Cast in the traditional three movements — fast, slow, fast — influence and indebtedness to Bartók is noticeable in the two outer movements. In the meditative slow movement, there are allusions both to Beethoven’s 3rd concerto, with its dialogue-like alternation between soloist and orchestra, and in the main body of the movement, a nod to the slow movement of Ravel’s G major concerto. At the climax of the movement the two influences meet. The final Rondo contrasts to the somewhat ominous first movement with humor and wit.
“Not afraid to please the listener, Rudin used rich tertian harmonies and frequent major sevenths that would mingle well with jazz and early twentieth-century sound worlds, as would the flashes of irregular meter and non-functional harmonies. The self-described “jovial” and “tongue-in-cheek” third movement brought virtuosic pianist Marcantonio Barone to the forefront again. A driving pulse was passed among various sections, leading to an impressive, muscular final cadenza and a brief, powerful whack of an ending. I would certainly pay to hear this work again.”