SKU: PR.44641282L
UPC: 680160607501. 11 x 14 inches.
Given the opportunity to create a concertante work for violinist Nadja Salerno-Sonnenberg and the spirited New Century Chamber Orchestra, violinist-turned-composer Ellen Taaffe Zwilich looked to the commedia dellâ??arte tradition for a special theatrical program. With movements depicting the Harlequin, Columbine, and Captain characters from Italian Renaissance romantic comedies, Zwilich has created a playful, charming, and dramatic work, also adding percussion surprises for extra color in the string orchestra. For advanced players. Parts are available on rental.
SKU: PR.446412820
ISBN 9781598064384. UPC: 680160607495. 9x12 inches.
Given the opportunity to create a concertante work for violinist Nadja Salerno-Sonnenberg and the spirited New Century Chamber Orchestra, violinist-turned-composer Ellen Taaffe Zwilich looked to the commedia dell’arte tradition for a special theatrical program. With movements depicting the Harlequin, Columbine, and Captain characters from Italian Renaissance romantic comedies, Zwilich has created a playful, charming, and dramatic work, also adding percussion surprises for extra color in the string orchestra. For advanced players. Parts are available on rental.
SKU: HL.44012399
8.25x11.75x0.52 inches. English-German-French-Dut ch.
Harlequin was commissioned by, and is dedicated to, euphonium virtuoso David Childs.The piece takes its inspiration from the happy and sad masks that symbolise the Commedia dell'Arte (which features Harlequin as one of its main characters) and comprises of two movements, a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for the euphonium and brass band. Harlequin was commissioned by, and is dedicated to, Euphonium virtuoso David Childs. The piece takes its inspiration from the happy and sad masks that symbolise the Commedia dell'Arte (which features Harlequin as one of its main characters) and comprises of two movements, a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for the Euphonium and Brass Band. Harlequin was commissioned by, and is dedicated to, euphonium virtuoso David Childs.The piece takes its inspiration from the happy and sad masks that symbolise the Commedia dell'Arte (which features Harlequin as one of its main characters) and comprises of two movements, a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for the euphonium and brass band. Harlequin wurde im Auftrag des Euphonium-Virtuosen David Childs geschrieben. Inspirationsquelle der Komposition waren die frohlichen und traurigen Masken, die so typisch fur die Commedia dell'Arte - mit dem Harlekin als einen der Hauptcharaktere - sind. Philip Sparkes Komposition besteht aus einer langsamen modalen Ballade, gefolgt von einem fieberhaft schnellen Satz. Ein grossartiges Solowerk fur Euphonium und Brass Band!
SKU: BT.AMP-513-010
English-German-French- Dutch.
Pulcinell a was commissioned by the Taiwanese euphonium player Tzu-Hsiang Lin. Lin is a renowned soloist and teacher and a Besson Euphonium Artist. He teaches euphonium at Taipei National University of the Arts, National Taiwan University of Arts, Shih Chien University and National Kaohsiung Normal University. Lin gave the premiere of Pulcinella in both its concert band and brass band versions in January 2021. Pulcinella continues Sparke’s series of euphonium solos named after characters of the Italian commedia dell’arte and opens with a long and expressive minor melody for the soloist over a brooding accompaniment. This is taken up briefly by the full band and is extended by the soloist after a change of key. A cadenza, accompanied by fragments of the main melody leads to a complete change of mood, tempo and tonality, introducing a Vivo section starting with a perky syncopated tune for the soloist. The band then uses elements of this new tune to introduce a change of key, where the soloist introduces a more lyrical second subject over a pulsing accompaniment. The band then takes this up and changes key to reintroduce the original Vivo melody, which leads to a short and acrobatic coda to bring the work to a spectacular close. Pulcinella werd geschreven in opdracht van de Taiwanese eufoniumspeler Tzu-Hsiang Lin. Lin is een gerenommeerd solist en leraar en een Besson Euphonium Artist. Hij geeft eufoniumles aan de Taipei National University of the Arts, de National