which appears as the first theme of the finale. The second theme of the finale is motivically derived from the Russian folk song "Poydu, poydu vo Tsar-Gorod" ("I'm Coming to the Capital") and also shares this motivic bond. The relationship between them has often been ascribed to chance because they were all well-known songs at the time Tchaikovsky composed the concerto. But it seems likely that he used these songs precisely because of their motivic connection. "Selecting folkloristic material," Maes writes, "went hand in hand with planning the large-scale structure of the work." All this is in line with the earlier analysis of the concerto by Tchaikovsky authority David Brown, who further suggests that Alexander Borodin's First Symphony may have given Tchaikovsky both the idea to write such an introduction and to link the work motivically as he does. Brown also identifies a four-note musical phrase ciphered from Tchaikovsky's own name and a three-note phrase likewise taken from the name of soprano Désirée Artôt, to whom the composer had been engaged some years before. II. Andantino semplice – Prestissimo – Tempo I The second movement, in D major, is in time. The tempo marking, "andantino semplice", lends itself to a range of interpretations; the World War II-era recording by Vladimir Horowitz and Arturo Toscanini completed the movement in under six minutes, while toward the other extreme, Lang Lang recorded the movement with the Chicago Symphony Orchestra conducted by Daniel Barenboim in eight minutes. Measures 1–58: Andantino semplice Measures 59–145: Prestissimo Measures 146–170: Tempo I After a brief pizzicato introduction, the flute carries the first statement of the theme. The flute's opening four notes are A–E–F–A, while each other statement of this motif in the remainder of the movement substitutes the F for a (higher) B. The British pianist Stephen Hough suggests this may be an error in the published score, and that the flute should play a B. After the flute's opening statement of the melody, the piano continues and modulates to F major. After a bridge section, two cellos return with the theme in D major and the oboe continues it. The A section ends with the piano holding a high F major chord, pianissimo. The movement's B section is in D minor (the relative minor of F major) and marked "allegro vivace assai" or "prestissimo", depending on the edition. It commences with a virtuosic piano introduction before the