Concerto D Minor Opus 9, No. 2: Alto or Baritone Saxophone & Piano Score & Part: Tomaso Albinoni
Again the absence of an extended tutti promotes a sense of concision, for the piano enters almost at once. After its recitative-like response the process is repeated, expanding via piano octaves into a full exposition.
Thereafter the texture is much as in the First Concerto. A second subject emerges largely unheralded from a continuum of rippling piano semiquavers against a sustained orchestral background. The development section is concerned primarily with quaver movement derived from the first extended tutti.
This is marked Adagio: Molto sostenuto and inhabits the key of B flat major. The finale begins in the transitional key of G minor and leads into the sovereign tonic, now transformed into D major—a device comparably used by Rachmaninov in his famous Second Concerto.
Mendelssohn here allows the sun to come out fully in a Presto scherzando in triple time. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.
In MacDowell returned to America. The program of this concert also included the American premiere of Tchaikovsky 's Symphony No. The concerto consists of three traditional movements, all in sonata form.
However the first movement is largely slow instead of being fast and the second is a lively scherzo instead of a slow one. Principal theme of the first movement motto reappears in the third. A typical performance lasts 25—28 minutes, half of which takes the first movement. The first movement opens with a lilting, almost Wagnerian,  introduction played by orchestra Larghetto calmato. The theme of the cadenza is incorporated in the first subject, while the introductory one is later transformed into the second in F major. The development section is interrupted by the reappearing of the initial cadenza, much more elaborated.
Piano Concerto No. 2 (Mendelssohn)
After this music proceeds to the recapitulation. Soon states orchestral tutti the main theme, after which the cadenza is heard for the last time. It ends in a gloomy mood. The orchestra repeats the principal theme in D minor, sounding like a funeral march. Surprisingly the soloist soon changes the key to D major , which becomes the key of the second subject.
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The movement ends peacefully with a brief coda. The tone of the scherzo has much in common with the final of MacDowell's First Concerto.
Piano Concerto No. 3 in D Minor, Op. 30
Then comes a more lyrical second theme in E-flat minor, which after a shortened version of the first subject is repeated in B-flat minor. A new, full reprise of the scherzo theme is heard and leads to a coda. The finale is the most complicated movement.