[3] Next year (1890) Breitkopf & Härtel published the orchestral score and an arrangement for 2 pianos (prepared by MacDowell himself).
It was dedicated to Teresa Carreño, a famous pianist, who used to be one of MacDowell's earliest piano teachers.
The first recording of this concerto was made by Jesús Maria Sanromá in 1934 with Boston Pops Orchestra under Arthur Fiedler.
[4] The work is scored for solo piano, 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, 4 horns (F), 2 trumpets (F), 3 trombones, timpani and strings.
A stentorian cadenza follows, and after a short reprise of the introduction the proper sonata form begins (Poco più mosso, e con passione).
This section is in D minor, but the finale itself (in an unusual ¾ time[2]) turns out to be in D major (Molto allegro).
Its main theme gives place soon to a second idea (Poco più mosso, in F major), rhythmically pert and skittish.
[1] After some 30 bars it ends abruptly with piano stating the cadenza theme (Poco più lento).
The recapitulation of the first theme entrancingly imitates musical snuff-box;[1] it is slightly expanded and lacks the final section.