The 12 greatest and most famous piano concertos ever written

The piano concerto is arguably the most powerful orchestral form because it covers so much ground; it’s percussive, rhythmic, harmonic, and melodic. While some concertos are among the hardest pieces a pianist can tackle, others are deceptively easy, but all showcase the piano’s ability to lead an entire orchestra with unmatched emotion and brilliance.

As a pianist and composer for over two decades, I know that certain famous piano concertos explore the depth of human feeling more than any other works. Here are the greatest piano concertos ever written.

Piano Concerto No. 2 in C minor, Op. 18 – Sergei Rachmaninoff

Rachmaninoff’s Piano Concerto No. 2 is a genuine masterpiece, but it didn’t come easy. Rachmaninoff wrote this concerto in 1900, after a well-documented period of severe depression and writer’s block. One notable cause of Rachmaninoff’s depression is the relative failure of his Symphony No. 1.

Despite the writer’s block, Piano Concerto No. 2 was an instant success and remains one of the most critically acclaimed concertos ever. It defined the quintessential Rachmaninoff style; it’s physically demanding, powerful, tender, and moving; it has it all. The concerto’s highly emotive nature is why it’s featured throughout the 1945 movie Brief Encounter.

As a piano student, playing Rachmaninoff’s Piano Concerto No. 2 is less of a right of passage and more of an achievement completed by a select few; it’s stunning.

Piano Concerto No. 5 in E-flat major, Op. 73 – Ludwig van Beethoven

Beethoven’s Piano Concerto No. 5, also known as the Emperor Concerto, is a very important piano concerto for several reasons. The Emperor Concerto would be his final concerto and a sign of things to come.

Beethoven was never far from innovation, but this concerto, written in 1809, was like nothing else of the Classical era. Instead, it was more fitting of the Romantic era, a period that didn’t take effect for another two decades.

Beethoven’s student and protege, Carl Czerny, debuted the concerto in 1812. Given the name of the concerto and the period (firmly in the thick of the Napoleonic Wars), it’s easy to assume that it’s a dedication to Napoleon. However, Beethoven was openly critical of Napoleon and even retracted the prior dedication of his third symphony.

The concerto lives up to its Emperor title; it’s bold, majestic, and forward-thinking. Works of a grand scale characterize Beethoven’s heroic period, and throughout the three movements of this concerto, the piano is clearly the hero.

Piano Concerto in A minor, Op. 7 – Clara Schumann

Clara Schumann is one of the most revered pianists of the 19th century and an exceptionally gifted composer. Astonishingly, Clara Schumann began writing this piece at just 13 years of age. The gifted composer premiered the finished Piano Concerto in 1835 before reaching 16 years old.

While working on this concerto, Clara Schumann (then Clara Wieck) was a student of Robert Schumann, her future husband. It’s well-documented that Robert Schumann made some revisions to Clara’s concerto. These revisions are significant because many teenagers, no matter how prodigal, would concede to the changes made by such a renowned pianist and composer.

However, when premiering the concerto, the young Clara reverted to her original work, choosing to ignore Schumann’s direction. As a female composer leading her generation aside giants like Chopin and Liszt, Clara Schumann is a monumental figure in classical music, and her Piano Concerto embodies that.

Piano Concerto No. 3 in D minor, Op. 30 – Sergei Rachmaninoff

Sergei Rachmaninoff had an undeniable ability to write beautiful music that terrified musicians because it was so technically and physically demanding. So much so that Josef Hofmann, an outstanding musician and pianist to whom Rachmaninoff dedicated the concerto, never performed it publicly.

Rather than Hofmann, Rachmaninoff premiered the piece himself, often declaring it his favorite composition. This particular piano concerto is frequently a measure of a pianist’s ability because performing it well is a monumental task. It’s arguably the most technically challenging concerto on the list, thanks to its many lightning-fast runs and immense chord structures.

