Maurice Ravel: Concerto for Piano and Orchestra in G major

Movement III (Presto) – overall comment

Labelled PRESTO, this movement revisits the tempo and high jinks of the first movement. Some connections with Ravel’s own L’Enfant et les Sortilèges have been identified e.g. musical ideas connected with the rage of the Child, and the out-of-control clock; S1a resembles the point when the Child pricks the Squirrel with his pen, and both the second subject and ideas at the end of the development section have been likened to the compound time celesta accompaniment to the Chinese Cup theme. The opening drum roll and chords have also been said to recall the ‘circus’ atmosphere of Stravinsky’s Petrushka and Satie’s Parade. The jazzy touches demonstrating the time Ravel spent in America are also still in evidence. Generally, the writing is quite typical of Ravel - and in its own way, original and individual - despite some criticism:

“…the finale of the G major concerto falls below Ravel’s best standards.”

Laurence Davies (Ravel Orchestral Music)

STRUCTURE: Vlado Perlemuter (1904 – 2002) was a French pianist who was one of the leading exponents of Ravel’s piano music. In fact, in 1927 he studied all of Ravel's solo works for piano for a period of six months with the composer himself! Perlemuter often said that one of the reasons why Ravel’s piano music kept its place in the modern repertoire was because of its ‘formal strength’. Roy Howat, in his musical essay ‘Ravel and the Piano’ presents some interesting observations regarding the finale of the G major piano concerto:

“…the finale’s dimensions can be measured directly against the preceding ‘Adagio’ by a tempo equivalence of quaver = 72 in the ‘Adagio’ to bar = 72-6 in the finale (taking Perlemuter’s suggested tempo). Six bars of the finale thus correspond to one of the ‘Adagio’ – a suggestive figure since the finale’s total of 306 bars is conveniently a multiple of six. If the total length of the finale is mirrored backwards from the end of the ‘Adagio’ by counting back 306 quavers or 51 bars, it takes us back to the main turning–point of the ‘Adagio’ at bar 58 (Fig.4). Whether this was planned or fortuitous, it can do performers no harm to be aware of such a large-scale rhythm.) Roy Howat

An interesting observation, even if a little complex analytically speaking! Some modern musicologists have acknowledged that Ravel and his music is rather a complex subject: says Roger Nichols ‘Ravel…is a more baffling, problematic and “deep” composer than he has so far been given credit for.’

Roy Howat actually describes the movement as having a binary outline which ‘incorporates an entirely restructured second half’. As you know, a piece in binary form is characterized by two complementary, related sections of roughly equal duration. Occasionally, the B section will end with a "return" of the opening material from the A section (known as ‘rounded’ binary form) – and in this movement, the development leads into what is a much abbreviated reprise of the opening material.

This movement therefore corresponds to a larger conventional structure – SONATA FORM - but loosely! It is possible to clearly identify an Exposition, Development and Recapitulation Section. The key structure is not conventional, though it starts and ends in the same key.

An analysis has been completed according to the following outline:

← 153 bars → ← 153 bars →

EXPOSITION

Starts bar 1 (153 bars long)

DEVELOPMENT

Starts Fig. 14 (60 bars)

RECAPITULATION

Starts Fig. 20 (93 bars)

CODA

Starts Fig.26 (12 bars)

First Subject Transition Second Subject Development First Subject Second Subject

Introductory material (16 bars)

S1a: Fig. 1 (36 bars)

S1b: Fig.3 (20 bars)

Fig.5 (22 bars) S2: Fig.7 (36 bars)

CODETTA: Fig. 11 (39 bars)

Fig. 14 S1a: Fig. 20 (16 bars)

S1b: Fig .21 (16 bars)

Fig. 22: (23 bars)

CODETTA material: Fig. 24

(26 bars)

Concluding material (12 bars)

THEMES: It is possible to identify three distinct themes in the Exposition section. After an introductory passage, the first main idea is heard – a piercing, Gershwin–like clarinet theme (S1a). The second idea is more folk-like, modal and syncopated and actually ends in a surprise cadence to E major; Fig 5 – Fig 7 includes ‘travelling material’ and feels like a link/ transitional passage; the third is a contrasting theme, and march-like, with fanfare type patterns (S2). The development section is set in perpetual motion, with touches of earlier themes (mainly S1b and S2) and the recapitulation section is much reduced and differently scored, presenting the themes in rapid succession.

