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How does the orchestra introduce musical ideas in a concerto exposition?

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caricature of Antonio Vivaldi — concerto Caricature of Antonio Vivaldi, pen and ink on paper by Pier Leone Ghezzi, 1723; in the Codex Ottoboni, Vatican Library, Rome. The inscription below the drawing reads, “Il Prete rosso Compositore di Musica che fece L'opera a Capranica del 1723” (“The red priest, composer of music who made the opera at Capranica [College in Rome] of 1723”).

In the context of a Classical concerto, the orchestra introduces musical ideas during the opening section of the first movement, which is typically structured in a form approximating sonata form.12

In this initial orchestral exposition, the ensemble plays the movement's primary themes while remaining firmly in the tonic (home) key. This orchestral statement serves as a foundation for the musical material that will later be explored in greater depth. Following this initial tutti, the soloist enters to repeat the exposition, providing a more elaborate and virtuosic version of the themes, often moving to a closely related key.21

While this "double exposition" model is a common convention, it is not a rigid rule; composers frequently employed more flexible approaches. For instance, the soloist might enter early, or the orchestra and soloist might engage in a more fluid dialogue, sharing themes through doubling, antiphony, or rapid interchange. Ultimately, the way the orchestra introduces these ideas is secondary to the inherent dialogue and competition between the soloist and the ensemble, which defines the nature of the concerto.1342