For all of its technical challenges, and there are many, I like it most for its simplicity (in some areas). The opening melody is absolutely breathtaking in its simplicity and one of my favorite lines in all classical music. The same can be said of the harmonic arrangement in some areas; Rachmaninoff wasn’t afraid to keep things simple when simple is enough, and that’s a mark of a true genius.

Piano Concerto No. 2 in B-flat major, Op. 83 – Johannes Brahms

Brahms wrote his Piano Concerto No. 2 in 1881, more than 20 years after his first. In a letter to Clara Schumann, Brahms ironically described his work as a very small piano concerto with a pretty scherzo. In reality, this 50-minute-long concerto isn’t small in any way.

The Piano Concert No. 2 in B-flat has four movements, rather than the typical three. It begins with a beautiful, unassuming call and response between the opening horn and the piano. A cadenza introduces the virtuosic nature of the piece and a constant push and pull between dramatic virtuosity and soothing elegance.

With some irony, again, Brahms labeled the second movement as a scherzo, which is uncommon in a concerto. The most ironic thing is that the scherzo is the most dramatic, passionate, and virtuosic movement of the entire concerto.

The call-and-response theme continues throughout, creating a rollercoaster of emotions. The Piano Concerto No. 2 showcases Brahms’ creativity as much as his incredible virtuosity.

Piano Concerto No. 21 in C major – Wolfgang Amadeus Mozart

Mozart completed and premiered 21 piano concertos before his untimely death at the tender age of 35. He completed this particular concerto in March of 1785, shortly after his D minor concerto (Piano Concerto No. 20).

Mozart’s concertos are among the most celebrated because he had a particular style; he wrote for himself, fearless of outside influence, and he turned every instrument into a character with a vital role to play.

The concerto opens with a quiet march figure and slow-rising volume. The overall feel of the first movement is uplifting and triumphant, with the march feeling briefly subsiding and returning before the solo.

The second movement (Andante) is in F major, the subdominant, and splits into three parts. This movement is more dreamlike, featuring muted strings and many pizzicato articulations.

The triumphant feel returns in the third and final movement (the Rondo), with a call and response between the piano and orchestra. The exchange of themes between the piano and orchestra builds toward blistering scale runs that end the concerto in a dramatic fashion.

Piano Concerto No. 2 in G major – Béla Bartók

Béla Bartók is one of my favorite composers because he wasn’t afraid to push boundaries or explore alternative paths.

The famous Hungarian composer wrote his Piano Concerto No. 2 in the early 1930s, at a time when many composers aimed to simplify their works. Bartók, too, shared a desire to simplify elements of his composition. He also expressed his intention to make this concerto more contrapuntal, and his use of counterpoint is what makes this concerto so challenging.

Various pianists, including András Schiff and Stephen Kovacevich, declare Bartók’s Piano Concerto No. 2 the most difficult they have ever played. I’m no stranger to Bartók or counterpoint, but this concerto would test the virtuosity of Yuja Wang (who, of course, plays it superbly).

It remains one of Bartók’s most celebrated works and has been heavily featured in orchestral performances worldwide since its premiere in 1933.

Piano Concerto No. 1 in B-flat minor – Pyotr Tchaikovsky

Tchaikovsky’s Piano Concerto No. 1 is another piece that most people know, whether they realize it or not. The opening sequence is so lush, majestic, and unforgettable, and that’s why you’ll hear it in countless movies and advertisements. It’s ubiquitously considered one of the most beautiful sequences ever written.

Despite its reputation as a stellar work of art, Tchaikovsky’s concerto had its critics. He wrote the piece in 1874-75, and it premiered in Boston in 1875 with Hans von Bülow as the soloist. However, Nikolai Rubinstein was Tchaikovsky’s first-choice pianist. Rubinstein criticized the concerto but later withdrew his criticism and championed Tchaikovsky and his composition.

There is some confusion around the dedication of this work, with some suggesting a dedication to Rubinstein was retracted. However, Tchaikovsky’s biography confirms that Hans von Bülow was always the intended recipient, and Tchaikovsky just hoped that Rubinstein would perform the piece in Moscow.

