Abstract
Abstract IF the First Piano Concerto was Rawsthorne’s definitive homage to the Baroque, with its toccata (the Capriccio ), chaconne, and gigue (the Taran tella), the Second might be regarded as his tribute to Brahms, especially since it comes as perhaps the culminating point of his post-war romanticism. His relationship with Brahms is difficult to fathom. Some friends, such as Denis Matthews, thought he detested the music of Brahms, while others found his views varying from youthful enthusiasm to at least some degree of disregard. In the case of his Second Piano Concerto there are good grounds for thinking that, whether he liked Brahms’s music or not, he had sufficient respect or even admiration to find his own source of inspiration in it.
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