The only completed piano concerto. Although Schumann had continuously written numerous piano solo pieces and lieder until then, he himself stated in 1838, "The piano has become too confining for me," and subsequently left behind numerous orchestral works, including four "symphonies." This concerto's first movement was composed in 1841, and the second and third movements in 1845. Unlike many other Romantic concertos that prioritize the piano's dazzling virtuosity, this work treats the piano largely as one of the orchestral instruments, sometimes having it provide accompaniment to the orchestra or engaging in melodic interplay. This approach foreshadows the many excellent chamber works he would later compose.

First Movement

The concerto opens dramatically with the piano responding to a brief dominant statement by the orchestra with a series of descending chords. The first theme, an unforgettable melancholic melody, is first played by the oboe and immediately imitated by the piano. The melody then returns to the orchestra, and after a long interplay, the second theme, an elaboration of the first, appears. Here too, the piano initially provides accompaniment to the wind instruments' melody, but this arpeggiated accompaniment figure is, in fact, quite virtuosic. In the development section, the tempo marking changes to "Andante," and the motif of the first theme reappears unexpectedly in A-flat major. Subsequently, the opening descending figure suddenly builds to a climax in interplay with the orchestra, leading to an elaborated version of the second theme, and then, after settling, the recapitulation begins. It is believed that this movement was originally conceived as an independent piece, both chronologically and structurally.

Second Movement: Intermezzo

This is a short movement, fitting its title "Intermezzo." A light and lovely theme progresses through interplay between the piano and orchestra. In the middle section, the roles reverse, with the piano accompanying a sonorous melody played by the cello, and a piano cadenza is interspersed at intervals. After the motif from the first movement, it transitions directly into the third movement.

Third Movement

In stark contrast, a bright horn fifths theme in A major is played by the piano, with the orchestra providing accompaniment.

Midway through, the piano, maintaining its original triple meter, engages in interplay with the orchestra's hemiola, leading to a light piano solo primarily featuring arpeggios. This section is particularly tricky, as it is extremely difficult to clearly articulate both the lightness and the harmonic progression. The coda begins in the subdominant, leaving a lingering impression, and concludes brilliantly with broken octaves.