widely in its soundtrack, and Frank Borzage's I've Always Loved You (1946) features it heavily; this has further popularized the work. The concerto has also inspired numerous songs, and is frequently used in figure skating programmes. Instrumentation The concerto is scored for piano and orchestra: Woodwinds: 2 flutes 2 oboes 2 clarinets in B (only in the first movement) and A (only in the second and third movements) 2 bassoons Brass: 4 horns in F 2 trumpets in B 3 trombones (2 tenor, 1 bass) tuba Percussion: timpani bass drum cymbals Strings: 1st violins 2nd violins violas cellos double basses Structure The piece is written in three-movement concerto form: I. Moderato The opening movement begins with a series of chromatic bell-like tollings on the piano that build tension, eventually climaxing in the introduction of the main theme by the violins, violas, and first clarinet. In this first section, while the melody is stated by the orchestra, the piano takes on the role of accompaniment, consisting of rapid oscillating arpeggios between both hands which contribute to the fullness and texture of the section's sound. The theme soon goes into a slightly lower register, where it is carried on by the cello section, and then is joined by the violins and violas, soaring to a climactic C note. After the statement of the long first theme, a quick and virtuosic "piu mosso" pianistic figuration transition leads into a short series of authentic cadences, accompanied by both a crescendo and an accelerando; this then progresses into the gentle, lyrical second theme in E major, the relative key. The second theme is first stated by the solo piano, with light accompaniment coming from the upper wind instruments. A transition which follows the chromatic scale eventually leads to the final reinstatement of the second theme, this time with the full orchestra at a piano dynamic. The exposition ends with an agitated closing section with scaling arpeggios on the E major scale in both hands. The agitated and unstable development borrows motifs from both themes, changing keys very often and giving the melody to different instruments while a new musical idea is slowly formed. The sound here, while focused on a particular tonality, has ideas of chromaticism. Two sequences of pianistic figurations lead to a placid, orchestral reinstatement of the first theme in the dominant 7th key of G. The development furthers with motifs from the