The Importance of Function Over Form in the
Classical Concerto
by Barry Wright
Essay: The Importance of Function Over Form in the Classical Concerto
Pages: 10
Rating: 3 stars
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In the 18th century, the concerto was transformed into a viable instrumental genre to both demonstrate virtuosity
as well as a cohesive character that embodied the natural. Though the series of changes from the Baroque
concerto grosso to the Classical concerto were gradual and cannot be attributed to a single composer, the Piano
Concerto No. 20 in D minor K. 466 by Wolfgang Amadeus Mozart is a skillful representation of the genre in that
era. Of particular interest in this concerto is the treatment of sonata form in the first movement. When compared
to other instrumental genres of that era, there is a tangible divide between the sonata form of the concerto and
that of other instrumental genres such as the symphony. To understand this categorization, one must look past
the boundaries of genre and form, and focus upon the function of each individual work. As Charles Rosen
suggests, “Treating the sonata not as a form but as a style – a feeling for a new kind of dramatic expression and
proportions – we may see how the functions of a concerto are adapted to a new style.” It is with this interpretation
hat I intend to explore how the functions of a concerto, including the exhibition of virtuosity and contrast of two
types of sound, render the first movement of K. 466 with the potential to eclipse any attempt of categorization
with other genres of the Classical Period that use sonata form.
Sonata form, according to the Oxford Companion to Music, is the most important musical form of the Classical
period. The form is composed of three distinct sections, the exposition, development and recapitulation. In genres
such as the symphony or string quartet, sonata form did not stray from this general template. The Classical
concerto...
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