Originating in Northern Italy in the mid-16th century and flourishing during the Baroque period, the toccata is characterized by its improvisatory nature, featuring fast, intricate figures and virtuosic passages. Schumann's Toccata in C major, 2/4 time, composed in the 1830s, is likewise an extremely demanding virtuoso work, notable for its fast tempo and intricate sixteenth-note movements.

However, the form implied by Schumann's title was not in the Baroque tradition. The work's structure is far from improvisatory, clearly exhibiting sonata-allegro form, as evidenced by its distinctly demarcated exposition, development, recapitulation, and coda, as well as a secondary theme in the dominant key that contrasts in character with the main theme. (The beginning of each section is signaled by a resolute two-bar introduction featuring a syncopated rhythm).

Its composition dates back to around the same time as Op. 1 (Abegg Variations). The autograph manuscript of the first version, dating from 1829-30, is short at 184 measures. As indicated by its title, 'Exercice,' it contained content typical of a training piece, with many sequences of the same type of chordal figures, such as thirds and octaves. At that time, Schumann, though enrolled at Heidelberg University, rarely attended classes, instead spending his days practicing seven hours a day, driven by his dream of becoming a concert pianist.

In 1830, Schumann decided to pursue a career in music and, from October of that year, studied under the renowned piano teacher Friedrich Wieck (1785-1873). However, by 1832, he began to develop a severe disability in his right hand, forcing him to completely abandon his path as a pianist. It was precisely during this period that the initial version, 'Exercice,' underwent title changes, becoming 'Étude' and then 'Étude fantastique en double-sons.'

The following year, in 1833, the 23-year-old Schumann, having chosen to live as a composer, completed the final version of the Toccata, expanded to 283 measures. Except for the opening theme and the high level of technical skill required, it can be said that the content and form were almost entirely different from the initial version. Furthermore, unlike the initial version which contained various instructions, the score published by Hofmeister in Leipzig in May 1834 contained almost no fingerings or performance instructions, only the following note: "To give the performer as much freedom as possible, clear instructions have been written only for passages where misunderstanding might arise."

Later, Schumann would adopt a somewhat negative stance towards the piano pieces he composed during this period, but the Toccata, which he himself played "often and uniquely," remained one of his favorites. It was published not only in Germany but also by Richault in Paris in 1840. Furthermore, while Clara (1819-1896), who would later become his wife, began performing her husband Robert's works in public concerts only later in her career as a pianist, the Toccata became an important part of her repertoire immediately after its publication. (Incidentally, Clara first performed Papillons, Op. 2, in public in 1871, fifteen years after her husband's death.)  Moreover, contemporary music magazines reviewed the originality and innovativeness of this difficult piece very favorably. The tension that rushes from the opening to the final measure, maintaining passion and exhilaration throughout, is nothing short of magnificent.