From 1874, Tchaikovsky devoted all his efforts to composing this concerto.

This work was originally intended to be dedicated to his friend, Nikolai Rubinstein. However, when he first played the piece for Nikolai, it is said that Rubinstein severely criticized its quality and stated that he would not perform it unless it was rewritten. His pride wounded and angered, Tchaikovsky refused and declared that the score would be printed in its original form.

Ultimately, Tchaikovsky revised and completed it, dedicating it to the renowned pianist and conductor, Hans von Bülow. In 1875, Bülow premiered it in Boston, achieving great success.

Furthermore, the Moscow premiere was conducted by Nikolai Rubinstein, and subsequently, Nikolai himself, as the soloist for this piece, contributed to its popularization.

Revisions were made twice, in 1879 and 1888.

• It consists of three movements.
• Overall, it is composed in a free form, without being constrained by the traditional concerto structure.
• Even today, it remains one of the most highly popular piano concertos among the many piano concertos.

First Movement: Allegro non troppo e molto maestoso – Allegro con spirito: Sonata form.

There is a magnificent introduction at the beginning, where the piano strikes heavy, bell-like chords, while the first violins and cellos play the theme behind it. This becomes the central theme of the movement. The first theme is in B-flat minor, a playful rhythmic melody sung like a hum. This melody is said to be derived from a Ukrainian folk song Tchaikovsky heard. The second theme is lyrical and shows powerful development. In the development section, the piano and orchestra engage in an equal dialogue, with their respective themes intertwining and collaborating with overwhelming energy. The recapitulation, rich in delicate expression, leads to a magnificent cadenza. This is a highlight for the piano. In the coda, the music builds to a grand climax once more towards the end, concluding the piece majestically. Performance duration: approximately 20 minutes.

Second Movement: Andantino semplice: In 6/8 time, the main melody is gracefully sung by the flute, accompanied by soft pizzicato. The piano part then enters with a warm timbre. Its modest texture further deepens the lyrical quality of the piece. The waltz-like middle section is said to be based on an old French chanson. The piano's lightness and brilliance are likely the highlights here. Performance duration: approximately 7 and a half minutes.

Third Movement: Allegro con fuoco: Rondo form.

A vibrant, life-affirming final movement. The piano's virtuosic brilliance is scattered throughout. It consists of two main themes: the first is taken from an ancient, lively Ukrainian folk dance, representing the joy of Russian peasants in spring. The second theme is graceful and gentle in character. However, at the end of the piece, this develops into a hymn to life with an overwhelming scale. It is a magnificent and splendid finale, befitting the conclusion of the entire work. Performance duration: approximately 7 minutes.