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There are traces of American jazz in the slow sections of the concerto’s first movement, whereas the con moto parts are evocative of the world of machinery – a favourite subject of cultural interest in the 1920s. The second movement is wonderfully original – swinging theatre music, now abstract, now richly suggestive, in a way Mossolov’s teacher Prokofiev would have liked. The third movement is excited and exciting, its rhythms hugely compelling, rousing and virtuosic.