followed by a C, then a G, is followed by the dominant chord's leading tone (A) trilled up to the dominant, B. It's interesting that this progression seems to suggest a dominant cadence in the dominant key of B. In other words, Cmin to F to B (ii – V – I in B). There is an immediate modulation, through a fiery C-minor passage, into B major. Here a possible second theme is heard, played by strings, winds not coming in until its later strain (near the modulation back into E). Also interesting about this concerto is that the first movement ventures off from the normal conception of the concerto. Usually, when it comes time for the cadenza at the end of the recapitulation, the soloists will have a cadential trill on the tonic after which the orchestra will play part of the ritornello leading to the I 6/4 at which point the soloists performs the cadenza. However, instead of the trill being accompanied by strings, it is interrupted by them on the second beat and ends up resolving to c minor. Shortly thereafter, however, the I arrives and the cadenza begins and everything continues on as normal. III. Allegro ma non troppo Girdlestone (p 187, Mozart and his Piano Concertos) writes that the gait of this finale is "neither that of a gallop, nor of a race, nor even of a dance, but just of a swinging walk, swift and regular, and the virtue of its refrain, with its sketchy outline and its 'sillabato' diction... rests in its rhythm rather than in its melody." Further, he notes that while this rondo can be divided into contrasting sections, the appearance on the page is very different from what falls on the ear, which is almost monothematic: "When, score in hand, one notes each return of the first subject... it is possible to pick out the four expositions of the [rondo] refrain and the three couplets... but on hearing it one's impression is that the refrain never leaves the stage". References Einstein, Alfred. Mozart: His Character, His Work. London: Oxford University Press. First Edition: 1945. Translated from the German by Arthur Mendel and Nathan Broder. p. 301. Girdlestone, Cuthbert Morton. Mozart and his Piano Concertos. New York: Dover Publications. 1964. "Unabridged and uncorrected republication of the second (1958) edition of the work first published in 1948 by Cassell & Company, Ltd.,