Taiwan University of Arts, de Shih Chien University en de National Kaohsiung Normal University. In januari 2021 bracht Lin de première van Pulcinella in zowel de versie voor harmonieorkest als die voor brassband. Pulcinella is een vervolg binnen Sparkes serie eufoniumsolo’s waarin personages uit de Italiaanse commedia dell’arte de hoofdrol spelen. Het werk opent met een lange, expressieve mineurmelodie voor de solist, boven een sonore begeleiding. Deze wordt kortstondig door het complete orkest overgenomen en dan na een modulatie door de solist verder uitgewerkt. Een cadens, begeleid door fragmenten van de hoofdmelodie, mondt uit in een totaal andere sfeer, tempo en tonaliteit, met de introductie van een Vivo-gedeelte dat begint met een pittige, gesyncopeerde passage voor de solist. Het orkest gebruikt elementen hieruit om een nieuwe modulatie in te voeren, waarbij de solist een lyrischer tweede thema boven een pulserende begeleiding introduceert. Het orkest neemt dit dan over en verandert van toonsoort om naar de originele Vivo-melodie terug te keren, die naar een korte, acrobatische coda leidt en het werk op spectaculaire wijze afsluit. Pulcinella wurde von dem taiwanesischen Euphoniumspieler Tzu-Hsiang Lin in Auftrag gegeben, einem bekannten Solisten, Lehrer und Besson Euphonium Artist“. Er unterrichtet Euphonium an der Taipei National University of the Arts, der National Taiwan University of Arts, der Shih Chien University und an der National Kaohsiung Normal University. Tzu-Hsiang Lin spielte im Januar 2021 die Uraufführungen von Pulcinella, sowohl die Version mit Blasorchesterbegleitung als auch die mit Brass-Band-Begleitung. Mit Pulcinella setzt sich Philip Sparkes Serie mit Stücken für Euphonium solo fort, die nach Charakteren der italienischen Commedia dell’Arte benannt sind. Das Werk beginnt mit einer langen und ausdrucksvollen Melodie des Solisten in Moll über einer düsteren Begleitung. Die Melodie wird vom gesamten Blasorchester kurz übernommen und durch den Solisten nach einem Tonartwechsel erweitert. Eine Kadenz, begleitet von Fragmenten der Hauptmelodie, führt zu einer kompletten Veränderung von Stimmung, Tempo und Tonalität und leitet einen Vivo-Abschnitt ein, der mit einer munteren synkopierten Melodie des Solisten beginnt. Das Blasorchester greift Elemente der neuen Melodie auf, um einen Tonartwechsel einzuführen, wobei der Solist ein lyrischeres zweites Thema über einer pulsierenden Begleitung vorstellt. Das Blasorchester greift dieses wiederum auf, wechselt die Tonart und übernimmt erneut die ursprüngliche Vivo-Melodie. Eine kurze und technisch anspruchsvolle Coda leitet in einen fulminanten Schluss über. Pulcinella est une commande du joueur d’euphonium taiwanais Tzu-Hsiang Lin. Lin est un soliste et professeur renommé ainsi qu’un « Besson Euphonium Artist ». Il enseigne l’Université nationale des arts de Taipei, l’Université nationale des arts de Taiwan, l’Université de Shih Chien et École normale nationale de Kaohsiung. Lin a créé Pulcinella dans ses deux versions pour harmonie et pour brass band en janvier 2021. Avec , Sparke élargit sa série de solos pour euphonium nommés d’après des personnages de la commedia dell’arte italienne. La pièce débute avec une longue mélodie expressive en mineur pour le soliste sur un accompagnement sombre. Cette mélodie est reprise brièvement par l’orchestre entier et prolongée par le soliste après un changement de tonalité. Accompagnée par des fragments de la mélodie principale, une cadence mène un changement total de climat, de tempo et de tonalité, introduisant une section Vivo qui débute avec un air syncopé enjoué pour l’euphonium. L’orchestre emploie alors des éléments de cet nouvelle mélodie pour mener un changement de tonalité où le soliste introduit un second sujet plus lyrique sur un accompagnement entraînant. L’orchestre reprend ce thème et change de tonalité pour réintroduire la mélodie Vivo d’origine, qui mène une courte coda acrobatique avant une conclusion spectaculaire.
SKU: BT.AMP-513-140
SKU: HL.49030266
ISBN 9790220130458.
This work is the fourth of a set of pieces composed after the opera 'Commedia'. These guitar pieces follow in the tradition of the old 'lazzi' from the seventeenth-century Commedia dell'Arte: they are show-pieces and are also an attempt to illustrate some of the characteristics of the players in the opera.
