This is a representative work from Brahms's early period. Its premiere took place in January 1859 in Hanover, with Brahms himself as the soloist.

The passion, emotion, and romanticism that characterize his early works are the embodiment of the German spirit of Beethoven, which he learned in his youth, and his study of Schumann's style, which was akin to an ardent admiration. However, some also attribute its background to his private life during his youth, including:

• His respect for Schumann, who guided him to 'New Paths';
• His affection for Schumann's wife, Clara; and
• Two losses: Schumann's death and the breaking off of his engagement with Agathe von Siebold just before the premiere of the First Piano Concerto.

In any case, it can be said that Brahms was still too young, both technically and spiritually, to fully sublimate such emotional creative concepts into the work.

The astonishing structural power evident in his other Piano Concerto or his series of symphonies is not yet apparent here. However, precisely because of this, the raw beauty of its melodies and ensemble stands out in his catalog, which is why it is counted among his representative works.

It was not originally conceived as a concerto; ideas for it were also explored as a sonata for two pianos and as a symphony, ultimately culminating in his first completed concerto. Various experiments can be observed, such as a slight departure from the prominent 'solo instrument and orchestra' scheme characteristic of concertos up to the Classical period, allowing instrumental, chamber, and symphonic elements to have independent parts while coexisting. Furthermore, Brahms's instrumental preferences, such as his treatment of timpani, horns, and middle-to-low strings, are already discernible.

It is worth noting that a Latin prayer is quoted in the second movement, believed to be addressed to Robert Schumann and Clara Schumann (or one of them).