Tchaikovsky actually composed eight completed works for solo instrument and orchestra. Although overshadowed by the immensely popular Piano Concerto No. 1 (1874–1875) and Violin Concerto (1878), this series of works reveals Tchaikovsky's dedication to exploring and developing the concerto genre.

Five of the eight works do not bear the title "concerto." Instead, they are given titles that freely integrate the musical style and genre name, such as "Mélancolique Sérénade" (for solo violin, 1875). In late 19th-century Russia, during Tchaikovsky's active period, there were numerous attempts at genre innovation, akin to the symphonic poem, leading to the composition of many works titled "Symphonic Fantasy" or "Fantasy Overture." Tchaikovsky's works for solo instrument and orchestra can be regarded as accompanying endeavors in this trend. While many of these works are in a single movement, the "Concert Fantasia" for piano solo and orchestra (1884) takes an unusual two-movement form.

First Movement: Quasi Rondo

The first movement, "Quasi Rondo," largely adopts an ABA three-part form. The bright A theme is reminiscent of the "Trepak" from the ballet "The Nutcracker." In the middle section B, only a magnificent cadenza for the solo instrument unfolds.

Second Movement: Contrasts

In the second movement, "Contrasts," the interplay between two contrasting themes is literally delightful. First, a lyrical and melancholic theme and a lively theme, reminiscent of the A theme from the previous movement, are presented in sequence. Subsequently, these themes interweave and gracefully alternate as if turning on a dime.

• Composition Period: April–September 1884
• Premiere: March 6, 1885 (February 22 in the Old Russian Calendar), with Sergei Taneyev as soloist and Max Erdmannsdörfer conducting, at the 10th Symphony Concert of the Moscow Branch of the Russian Musical Society.

This commentary was provided by the NHK Symphony Orchestra.