ABSTRACT
This chapter focuses on movement was regarded as so unusual that at least one traditionally minded editor did his best to correct Mozart's missteps by re-composing parts of the work. It outlines the Standard Model, and surveying how this model is represented in the pedagogy. The chapter explores some of the unusual aspects of Mozart's sonata and their interpretation from the point of view of the Standard Model as well as that of some recent research. It explains works of Haydn, Beethoven, Schubert, and Mozart himself for commentary on sonata form. A typical summary of the Standard Model would run roughly as follows: Sonata form comprises an exposition with first theme/first tonal area (FTA) in the tonic, a transition, the second theme/second tonal area (STA) away from the tonic, and often closing material and/or codetta; a development that draws on the motivic/thematic material of the exposition, and retransition; and recapitulation that reprises the exposition essentially entirely in the tonic key.
