Bartók, who visited Italy from 1925 to 1926 and had the opportunity to encounter Baroque music, reached a turning point in his creative work. His First Piano Concerto, written in 1926, adopted a neoclassical style in addition to the "wild" percussive sonorities characteristic of his previous piano works. The frequent repetitions of notes in both the piano and orchestra evoke Baroque ostinato, and the contrapuntal woodwind ensemble in the second movement recalls fugal writing. Composed in 1926, it was premiered in 1927 at an International Society for Contemporary Music (ISCM) concert, with Bartók himself at the piano and Furtwängler conducting. While no key signatures are used and the tonal color is altered by shifting fundamental tones and modes, dissonant intervals are boldly incorporated, lending the work a polytonal character. The movement structure largely adheres to the typical concerto form—the first movement in sonata form with an introduction and coda, the second movement in a ternary form with a truncated recapitulation, and the third movement in rondo-sonata form with an introduction and coda—yet it is further provided with a framework to unify the entire work. A motif strongly presented by the wind instruments in the introduction reappears in the development section of the first movement, slightly altered rhythmically, in the piano solo part, eventually becoming the rondo theme in the third movement and a dominant presence throughout the work. The second movement also shares the second theme and motifs of the first movement, integrating it into the overall coherence of the work. Furthermore, each movement begins with uniform repeated notes played by percussion or piano; the process by which these notes are given characteristic rhythms and intervallic ranges, gradually emerging as melodies, contributes to the primitive and wild impression of this work.