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The reprise, on the other hand, again follows convention right through to the composed solo cadenza. The heart of the concerto is the second movement, a simple and gripping chorale in D flat major comprising three equal eight-bar periods. Robert Fuchs (18471927) was part of Brahmss closest circle of friends in Vienna, a successful composer, and a highly regarded teacher. His admirers even founded the Robert Fuchs Society devoted to his works. According to his biographer Anton Mayr, Fuchs gave the second movement to Brahms for him to look through. He at first rejected it, but was forced to admit on closer analysis: Now, if the other movements are like this, then you can be content. After an epilogue of entirely new material the piano solo begins, with a virtuoso treatment of the first theme broken down into scales and arpeggios. For the most part Fuchs remains wedded to tradition; rarely does he contradict established structural procedures.

Fuchs was one of those original, down-to-earth musical personalities with which Austria in particular has been blessed. He was born on 15 February, 1847, in Frauenthal in Steiermark as the thirteenth child of a schoolteacher.

He was head of the Orchestra Association of the Society of Friends of Music (from 1875 organist at the Hofkapelle (court chapel) (18941905) and teacher (from 1886, professor) of harmony, and later also general theory and counterpoint at the Conservatory (18751912). Brahms, however, seemed to have forgotten the fact that in 1868 at the Vienna Conservatoire the difficult decision had to be made as to whether Fuchs should be win a prize for his composing abilities or for his piano-playing, since he showed outstanding flair in both. How could it be that a composer who once enjoyed such high esteem could be so dramatically forgotten? The fact that his works were written at the time of the transition from the late-Romantic period to the modern era is not an adequate explanation by itself.