Beethoven: Piano Concerto #3

[Preston]

I read on Wikipedia that the concerto was written in 1801... but, it also said that Beethoven didn't finish it until 1803. I was wondering if this concerto would be classified as early period or middle period? Also, do any of y'all have any extra information on this concerto, especially stylistic?

The reason I ask is because I will be seeing this concerto played live soon. I wish that my musical skills were more to par, so that I could tell stylistically, how the concerto was different, but unfortunately they are not, yet.

http://en.wikipedia.org/wiki/Piano_C...28Beethoven%29

http://www.youtube.com/watch?v=Sfstc...elated&search=
http://www.youtube.com/watch?v=Qagnh...elated&search=

[Peter]

Well that period 1801-3 is a period of transition for Beethoven from the early to middle period works. I think the 3rd concerto is really from the early rather than middle period.

[jman]

I have been working on this concerto off and on for about a year now and although now I may not get around to learning it to perforamnce standards, it is very dear to me...Most people do tend to classify it as early period. I would say generally it is although the pathos of the c-minor tonality and some thematic ideas make it on the verge of his middle "heroic" period. I think a lot of people put the Op. 31 piano sonatas more in hte middle period, particularly the Tempest, and atleast in opus number, the concerto comes later.

This is the only concerto in a minor key and I think it has some very grand emotional gestures; of course c-minor is an important key for Beethoven and the concerto does have many similar qualities to the 3 piano sonatas in c-minor (including the Pathetique) and the 5th Symphony. It's not the MOST difficult work for the soloist but it is by no means easy. Formally it's certainly in an older style, the piano generally works against the orchestra (as opposed to the Emperor concerto where the solosit often works as a part of the orchestra). The second movement is a gorgeous Largo in E Major (striking tonality compared to c-minor) that is so very expressive. Third movement coda is a blaze of glory in C major, triumphant ending, though the rondo of the third movement is still a disheartened c-minor, particularly the opening motive in the piano with the diminished seventh interval down from Ab to B-natural. Some of the episodes are a little coy too.

Those are some of my impressions just from playing it. Hope you enjoy it, who's the soloist?

[Preston]

I have been working on this concerto off and on for about a year now and although now I may not get around to learning it to perforamnce standards, it is very dear to me...Most people do tend to classify it as early period. I would say generally it is although the pathos of the c-minor tonality and some thematic ideas make it on the verge of his middle "heroic" period. I think a lot of people put the Op. 31 piano sonatas more in hte middle period, particularly the Tempest, and atleast in opus number, the concerto comes later.

This is the only concerto in a minor key and I think it has some very grand emotional gestures; of course c-minor is an important key for Beethoven and the concerto does have many similar qualities to the 3 piano sonatas in c-minor (including the Pathetique) and the 5th Symphony. It's not the MOST difficult work for the soloist but it is by no means easy. Formally it's certainly in an older style, the piano generally works against the orchestra (as opposed to the Emperor concerto where the solosit often works as a part of the orchestra). The second movement is a gorgeous Largo in E Major (striking tonality compared to c-minor) that is so very expressive. Third movement coda is a blaze of glory in C major, triumphant ending, though the rondo of the third movement is still a disheartened c-minor, particularly the opening motive in the piano with the diminished seventh interval down from Ab to B-natural. Some of the episodes are a little coy too.

Those are some of my impressions just from playing it. Hope you enjoy it, who's the soloist?

Thank you Peter and jman, greatly. I, too, find the largo so peaceful and serene. It is by far my favorite movement of the concerto, as far as enjoyment goes.

I understand why people classify it as an early period work, but I imagine it has a lot of the middle period in it. Seeing as Beethoven didn't finish it until 1803. I do not know all the stylistic details though. Although, I eventually plan on looking into music more stylistically. I do ok with hearing themes and variations on themes, the expressiveness of the music, the differences in the instruments, the different sounds of the orchestra, and the many other things like that, though. Although, I have a very long way to go.

The pianist that will be performing the piece is named Joyce Yang. Yes, she was somewhat of a child prodigy, but I guess a lot of virtuosos are. She is young though, 21. I find it most interesting how most people take piano lessons for years and years, and then an 8 year old child comes along and plays with such virtuosity. I realize that is how natural talent works though.
http://en.wikipedia.org/wiki/Joyce_Yang

I hope all goes well for you and the concerto.

If anyone wants to hear the largo you can find it here:
http://www.youtube.com/watch?v=rDRlJ...elated&search=
http://www.youtube.com/watch?v=8YlU-...elated&search=

[Frankli]

I read on Wikipedia that the concerto was written in 1801... but, it also said that Beethoven didn't finish it until 1803. I was wondering if this concerto would be classified as early period or middle period? Also, do any of y'all have any extra information on this concerto, especially stylistic?

Stylistic there are striking similarities with Mozart no. 20 KV 466 - the introduction is almost the same!
Basically it's the early period: classical, concise. Bu the the atmosphere is romantic, just like Mozart's concerto.

[Preston]

Well, the concert went great. I enjoyed it thoroughly.

First, I heard, Carl Maria Von Weber's Oberon Overture. I never have heard it before.

The Beethoven concerto sounded good, it was not to slow or to fast when compared with the other versions I have heard. The soloist did a good job, I thought.

Last, was Brahms 3rd Symphony. The program guide said that it was possibly about a girl that Brahms loved. I don't think it was Clara Schumann, not sure though.

Just thought I would let you all know.

Kind Regards,
Preston

[HaydnFan]

Well, the concert went great. I enjoyed it thoroughly.
First, I heard, Carl Maria Von Weber's Oberon Overture. I never have heard it before.

A wonderful little piece of music! How did you like it?

[Preston]

A wonderful little piece of music! How did you like it?

In the program it said that the overture was about Elven worlds. I found that most interesting. It said that the horn was the call of the elven king.

There was this one part where the strings got very lush and the piece started moving very slow. I liked that part.

Kind Regards,
Preston

[Sorrano]

In the program it said that the overture was about Elven worlds. I found that most interesting. It said that the horn was the call of the elven king.

There was this one part where the strings got very lush and the piece started moving very slow. I liked that part.

Kind Regards,
Preston

Isn't Oberon linked to A Midsummer Night's Dream? Maybe I am confusing this overture with another work?

[Preston]

Isn't Oberon linked to A Midsummer Night's Dream? Maybe I am confusing this overture with another work?

Yes, I looked it up and it appears to be:
http://en.wikipedia.org/wiki/Oberon_%28Fairy_King%29
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Oberon, also Auberon, King of Fairies, is best known as a character in William Shakespeare's play, A Midsummer Night's Dream, written in the mid-1590s. Oberon gives his wife, Titania, a potion that causes her to fall in love with Bottom in order to get the changeling, who was given to Titania by her dying maid.

The medieval concept of the character Oberon arose from a multitude of earlier sources.
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I do not know the libretto to Oberon and how deeply it relates to Shakespeare's play. If it is even from Shakespeare, seeing as it could be from earlier sources. Does anyone know?