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. The first theme is presented by the piano and the second by the whole concertino of piano, violin, and cello. In the development section, the first theme is mainly the domain of the piano and the string tutti, whereas elaboration of the second, more lyrical theme belongs almost exclusively to the concertino. The tonally-loosened stream of music is interrupted by the appearance of a shortened reprise with two C major chords returning from the very beginning of the movement. The two central slow movements are both characterized by rhythmic-agogic complexity and can pose an appropriate technical challenge for performers. But when they meet, the challenge the true beauty and mastery of both movements is revealed. The second movement, filled with typical rhythmic figurations, is a series of six sections alternating the concertino with the tutti, varying a single rhythmically-striking theme. The third movement draws us still more into the atmosphere of Baroque music with its striking arpeggios and ornamentation. The final movement follows a three-part form whose middle section is devoted to the solo concertino. In this movement, the use of opposition of instruments even within the concertino itself is more evident; the solo violin asserts itself more, and the piano is occasionally joined with the string tutti.
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