A Formal Analysis on Beethovens Piano Concerto No.3 in C...

A Formal Analysis on Beethovens Piano Concerto No.3 in C minor , Op. 37 a)The Beethoven Concertos and Op. 37s Placement in the Genre and as a continuation of Mozarts Style b)Reception of the concerto-specifics of the concerto in a broad view c)Formal and musical analysis with respect to the Concerto Form in the Classical Style (As a precursor of Romantic Age) d)Conclusions a)Beethoven Concertos According to commonly agreed placement of this concerto among others, the way that it still carries features of a classical concerto-but with a few innovations that look forward and that will be influential, this concerto is a middle period Beethoven work. This is also somehow supported by the fact that it lies in the middle of the†¦show more content†¦c) Formal Analysis First Movement Although a typical first movement form has features that are very close to a sonata form, the analysis shown in Appendix traces through the keys and theme areas with respect to the necessary T1, S1 etc terminology that invokes the 1st movement form which is an extended version of a da capo aria-or a rounded binary form. However, presented below, is a rough guideline for seeing which measures would correspond to a sonata form outline: T1-S1-T2: 1-111-227 Exposition S2: 249 Development (288-308 as re-transition) T3-S3-T4 (first section up to the cadence): 309-318-403 Recapitulation (Cadenza) T4: 417 Coda Theme-wise, the first movement is mostly bases itself on the opposition of two themes, one military in character (denoted hereafter by a and its variants a1, a2 a3 etc) and another lyrical theme, (denoted hereafter by b). It is clear when one looks at the outline of the themes with respect to their placement, theme a is transformed into 8 different versions throughout the compositions first movement, and an additional type, that we will call (a) which utilizes C-G-C-G-C timpani-like motive. This one, namely (a) and a derivative called a6 will play primary roles in identifying and linking structurally important keys and harmonic motions related to changes into different subsections (eg. Timpani theme appears from 288-295 into T3/S3 on minor v,