The composer's friend Vladimir Wilshaw noticed this compositional change continuing in the early 1930s, with a difference between the sometimes very extroverted Op. 39 Études-Tableaux (the composer had broken a string on the piano at one performance) and the Variations on a Theme of Corelli (Op. 42, 1931). The variations show an even greater textural clarity than in the Op. 38 songs, combined with a more abrasive use of chromatic harmony and a new rhythmic incisiveness. This would be characteristic of all his later works—the Piano Concerto (Op. 40, 1926) is composed in a more emotionally introverted style, with a greater clarity of texture. Nevertheless, some of his most beautiful (nostalgic and melancholy) melodies occur in the Third Symphony, Rhapsody on a Theme of Paganini, and Symphonic Dances.
the composer's friend vladimir wilshaw noticed this compositional change continuing in the early 1930s with a difference between the sometimes very extroverted op 39 études-tableaux (the composer had broken a string on the piano at one performance) and the variations on a theme of corelli (op 42 1931) the variations show an even greater textural clarity than in the op 38 songs combined with a more abrasive use of chromatic harmony and a new rhythmic incisiveness this would be characteristic of all his later works—the piano concerto (op 40 1926) is composed in a more emotionally introverted style with a greater clarity of texture nevertheless some of his most beautiful (nostalgic and melancholy) melodies occur in the third symphony rhapsody on a theme of paganini and symphonic dances