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As part of a listening exercise, I'm trying to assign various elements of double exposition form to the first movement of mozart's 5th piano concerto.
1:13) seems to showcase the first & second themes but I can't place the solo theme.For reference:
TL;DR: scroll to the bottom of the post.
"Double exposition form" is rather loosely defined — by necessity, since composers at the time were not adhering to any specific rules. The definitions were developed by later theorists trying to find some overarching sense of form in Classical concertos.
For example, Brittanica states:
But, of course, these masterworks are no stereotypes. They find their variety and distinctions in the details and working out of the forms. At most, “sonata form” in the Classical era was not yet the conscious concept or crystallized design that later textbooks have made it out to be. Its thematic organization in particular was still fluid and certainly not bound to any fixed number of themes or any fixed dualism of “masculine” and “feminine” themes. Textbook discussions of the solo concerto say that the tutti plays the exposition first, all in the tonic key, after which the soloist joins to repeat it, this time more elaborately and with the contrasting theme in a nearly related key. But that concept of the strict “double exposition” is honoured as much in the breach as the observance.
Extrapolating from this, the orchestra would introduce two contrasting themes (at least), and then the soloist would reintroduce the themes, with the contrasting theme(s) in a new key. No theme unique to the soloist is imposed by this definition.
However, if one is going to attempt to impose the "textbook" form onto this concerto, there are two candidates for Solo Theme.
Their candidacies are based on their having a melodic quality and neither appearing in the orchestral exposition.
Solo thematic candidates 1 and 2
There are three problems with the first candidate: it modulates near immediately and winds up sounding like transitional material (which it is); it appears in the home key (D major) in both the exposition and recapitulation; and it modulates differently in its two appearances.
Recapitulation of candidate 1 (m. 161; 5:30)
Same key as in exposition
Modulates immediately, and differently in exposition and recapitulation
mm. 52 & 165
Likewise, there are three points in favor of the second candidate: it stays in one key; it appears transposed in the exposition (A major) but in the home key in the recapitulation (D major); and the recapitulation occurrence is a strict transposition of the exposition occurrence.
Stays in a single key (mm. 59 – 62): A major, the dominant key
Appears in different keys (mm. 176 – 179; compare to mm. 59 – 62, above): D major, the home key