MOOD: High-spirited and impetuous.

TONALITY: G major.

HARMONY: The writing includes some repetitive passages with quite static harmony, parallel chord ideas which are often used for timbral effect, bitonality and tritonally opposed ideas, higher discords, dissonant and chromatic arrangements, and even clusters.

WRITING FOR PIANO: The piano part is almost totally percussive, again utilising rushing motor rhythms. Sometimes the finger work is challenging in that it can go in rather unexpected directions. Lots of acrobatic writing for keyboard is in evidence, with repetitive sounding patterns in the high register that can sound static and, at times, a little lacking in invention.

WRITING FOR ORCHESTRA: Ravel presents a ‘cacophony’ of sound which includes percussion, woodwind shrieks, glissandi and chromatic patterns in brass – it really is a journey that grows theatrically in waves of sound. There are fiendishly difficult sections for bassoons as they imitate double scale passages on the piano, and some tricky sequences for trumpet in which there is too much figuration.

MOVEMENT III: Presto Structure: Sonata Form

SECTION BARS THEMES COMMENTSEXPOSITION: Bar 1 - Fig 14

First Subject Section

1 – Fig. 5

Introductory material

Figure f = opening four fanfare-type chords:

q Åq Åq Åq

S1a=

At concert pitch, this sounds:

STRUCTURE: 4+12+12+4+4

TEXTURE: The snare drum roll, bass drum bang and opening four chords (i.e. fig f) set the circus atmosphere and introduce the solo piano’s quiet entry, heard above detached pizzicato chords in the strings. Note the percussive and mechanical nature of the piano accompaniment throughout this section. From Fig.1, one prominent melody dominates the texture, building up to a repeat of the opening four chords in strings, brass, bassoon and percussion.

RHYTHM: Fast, simple duple time. Fig f consists of crotchet chords punctuated by rests for the opening and closing four bars of this section, and there are quirky rhythmic features such as sextuplets, triplets, acciaccaturas and rests in the melody against racing semiquaver patterns in the piano part.

THEMES: The piano solo begins the first perpetuum mobile idea. Note the slight reference to figure z from the previous movements, disguised in the inner parts, but identified in the beaming:

This marks out exactly what the violin has to play at the start of the recapitulation section. Note that fig z is even subtly hidden at the end of bar 16 (i.e. A-B-D):

The first theme, S1a, is a short yet very distinctive 6 bar phrase, reduced to just 4 bars when repeated in the piccolo at Fig. 2. It starts with a Gershwin-like, piercing squeal which is answered by a trombone glissando at 2Fig. 2. Note the extremes of pitch here, and the use of the diminished 8ve, both at the outset of the theme and between the acciaccatura Bª up to B¨ (as written in the score), bar 20. This was an interval favoured by Ravel, identified as being a part of his style (see background notes). Following the theme in the piccolo, short upward chromatic interjections are heard in brass. These contribute to the build up in the atmosphere.