SKU: HL.44012400
9x12 inches. English-German-French-Dut ch.
Harlequin was commissioned by, and is dedicated to, euphonium virtuoso David Childs.The piece takes its inspiration from the happy and sad masks that symbolise the Commedia dell?Arte (which features Harlequin as one of its main characters) and comprises of two movements, a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for the euphonium and brass band. Harlequin wurde im Auftrag des Euphonium-Virtuosen David Childs geschrieben. Inspirationsquelle der Komposition waren die frohlichen und traurigen Masken, die so typisch fur die Commedia dell'Arte - mit dem Harlekin als einen der Hauptcharaktere - sind. Philip Sparkes Komposition besteht aus einer langsamen modalen Ballade, gefolgt von einem fieberhaft schnellen Satz. Ein grossartiges Solowerk fur Euphonium und Brass Band! Harlequin was commissioned by, and is dedicated to, euphonium virtuoso David Childs.The piece takes its inspiration from the happy and sad masks that symbolise the Commedia dell'Arte (which features Harlequin as one of its main characters) and comprises of two movements, a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for the euphonium and brass band.
SKU: BT.DHP-1084489-010
Il Signore Fagotto begint met een briljante orkestrale introductie. Dan introduceert de fagot het hoofdthema van het werk. De uitgebreide toepassing van een onregelmatige maatsoort (7/8) geeft de fagot de mogelijkheid om zijncharmante en schalkse kenmerken te onderstrepen. Dit spreekt tot onze verbeelding: we stellen ons voor hoe het beschreven karakter (Il Signore Fagotto) ondeugende streken levert. Kortom: een bijzonder boeiende compositie voor harmonieorkest,met als basis een prachtige hoofdrol voor de fagot!Die Vielseitigkeit des Fagotts erkannten schon viele große Komponisten, wie z.B. Vivaldi oder Rimski-Korsakow. Es kann von melancholisch, klagend bis hin zu komisch und grotesk klingen. Letztere Eigenschaft war der Grund, warum in der commedia dell’arte im Italien der 1550er Jahre eine Figur namens Signor Fagotto, die das Fagott verkörperte, eine der wichtigsten komischen Rollen spielte. Maxime Aulio benannte nach ihm dieses Werk, in dem das Fagott seine schalkhafte, charmante Seite voll ausleben und auch das übrige Blasorchester brillieren kann.Nicola Rimski-Korsakov disait du basson qu’il était « sénile et fourbe en Majeur, souffrant et triste en mineur ». Dans le grave et en staccato, il est indéniablement comique, grotesque et bouffon. Cette diversité de caractère avait déj inspiré la Commedia dell’arte qui confia Signor Fagotto l’un des rôles comiques essentiels. Au XVIIIe siècle, selon l’usage de l’opéra-comique italien (opera buffa), la voix était doublée par un instrument vent. De Signor Fagotto au basson, l’instrument qui allait le seconder, il n’y avait qu’un pas. C’est aussi cette époque que le basson devient un instrument soliste part entière. Vivaldi lui consacrera près de40 concertos. Sans doute a-t-il été conquis par sa personnalité généreuse, comme bien d’autres compositeurs dont Maxime Aulio. Il Signore Fagotto débute avec une introduction orchestrale brillante. Le soliste expose ensuite le thème premier de l’œuvre. L’utilisation presque constante d’un chiffrage de mesure irrégulier (7/8) permet au basson d’accentuer son caractère espiègle et charmant, tout en laissant l’auditeur un espace de liberté suffisant pour imaginer les facéties du personnage. Il Signore Fagotto est une œuvre captivante pour l’accompagnement orchestral et qui offre au basson une superbe partie soliste.Il Signore Fagotto a été donné en création mondiale le 24 avril 2002 par Laurent Le Chenadec (basson) accompagné de l’Orchestre d’Harmonie du Conservatoire National de Région de Toulouse.
SKU: BT.DHP-1084489-140
SKU: BT.AMP-211-401
ISBN 9789043137942. 9x12 inches.
