Introduction's theme, as played on the piano The B ♭ major is restored in the coda, when the orchestra re-enters with the second subject group's second theme the tension then gradually builds up, leading to a triumphant conclusion, ending with a plagal cadence. Then a piano cadenza appears, the second half of which contains subdued snatches of the second subject group's first theme in the work's original minor key. A brief closing section, made of G-flat major chords played by the whole orchestra and the piano, is heard. However, this time the excitement is cut short by a deceptive cadence. In the second subject group, the consoling second theme is omitted, and instead the first theme repeats, with a reappearance of the stormy climactic build that was previously heard in the exposition, but this time in B ♭ major. The recapitulation features an abridged version of the first subject, working around to C minor for the transition section. After a flurry of piano octaves, fragments of the 'plaintive' theme are revisited for the first time in E ♭ major, then for the second time in G minor, and then the piano and the strings take turns to play the theme for the third time in E major while the timpani furtively plays a tremolo on a low B until the first subject's fragments are continued. The development section transforms this theme into an ominously building sequence, punctuated with snatches of the first subject material.

After a short pause, a closing section, based on a variation of the consoling theme, closes the exposition in A ♭ major. This is answered by a smoother and more consoling second theme, played by the strings and set in the subtonic key (A ♭ major) over a pedal point, before a more turbulent reappearance of the woodwind theme, this time re-enforced by driving piano arpeggios, gradually builds to a stormy climax in C minor that ends in a perfect cadence on the piano. The second subject group consists of two alternating themes, the first of which features some of the melodic contours from the introduction. A short transitional passage is a call and response section on the tutti and the piano, alternating between high and low registers. The exposition proper then begins in the concerto's tonic minor key, with a Ukrainian folk theme based on a melody that Tchaikovsky heard performed by blind lirnyks at a market in Kamianka (near Kyiv). The introduction ends in a subdued manner. This subsidiary theme is heard three times, the last of which is preceded by a piano cadenza, and never appears again throughout the movement. The first movement starts with a short horn theme in B ♭ minor, accompanied by orchestral chords which quickly modulate to the lyrical and passionate theme in D ♭ major. Problems playing this file? See media help.

B flat minor in fl studio autotune