The three movements are often presented in a fast-slow-fast tempo design with the first movement employing sonata form including a cadenza; the second movement employing free form; and the third movement employing rondo form.
For my Piano Concerto, the first movement uses sonata form to expose a vivacious first theme; a slower, moody second theme and a lyrical third theme. A quirky, toccata-like romp follows that develops the first and second themes. A “short cadenza” for the piano finishes the development and ushers in a recapitulation of the first and second themes. Another “short cadenza” this time on the third theme then ushers in a coda on the first and second themes which brings the movement to a close.
The second movement employs rounded binary form to render a lullaby-lament. Throughout the movement an effort is made to stress the bittersweet poignancy of the two forms by frequent use of non-harmonic tones, modal mixtures and appoggiatura chords. The movement begins with the strings unfolding a soothing melody over meandering harmony. The piano soon takes up the melody and adds a gentle rocking rhythm. Piano and orchestra dialog on parts of the lullaby and arrive in a new key. The discussion continues but the loving and magical qualities of the lullaby begin to be twisted into the mournful qualities of the lament. After a series of ascending melodic phrases, faster accompaniments, thickened textures and increased harmonic complexity, the saxophone restates the opening theme now as a lament. After the sorrow and grief have been expressed, a short codetta recalling the soothing and gentle qualities of the lullaby brings the movement to a peaceful close.
The third movement is a sonata-scherzo that opens with a raucous introduction of plodding, militaristic chords and a seemingly out-of-control, mechanical piano. Against this accompaniment an irreverent, sarcastic first theme is presented by the sopranino clarinet and piccolo. Asserting its independence, the piano “breaks free” and unfolds a second impertinent theme that explores Cuban dance elements. Following a short, light banter for piano, flutes, harp and pizzicato strings a third smarmy theme is presented by the saxophone and horn. The piano soon joins the conversation and initiates a fast romp through a development of motivic shards which serve to aggregate, accrete and transmute the fragments into a now seemingly out-of-control orchestral accompaniment. Against this swirling mass it is now the piano that restates the first theme. The accompanimental energy is transferred to the piano as an ascending and descending flourish that is soon evaporated into a more leisurely restatement of the second theme by the winds. The piano rejoins the presentation with airy figuration but quickly “breaks free” again recalling fragments of the third smarmy theme. After a few cascading flourishes, the piano initiates a final romp to the finish taking the orchestra with it.