the concerto, even if at times it, too, includes trills and stresses. The real second theme, soft and lyrical, is first played by the piano and does not appear in the orchestral exposition. Some relate the tragic atmosphere of this movement to extra musical reasons. In 1854 Brahms was deeply shocked by the suicide attempt of his dear friend Robert Schumann. The first movement's passionate and gloomy music probably stemmed from Brahms' emotions, stirred by his friend's mental state. The second movement is written in a melancholic and lyrical spirit, reminiscent of Brahms' German Requiem. In one of the sketches for this movement Brahms wrote above the first theme Benedictus qui venit in nomine Dei, which comes from the liturgical text of the mass, probably in memory of Schumann, who had died in 1856. The movement flows melodically in a pensive and touching mood. The recurring theme of the Rondo bursts forth in the piano and at once establishes the stormy and assertive character of the finale. This is a jumpy and angular theme full of pianistic bravura. Two different episodes, in F major and in B-flat major, abate this musical storm and the theme of the B-flat major episode, now in minor key, becomes the base of an orchestral fugato, which is a proof of Brahms' contrapuntal skills. Later the recurring theme is further developed, followed by a cadenza which should be played quasi fantasia, and the Rondo ends with an exuberant yet emotional coda. Orly Tal
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