Later in the nineteenth century, Tchaikovsky frequently used hemiolas in his waltzes, as did Richard Strauss in the waltzes from "Der Rosenkavalier", and the third movement of Robert Schumann's Piano Concerto is noted for the ambiguity of its rhythm. John Daverio says that the movement's "fanciful hemiolas... serve to legitimize the dance-like material as a vehicle for symphonic elaboration." Johannes Brahms was particularly famous for exploiting the hemiola's potential for large-scale thematic development. Writing about the rhythm and meter of Brahms's Symphony No. 3, says "Perhaps in no other first movement by Brahms does the development of these elements play so critical a role. The first movement of the third is cast in meter that is also open, through internal recasting as (a so-called hemiola). Metrical ambiguity arises in the very first appearance of the motto theme."