BEETHOVEN'S PIANO CONCERTO #1 (C MAJOR)
Exposition (Bars 1-256). An orchestral unison in the strings announces the principal motive (not really a theme), figure 1, which is extended lyrically (ms. 9-16) to the full tutti repeat of the opening at measure 16. A progression to the subdominant at bar 24 leads to a developmental transition utilizing the scale figure from the opening and in secondary dominant on D (ms. 36-37) to cadence on G at bar 46.
An unprepared shift to g minor eventually leads to the second theme in E-flat major at measure 49, using G and B-flat as common tones. This theme, figure 2, provides much of the developmental material used throughout the movement, especially the descending scale first heard at measure 50. A 3-bar modulating phrase is used sequentially until an imitative transition is built from fragments of the second theme and the principal motive (ms. 65-85), and with a modulation back to C major, the closing theme, figure 3, is introduced.
The little "whirlwind" accompaniment figure first heard in measure 88 (Violins I) shortly dominates this theme and leads to a cadential treatment of the opening motive at bar 99.
The soloist enters with an anacrusis at measure 106, introducing a lyrical, increasingly figured melody built of two 2-bar phrases followed by two 4-bar phrases that lead to the restatement of the opening tutti at measure 118, this time with cascading appogiatura figuration in the piano. A variant of the repeated-note motive is added to the continuing motion of sixteenth-notes at bar 126, and the combination is imitated between the hands until a new texture is heard at ms. 134. This leads to a colorful harmonic exploration of E-flat before settling on the dominant of G major (D), using the Italian 6th (E-flat, G, C-sharp) in bar 144. After more colorful figuration in the piano and echoes of the principal motive in the double-reeds (ms. 145-151), the music cadences on the do...