The second movement, with all its long pauses and high woodwinds and an impossible crescendo written over a single sustained chord, has an orchestral feel but also a glimpse of a late Beethoven. Composed mainly of scales and arpeggios rather than melody over accompaniment. The first movement is not actually written for piano, it has become almost an archetype of orchestral writing for piano, with passages such as E flat repeated in the brass and themes.
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