previous themes, climaxing towards a B major "più vivo" section. A triplet arpeggio section leads into the accelerando section, with the accompanying piano playing chords in both hands, and the string section providing the melody reminiscent of the second theme. The piece reaches a climax with the piano playing dissonant fortississimo () chords, and with the horns and trumpets providing the syncopated melody. While the orchestra restates the first theme, the piano, that on the other occasion had an accompaniment role, now plays the march-like theme that had been halfly presented in the development, thus making a considerable readjustment in the exposition, as in the main theme, the arpeggios in the piano serve as an accompaniment. This is followed by a piano-solo which continues the first theme and leads into a descending chromatic passage to a pianississimo A major chord. Then the second theme is heard played with a horn solo. The entrance of the piano reverts the key back into C minor, with triplet passages played over a mysterious theme played by the orchestra. Briefly, the piece transitions to a C major glissando in the piano, and is placid until drawn into the agitated closing section in which the movement ends in a C minor fortissimo, with the same authentic cadence as those that followed the first statement of the first theme in the exposition. II. Adagio sostenuto The second movement opens with a series of slow chords in the strings which modulate from the C minor of the previous movement to the E major of this movement. At the beginning of the A section, the piano enters, playing a simple arpeggiated figure. This opening piano figure was composed in 1891 as the opening of the Romance from Two Pieces For Six Hands. The main theme is initially introduced by the flute, before being developed by an extensive clarinet solo. The motif is passed between the piano and then the strings. Then the B section is heard. It builds up to a short climax centered on the piano, which leads to cadenza for piano. The original theme is repeated, and the music appears to die away using chords on the piano of different inversions, slowly descending to a finish with just the soloist in E major. III. Allegro scherzando The last movement opens with a short orchestral introduction that modulates from E major (the key of the previous movement)