![]() Rachmaninoff (right) with Alexander Siloti. ![]() It also came too late in the movement to have the right expansive effort prevalent in the other concertos. 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.
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