Beethoven’s Piano Concerto No. 3 in C Minor, op. 37, falls into his early to middle compositional period. Compared to his earlier two concertos, this work marks a continued transition from a more Mozartian style to Beethoven’s individual one, expanding the bounds of dramatic expression and musical form. Beethoven had a special relationship with the key of C minor, associating it with themes of heroism and fate. He composed some of his most intense and dramatic works in this key, such as his fifth symphony and Pathetique Sonata.

The first movement contains two contrasting themes: a dark, foreboding first theme and a lyrical second theme in a major key, first introduced by the orchestra. The piano enters, or rather storms in, with three forceful ascending scales punctuated with abrupt silences that surge into the first theme. Beethoven wrote his own cadenza for the first movement, featuring sweeping, improvisatory arpeggios descending through various keys. Beethoven ends the cadenza with suspended trills, leading into the coda, ultimately closing in tragic C minor.

The second movement is set in the key of E Major, an unusual choice due to its remote relationship with the C minor of the outer movements. This distance is reflected in the otherworldly theme introduced by the solo piano, characterized by profound spirituality and introspective stillness. The piano writing is highly ornate, and often the music feels as if it figures itself as it goes along, happening upon new ideas.

The final movement is written as a sonata rondo. The refrain, introduced by piano solo, is in dramatic C minor and is irresistibly infectious, with angry sforzando accents on the offbeats providing a powerful rhythmic drive. Each time the theme repeats, the piano has an opportunity to show off in firework-like cadenzas. The final cadenza leads into the Presto coda in 6/8 time. The piece ends in triumphant C Major, full of joy and verve.

Program notes by Jean Lin