In 1853, four years after Introduction and Allegro Appassionato for Solo Piano and Orchestra, Op. 92, the 43-year-old Schumann once again undertook composition in the same genre. The composition took place in just one week, from August 24 to 30, resulting in a single-movement work lasting approximately 12 to 13 minutes. The premiere, held on November 26 of the same year in Utrecht, met with great success, with Schumann himself conducting and his wife Clara (1819-1896) as the soloist (this visit to the Schumanns' last concert tour. Furthermore, after Schumann's death, Clara never performed this concerto publicly again).

This piece was initially composed with Clara in mind and was indeed presented to her on September 13, 1853, her 34th birthday. However, approximately two weeks later, on September 30, the 20-year-old Johannes Brahms (1833-1897) made his first visit to the Schumann family, who were then residing in Düsseldorf. Excited by Brahms's sudden appearance and talent, Schumann dedicated this concerto to the young genius.

As is well known, in the autumn of that year, Schumann contributed an essay titled "Neue Bahnen" (New Paths) to the Neue Zeitschrift für Musik (New Journal of Music), a publication he had founded in 1834 and edited for over a decade, thereby introducing Brahms to the world as an emerging composer (front-page article, October 28, 1853 issue).

The first edition of the piano solo and orchestral parts was published by Senff in Leipzig in July 1855, while the full score was published by Breitkopf & Härtel in the same city in 1887. The instrumentation is as follows:

• Solo piano
• 2 flutes
• 2 oboes
• 2 clarinets
• 2 bassoons
• 2 horns
• 2 trumpets
• Tenor trombone
• Timpani
• Strings (5 parts)

Introduction

The introduction (22 measures, ziemlich langsam, D minor, 3/4 time) begins with a four-measure introductory phrase played by pizzicato strings, after which the solo piano presents a lyrical theme starting with a dotted rhythm. This melody plays an important role in the main section as well.

Main Section

The main section (lebhaft, D minor to D major, 4/4 time), which transitions seamlessly from the introduction, is based on sonata form. The main theme consists of effective accents and syncopated rhythms, characteristic of Schumann's style. The subordinate theme, entering in the relative major of F major, is a melody reminiscent of Kōsaku Yamada (1886-1965)'s children's song "Akatombo" (Red Dragonfly) and possesses a lyrical character (although there is no evidence that "Akatombo," set to music in 1927, quotes Schumann's piece, whether by accidental similarity or partial borrowing, this melody feels particularly familiar to us). Following the development and recapitulation sections, a brilliant cadenza and coda ensue. Throughout the piece, there are many flowing arpeggios, which deepen the lyrical character of the work. However, the symphonic sound produced not only by the virtuosic and pianistic solo instrument but also by the richly textured orchestra seems to anticipate Brahms's two later piano concertos, representing the "New Paths."