HARMONY: The opening ff chords are dissonant. The bassoon, violas and cellos establish the tonic in 6/4 position, but the brass superimpose alternative colourings, which suggest the chord is dominant of V over the dominant pedal. Whether it’s resolved in the traditional manner is another matter! At least the dominant is quite affirmatively resolved by the single bass G in bar 4. The piano accompaniment mainly utilises perfect 5ths, but also has 4ths and tritones in its make-up; but the interest here is horizontal not vertical, and timbral rather than functional. The left hand part emphasizes the tonic chord in some shape or form on the first semiquaver beat of each bar until Fig.1, while other beats and the right hand are more peripatetic, though keeping the same intervallic style. The strings support with sparse pizzicato chords, maintaining the tonic of G. Note that the G major is coloured with F# from the outset (Ravel sometimes favoured the flattened 7th), but also note the sharpened subdominant degree #4 i.e. C#s. (This could also be an allusion to the first movement’s “bitonal” opening). At Fig. 1, it is interesting to note that S1a in the clarinet is notated in G¨ major against the G major of the orchestra. (Remember that this is a transposing clarinet in E¨). This is carried on into Fig. 2, where the key signature for the piccolo is similarly at odds with the piano and orchestra. Harmony at Fig. 2 has shifted to the chord of the subdominant, which in the last four bars leads to a repeat of the terse chords of the

opening. Again, the G flat could be the enharmonic of F# (again for notational convenience – since the clarinet is in E¨ and notation in D# major would be unnecessarily complicated). This is the key this material is in, with mostly (tonic) arpeggios. This would underline further the link between the outer movements – i.e., G against F# (semitone away). Interestingly, when the “accompanying” chord changes to C major, the piccolo’s answering phrase is in this key’s dominant (C#), with the arpeggio outlining a dominant 9th chord. Again, note that the two chords/keys are a semitone apart. This has to be more than pure coincidence.

S1b Fig. 3- Fig. 5

S1b =

[FUNCTION: This emerges as the second identifiable theme in the exposition. However, as the music moves away from the tonic key, this section has by some been recognised as the beginning of the transition section. In that case, the transition section would seem rather long. As the material is clearly thematic, and it features quite prominently in the development section, it is identified here as the second idea within a first subject group.]

STRUCTURE: 20 bars (9+11).

TEXTURE: Figs.3 + 4 - Homophonic (and homorhythmic in parts).

THEMES: S1b is heard initially in the piano, then in the strings at Fig. 14, and woodwind and solo trumpet at bar 51. The theme is folk-like and syncopated, based on parallel triadic movement, recalling the 3-2-1 motif from the first movement.

HARMONY: The key signature has been cancelled on the score: if this is to be linked to C, then we begin on the chord of the subdominant, but the feeling soon becomes modal. The chords are predominantly consonant. Note that the harmonic support in the bass at Fig. 4 takes us through a simple cadential figure from D – G – C, while the piano outlines the chords of Dm, Emin7, and Cmaj7 in repeated semiquavers, using the chromatic appoggiaturas to lift off at each step of the arpeggio. But perhaps it’s more correct to think a little more vertically in this instance. The As and Ds in bar 46 (and 471) are part of the underlying Dm(7) chord, the F, A, D and B (bars 47-8) are part of the underlying G(9) chord, the G, E, C (bars 49-50) are part of the underlying C(6) chord, and the G, B, E (bars 51-4) are part of the underlying Em(7) chord. The G#, C#

etc. are appoggiaturas, but they again outline chords a semitone away from those mentioned above. With F#s creeping in, E minor tonality is reached by bar 52, still with the modal flavour as we note the ¨7, i.e. the Dª, in the theme. The passage concludes with a perfect cadence onto an E major chord. (The alternation between minor/major here was another distinctive part of Ravel’s harmonic style).

Transition Fig. 5- Fig. 7

Semiquaver patterns;

Reminders of the opening motor rhythms.

STRUCTURE: 19 + 3 bars. This passage functions as a link.

TEXTURE: From Fig.5, there is some evidence of textural interaction between woodwind and soloist, before high piano semiquaver patterns are resumed against chords in the violins.

THEMES: Semiquaver scalic patterns in woodwind are answered by one bar interjections in the piano part which remind us of the opening motor rhythms from bar 5. From Fig.6 the piano dominates by taking on the woodwind patterns, highly pitched, which increasingly includes the intervals linked with figure z from the previous movements:

HARMONY: At Fig.5, a return to E min (with a #6) is repeated a tone lower, in sequence, at bar 62. There is a G9 chord in bar 66, which resolves to a C major chord, which then becomes C7. With a chromatic shift to F#s in bar 74, the section ends again with fig f, this time modelled around B major, dominant preparation for the next section S2, which has the new key signature of E.

