minant of G, and the second theme is heard again.
The soloist takes up this theme with a sweeping anacrusis in measure 162, and adds an ornamental treatment in ms. 169-173 that leads to a diminished 7th chord on f-sharp (ms. 179), returning to the closing theme, this time in G major, at bar 182. The piano assumes the "whirlwind" figure and then the melody itself as the exposition draws to a close.
An extensive codetta begins at measure 191, using the continuous sixteenth-note motion established by the soloist. The general pattern of this figuration is that of a descending scale in G major, to which a contrary scale-fragment in octaves is added at measure 195. Considerable rhythmic variation develops as the movement is propelled toward the development section, as materials from the earlier sections are freely used to amplify, expand, and finally confirm the key of G major (cf. ms. 38-42; 95-98).
Development (Bars 257-345). The principal motive is announced again in the strings, but immediately tonal emphasis is shifted to the dominant of E-flat major, the soloist re-enters in this key at ms. 266 with a 4-bar phrase that is repeated with rhythmic variation until measure 278 where a 2-bar cadence on E-flat leads to another 4-bar phrase, this time chordal, accompanied by the repeated-note motive derived from the opening. Sequencing this progression by fifths, the composer adds rhythmic figuration until a scale figure in triplets is evolved at ms. 293. Increasing orchestral accompaniment in the next 11 measures develop the principal motive into a new melodic figure at ms. 304, which is then varied and imitated until the tonic minor key is established.
A recurrence of the 4-bar phrase construction heard in the soloists entry to this section (bar 266) begins at ms. 312, but this time it does not modulate, staying close to the tonic minor, and leads instead to a chain of diminished 7th chords over a pedal-tone dominant (...