This unfinished and long-unpublished work, conceived as her second concerto following Piano Concerto Op. 7, was written in early summer 1847, exactly ten years after the publication of Op. 7. The autograph manuscript of this concerto, which breaks off after 176 measures, was tied with a white ribbon as a birthday present for Robert, bearing the dedication: “To my dearest Robert, June 8, 1847, his Clara.” Her autograph is not only incomplete but also provides the piano part with at most important orchestral counter-melodies. There are no specific instructions regarding instrumentation. Such fragments were orchestrated and completed by De Beenhouwer in 1990. This work, made performable with an instrumentation of double woodwinds, two horns, and two trumpets, referencing Robert’s Concerto Op. 54 and Concert Allegro Op. 92, was published by Breitkopf & Härtel.

Although ultimately unfinished, this work reveals Clara’s mature artistry. The nearly complete exposition consists of a complex of themes. However, at the same time, unity is achieved through the structural relationships between the three themes. The dramatic opening orchestra is soon dominated by a melancholic interjection, followed by the piano’s first brilliant passage. The second theme is very passionate, accompanied by a rambling melodic line and Schumann-esque triplet accompaniment.

Influences on this concert movement include Robert’s Piano Concerto in A minor, which Clara premiered as soloist in Dresden in 1845, Chopin’s Piano Concerto in E minor, Mendelssohn’s two concertos, and Weber’s Concert Allegro in F minor. Furthermore, her composition of a cadenza for Beethoven’s Piano Concerto No. 3 in the previous year, 1846, may have also led to significant development.