section introduces the solo piano and starts off in F major. It is not a literal repeat, though, as after the first few phrases, new material is interjected which ventures off into different keys. When familiar material returns, the music is now in the dominant keys of C minor and C major. Then it modulates to G minor, then B-flat major, then F minor, which transitions to the third section of the movement. The third section begins with the dreamlike melody again, but this time in the relative key of F major's parallel key, A-flat major. Over the course of this final section, the music makes its way back to the tonic keys of F minor and then F major and a short coda concludes the movement. The final rondo movement begins with the full orchestra espousing a joyous "jumping" theme. After a short cadenza, the piano joins in with a theme reminiscent of the finale of Michael Haydn Symphony No.18 in C major and further elaborates. A "call and response" style is apparent, with the piano and ensemble exchanging themes. The soloist plays scale and arpeggio figurations that enhance the themes, as well as a short cadenza that leads back to the main theme. The main theme appears one final time, leading to an upward rush of scales that ends on a triumphant note. Cultural references The second movement was featured in the 1967 Swedish film Elvira Madigan with Géza Anda as soloist. As a result, the piece has become widely known as the Elvira Madigan concerto. Neil Diamond's 1972 song "Song Sung Blue" was based on a theme from the andante movement of the concerto. The second movement was used as the «TV Tiempo» main theme of the channel Televisión Nacional de Chile (abbreviated as TVN). References External links 21 Compositions in C major 1785 compositions