Harlequin was commissioned by, and is dedicated to, euphonium virtuoso David Childs. The piece takes as its inspiration the happy and sad masks which symbolise the Commedia dell'Arte (which features Harlequin as one of its main characters) and comprises two movements, a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for any euphonium player. De componist vond inspiratie voor dit werk in de vrolijke en droevige maskers van de Commedia dellâ??Arte, waarvan Arlecchino (Harlequin) een van de belangrijkste karakters is, en bestaat uit twee delen: een langzame, modale ballad,gevolgd door een jachtig, sneller deel. Tevens verkrijgbaar voor euphonium en harmonieorkest (AMP 133-010) en euphonium en brassband (AMP 133-030).A Song for Susie beginnt mit einer schlichten walzerartigen Melodie und führt dann den Solisten durch verschiedene Stimmungen von ruhiger Sicherheit bis zu aufgewühlter Unsicherheit. Nach einem zentralen Abschnitt für den Pianisten kehrt die Tuba mit der ursprünglichen Melodie zurück, die nun mit Verzierungen ausgestaltet ist.
SKU: BA.BA07894-74
ISBN 9790006564200. 32.5 x 25.5 cm inches.
In the style of commedia dell'arteIn 1918 Gabriel Faure, then 73 years old, received a commission from Prince Albert I of Monaco to write stage music invoking the atmosphere of the commedia dell'arte.The four-movement orchestral suite op. 112, consisting of Ouverture, Menuet, Gavotte and Pastorale, combines previously unpublished parts of this stage music. The Pastorale of 1919 was Faure's last composition for orchestra, the Ouverture originated in a piece of 1864 for piano duet and the original version of the Gavotte was written for piano as early as 1869. The op. 112 orchestral suite demonstrates how the composer, now older and more experienced, reworked and improved his earlier music.This scholarly-critical edition of the four-movement Masques et Bergamasques op. 112 is based on Gabriel Faure The Complete Works, Volume IV/2.
About Barenreiter Urtext Orchestral Parts
Why musicians love to play from Bärenreiter Urtext Orchestral Parts
- Urtext editions as close as possible to the composerâ€℠¢s intentions - With alternate versions in full score and parts - Orchestral parts in an enlarged format of 25.5cm x 32.5cm - With cues, rehearsal letters, and page turns where players need them - Clearly presented divisi passages so that players know exactly what they have to play - High-quality paper with a slight yellow tinge which does not glare under lights and is thick enough that reverse pages do not shine through
SKU: BT.AMP-133-030
Harlequin was commissioned by, and is dedicated to, euphonium virtuoso David Childs.The piece takes its inspiration from the happy and sad masks that symbolise the Commedia dell'Arte (which features Harlequin as one of its main characters) and comprises of two movements, a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for the euphonium and brass band. Harlequin wurde im Auftrag des Euphonium-Virtuosen David Childs geschrieben. Inspirationsquelle der Komposition waren die fröhlichen und traurigen Masken, die so typisch für die Commedia dell’Arte - mit dem Harlekin als einen der Hauptcharaktere - sind. Philip Sparkes Komposition besteht aus einer langsamen modalen Ballade, gefolgt von einem fieberhaft schnellen Satz. Ein großartiges Solowerk für Euphonium und Brass Band!
SKU: BA.BA07894-65
ISBN 9790006562558. 32.5 x 25.5 cm inches.
SKU: BT.AMP-133-130
Harlequin was commissioned by, and is dedicated to, euphonium virtuoso David Childs.The piece takes its inspiration from the happy and sad masks that symbolise the Commedia dell?Arte (which features Harlequin as one of its main characters) and comprises of two movements, a slow modal ballad followed by a frenetic faster movement. A fantastic showpiece for the euphonium and brass band. Harlequin wurde im Auftrag des Euphonium-Virtuosen David Childs geschrieben. Inspirationsquelle der Komposition waren die fröhlichen und traurigen Masken, die so typisch für die Commedia dell’Arte - mit dem Harlekin als einen der Hauptcharaktere - sind. Philip Sparkes Komposition besteht aus einer langsamen modalen Ballade, gefolgt von einem fieberhaft schnellen Satz. Ein großartiges Solowerk für Euphonium und Brass Band!
SKU: BA.BA07894-79
ISBN 9790006564224. 32.5 x 25.5 cm inches.
