The work is in a single movement, the basic compositional idea of which con­tains a dramatic character. In spite of lyrical portions, major triads and dissonances of every sort create two contrasting strata of sonority which are continually brought into opposition. The many possibilities of this seeking contact - and occasionally finding it - produces a developmental character in the musical design. Its course runs as follows:

• 1. An introductory passage in a kind of shorthand presents within a few measures the two opposing strata of sound: the piano’s vehement A-flat triads are immedi­ately followed by the freely tonal answer of the ensemble.

• 2. A short transition beginning in the piano in quasi-improvisatory style leads to a Grazioso, in    which the piano unfolds its virtuosity still in an improvisatory manner over a rhythmic pattern in the strings, which provides unity in this section.

• 3. A contrasted lyrical passage is played by the orchestra; the piano superimposes arabesques which revert ever more constantly to the realm of the major triad

• 4. In the following developmental section, piano and orchestra share equally. The orchestra remains freely tonal, while the piano keeps trying to establish the consonant material.

• 5. Over a metrically free iridescent background of woodwinds and strings, horn and trombone assert the triadic stratum and lead to

• 6. piano cadenza beginning in the triadic realm but gradually becoming more and more extended  tonally, so that at the end a sort of compromise has been achieved

• 7. The orchestra undertakes a short, lyric continuation of the cadenza.

• 8. The following fast part is divided into two planes: the piano part conceived in wide-ranging  extended tonality, while the orchestra intones blocks of sound that revolve around central tones. Accordingly, this passage has a rather hovering, uncertain and indecisive effect.

• 9. Orchestral recitative

• 10. This very lively part is substantially a counterpart to the second section. The triadic stratum is emphasized

• 11. The rhythmic pattern of the second section is extended. Over it piano and winds build up a stretto. After a general pause, which interrupts the constantly more urgent activity, there follows

• 12. the coda, with an enlargement of the opening shorthand figure; thus the arch from beginning to end is closed, achieving through this overall conception a powerful sense of unity

Robert Schollum