Second SubjectSection

Fig. 7-Fig.10

S2a = STRUCTURE/THEMES: The second subject is another energetic theme in the style of a march, which charges off following a ff whip crack from the percussion section which is just like a starting pistol for the race to follow! There is a hint of octatonicism again in bars 79-83 and bars 95-99. Apart from C#, which is easily explained as a passing note, all the notes in these bars belong to the semitone-tone octatonic scale on B –

S2b =

S2a1 =

S2c =

S2d =

Also – fig f.

[The above quotes are as written in the score, not at concert pitch. It would be good transposing experience for the students to re-write these as they would ‘sound’].

i.e., B-C-D-D#-F-F#-G#-A–(B). (The famous passage involving octatonic fanfares a tritone apart in Rimsky-Korsakov’s Scheherazade (which is also octatonic in other places) has been said to have influenced a passage in Stravinsky’s Petrushka. Ravel, too, was influenced a little by the Russian nationalists, and perhaps this is a case in point.)The section falls into two passages, the second of which is based on the first. A number of motifs have been identified to assist with the understanding of the structure.

Fig.7: 11 bars - S2 5 bars ‘jazzy’ contrastFig.7: S2a S2b S2a1 S2c S2d+a1 3 + 2Bars 79-81 81-83 83-85 852-87 872-90 Fig. 8Fig.9: 14 bars – S2 6

bars ‘jazzy’

Fig.9: S2a S2b S2a1 S2c S2d S2c1 S2d S2a11 4 + 2Bars 95-97 97-99 99-101 1012-103 1032

-1051052-1062

1062-Fig.10

Fig.10 Fig.101

The second subject is supported by a reminder of fig f (the four-chord idea from the opening of this movement) as lower strings are echoed by upper strings below the motifs identified above which are heard in woodwind and brass. Also note a two-note idea in woodwind at bars 85/6 which is somewhat reminiscent of fig y (from movement I). At Fig. 8, a trombone glissando is heard, followed by the first of two jazz links which includes a short, chromatic descending motif in clarinet, S1a in first violins on the chord of E, and piano arpeggios above the note of B, retained from the previous chord, but now heard in the bass (bars 93/4). From Fig. 9, S2 is repeated with different scoring – now the piano is leading the march! The second ‘jazzy’ phrase from Fig.102

TEXTURE: In the first passage (from Fig. 7), the texture is dominated by the brass march, where the horns and trumpet answer each other in dialogue. From Fig. 9 the piano dominates, supported by the orchestra. Melody dominated homophony.

RHYTHM: This section is in 6/8 time, punctuated by the snare drum which actively

supports the march-like idea. One interesting rhythmic feature is the way that Ravel introduces 2/4 against the compound rhythms e.g. the horns at Fig. 9 . Also note the writing for piano in bars 101 – Fig. 10, where the right hand is in 6/8 and the left hand in 2/4.

