Camille Saint-Saëns displayed prodigious talent in piano and organ performance and composition from an early age, often being compared to Mozart. He left behind five piano concertos, which are performed more frequently than his solo piano works.

In his compositions, he particularly focused on the pursuit of stylistic purity and formal perfection, showing a strong inclination towards music with traditional styles. Such tendencies were not particularly favored in Paris at the time. Saint-Saëns in 1864 (at the age of 29), entered a composition competition but failed to win the first prize, the Grand Prix de Rome.

"Piano Concerto No. 1 in D major" is believed to have been composed the following year, in 1965 (though some theories suggest it was composed in 1858). Among his many concertos, this work has a particularly strong character as a study piece. It consists of three movements. The approximate performance duration is 25 minutes.

First Movement: Andante – Allegro assai, D major, 4/4 time

A concise introduction begins with a call from the trombones, spreading a serene atmosphere.

The piano solo adds a brilliant color with arpeggios. Led by the piano's crescendo, it transitions to Allegro assai. The first theme of the piece, played by the orchestra, conveys youthful energy. The second theme is in A major. After a brilliant exposition, it moves to the development section. Here, the piece progresses with the orchestra primarily developing the themes, while the piano adorns and guides with arpeggios. Finally, it returns to D major, closing the movement powerfully.

Second Movement: Andante sostenuto quasi adagio, G minor, 4/4 time

The first theme is sung by the piano over the orchestra's accompaniment. A melancholic melody is sung expressively. The piano cadenza, beautiful with arpeggios and trills, creates a sweet and fantastical sound. The second theme is presented by the orchestra with "assai dolce," and the piano then takes it over.

Third Movement: Allegro con fuoco, D major, 2/2 time

The third movement begins with determination, completely changing the atmosphere. The first theme is passed from the piano to the orchestra, and the piece progresses with a light rhythm. The momentum is somewhat diminished by the second theme, which seems to repeat a self-questioning motif, but vitality increases through the rhythmic interplay between the orchestra and piano, leading back to the first theme. Over the second theme sung by the orchestra, the arpeggios played by the piano create a brilliant sound, serving as a stepping stone to the climax. Finally, the movement closes majestically with an exaltation and brilliance befitting a finale.