Beethoven’s (1770-1827) Piano Concerto No. 1, composed for performance by himself, is actually his 2nd; his Piano Concerto No. 2 was composed 10 years earlier. The concerto sprang from the musical tradition of Haydn and Mozart. The 1st mvmt resembles Mozart’s concerto-sonata form, orchestration and piano-orchestra interplay, but adds wider-ranging harmony, piano virtuosity and emotional weight. The 2nd mvmt is in ABA form with several themes developed. The 3rd mvmt is a 7-part rondo (ABACABA). Beethoven premiered the Piano Concerto No. 3 in Vienna in 1803. Its style, intensity and drama were new to the musical world. The 1st mvmt themes, separate into fragments examined from many angles. The 2nd mvmt is a nocturne in 3 parts. In the 3rd mvmt’s closing pages, the dark world of C minor is abandoned for a lively romp through C major.

1. Concerto for Piano and Orchestra No. 1 in C major op. 15: I. Allegro con brio (13:50). Somber mood.
2. Concerto for Piano and Orchestra No. 1 in C major op. 15: II. Largo (10:27). Richly colored song, a mood of gentle reconciliation.
3. Concerto for Piano and Orchestra No. 1 in C major op. 15: III. Rondo. Allegro (8:37). Infectious high spirits and good humor.
4. Concerto for Piano and Orchestra No. 3 in C minor op. 37: I. Allegro con brio (16:41). Noble 1st theme, graceful 2nd theme, effortless piano figurations, hints of pathos.
5. Concerto for Piano and Orchestra No. 3 in C minor op. 37: II. Largo (9:54). Tender sentiments, a love scene. Music humble yet ornate, foreign yet familiar, slow yet restless.
6. Concerto for Piano and Orchestra No. 3 in C minor op. 37: III. Rondo. Allegro (8:50). A jaunty main theme, virtuoso piano writing, exuberance, soaring optimism in the glowing ending.