HARMONY: S2 begins above a B major/minor chord with an added minor 7th., with figure f in the strings becoming increasingly dissonant. As we examine the harmonic basis, it is possible to appreciate the complexity. Some information has been given in the accompanying notes about the fact that Ravel was sometimes drawn to bitonality –but here the themes are tri-tonal! The issue of transposing instruments is always a difficult practice to fathom, but check out the opposing key signatures. As a number of these instruments are transposing instruments, despite the different–looking key signatures, they are actually in E major – except the horns in F. The trumpets are in C in this work (Tromba in Do), so sound as written. (Ask your teacher to explain if you do not understand!!). At Fig. 8, the first of the ‘jazzy’ phrases involves falling chromatic motifs above an E major chord in strings. At Fig. 84, the dominant note of B is heard in the bass, taking over from the previous dominant pedal in the 2nd violins. The held B in the bass in bar 93 supports the piano; harmony here could be construed as a dominant 9th on B with the E# as a chromatic appoggiatura that resolves in bar 95. Or, as there’s no 3rd, maybe seen just as a pop-like A/B chord (in jazz terms a Bsus chord) (with chromatic appoggiatura). From Fig. 9, the dominant is established for the repeat of S2a – again the answering motifs shift away from this tonal centre, and include added dissonance. However, the section ends with repeated chords on the subdominant (A6). The 6 bar ‘jazzy’ repeat at the end of this section is more tonal (C#m) and makes use of slower descending chromatic melodic movement, again so much in the style of Gershwin. Bars 109-115 include a jazzy vi-VofV-V-I progression in E major(minor) – i.e., C#m (bars 109-10) - F#9 (bars 111-12) – B13(minus the 3rd) (or Amaj9 (or F#min11!)/B – cf. above, bars 93-4) – E m/maj7 (bars 115-).

Codetta Fig.11 Non-thematic passage-work STRUCTURE: (1+12 + 12 + (12+2) = 39 bars of non-thematic passage work to conclude the exposition section.

Fig. 11-12: Repeated, detached quaver chords in the woodwind provide a backdrop for a descending double scalic passage in the piano part followed by

ascending arpeggio figuration from left hand through to right hand. The double scalic movement then transfers through the strings, while the soloist punctuates the texture with a strong reminder of figure f. Bar 127 gives one bar’s brief respite before the piano and timps hit a defining crotchet beat on the note E, before continuing. This passage contains chromatic movement and a plethora of higher dominant discords, (e.g. bar 124 in the piano part), but is centred in the tonality of E.

Fig. 12-13: Based on the previous passage, but note the difference in the piano figuration and harmonic content, which is dissonant and includes diminished intervals and chords. This finally arrives on a 6/4 position G# minor chord at bar 136, the first in another statement of figure f which cuts through the double scalic movement again in strings.

Fig. 13-14: The violins provides sketchy support in occasional pizzicato chords as the piano left hand part outlines what is close to a cycle of 5ths in its basic oom-pah style:

Fig.13 G# half-diminished = ii7 of F#m.Fig.133 C#maj7Fig.134 F#mFig.135 B±(B half diminished)

[These three chords are a sequence of those above – again, a series of ii7-V7-I progressions.]

Fig.137 E7Fig.138 AminFig.139 Dim7 built on D#

Two bars before Fig. 14, passage-work concludes on the chord of E¨ (2 bars).

The right hand of the piano part is dissonant against these chords, and the movement is often at odds with the harmonic support. [A# minor arpeggios (almost) against the G#± chord, D# major arpeggios against the C#7 chord, and F major arpeggios (almost) against the F#m chord. The same goes for the sequence. (Bitonal again here?). Interestingly, the first movement’s more out and out bitonal passages (e.g., bars 142-

49) also occurred over a circle of fifths bass line.] The thematic substance of the movement in these upper regions is also questionable!

DEVELOPMENT: Fig. 14 –Fig. 20. This section emerges as an extended crescendo which builds up by repeating the main ideas, almost in an ostinato-like way. It is also interest to note, that structurally, this point is exactly half way through the movement.It will be useful for students to understand the harmonic scheme of bars 152-213: first inversion chords of E flat, C and A major – i.e., a “key” scheme of descending minor 3rds, (this is, probably coincidentally, typically octatonic, since the notes of these three chords use up all the notes of an octatonic scale - e.g., semitone-tone scale on C); the C# (3rd of A), occasionally transformed into its enharmonic of D flat, probably again for notational reasons, then becomes a pedal for the remainder of the development, supporting B flat minor, F# minor, E flat major and E minor chords – or, as is mentioned below, a C#± chord, which acts as an incomplete dominant 9th (or vii7) of D – i.e., dominant preparation for G’s dominant.]

