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CONCERTO FOR PIANOFORTE IN A MINOR, Op. 54 Robert Schumann HIS concerto was writtenin 1845. The first movement, Allegro affettuoso, although essentially in the sonata form, is somewhat peculiar in the arrange- ment of its thematic material. It begins with a short preluding phrase in the pianoforte, leading immediately to the exposition of the first period (thesis) of the firsc theme by the wind instruments, in the orchestra; if is immediately followed by the antithesis of the theme in the pianoforte. This theme is characteristically Schumannesque. Its simple exposition is followed by some passage-work in the solo instrument, accompanied by the orchestra, during which a figure keeps crop- ping up which soon crystallizes into a subsidiary. It is followed by some canonical developments in the pianoforte, leading to a return of the first theme in the relative C major. This closes the first section of the first part of the movement, now comes the second theme. But this second theme is in reality nothing eise than a new Version of the first, for the most part on the relative C major, worked up at considerable length by the pianoforte and orchestra, and leading at last to a second subsidiary, which is in its turn nothing but a new version of the first subsidiary, appearing like it in its full splendcr in a strong orchestral tutti. There is no conclusion-theme, and this tutti on the second subsidiary closes the first part of the movement. The free fantasia begins, Andante espressivo with some nocturne-like develop ments on the first theme between the pianoforte and the clarinet; but the tempo soon changes back to Allegro, and some imitative developments ensue, between pianoforte and orchestra, on the little preluding passage, that introduce the first theme at the beginning of the movement. The third part is almost an exact repetition of the first, the second theme now coming in. The second movement, Intermezzo, Andantino grazioso, is in the simplest romanza form. Its first period consists of a series of coy, graceful questions and answers between solo instrument and orchestra; the second, or intermediate period, -of more passionate cantabile phrases in the celli, violins, and other orchestral instruments, accompanied in arpeggj by the pianoforte and inferspersed with reminiscences of the first period. The third movement is Allegro vivace in A major. After a few preluding measures on the first theme, between pianoforte and orchestra, the solo instrument gives out the brilliant, waltz-like theme. A modulation introduces the second theme, given out at first by the orchestra, then taken up by the pianoforte, and eontinued in figural Variation. It is followed by a second subsidiary, elaborately worked up in florid passage-work by the pianoforte, and full of shiftings between the plain rhythm of the first theme and the syncopated rhythm of the second. A short conclusion-theme, introduced by a return of the initial figure of the first theme in the orchestra, brings the first part of the movement to a close. The free fantasia beginning with a short orchestral fugato on the first theme, consists for the most part of more or less brilliant passage-work in pianoforte and orchestra on the conclusion theme and the subsidiaries. A long and exceedingly brilliant coda begins with a return of the first theme in the tonic A major as an orchestral tutti; after which the pianoforte works up new versions of the sub sidiaries and of the conclusion-theme in climax after climax, with truly Schuman- ■esque persistency.
