ABSTRACT
Although the tradition of the long opening tutti unbreached by the soloist remained the norm in the concerto of this time, there were exceptions. Mozart never repeated his experiment of K. 271, where the opening E♭unison fanfare is answered by the solo piano in a harmonised closing half-phrase (Ex. 17.1): after an immediate restatement, the ritornello continues to the soloist's 'real' entry. This gambit is only the most obvious of several daring elements in this, his first masterpiece among the concertos.
