The analogy between the double exposition of the concerto and the repeated exposition of sonata form does not address their contemporaneous development.
The concerto double exposition does not address the key structure and thematic relationships of sonata form. The tutti usually begins and ends on the tonic (no modulation to the dominant). The solo exposition does not have to repeat the same themes as the tutti exposition.
The formal pattern of ritornello form is when a subject is expanded by modulating sequence or figuration (solo), is then restated in part or in whole in the new key, and is then expanded again. These expanded subjects do not have to be linked to the initial subject, and the keys are not fixed. Even the solos themselves do not have to be related thematically.
Even as the solos of the Classical concerto began to follow a tonal and thematic scheme similar to the exposition, development, and recapitulation of sonata form, the tutti sections destroy these expectations.
**Early concerto – Principal melodic ideas are concentrated in the tuttis. The structure is not dependent on thematic repetition, but on contrast through the alternation of solo and tutti.
**Classical concerto – The tutti and solo exposition are still quite dissimilar. The third tutti section acts as bridge between development and recapitulation. The recap begins to integrate sections of both the tutti and solo expositions.
**Later Classical concerto – The invasion of the final tutti by a solo cadenza shifts focus from tutti to soloist.
Although the later concerto had adapted slightly to contain elements of sonata form (primarily the modulating exposition, the development, and a recapitulation), the focus is still primarily on contrast of timbre and the role of tutti vs. solo, as compared to the sonata’s focus on the contrast between two thematic ideas and keys.
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