The paper constructs a theoretical framework for examining how the moral domain is brought into the musical work. This is based on an analogy to how David Hume sees the self entering the moral domain (Chazan 1992). Value neutrality of concepts would not serve the narratological aim of building an allegorical interpretation of concerto with moral analysis. In concerto KV 466 first ritornello puts forward a modality of “must”. The soloist enters to resist this modality and there is a corresponding change of interpretative framework to musical episteme of classical style. This tension allows the insertion of normativity into a work 's experienced content. Modality-based analysis of moral sentiments is brought at the level of music theoretical terms as prohibitions and permissions. A work's experienced structure is enriched by moral sentiments. Allegorical interpretation through morality is based on Kantian transcendental experience and existential semiotic theory (Tarasti 2015). The latter also operationalizes normativity as deontic concepts into the music analytical vocabulary. The theoretical framework allows strings of normative concepts to be formed in a concerto movement's solo-ritornello alteration. An allegory arises from the dialogue that conveys the resistance of an individual toward society’s deontic norm structure akin to Don Giovanni’s unrelenting refusal from repentance. Through contrast this facilitates the transfer of evil to Humean progressive view of human nature (Gill 2006). Together with formation of anaphoric relations between solo and ritornello sections this leads to an evolving view of Mozart's concerto dialogue.