SKU: BA.BA07894-75
ISBN 9790006564217. 32.5 x 25.5 cm inches.
SKU: BA.BA07894-82
ISBN 9790006564231. 32.5 x 25.5 cm inches.
SKU: BA.BA07894-85
ISBN 9790006564248. 32.5 x 25.5 cm inches.
SKU: UT.LB-8
ISBN 9788881094660. 6.5 x 9.5 inches.
L’ Historia musica di Giovanni Andrea Angelini Bontempi (1625-1705), edita nel 1695, non è la ‘narrazione’ delle vicende legate a quest’arte, ma una esposizione sistematica dei principi della musica; un trattato di teoria musicale riconducibile alla tipologia della Historia naturalis, intesa come conoscenza scientifica acquisita attraverso l’indagine e la ricerca.Cantante, compositore e teorico musicale, Bontempi fu anche letterato (autore dei testi delle proprie opere), storico, architetto teatrale e scenografo, pittore, costruttore di strumenti musicali e di orologi, nonché abile intagliatore di pietre dure. In sostanza, Bontempi fu un uomo eclettico nel senso rinascimentale del termine e con la pubblicazione dell’Historia musica ottenne il riconoscimento della sua appartenenza alla ‘res publica’ letteraria dell’Europa di fine Seicento. Dall’oratorio filippino di Perugia, dove ricevette la prima formazione musicale, passò a Roma sotto la protezione del cardinale Francesco Barberini. Attivo nella cappella di S. Marco a Venezia all’epoca di Monteverdi, trascorse, poi, circa trenta anni al servizio della corte di Dresda.Nella Prima e seconda parte della teorica è dato ampio spazio alla musica greca, ma la musica antica è vista sempre in funzione della moderna. E così vi troviamo l’analisi dei vari tipi di versi e dei corrispondenti valori musicali in una perfetta armonia tra parola e musica; il testo dell’oratorio di S. Emiliano; note sulla costruzione dei clavicembali di Girolamo Zenti; l’organizzazione della scuola di canto a Roma; una piccola monografia sul cantante evirato Baldassarre Ferri; esempi di composizioni polifoniche. Non mancano, poi, suggestivi riferimenti all’astrologia e alla consonanza tra Musica mondana e Musica humana oppure all’anatomia e al contrasto tra anima e corpo.La presente edizione conserva tutto il sapore dell’originale, ivi comprese le grafie erudite o quelle oscillanti di alcuni termini, ma permette al tempo stesso la lettura agevole di un testo fondamentale nella storia del pensiero musicale. Biancamaria Brumana è professore ordinario di Musicologia e Storia della musica all’Universit&agrav e; di Perugia. Laureata in Lettere e diplomata in Pianoforte, ha successivamente condotto studi di specializzazione presso la Scuola di Paleografia e Filologia Musicale dell’Universit&agra ve; di Pavia ed ha fruito di borse di studio a Parigi e a Londra. È stata docente di ruolo nei Conservatori ed ha insegnato in varie università. Ha pubblicato numerosi volumi e articoli editi in sedi specializzate in Italia e all’estero. Essi riguardano vari aspetti della storia della musica dal Medioevo agli inizi del Novecento, con particolare riferimento alla musica italiana e francese, all’oratorio musicale, alla storia di istituzioni, ai rapporti tra letteratura e musica, all’iconografia musicale. Ha redatto cataloghi di fondi musicali e di singoli autori in collegamento con il Répertoire International des Sources Musicales. Tra i volumi pubblicati: Orvieto. Una cattedrale e la sua musica (1450-1610), Teatro musicale e accademie a Perugia tra dominazione francese e restaurazione (1801-1830), Catalogo delle composizioni musicali di Francesco Morlacchi (1784-1841), Frammenti musicali del Trecento nell’incunabolo Inv. 15755 N. F. della Biblioteca del Dottorato dell’Universit&agra ve; degli Studi di Perugia. È direttore della rivista Esercizi. Musica e Spettacolo, della acclusa collana di quaderni monografici e della collana di edizioni musicali «Note di passaggio». Ha promosso la prima ripresa moderna di musiche inedite anche in collegamento con importanti festival e istituzioni musicali, presso le quali ha talvolta ricoperto incarichi organizzativi. Ha diretto ricerche finanziate dal CNR, dal MURST e dal MIUR.
