ZWEITE BALLET-SCENE op. 20, KiV 209 Dedicata alla madre e composta probabilmente nel 1884. [Scene de ballet Op. 6, the first in the series, features undistinguished and weakly constructed melodies, including a pentatonic tune for the black notes of the piano. The middle section is parent to some passages in the Piano Concerto (and All' Italia! of the Elegies, a related piece). Technically, the idiom is already quite formidable.] Zweite Ballet-Scene Op. 20: A year later a marked advance is obvious. The aroma of late Liszt, with his parallel augmented chords, permeates the piece. The shift from a 3/4 waltz to a more frenetic 2/4 interlude is a device more successfully achieved in the last of the series. As opposed to the fairly obvious construction of the first scene, this one manages to evolve quite an elegant structure. [SITSKY, p. 54] Cfr. Vierte Ballettszene für Pianoforte, op. 33a, KiV 238.