5"04

IV.Allegro con brio - 
The tempo increases, the piano chatters away. In this movement the trumpet becomes more prominent, almost on a par with the piano. The music becomes manic in tempo and intensity. Shostakovich was fond of quoting motifs from his and other composers music. This movement makes reference to Haydn, Mahler, a Jewish folk song, and others. The cadenza for solo piano is derived from Beethoven's Rage Over A Lost  Penny for piano solo.  The music gets more and more animated, until the trumpet plays a repeated figure while the piano and orchestra pound out chords.  The entire ensemble joins together to bring the music to a rousing finish.

Shostakovich was in his late 20's when he wrote this concerto.  His music was everywhere, his fame and popularity assured. In this period of relative freedom to do what he pleased, he composed a concerto that wavers from giddy to serious, music that toys with the listener. After the fiasco instigated by his opera of 1936 Lady Macbeth of the Mtsensk District, Shostakovich's life would change, along with his music to a certain degree. But all that was to come. For the moment, Shostakovich wrote a concerto that thumbed its nose at tradition.