Generally, the genre of piano sonata was not well-established in 19th-century Russia, but Tchaikovsky had already composed one in 1865. His second work, this "Grand Sonata," was composed in 1878 and premiered in Moscow by Nikolai Rubinstein. Tchaikovsky, who had taught at the Moscow Conservatory until the previous year, began to spend more time living in Switzerland, France, and Italy around this period, and was dedicating himself to composition with the financial support of Nadezhda von Meck, a wealthy widow. As the title suggests, it is believed to have been inspired by Schumann's highly symphonic "Piano Sonata No. 3 in F minor (commonly known as the Grand Sonata)". While not frequently performed, it is a hidden gem that truly embodies the Romantic piano sonata.

First Movement: Moderato e risoluto

Sonata form. It begins with a heroic, fanfare-like idea and a solemn first theme imitating the sound of Russian church bells, then abruptly transitions to a melancholic motif, followed by a sweet, dreamy second theme and its variations. In the development section, the opening fanfare unfolds with majestic chords and arpeggios. After the recapitulation, the coda concludes very brilliantly, like an orchestral tutti.

Second Movement: Andante non troppo quasi moderato

It begins with a meditative theme, and in the forte sections, the dotted motif seen in the first movement reappears. The middle section employs a lively theme in 2/4 time. It is striking how various themes are varied each time they reappear.

Third Movement: Allegro giocoso

Scherzo. The main section has accents on the weak beats and proceeds lightly. In the middle section, it modulates, and scales appearing in multiple voices intertwine as if several instruments are responding to each other.

Fourth Movement: Allegro vivace

Finale. It begins with a bright, syncopated theme. After flowing sixteenth notes and a chordal melody with accents on the off-beats in staccato, a melancholic Russian folk-song-like melody is heard in the middle section. Furthermore, the second episode is a joyful melody, also reminiscent of a Russian folk choir. After the recapitulation, the coda features the second episode played over a G pedal point, the tonic of the original G major, gradually quieting down, but ultimately concluding with a brilliant tutti of chords.