornello. In a sonata-form
exposition, the final PAC is followed by a closing section, in
which a recessive dynamic frequently helps dissipate the energy
accumulated in reaching the cadential goal. At the corresponding
place in concerto form, the final cadence is invariably followed by
a section for orches-tra alone, with the solo remaining silent
until the beginning of the development.
This orchestral passage is clearly the formal analogue of a
closing sec-tion, but in the majority of cases it is not organized
as a series of codettas. Moreover, the dynamic intensity reached by
the solos climax is seldom, if ever, lessened during this section.
So even though this passage is located where a closing section
might be expected, it displays few characteristics of that formal
function.
FOCUS ON FUNCTION
Subordinate-key Ritornello
Th e subordinate theme of the solo exposition normally concludes
with an enormous expanded cadential progression, featuring rapid
virtuosic work by the soloist and culminating in the conventional
cadential trill. In a stan-dard sonata exposition, a closing
section would follow, one that might either sustain the excitement
of the cadential arrival with highly charged music or might instead
initiate a recessive dynamic to close the exposition on a more
sober note.
In concerto form, this closing section is replaced by the
subordinate-key ritornello, a section designed to allow the
orchestral forces to emerge from an accompanimental role and
participate alone in the reinforcement of the subor-dinate key. Th
e melodic-motivic content of this section is usually taken from
material originally presented in the opening ritornello but
eliminated in the solo exposition.
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