Example 5c. 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

c.

A “double set” of secondary themes in the curious key of VII (A♭ major). — Perhaps modeled after the “Romeo and Juliet” secondary area. While the first theme makes obvious references to both Artôt and Tchaikovsky’s acronyms, the second or “reminiscence” theme (similar to Juliet’s) may refer to those romantic times the couple shared together. The harmonies which support the opening motive “Artôt’s theme” and the concerto’s opening statement (Tchaikovsky’s acronym in Example 4A) are identical