Konzert für Klavier und Orchester Nr.3 c-moll Op.37 - Beethoven, Ludwig van

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Beethoven, Ludwig van : Konzert für Klavier und Orchester Nr.3 c-moll Op.37

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▼Overview

▼Details

▼Movements

▼Videos

▼Sheet Music

Work Overview

Music ID : 416

Composition Year：1796　
Publication Year：1804
First Publisher：Bureau d'art et d'industrie
Instrumentation：Concerto　
Genre：concerto
Total Playing Time：36 min 00 sec
Copyright：Public Domain

concerto

Commentary (2)

Author : PTNA Piano Encyclopedia Editorial Department

Last Updated: January 1, 2010

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Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

This piano concerto was completed with some interval after the first and second concertos, around the same time as the Symphony No. 3. It exhibits an even greater Beethovenian character than its predecessors, which might be attributed to the choice of C minor, a key characteristic of Beethoven, also found in the 'Pathétique' Sonata and the 'Fate' Symphony. In the 19th century, it was the most beloved and frequently performed of Beethoven's piano concertos.

First Movement: Allegro con brio, C minor, 4/4 time

It is highly interesting that the first theme anticipates the finale of the Symphony No. 5.

Second Movement: Largo, E major, 3/8 time

Instead of E-flat major, the relative major of the first movement, it surprisingly shifts to E major. It flows gently and beautifully.

Third Movement: Rondo, Allegro, 2/4 time, C minor

The rondo theme creates a unique tension through its opening descending diminished seventh. This theme appears in various keys, finally modulating to C major in the Presto section, concluding with brilliant virtuosic piano passages.

Writer: PTNA Piano Encyclopedia Editorial Department

Author : Hara, Akiho

Last Updated: November 14, 2014

[Open]

Note: This article is automatically translated from the original Japanese text. The author of the original work did not supervise this translation.

As used in Symphony No. 5 (commonly known as the 'Fate' Symphony) and Piano Sonata No. 5 (the third movement of which contains repeated notes associated with 'fate'), the key of C minor symbolized 'suffering' for Beethoven.

This work marks the beginning of Beethoven's middle period (1803-1812), often referred to as the 'Forest of Masterpieces' (a phrase coined by Romain Rolland). During this time, Beethoven began to depart from the orderly classicism of 18th-century music, venturing into new artistic territory.

Positioned centrally among his five piano concertos, this work is also a monumental piece that marked a turning point in his formal development. The following three points are major characteristics of this transformation:

1. The manner of the solo instrument's entrance
2. Unity within movements and between movements
3. Expansion of the scope of tonality and harmonic usage

Considering the series from No. 1 to No. 5, one can observe how Beethoven inherited the concerto writing from Mozart and other traditional Classical composers, developed it, added further innovations, and imbued his works with distinct character.

As Beethoven's ideas as a symphonic composer often took precedence, it took him time to establish his unique concerto technique. His challenge to contrast and harmony in the concerto form continued through the Mozartian No. 2, the style-exploring No. 1, and the style-establishing No. 3. In No. 3, the solo piano, while employing virtuosity to enhance performance effect, did not separate from the orchestra, instead contributing to a robust structure for the entire piece. Furthermore, the orchestra transcended its traditional role of mere accompaniment, resulting in each instrument more prominently showcasing its individual characteristics and enhancing the overall texture. Finally, in Piano Concerto No. 5, 'Emperor', Beethoven deviated from the contemporary trend of making the solo part independent (exemplified by composers like Field and Kalkbrenner). Instead, he completed a characteristically Beethovenian grand and robust structure through the contrast of a closely integrated ensemble between the solo piano and the orchestra, thus providing his own answer to the concerto form.