A concerto composed in 1833, when Clara was just 14 years old. Considering that she had previously composed only collections of loosely related short pieces, this concerto represents a significant development for Clara. This is the only surviving orchestral work by Clara.

Initially, it was conceived as a Konzertstück, a single-movement work for piano and orchestra, following the examples of Weber and Spohr. And she intended to create it in collaboration with Robert. On November 22, 1833, Clara wrote in her diary: "I have finished the concerto. Schumann is now orchestrating it so that I can play it in a concert." Furthermore, on the first page of the surviving score, Robert's handwriting reads: "Konzertstück by Clara, my orchestration." However, by this time, Clara seems to have solidified her idea of making it a full concerto, as when Robert finished the orchestration and gave it to her on February 24, 1834, she noted it in her diary as "Finale." This Konzertstück was premiered in 1834, and until the other movements were completed, this "Finale" alone was performed several times with success. The complete work was then premiered in 1835, conducted by Mendelssohn and, of course, with Clara herself as the soloist.

The traditional structure of this genre, with two fast movements and one slow movement. The form of connecting all movements attacca is likely influenced by Mendelssohn's G minor Concerto (Op. 25). While particularly evident in the second movement, the effective dominance of the piano solo throughout the work is a common characteristic of concertos from the first half of the 19th century. Furthermore, as was common for concertos of this era, this work was also published for piano quintet and piano sonata, contributing to its dissemination.

First Movement

Free sonata form. It employs the conventional method where the orchestra first presents the main theme, followed by the piano solo. Once the theme shifts to the piano, the piano leads the music, with the orchestra primarily providing support. In the development section, which modulates to A-flat major, the piano solo varies the main theme. After a rapid descent in octaves in both hands, it moves to a shortened recapitulation. This is presented by the orchestra in the dominant key, rather than the tonic. A single measure of Adagio by the piano serves as a bridge to the Romance.

Second Movement

An elegant and tender Romance. The ascending motif at the beginning indicates a connection to the first movement. It consists of a three-part form, with the first two sections played lyrically by the piano alone. The melody is then taken over not by the orchestra, but by a solo cello, which performs a duet with the piano. This might have served as an inspiration for the famous cello parts in Schumann's and Brahms's piano concertos.

Third Movement

Rondo form. The rondo theme, which the piano begins playing forte, reappears multiple times. At 356 measures, it is longer than the combined length of the first and second movements, a movement rich in both scale and content. Not only is it a fitting conclusion, but it is also understandable why it was performed independently.

The importance of the orchestra increases compared to previous works, with the manipulation of orchestral timbres and the dialogue with the piano shining through. As mentioned earlier, the orchestration is by Robert, but his involvement should not diminish the significance of this work for Clara. It also serves as a valuable example for understanding Robert's early orchestral writing.