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Because his first 26 published works were all written for solo piano, the first ten years of Schumann's career are strongly associated with the instrument; nevertheless, he composed and published work for the piano throughout his entire life, and Schumann's final composition, the Geistervariationen, was a set of variations for solo piano.
The first movement opens with the solo piano, playing simple chords in the tonic key before coming to rest on a dominant chord. The orchestra then enters with the same theme, in B major, the major mediant key, which is in a chromatic mediant relationship to the tonic. Thus enters the first theme. [7]
Rachmaninoff's Piano Concerto No. 3, in which the first movement features a long and incredibly difficult toccata-like cadenza with an even longer alternative or ossia cadenza written in a heavier chordal style. Both cadenzas lead to an identical section with arpeggios in the piano and a solo flute accompanying, before the cadenza ends quietly.
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Coda. The orchestra plays the main theme in its original form and tempo (one-half that of the preceding variation), with the piano providing double-time obbligato accompaniment. A short andante ending hinting at an E-major ending gives the piano the last word with a low-octave E-G chord (ambiguous between E minor or C Major) [citation needed]
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