The words left by Schulhoff during his period of devotion to Dadaism in the 1920s clearly indicate his position and approach as a critique of his own music.

“I have never once composed or performed for my contemporaries. I have composed and performed in defiance of them.”

“Music should not be an entertainment for the mind, but above all, a pleasure for the body.”

This Piano Concerto 'alla Jazz,' premiered in Berlin the year before he returned to his homeland and further radicalized his activities, is imbued with such spirit.

First, one notices that the role of the solo instrument differs significantly from that of a typical 'concerto.' New musical ideas are continuously presented by the piano, and its coexistence with the orchestra is not based on norms but is quite flexible. However, it leans more towards a neoclassical nuance rather than a typical jazz big band style.

First Movement: Molto sostenuto-Alla marcia maestoso

An unsettling soundscape is created against the backdrop of the piano, which repeatedly ascends and descends. As the piano descends with a crescendo, a large-scale orchestral passage, reminiscent of Shostakovich, begins.

Second Movement: Sostenuto-Allegro alla Jazz-Subito sostenuto, ma alla breve

Towards the end, the piano begins to stir in the high register, leading directly into the Third Movement, Alla Zingaresca-Tempo primo. Pleasure and frenzy are collaged in fragments. The intensity of the finale is highlighted by the insertion of a decadent, gypsy-style violin in the middle section.