Process 1 Fig. 14 Fig z (cf. movement I and II)S1bS2a

STRUCTURE: 16 bars (4+4+8) 4 bars intro, 4 bars continuing the semiquavers (and including fig z), 8 bars, presenting the transition theme added as further layers, plus a single

statement of S2a in the 2nd horn.

TEXTURE: Begins quite darkly in the lower strings, p. (Sometimes Ravel enjoyed opening pieces with dark timbres!). Note the variety of techniques: cello 1 – arco, cello 2 – pizzicato; divisi and unison playing in lower strings; arco to begin, but changes to pizzicato at bar 162. The bassoons certainly have their work cut out in delivering the continued semiquavers; the phrases are divided between the two bassoons probably for technical reasons. This is fiendishly difficult for bassoons, so this arrangement would help facilitate their breathing. It feels as if the bassoons are attempting to emulate the high piano lines of the previous section – but they are handicapped by not being able to play them as fast. The timbres throughout this passage are low.

THEMES: Introductory semiquavers in cello 1 re-introduce figure z in the bassoons:e.g. bar 162 -

and bar 165/6 -

which clearly harks back to the opening perpetuum-mobile ideas in the piano that were initially recognised as ‘harbouring’ figure z in the mid-pattern.

RHYTHM: Semiquaver passage-work in strings and then bassoons accompany the steady, simple movement of S1b. Note the short intrusion of S2a in its original 6/8 time in bars 167/8.

HARMONY: The tonal centre is E¨ and the harmony is fairly static as its supports the non-functional movement of the layered motifs. The passage ends on [a] tonic E¨ first inversion chord (i.e. tonic 6/3 inversion).

Process 2 Fig. 15 Fig zS1bS2a1

STRUCTURE: 12 bars (4+ 8) – based on ideas presented in process 1.

TEXTURE: Extended figuration in bassoons, alongside the semiquavers in the piano; pizzicato strings and harp form the next layer, plus horns (as before) to conclude the passage.

THEMES: The bassoons now utilise more expansive arpeggio work, both ascending and descending. S2a1 is heard in horns – a bar longer than the previous interjection.

HARMONY: Based on the chord of C in bassoons, but against this, A minor touches in strings and piano with the sharpened subdominant (i.e. F#) as an additional colouring in piano.

Process 3 Fig. 16 Fig zS1b

STRUCTURE: 8 bars. A shorter passage based on the same material.

S2a1 + S2a TEXTURE: A lighter feel, as the bassoons take a well deserved breather, and the semiquaver figuration continues in lower strings. Note the arpeggios in cello for 2 bars (187/8).

THEMES: Violas and cellos now have the continuous semiquavers incorporating figure z, while the piano material is non-thematic with a cross-over hands technique implemented to deliver the chords. The material of S1b is telescoped into 5½ bars in clarinet and viola, while the horns present an extended 3 bar version of S2a1.

RHYTHM: Note the mix of duplets against triplets in the horn parts, as 2/4 is pitted directly against the 6/8 pattern.

HARMONY: Change of key signature here, as the tonal centre shifts to A major. (Again note 6/3 positioning).

Process 4 Fig. 17 Fig zS2c + S2dS1bFig a1

S2a

STRUCTURE: 8 bars.

TEXTURE: The texture continues to build as more layers of sound are added i.e. trumpet and trombone (bars 196/7). The dynamic reaches f by the end of this process. Note the use of muted trumpet (sordini) in bars 196/7, and the chromatic glissandi in the trombone (bar 197).

RHYTHM: The trumpet and horns are in 6/8 against the rest of the orchestra in 2/4. The rhythmic conflict is not in the main beats, but in the division of the beats, i.e. the three quavers against the four semiquavers. THEMES: The accompaniment figures continue in lower strings and piano, and the inclusion of S1b is delayed as S2c + d are heard in the trumpet. When it does enter in clarinet and harp (bar 193), it is shortened by a further one bar (now 4½ bars in length). The brass fanfare figures of S2 from bar 194 continue to build up the volume and density.

