The problem here was that the theme did not lend itself so easily to this treatment, thus sounding contrived. In the original version he had attempted to use this theme in an upward sequential treatment similar to what he would do later in the Second and Third Concertos. A maestoso reemergence of the concerto's main theme was eliminated. This movement is in sonata-rondo form, in which the development is a lengthy section in E-flat major. Rachmaninoff replaced an initially drab opening with a fortissimo passage alternating between time signatures of 9Ĩ. Allegro scherzando (F ♯ minor → F ♯ major).The texture is less cumbersome in the revised version the harmonies remain the same but are enlivened by occasional chromatic notes. This reflective nocturne is only 74 bars long. The main theme (like the other themes in this work common to both versions) is short by Rachmaninoff's standards but already shows the sequential devices and arch-like design inherent in his later works. This flourish occurs later in the movement, as well, an important factor in the symmetry of the movement. This contrast with the later works can be heard from the opening bars, where a brass fanfare precedes a flourish of double octaves and chords on the piano – a musical gesture similar to the Schumann and Grieg piano concertos.
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