Saint-Saëns was 61 years old at the time, but he continued to undertake many concert tours and maintained his status as a renowned pianist. In 1896, the 50th anniversary of his debut as a pianist, a concert was held at the Salle Pleyel to celebrate this milestone. The Piano Concerto No. 5 was composed for this occasion.

This piece was composed during his stay in Egypt, and particularly in the second movement, an exotic atmosphere is strongly emphasized. At the time of its premiere, its bold harmonic language reportedly surprised audiences. Furthermore, a characteristic feature of its musical structure is its greater formal freedom compared to his earlier works. It also provides ample opportunities for brilliant virtuosic display on the piano, making it one of the most popular among his five piano concertos. Performance duration: approximately 30 minutes.

First Movement: Allegro animato, F major, 3/4 time

Following an improvisatory 8-bar introduction reminiscent of a refreshing morning, the piano plays the first theme in a chorale-like manner. The second theme, in D minor, is an elegant waltz. In the development section, the themes unfold using transitional motives. In the latter half, the second theme is played by the piano, becoming one of the highlights. The second theme is sung again by the piano in the coda, gently concluding the movement.

Second Movement: Andante, D minor, 3/4 time

This movement is the origin of the concerto being called “Egyptian.”

At the beginning, a syncopated rhythm is introduced by the strings. Over this, the piano plays an Egyptian-style figuration. Subsequently, a rhapsodic melody sung by the piano forms the first theme of this movement, evoking the alluring charm of a troubled night. The middle section, marked Allegretto tranquillo quasi andantino, is in G major. A comforting melody is beautifully played. These gradually develop, and within them, the peculiar combinations of sounds and rhythms aimed at exotic effects are captivating. After the initial rhythmic motif is reintroduced, the movement quietly concludes with a whispering ascending piano figuration.

Third Movement: Molto allegro, F major, 2/4 time

Following an introduction accompanied by timpani, the piano presents a light and lively first theme. The sparkling, shimmering sonorities are striking. The second theme, in G major, is played by the strings. Rhapsodic and rhythmic sections are exquisitely intertwined, leading to a brilliant development. The piano's intense touch and accents further clarify the vibrant character of the piece. It is a finale full of wild energy, evoking the exhilarating sensation of running through nature.