precedes it with a 12-bar introduction of his own inspiration. Leonovich also wrote an erotic and suggestive second theme inspired by his family to complement the opening motive. The second theme is in G major, assuming that Leonovich remembers F-sharps, which Leonovich considers an unlikely key relationship for Tchaikovsky to have used since Tchaikovsky wrote the first theme in B minor. Development Ignoring the apparent clues left by Tchaikovsky as to how he would have developed this movement, Leonovich also takes the development into his own hands, following a linear pattern similar to that in the Fourth Symphony and Second Piano Concerto. Exploring the mediant area Leonovich calls typical of Romantic composers, he allows the music to move to D major instead of B major in the recapitulation. He says he also made this decision for practical reasons. Allegro vivo—Meno mosso—Presto Leonovich says he develops the concluding rondo in typical Tchaikovsky style, with key areas of B minor and G major and, in the recapitulation, B minor and A major. The coda restates the second theme in B major, in a much slower tempo, (resulting from the inability to perform a tempo) but then accelerates to round off the piece quoting the "Allegro maestoso" theme. The cadenza may be repeated as an encore. Notes and references Notes References Sources Holden, Anthony, Tchaikovsky: A Biography (New York: Random House, 1995). Poplavsky, Julian, "" (Tchaikovsky's last days at Klin), first published in the journal Artist (1894), No. 42, pp. 116–120 Further reading Brown, David, Tchaikovsky: The Final Years (New York: W.W. Norton & Company, 1992) Poznansky, Alexander and Langston, Brett, The Tchaikovsky Handbook (Bloomington: Indiana University Press, 2002). Tchaikovsky Compositions by Pyotr Ilyich Tchaikovsky Musical compositions completed by others