The Off-Tonic Return in Beethoven's Piano Concerto No. 4 in G Major, Op. 58, and Other Works

Abstract

Various compositional problems and opportunities may accompany the return of a main theme that has a non-tonic opening. There are four overlapping strategies for approaching such ‘off-tonic returns’: (1) the thematic return may be preceded by V of the main key; (2) the returning theme may be preceded by an applied chord which points to the theme's opening, non-tonic harmony; (3) the theme may return in the middle of a larger progression; or (4) the theme may be recomposed so as to start on the tonic when it returns. In many compositions, these various strategies have deep harmonic, motivic, or narrative implications. Beethoven was particularly adept in handling off-tonic returns, as may be witnessed in works such as his Concerto for Piano and Orchestra in G Major, Op. 58.

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