SKU: HL.4007161
UPC: 840126965711.
Pulci nella was commissioned by the Taiwanese euphonium player Tzu-Hsiang Lin. Lin is a renowned soloist and teacher and a Besson Euphonium Artist. He teacher euphonium at Taipei National University of the Arts, National Taiwan University of Arts, Shih Chien University and National Kaohsiung Normal University. Lin gave the premiere of Pulcinella in both its concert band and brass band versions in January 2021. Pulcinella continues Sparke's series of euphonium solos named after characters of the Italian commedia dell'arte and opens with a long and expressive minor melody for the soloist over a brooding accompaniment. This is taken up briefly by the full band and is extended by the soloist after a change of key. A cadenza, accompanied by fragments of the main melody leads to a complete change of mood, tempo and tonality, introducing a Vivo section starting with a perky syncopated tune for the soloist. The band then uses elements of this new tune to introduce a change of key, where the soloist introduces a more lyrical second subject over a pulsing accompaniment. The band then takes this up and changes key to reintroduce the original Vivo melody, which leads to a short and acrobatic coda to bring the work to a spectacular close.
SKU: HL.44007321
UPC: 884088245184. 9x12 inches. English-German-French-Dut ch.
This work has no specific programme, but represents scenes from an imaginary pantomime in the commedia dell'arte tradition. A fine work with many contrasts, from triumphal fanfares through tender waltzes to a peasant dance, this major new work for advanced concert bands is sure to become a much-performed item in your concert repertoire. Duration: 8:30.
SKU: HL.4007162
UPC: 840126965728.
SKU: HL.14030811
ISBN 9788759877906. English.
My Sonatina for wind quintet was written in January 2002. The three movements of the work (Moderato, Andante Sostenuto and Allegro con brio) are very much based in both structure and idiom on the classical tradition and gesture - the transformations in the first movement, everything kept in place in a tight classical form. The wind quintet's many commedia dell'arte masks are presented with humour, and the work recalls works from musical history where composers have been inspired by spontaneous popular gaiety. Anders Koppel, 2003.
SKU: HL.44010539
UPC: 884088481490. 9x12 inches. English-German-French-Dut ch.
Also available for euphonium and piano (HL44010860) Scaramouche was commissioned by Katrina Marzella with a grant from the BBC Performing Arts Fund. Undoubtedly the finest baritone player of her generation, Ms. Marzella was granted an education bursary from the BBC Performing Arts Fund (as a result of winning BBC Radio 2's Young Brass Soloist of the Year in 2004), which allowed her to commission a series of new works for euphonium. Scaramouche continues Sparke's series of works that highlights the Italian theatre tradition of commedia dell'arte. Like its predecessors Pantomime and Harlequin, Scaramouche draws on the contrasting moods of pathos and comedy characterized by the symbolic happy/sad masks of European theatre. A slow, expressive ballad followed by a spirited vivace allows the composer to exploit both the lyrical and technical sides of the instrument, and the soloist to display its full capabilities.
SKU: IM.3901
This sparkling, opening movement of the piano suite took its inspiration from Columbine, the tricky servant from the Commedia dell'arte. Now available for flute and piano.
SKU: HL.4007495
UPC: 196288058915.
Pulci nella was commissioned by the Taiwanese euphonium player Tzu-Hsiang Lin. Lin is a renowned soloist and teacher and a Besson Euphonium Artist. He teaches euphonium at Taipei National University of the Arts, National Taiwan University of Arts, Shih Chien University and National Kaohsiung Normal University. Pulcinella continues SparkeÂ’s series of euphonium solos named after characters of the Italian commedia dellÂ’arte and opens with a long and expressive minor melody for the soloist over a brooding accompaniment. This is taken up briefly by the piano and is extended by the soloist after a change of key. A cadenza, accompanied by fragments of the main melody leads to a complete change of mood, tempo and tonality, introducing a Vivo section starting with a perky syncopated tune for the soloist. The piano then uses elements of this new tune to introduce a change of key, where the soloist introduces a more lyrical second subject over a pulsing accompaniment. The piano then takes this up and changes key to reintroduce the original Vivo melody, which leads to a short and acrobatic coda to bring the work to a spectacular close.
