Example 5d. Unusual features of Tchaikovsky’s B♭ minor Piano Concerto (1874), which may have provided the bases for Nikolai Rubinstein’s negative criticisms, followed by possible “programmatic” explanations relating to his romantic relationship with Artôt.

I. First movement: 5a | 5b | 5c | 5d | 5e | 5f   II. Second movement: 5g | 5h | 5i | 5j   III. Third movement: 5k | 5l

d.

The strange absence of the piano during the lengthy first section of the development. — This section focuses on a gradual intensification of the previous “reminiscence” theme (note allusions to Artôt’s D♭ - A), possibly portraying their own deepening romantic involvement. Its climax prepares the dramatic double-octave entry of the soloist.