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The movement, with its "unmatched intimacy and loveliness," is followed by a "high-spirited" monothematic sonata-rondo. [4] The last movement, perhaps the most Haydnesque of all three movements, closely follows the galloping patterns and embellishments used by C. P. E. Bach in his music.
In Baroque music, G major was regarded as the "key of benediction". [1] Of Domenico Scarlatti's 555 keyboard sonatas, G major is the home key for 69, or about 12.4%, sonatas. In the music of Johann Sebastian Bach, "G major is often a key of 6 8 chain rhythms", according to Alfred Einstein, [2] although Bach also used the key for some 4
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Piano Concerto No. 4 (Mozart) Piano Concerto No. 17 (Mozart) Piano Concerto No. 4 (Beethoven) Piano Concerto No. 2 (Tchaikovsky) Piano Concerto in G (Ravel) Piano Concerto No. 2 (Bartók) Piano Concerto No. 5 (Prokofiev)
The winds then play a dance-like motif in A major, which the violin concludes. The violin restates the main theme in A major, although the melody features A sharp instead of A natural, creating a brief modulation to B minor. It soon modulates back to A major, then to the home key of D major through the main theme.
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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. [8] The orchestra states the main theme in B major, dropping through the circle of fifths to a cadence in the tonic, G major.
In G Major is set to Ravel's Piano Concerto in G Major, which the composer said "uses certain effects borrowed from jazz, but only in moderation." [1]: 450 The ballet is performed by two soloists, who dance the central pas de deux that takes place in the second movement, and a corps de ballet consisting of six men and six women.