One of my favorite performances is from Martha Argerich and the Verbier Festival Orchestra.

Piano Concerto in A minor, Op. 16 – Edvard Grieg

The Piano Concerto in A minor is the only concerto written by Grieg and is one of his most popular works. The first movement opens with a timpani roll, but it’s the following piano flourish that signals dramatic intent with authority.

Edvard Grieg was just 24 years old when he composed this piano concerto in 1868, citing inspiration from Robert Schumann.

The second movement (Adagio) is less intense and more pensive and reflective. It’s a beautiful display of harmony, leading the audience on an emotional journey. The third movement is animated and energetic, demonstrating Grieg’s fascination with Norwegian folk music.

It’s believed that the reason Grieg didn’t premiere the concerto himself was a prior engagement with another orchestra. Instead, Edmund Neupert premiered the piece in Copenhagen (1869) in front of an accomplished audience, including Anton Rubinstein.

Piano Concerto No. 2 in F major, Op. 102 – Dmitri Shostakovich

Shostakovich wrote this piano concerto in 1957 for his son Maxim’s 19th birthday. Maxim premiered the concerto later that same year at his graduation concert at the Moscow Conservatory. In addition to writing the concerto for his son, Shostakovich intended the piece to be a development tool for young piano students. The concerto has three movements and lasts around 20 minutes.

The first movement features lots of unison playing, typically an octave or two octaves apart. It then introduces percussive and rhythmic moving octaves in the low range. It’s clear from the first movement that Piano Concerto No. 2 is far more cheerful than Shostakovich’s typical style.

The remaining movements explore rhythm and time further. The second movement highlights triplets and a four-against-three rhythm. The final movement introduces the 7/8 time signature and extensive use of the pentatonic scale.

Piano Concerto No. 1 in E minor, Op. 11 – Frédéric Chopin

Frédéric Chopin wrote just two piano concertos; interestingly, although labeled as No. 1, this piece was the second written. The confusion stems from Chopin’s publisher releasing the concerto in E minor first. Chopin wrote both of his piano concertos before turning 20, which is quite astounding.

Frédéric Chopin is as celebrated as most classical composers, but his concertos continue to divide opinion. Many critics believe that Chopin didn’t fully understand the concerto form and couldn’t compose for an orchestra. However, most critics also acknowledge Chopin’s originality; Robert Schumann was among Chopin’s most vocal supporters.

One of the most interesting facts about this concerto is that there is no cadenza in the three movements. Although surprising, given Chopin’s reputation as a virtuoso, the piano, which is relentless throughout the entire concerto, is almost virtuosic from start to end.

Piano Concerto No. 4 in G major, Op. 58 – Ludwig van Beethoven

Beethoven composed his fourth piano concerto in 1805-6. He performed it privately for the first time in 1807 at the home of his then-patron, Prince Lobkowitz.

The first public performance came in 1808 in Vienna, with a famous performance that included premieres of his Fifth and Sixth Symphonies. This concert was also the last time Beethoven would perform publically as a concerto soloist due to his declining hearing.

Beethoven’s Piano Concerto No. 4 starkly contrasts his previous concertos and everything else of the era. Rather than bold, authoritative gestures and feats of technical ability, this concerto is intimate and personal.

The opening melody, played in block chords, is soft and sweet, and the orchestra sympathetically creeps in, beginning an ongoing conversation between the soloist and orchestra.

Although the piece ends with a very lively coda, for the most part, the gentle soloist is taming the orchestra with songlike playing, and it’s beautiful.

Conclusion

Although sonatas and preludes beautifully showcase the piano’s range as a solo instrument, its true power is often most on show when leading an entire orchestra.

The piano concertos on this list can sometimes be intimidating, daunting, and overwhelming, but always captivating. We can see variations in the typical concerto form and some complete deviations from the rule book. These remarkable compositions mark some of the defining moments through each era of classical music.

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