Saint-Saëns was internationally renowned as a virtuoso pianist. In 1868, Anton Rubinstein invited Saint-Saëns to perform as a piano soloist in a concert in Paris. The work performed there was the Piano Concerto No. 2 in G minor. Due to time constraints, it was composed in just 17 days, and Saint-Saëns went into the performance without sufficient practice or preparation. Although the performance was not perfectly polished, the concert was well-received. This concerto is one of Saint-Saëns' representative early works and is counted among the masterpieces of his entire piano oeuvre.

While providing ample virtuosic showcases for the piano solo, the sound created in conjunction with the orchestra imbues the piece with a fantastical charm. It is a work full of passion and lyricism.

First Movement: Andante sostenuto, G minor, 4/4 time

Following a free cadenza, the pathetic first theme, presented by the piano solo, is said to be borrowed from a theme composed by Saint-Saëns' pupil, Fauré. After a transitional passage built from short motives, the second theme is presented by the piano in B-flat major. Following a short codetta, the subsequent middle section is a showcase for the soloist. A series of arpeggiated chords creates a highly brilliant and romantic sound. The continuously played figures encourage musical acceleration, creating a large vortex of sound, which subtly leads to the recapitulation of the theme by the orchestra. In the piano cadenza, the music builds, utilizing the first theme and motives from the transitional passage, leading the piece towards a recollection of the introduction. Finally, the introduction is recapitulated with resolute chords, bringing the movement to a majestic close.

Second Movement: Allegro scherzando, E-flat major, 6/8 time

A scherzo movement in sonata form. Following the light rebound of the timpani, the piano plays the sprightly first theme. The second theme is sung by the bassoon and viola, and then repeated by the piano. In this movement, the exchange of themes, or playful interplay, is highly charming and enjoyable. The scales and arpeggios played by the soloist amidst this interplay add brilliant color to the music.

Third Movement: Presto, G minor, 2/2 time

In sonata form. Following a four-bar introduction with an overwhelming sound, a rhythmic and playful first theme for the piano ensues. The second theme is presented powerfully with trills, gaining energy as the number of notes increases. In the development section, each theme unfolds with cleverly superimposed rhythms, leading to the recapitulation and coda. The music rushes to its conclusion without losing its momentum or tension.