analysis concerto

[flontarna]

hey,

I have a question.
Does anyone have already an analysis of a piano concerto no matter what composer?
It's very urgent...
Or maybe ther's something to find on the internet?

Anyway thank you and greetings

[pianistimo]

Concerto#5 of Beethoven Op.73 "Emperor" (1809)

Majestic INTRO: I-IV-V  Orchestra chords, piano improvisation.

EXPO I:  I:  orchestral exposition:  Bridge has falling arpeggios in quarter notes and syncopations.
II staccato eighths in minor, then lyric horn call in major
     I repeats, forms a climax
CLOSING:  four - note wind theme in consecutive eighths.  falling scale/dramatic fanfare (dotted figure) introduces piano and

EXPO II:  piano has I, dolce, bridge;
II (b minor) triplets, then C-flat major lyric, then B-flat major block chords, forte (each section is eight measures)

CLOSING:  piano plays I over descending staccato triplets (a typical pattern from other concerto first movemetn closings by Beethoven).  closing in piano (C-flat), like EXPO, I  then winds (E-flat)

DEVELOPMENT:  dramatically led to by contrary motion scales;  begins by restating last of EXPO I in B-flat major.  Piano enters after woodwind fanfare with chromatic scale (as in intro to piano EXPO)
Modulation based on I
Fanfare re-appears in dialogue, introduces a fugato between between piano and orchestra
Lyric melody from end of EXPO I, now in G, D-flat and F-flat (6/4).  Long sequence on triplet figure of I leads to restatement of
INTRO scales and arpeggios (again:  I-IV-V)
RECAP: I, Bridge, II again in three parts (c-sharp min., D-flat major, E-flat major)
      CLOSING: as in EXPO II
FANFARE:  leads to intro-like arpeggios in piano: then
CADENzA:  written out (by beethoven) - orchestra enters in dialogue
CODA:  based on I and fanfare: piano had three sets of broken block chords, majestic, like previous INTRO's.

II.  Theme and Variations:  Note common tone beginning E-flat - D-sharp

THEME:  orchestra alone; B major
VAR I: piano solo over long sustained orch. chords (B major)
VAR II: more ornamented style of VAR I:  in D major; climax, long trills
VARIII: R hand has chorale statement; L hand triplets B major
VAR IV: B major, melody in orch; across the beat, 2 note phrases, in 16ths in piano; ends on V chord, a four measure lead in to

III RONDO FINALE:  A theme (three parts;   1. eight measure sync broken chords
2. chromatic, three-note descent   3. 2 measure block chord 'galop'

BR (bridge):  triplet 16th:  forte runs/lyric tune in E-flat
B:  B-flat major 'dolce' tune over 16th note alberti/  2 vs. 3 in second 'dolce', six measures later

A
BR 1 and 2
B
A, verbatim, in three sections
C, five sections!
1. modulations on A3, imitation in the strings
2. A in piano part C major, forte
3. A in piano part, A-flat major, pianissimo
4. A in piano part, E major, pianissimo
5. dotted rhythm in strings, broken chord agigtato in piano; e minor, modulates to E-flat then
A: verbatim, in three sections
BR:  as before; two sections, both remaining in E-flat
B: last return in 'wrong key'  (A-flat major)
CODA:  restates A in 'right key':  orch. tutti, piano extends:  lots of trills (long), agitated and wide-spread Alberti basses.
ADAGIO FADE-OUT:  piano scales over tympani dotted rhythm
FINALE:  piu allegro scales and A once again

 
will double check to make sure i wrote this all down right.  hope it helps.  i have some good  questions to ask when analyzing concertos if you want me to write down the questions sometime.

[pianistimo]

roman numeral I after the main section should actually be (P) for primary theme  and II should be (S) secondary theme.  you can change this as you like.  BR (bridge).

you'll want to go in and write in measure numbers (unless your score already has them) and mark your score and then write down the measure numbers next to your handwritten analysis at each of the 'points of articulation' or sections.  some teachers just have you turn in the music with appropriate markings at the right places. 

many thanks to my teacher (before broken leg) dr. veleta at wcu for showing me how to analyze concertos.