Example 5a. 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

a.

Opens with extended “introduction” whose basic key of D♭ major is NOT the expected tonic of B♭ minor, and whose theme NEVER recurs in its original form. — Opening section constitues an “exposition” of Tchaikovsky’s own acronym ^5 ^3 ^2 ^1, first in tonic and then in the “Love Key” of D♭ major (in association with Artôt’s acronym).