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Another goal of analysis is to identify the main thematic material. When a theme reoccurs, a performer must decide whether to contrast it with previous occurrences or to play it largely the same as before. For instance, in a mono-thematic work, one might play the theme with a different inflection each time it occurs, thus adding more variety to the work. While in a multi-thematic work, a performer may choose to play similar themes with similar inflections to provide continuity throughout the work. There is no set rule on how to play the themes, but without considering the possibilities, a performer may miss an opportunity to bring forth a profound musical moment. Analysis will help the performer identify those musical moments and know how to express them effectively.
Analysis alone, however, is not enough. Historical background information will place the piece in context. Placing a piece in context helps the performer know what conventions are appropriate for the piece. As mentioned above, the context of Beethoven's Op. 37 aided the interpretation of the analysis. While the analysis reveals the harmonic structure of the transition from cadenza to coda, the historical background identifies what one expects of concertos from the period. Op. 37 also has an interesting historical debate that surrounds it. Musicologist have argued about when this piece was primarily written, either 1800 or 1803. In most cases, three years would not make much difference, but it does in this case. During these three years, Beethoven made his famous statement that he would compose in a "new way." This more expressive writing gave rise to what is commonly referred to as his second stylistic period, and was a contributing factor to the rise of nineteenth century music. More specifically, it was then that the modern solo concerto had its start. Previous to Op. 37, the piano had two functions in the concerto.
