Having completed the Concerto in F minor (No. 2), Chopin soon embarked on the composition of his second concerto (No. 1). The Concerto in E minor, commenced and completed in 1830, is more virtuosic than its predecessor and possesses a somewhat broader musical scope. However, the structural weaknesses observed in the F minor Concerto, though being overcome through the thorough use of motives not seen in the previous work, are not entirely eradicated.

Furthermore, regarding the orchestration, there is no definitive proof that it was done by the composer himself, similar to the F minor Concerto. The consistent characteristic instrumentation, which includes a single trombone to reinforce the bass part in a two-flute orchestration, suggests the possibility that the same individual was responsible.

Similar to the F minor Concerto, despite possessing numerous weaknesses as piano concertos, these works persist as a core part of today's concerto repertoire, undoubtedly due to various other inherent charms such as their melodic beauty and the brilliance of their virtuosic passages. However, considering that almost all concertos of similar style produced in abundance during the same period have been forgotten, one must also bear in mind the existence of the piano competition held by the composer's native Poland, with the nation's prestige at stake.

First Movement: E minor, 3/4 time

It adopts a structure that imitates a concerto-style sonata form; however, since the exposition does not employ tonal contrast as its organizing principle, it is, similar to the opening movement of the F minor Concerto, more of a large three-part form than a true sonata form.

At the outset, a theme in E minor is presented, characterized by a motif featuring an embellishing tone figure and an ascending arpeggio (E→D#→E→G→B), alongside a lively motif descending with a dotted rhythm. The former motif appears throughout the movement. Subsequently, a melancholic cantilena-like theme emerges (mm. 25ff). In the lower voices, the aforementioned opening motif resonates like a pedal point; following a transition based on this motif, another cantilena-like theme in E major (the parallel major) is sung (mm. 61ff). The two cantilena-like themes share commonalities: each phrase generally remains within approximately one octave, and they primarily employ stepwise motion to create arch-shaped melodic lines. This exemplifies Chopin's bel canto-like melodic beauty.

Again, following a transition based on the opening motif, the solo piano enters (mm. 139ff). It first re-presents the two E minor themes, accompanied by virtuosic ornamentation. The subsequent transition (mm. 179ff) is expanded by a series of improvisatory piano passages, within which the embellishing tone figure and descending figure of the opening motif are interwoven.

Led by a swirling figure marked 'appassionato,' the E major theme is re-presented. This is followed by a continuous chain of virtuosic passages leading to the codetta.

The development-like second section (mm. 385ff) begins with the second theme (the E minor cantilena) transposed to C major (the submediant key). Subsequently, with the piano's virtuosic passages serving as a 'background,' the orchestra repeats the opening motif in a sequential manner, after which a rapidly descending chromatic scale in the piano, accompanied by a prolonged dominant chord, leads to the recapitulation of the theme.

In the third section (mm. 486ff), which recapitulates the themes, the orchestra presents the opening theme, while the solo piano takes on the two cantilena themes. The major cantilena theme is transposed to G major (mm. 573ff), the relative major of the tonic key. This is clearly intended to lead to a coda in the tonic key and should be understood as a strategic key setting rather than a formal originality.

The movement returns to the tonic key via a dominant progression to E minor, and similar to the first section, a virtuosic transition leads to an orchestral coda, concluding the movement.

Second Movement: E major, 4/4 time, Romance

After a 12-measure imitative introduction by the string ensemble, the theme appears played by the solo piano. Throughout the movement, the string ensemble is dedicated to harmonic accompaniment, while the piano part has the character of a nocturne-like solo piece.

The movement proceeds with the second theme appearing in the dominant key, the return of the theme with beautiful ornamentation, and a virtuosic development of the second theme in the relative key, concluding as the string ensemble plays the theme, adorned by the solo piano's improvisatory chromatic scales and arpeggiated passages.

Third Movement: E major, 2/4 time

After a brief introduction in C-sharp minor (the relative minor), a lively theme is presented by the solo piano. While the finale of the F minor Concerto incorporated elements of the Mazurka, this time elements of the Krakowiak are employed.

Although composed in a rondo-like manner, the majority of the movement consists of sections where musical ideas appear one after another and develop freely, allowing it to be viewed as a large two-part form.

It adopts a structure where orchestral episodes are inserted between the rondo theme and couplet themes played by the solo piano; notably, the orchestra never plays the rondo theme itself. Furthermore, a modal theme in unison, appearing twice within the movement, enhances the overall folk-dance character of the movement while its distinctive sound functions as a second theme.

The first half of the piece connects the rondo-like dance theme and this modal unison theme with improvisatory and free passages played by the solo piano.

The transition to the second half is extremely impressive and full of ingenuity. The dominant chord of the tonic key is prolonged (mm. 268-271), creating an expectation of resolution to the tonic and a theme recapitulation; however, an ascending chromatic scale leads instead to E-flat major (mm. 272ff), a semitone lower. Furthermore, the dance theme is recapitulated in a cantilena-like manner over an unstable harmony, specifically the second inversion of the tonic chord. This briefly shifts towards E-flat minor (m. 278), then returns to the tonic key through enharmonic reinterpretation, resulting in a complete theme recapitulation (mm. 280ff).

The second half largely corresponds to the first, with virtuosic passages connecting the dance theme and the unison theme before and after, leading into the coda. The piece concludes brilliantly with a coda where scales and arpeggios rush by in a dazzling flurry.