HARMONY: Another change of key signature as the tonal centre shifts to B¨ minor. Note that Ravel again uses the 3rd of the chord in the bass. Also, the discrepancy in key

between the upper brass and the remainder of the orchestra continues.

Process 5 Fig.18 Fig zS2c + S2da1 (descending, as at Fig.18)S1bS2b

STRUCTURE: 8 bars.

TEXTURE: The overall dynamic is louder. Thematic material continues in the same style, but orchestrated differently as the woodwind now lead[s] the way.

THEMES: At Fig. 18, the viola begins with four chords reminiscent of figure f, but then continues with the semiquavers – occasionally extending the intervals as before (bars 194/5).Themes S2c + d + a1 are now heard in E¨ clarinet, and S1b is heard in the upper register ff in harp, and mf, staccato in piccolo in bar 202. Note that, for the first time in this development section, this theme enters on the first beat of the bar (and has again been shortened – by just a beat!). S2b is added in the trumpet part at bar 203, to be followed a bar later by the clarinet [in A] reminding us of S1a (appearing for the first time in this development section).

HARMONY: Begins again with a change of key signature, this time to F# minor for the piano and most of the orchestra. The material is based over a tonic 6/4 position chord in that key. The upper brass instruments are again in different keys, as they were originally in the second subject section, and this passage becomes increasingly dissonant as it increases in tension.

Process 6 Fig.19 Fig zS1bS2bS2a1

STRUCTURE: 8 bars (4 + 4).

TEXTURE: Layered and increasingly thicker as more instruments play, with snippets of imitation.

RHYTHM: Note clarinets are in 6/8 against the 2/4 at the start of the passage; however, at Fig.220 they resort to 2/4 and the 6/8 patterns move to the upper register of the woodwind in flute and piccolo.

THEMES: S1b builds up in brass (with snippets of ‘echoing’ in cor anglais and first violins) moves into the final fanfare of S2a1 (with a little bit of imitation in the trumpet, bar 213). Thematic material is also heard in piccolo and flute.

HARMONY: There is a pedal note of D¨ in the double bass. This morphs into a C# at Fig. 195, and the key signature and harmonies above change to one # in preparation for the reprise. The chord suggested at bar 210 is a C# half diminished chord (C#±).Clarinets work their way chromatically upwards towards the home key of G.

RECAPITULATION: Fig 20 - end. The reprise of the opening section is much abbreviated. The recapitulation section reflects the exposition, but there are differences. The corresponding sections will therefore be given and some main changes highlighted.First subjectsection

Fig. 20 S1a Fig. 20 – Fig. 21 is based on material from Fig 1 – Fig.3.Some differences:

This section is 16 bars long - 20 bars shorter than in the exposition section. Figure f, the chordal ‘fanfare’, and the opening piano figuration have been

omitted –though the mid pattern including fig z continues in the violins. Theme S1a is heard in the piano, not the clarinet. This section is scored for piano and strings only – no woodwind, brass or

percussion. Note that the piano part is extremely dissonant and in a different key, as was

the clarinet in the exposition. However, in the exposition the clarinet was in G¨, and the orchestra in G. Here, the strings are in G as we would expect, but the piano part is in F# major – which of course is the same thing, but written enharmonically! Probably because of technical ease for the performer.

The violins continue with the continuous semiquavers, but these are the patterns from the development section which use[s] fig z, not the semiquaver ideas from the exposition.

The second key change for the soloist is after just 4 bars, not 6 bars as in the exposition.

The fact that the theme is given by piano means that it is adapted for that instrument; note the 4ths, 2nds and note clusters.

At bar 224, the key signature for the piano is brought into line with the rest of the orchestra, though the piano continues on its dissonant path; starting on a triad of G# minor, the parallel chords from then on continue upwards chromatically until Fig. 21.

