Beethoven's friend, Ignaz von Seyfried, who turned the pages of the music for him that night, later wrote: The score was incomplete at its first performance. The movement ends with a C major coda marked presto. The movement begins in C minor with an agitated theme played only by the piano. The movement opens with the solo piano and the opening is marked with detailed pedalling instructions. If the movement adhered to traditional form, its key would be E ♭ major (the relative key), A ♭ major (the submediant major or subdominant parallel) or C major (the tonic major or parallel key). The second movement is in the key of E major, in this context a key relatively remote from the concerto's opening key of C minor (another example being the much later Brahms's first symphony). Problems playing these files? See media help. Then the music intensifies before a full tutti occurs, followed by the piano playing descending arpeggios, the ascending scale from the second exposition, and finally a resolute ending on C. The piano plays a series of arpeggios before the music settles into the home key of C minor. Many other composers and pianists, such as Fazil Say, Wilhelm Kempff, Clara Schumann, Franz Liszt, Ignaz Moscheles (in which his cadenza was misattributed to Johannes Brahms), and Charles Alkan have written alternative cadenzas.Ĭoda: Beethoven subverts the expectation of a return to the tonic at the end of the cadenza by prolonging the final trill and eventually arriving on a dominant seventh. The cadenza Beethoven wrote is at times stormy and ends on a series of trills that calm down to pianissimo. A dark transition to the cadenza occurs, immediately switching from C major to C minor.Ĭadenza: Beethoven wrote one cadenza for this movement. For the return of the second subject, Beethoven modulates to the tonic major, C major. Recapitulation: The orchestra restates the theme in fortissimo, with the wind instruments responding by building up a minor ninth chord as in the exposition. The structure of the exposition in the piano solo is similar to that of the orchestral exposition.ĭevelopment: The piano enters, playing similar scales used in the beginning of the second exposition, this time in D major rather than C minor. Second exposition: The piano enters with an ascending scale motif. In the third section (second subject), the clarinet and violin 1 introduce the second main theme which is initially in the relative key, E ♭ major, and then in the tonic major, C major, finally back to C minor. Orchestral exposition: In the orchestral exposition, the theme is introduced by the strings, and used throughout the movement. This movement is known to make forceful use of the theme (direct and indirect) throughout.
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