Ludwig van Beethoven (1770-1827) composed five piano concertos for piano and orchestra. The piano concerto No.1 in c major, op.15 was the second piano concerto he had composed 1794-1795, but consequently became the No.1 because it was published before the piano concerto No.2 which had been firstly c...
Ludwig van Beethoven (1770-1827) composed five piano concertos for piano and orchestra. The piano concerto No.1 in c major, op.15 was the second piano concerto he had composed 1794-1795, but consequently became the No.1 because it was published before the piano concerto No.2 which had been firstly composed in 1801. This concerto called the Grand Concerto may be even said to be a symphony, because of the orchestral composition of the piano concerto No.2 and its size larger than those of general concertos at that time.
This concerto with three-movement structure of fast-slow-fast is systematically developed through various thematic transformation techniques, based on classical characteristics affected by Mozart and Haydn. Some Beethovenian features can be observed through his unique techniques, such as use of sf, beginning at a key independent of related keys in the second movement, chords of the augmented sixth, Adagio part in the third movement, chromatic progressions and frequent modulation.
The first movement is the Allegro con brio, C major, 4/4 in which a mixture between a ritornello form and a sonata form from the Mozart piano concerto seems to appear. Uses of dotted and principal theme rhythm as the thematisch-motivishce arbeit which organically forms a single movement by persistently and variously processing a theme or a motif unify the piece. The second movement is the ternary form of Largo, A♭major, 2/2. The piano harmoniously exchanges melodies with the orchestra in an equal structure. It is characterized by uses of various rhythms and figures such as dotted note, double dotted note, triplet, trill and decorative melody at slow movement. In particular, the triplet, the main rhythm is used at the recapitulation until the end of the piece. The third movement, Rondo. Allegro, C major, 2/4, takes the rondo-sonata form which appeared usually at those of concertos in the classical period. In general, the solo part is prominent and the orchestra supports it. It shows various thematic development techniques, frequent modulations, polyphonic and imitative ones and chromatic progressions and many other components, and is characterized by the adagio part and two short cadenzas.
This paper is expected to contribute to composing harmonious music in the interrelationship between piano and orchestra, as well as understanding the Beethoven piano concerto No.1 composed in the classical period.
Ludwig van Beethoven (1770-1827) composed five piano concertos for piano and orchestra. The piano concerto No.1 in c major, op.15 was the second piano concerto he had composed 1794-1795, but consequently became the No.1 because it was published before the piano concerto No.2 which had been firstly composed in 1801. This concerto called the Grand Concerto may be even said to be a symphony, because of the orchestral composition of the piano concerto No.2 and its size larger than those of general concertos at that time.
This concerto with three-movement structure of fast-slow-fast is systematically developed through various thematic transformation techniques, based on classical characteristics affected by Mozart and Haydn. Some Beethovenian features can be observed through his unique techniques, such as use of sf, beginning at a key independent of related keys in the second movement, chords of the augmented sixth, Adagio part in the third movement, chromatic progressions and frequent modulation.
The first movement is the Allegro con brio, C major, 4/4 in which a mixture between a ritornello form and a sonata form from the Mozart piano concerto seems to appear. Uses of dotted and principal theme rhythm as the thematisch-motivishce arbeit which organically forms a single movement by persistently and variously processing a theme or a motif unify the piece. The second movement is the ternary form of Largo, A♭major, 2/2. The piano harmoniously exchanges melodies with the orchestra in an equal structure. It is characterized by uses of various rhythms and figures such as dotted note, double dotted note, triplet, trill and decorative melody at slow movement. In particular, the triplet, the main rhythm is used at the recapitulation until the end of the piece. The third movement, Rondo. Allegro, C major, 2/4, takes the rondo-sonata form which appeared usually at those of concertos in the classical period. In general, the solo part is prominent and the orchestra supports it. It shows various thematic development techniques, frequent modulations, polyphonic and imitative ones and chromatic progressions and many other components, and is characterized by the adagio part and two short cadenzas.
This paper is expected to contribute to composing harmonious music in the interrelationship between piano and orchestra, as well as understanding the Beethoven piano concerto No.1 composed in the classical period.
주제어
#베토벤
#피아노 협주곡 No.1
#Op.15
#피아노 콘체르토
#beethoven
#piano concerto
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