About 170 years after its completion, Ludwig van Beethoven's C minor Symphony was the main experience that not only brought me to the so-called "classical" music, but in the true sense of the word to all music in general. Even today, when I am exactly the same age as Beethoven died, this composition, and especially its first movement, captivates me with its unprecedented dynamism and economy, its stunning force and incisiveness, which is why this piece must have been the way of a piano composition, which deals with Beethoven.
Thus, ...con brio uses quite a few elements of this first movement, such as the two entangled falling thirds, the lonesome solo oboe melody, the scarce transition of the horns or bassoons, or the subtractive secondary voices of the winds just before the end – as well as sharp volume contrasts, hammering repetitions and a reference to C minor. However, not least because there is a lack of a rhythmically pushing forward for a long time, not a sort of Beethoven's process, but rather a static – a largely calm, but tense music mostly seeking character, bordered by corresponding Adagio parts, occasionally startled by insistent gestures and only ending in a con brio. Circling now soft thirds appear through floating objects, shadowy strange appearance of symphonic moments, but in battered order.