largest and most ambitious original works for the instrument. The Grosses Concert-Solo anticipates several of the most salient features of Liszt's undisputed masterwork, the Piano Sonata in B minor, namely the nonprogrammatic "four-movements-in-one" form. The earlier unpublished solo version (S.175a) as well as the unpublished orchestra accompaniment sketches for a projected piano concerto version (S.365) do not contain the slow Andante sostenuto middle section, which shows that Liszt’s initial conception was one virtuoso sonata-allegro movement with exposition, development, recapitulation, and coda. The new "comprehensive" sonata form is the result of an insertion of a slow movement (sometimes compared to the Lento sostenuto of Chopin’s Fantasy in F minor) between exposition and development and a cyclic recurrence of the slow movement theme between recapitulation and coda in order to achieve unity. Since this afterthought of Liszt does not quite agree with the initial intentions, the result is a somewhat loose rhapsodic structure with interlinked sections held together by a few insertions. Liszt did not smooth out those "rough edges." He simply used some of the thematic material to compose an entirely new work in similar large-scale form — the Sonata in B minor. Here the form convinces because the thematic ideas have been contrived to match each other, which makes the thematic transformation, already apparent in the Grosses Concert-Solo and many earlier works, more natural. In contrast to the Grosses Concert-Solo the accompaniment figurations in the sonata are permeated by thematic allusions resulting in a more logically compelling development of ideas. It is typical for Liszt that he did not destroy the earlier solo work (Grosses Concert-Solo) but rearranged it in the two-piano version Concerto pathétique. Since Liszt had projected a piano concerto version but dropped the plan, the two-piano arrangement can be seen as a sort of compromise. In this version Liszt seems to have been more interested in the concerto-like effects of the two-piano ensemble than in structural innovations, because he left the overall design of the solo version unaltered. The suggestion of a concerto version can be detected in various remarks such as quasi arpa, quasi timpani, etc., and the fact that the first piano part is more virtuosic throughout. Later concerto arrangers, like Eduard Reuss (1885, corrected by Liszt (S.365a)), Richard Burmeister (1898) or Gábor Darvas (1952), have usually incorporated the second piano part into the orchestra part. Despite the structural relationship between the Concerto pathétique and