Fig. 21 S1b. Fig. 21 – Fig. 22 is based on material from Fig 3 – Fig.5.

Some differences: This time heard f 16 bars long, not 20 bars as before. A change of orchestration, with the theme now in the woodwind + horns,

decorated in semiquavers in piano. Strings and flute/piccolo enter in bar 237. The theme is pitched a 3rd higher to begin with, but the key alters at the end of

this sentence to conclude with a stream of parallel chords in the piano. This culminates on a perfect cadence in G major for the soloist and whole orchestra.

The material from Fig. 5 – Fig. 7 has been omitted.Second subject section

Fig. 22 S2S1b

Fig.22 – Fig.23 is based on material from Fig 7 – Fig 75

Some differences: This is based just on S2a and S2b. S2b in bar 248 uses an interval of a 3rd throughout, and feels like an inverted

form of S2a. Different orchestration here as the piano leads, again answered by the

trumpet. Dynamic is ff, not mf. The structure here is 10 bars (4+4+2), not 11 bars as in the Exposition. String accompaniment is more lilting and rhythmic in style (notice pizzicato!). The sentence finishes with a shortened blast of S2b in the woodwind,

alongside S1a in strings.

Fig.23 – Fig.24 is based on material from Fig 8 – Fig 9.Some differences:

This begins with 3 bars of new passage work (though the idea could be a derivative of a1).

The corresponding section in the exposition was just 5 bars long. This is 13 bars in length, (6+6+1).

Surprise change to the chord of E¨ at the beginning of this phrase. This is reminiscent of the change to E¨ at the end of the Exposition section.

In bar 259, the short 4 note descending chromatic figure recalling the ‘jazzy’ link from S2 dominates the phrase, this time based on the chord of C9. This

arrives on an F# minor chord in bar 262 (note interval of a tritone in the bass, i.e. C-F#).

The material is then heard in sequence a minor 3rd higher, with slightly different scoring in the woodwind. The music builds up to an ff chord of A minor, and a semiquaver ascending scale in flute, oboe and clarinets lead upwards into Fig. 24.

Fig.24 – Fig.26 is based on material from Fig 13 – Fig 214.Some differences:

The codetta in the exposition was 39 bars long; this is shorter at 26 bars. The first 25 bars are omitted, and the repeat of material is taken more directly

from Fig. 13 onwards. The ascending chromatic scale in the right hand of the piano (bars 150 -151 in

the exposition) is now extended from 2 to 6 bars in this section, as the piano winds its way even further upwards.

The passage work is interrupted by 3 bars of S1b, heard ff at bar 285. The conclusion at Fig. 25 kick-starts another ascending chromatic scale, this

time in bassoons – note the extended and difficult figuration for the piano here which includes extended play on 9ths.

The section in woodwind and piano moves upwards to finish on the tonic note of high G in violins, piano, flute and piccolo.

Coda Fig. 26 Free material Figure f

STRUCTURE: 12 bars (8+4).

TEXTURE: Immediately the dynamic sinks back to p, as the piano begins 4½ bars solo work before the upper/mid woodwind enter in imitation at bar 2992. Violins and violas join at bar 301 and the full orchestra plays (figure f) for the final four bars. Simple imitation the pattern builds up the textures from p to a stronger homophonic ff conclusion, enhanced further by the percussion (snare and bass drum).

RHYTHM: Semiquavers and linked repetitive patterns make their way to the four final chords which recall the opening four chords of this movement.

HARMONY: Note the interplay between the E minor/G major triads in the piano part

from Fig. 26, decorated by their appoggiatura neighbours. This light-hearted continuous pattern finally brings the four final chords. Here the 9th acts as a normal dissonant chord tone, resolving finally to a root of the tonic in 6/4 position. The root of the tonic chord finally sounds in the bass parts on the last beat of the movement. Note the percussive 9ths in the right hand piano part, and also that the piano’s final bass note is an A – because the required G is out of the piano’s range.