Piano Concerto No. 4 is highly regarded as one of the most accomplished works among Saint-Saëns' piano compositions. It was composed in 1875 and premiered in Paris in the same year, with the composer himself at the piano.

This period also saw Saint-Saëns produce numerous masterpieces, including Samson and Delilah (1869-1872), Danse Macabre (1874), and Beethoven's theme-based Variations on a Theme of Beethoven for Two Pianos, Op. 35 (1874).

Piano Concerto No. 4 is characterized by its use of cyclic themes, where melodies and rhythms employed throughout the entire work play a crucial role in its musical construction. The piano solo part is also richly imbued with virtuosic elements, making it a widely popular piece in pianists' repertoires.

While broadly consisting of two movements, each is further divided into two sections, effectively making it a four-movement structure. However, in its draft form, the work was conceived as a single movement to be performed without pause. This should be noted when performing the piece.

The approximate performance duration is 30 minutes.

First Movement:

(First Part) Allegro moderato, C minor, 4/4 time

It is in variation form, with the theme (Cyclic Theme A) initially presented by the strings, which then undergoes two variations. Along with themes that appear later, these themes provide unity to the piece as 'cyclic themes.' In the first variation section, variations are repeated alternately between strings and piano. The second variation section sees the addition of wind instruments, resulting in a more brilliant variation. It is interesting how the character of the same theme changes in various ways depending on how it is illuminated. The coda serves as a transitional passage to the next section.

(Second Part) Andante, A-flat major, 4/4 time

In ternary form. Following a fantastical introductory section, Cyclic Theme B is played by the woodwinds. Cyclic Theme C, which serves as a secondary theme, is played alternately by the piano and clarinet. These three themes form the core of the movement's development.

Second Movement:

(First Part) Allegro vivace, C minor, 2/4 time

It has a scherzo-like character. The first theme features the orchestra responding to the piano's playfully descending figures. The second theme, in 6/8 time, is a rhythmically transformed version of Cyclic Theme A. This movement is charming with its humor and the inwardly vibrant interplay between the orchestra and piano. The coda acts as a transitional passage, leading into the second part.

(Second Part) Andante, 4/4 time – Allegro, C major, 3/4 time

This second part is divided into an Andante and an Allegro. The Andante, lasting approximately three minutes, serves as an introductory section to the Allegro. It presents a fugal development of Cyclic Theme C, followed by a recollection of Cyclic Theme B, leading into a brilliant piano cadenza that introduces the Allegro.

Cyclic themes are also prominent in the Allegro. The first theme is a transformed version of Cyclic Theme B, a very clear and memorable melody. Although the second theme does not utilize a cyclic theme, its crisp rhythm imbues the piece with vitality. In addition to its skillful developmental techniques, this movement is replete with virtuosic showcases for the pianist, making it exceptionally brilliant and enjoyable. It is a piece that truly demonstrates Saint-Saëns' prowess as both a composer and a pianist.