Mendelssohn's Piano Concerto No. 1 in G minor, Op. 25, was written in 1830–31, around the same time as his fourth symphony ("Italian"), and premiered in Munich on 17 October 1831. This concerto was composed in Rome during a travel in Italy after the composer met the pianist Delphine von Schauroth in Munich. The concerto was dedicated to her. Mendelssohn attended one party after another in Munich in October 1831, the month of the premiere, but he also played chamber music and taught double counterpoint. He performed the piece himself at the premiere, which also included performances of his Symphony No. 1 and the Overture from Midsummer Night's Dream. He had already written a piano concerto in A minor with string accompaniment (1822) and two concertos with two pianos (1823–24). Structure The three connected movements use several relatively new formal techniques in their brief span — for example, the piano enters very soon after the opening of the first movement, with little of an orchestral tutti to contrast with. The concerto quickly obtained popularity, and contains many sections of improvisation, one of Mendelssohn's specialities; it is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings. Molto allegro con fuoco The piano enters after only a few bars of orchestral introduction. It was standard procedure in the classical-era concerto to precede the solo's entrance by a tutti, for various reasons – the length and purpose of these introductions differed, some offering a hint of what was to follow and some giving out almost all the movement's material, but none was so brief as this: in this sense, this was one of the first concertos of the Romantic age. (The obvious exceptions – Mozart's Jeunehomme concerto and Beethoven's fourth and fifth piano concertos – allowed the piano to enter very briefly just at the start, but then proceeded as usual, the soloist silent.) The rest of the movement is fairly typical of concertos in its use of a modified sonata form, with a second, contrasting lyrical theme first heard from the piano over repeated accompaniment, and later on wind. As the movement closes a transition takes the movement not to a full close, but instead, with a brass fanfare and a piano continuation of the same, to the border of the Andante. Andante This opens with a melody in the lower strings, in E