recapitulation features an abridged version of the first subject, working around to C minor for the transition section. In the second subject group, the consoling second theme is omitted; instead the first theme repeats, with a reappearance of the stormy climactic build previously heard in the exposition, but this time in B major. The excitement is cut short by a deceptive cadence. A brief closing section comprises G-flat major chords played by the whole orchestra and the piano. Then a piano cadenza appears, the second half of which contains subdued snatches of the second subject group's first theme in the work's original minor key. B major is restored in the coda, when the orchestra reenters with the second subject group's second theme; the tension then gradually builds, leading to a triumphant conclusion, ending with a plagal cadence. Question of the introduction The introduction's theme is notable for its apparent formal independence from the rest of the movement and the concerto as a whole, especially given its setting not in the work's nominal key of B minor but rather in D major, that key's relative major. Despite its very substantial nature, this theme is only heard twice, and it never reappears at any later point in the concerto. Russian music historian Francis Maes writes that because of its independence from the rest of the work, For a long time, the introduction posed an enigma to analysts and critics alike. ... The key to the link between the introduction and what follows is ... Tchaikovsky's gift of hiding motivic connections behind what appears to be a flash of melodic inspiration. The opening melody comprises the most important motivic core elements for the entire work, something that is not immediately obvious, owing to its lyric quality. However, a closer analysis shows that the themes of the three movements are subtly linked. Tchaikovsky presents his structural material in a spontaneous, lyrical manner, yet with a high degree of planning and calculation. Maes adds that all the themes are tied together by a strong motivic link. These themes include the Ukrainian folk song "Oi, kriache, kriache, ta y chornenkyi voron ..." as the first theme of the first movement proper; the French chansonette "Il faut s'amuser, danser et rire" ("One must have fun, dance and laugh") in the middle section of the second movement; and a Ukrainian vesnianka "Vyidy, vyidy, Ivanku" or greeting to spring