A Formal Analysis on Beethoven's Piano Concerto No.3 in C minor , Op. 37

A Formal Analysis on Beethoven's Piano Concerto No.3 in C minor , Op. 37 a)The "Beethoven Concerto"s and Op. 37's Placement in the Genre and as a continuation of Mozart's Style b)Reception of the concerto-specifics of the concerto in a broad view c)Formal and musical analysis with respect to the Concerto Form in the Classical Style (As a precursor of Romantic Age) d)Conclusions a)Beethoven Concertos According to commonly agreed placement of …

…tonicizing half-one step above the tonic) and then "correcting" his "mistake" by bringing the theme in the correct key. 5 K. 488 in A Major behaves in this exceptional manner, to count one among others, arriving at a ii6 instead of a more usual I, over which closing theme(s) appear covering for the "thematic" material need in this section, which takes us back to V through bVI. (Gauldin, class notes) 6 Plantiga, 144. 7 Plantiga 145-borrowed from Rosen's terminology