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A piano concerto is a musical work where a solo piano (or harpsichord) is featured alongside a large ensemble, usually a full orchestra, though this isn't always the case. This list highlights ten of the most remarkable piano concertos, with an extra bonus selection from JFrater. The criteria for these rankings include musical artistry, technical mastery, pianistic brilliance, the harmony between piano and orchestra, and the lasting impact on music history.
10. No. 2 in C minor, Op. 18 Sergei Rachmaninoff
Perhaps Rachmaninoff’s most iconic composition, rivaled only by his Prelude in C# minor (which, interestingly, he grew weary of performing). Rachmaninoff stands out as one of the rare classical composers who excelled in multiple roles: composer, performer, and conductor. When it came to composing for the piano, he held nothing back, understanding precisely what a classically trained pianist should be capable of. With hands large enough to stretch across a 13th on the keyboard (a feat beyond the average person’s reach), he embedded immense, striking chords throughout his work. The concerto opens with an intense, almost funeral-like theme, and, as is common in his compositions, culminates in a powerful, euphoric finale.
These vast, 10-fingered chords are a signature aspect of Rachmaninoff’s style, easily recognizable after only a few measures. His Second Concerto marked his triumphant return to greatness after a period of underwhelming compositions, a time when he battled with self-doubt and depression, fully aware that he was far more talented than the critics allowed. His First Concerto received scathing reviews, and his First Symphony was brutally criticized by Cesar Cui, a member of the Russian 'Big Five,' who claimed it could only be appreciated by 'terrible musicians' who would be condemned to listen to it for eternity in Hell.
Rachmaninoff was deeply affected by criticism, and comments like those from Leo Tolstoy (who similarly found Beethoven's music unbearable), along with the tragic suicide of Rachmaninoff's mentor and close friend Tchaikovsky, led him into a three-year period of severe depression and writer's block. He eventually overcame this challenging time with the assistance of Nicolai Dahl, who hypnotized him and repeatedly assured him, 'You are a great composer. You will compose great music.'
9. Harpsichord Concerto No. 1, BWV 1052 J. S. Bach
Including this piece is by no means a cheat, since although Bach originally composed it for the harpsichord (as the piano had just been invented and was not yet a refined instrument), it is now just as frequently performed on the piano. This is one of the most remarkable features of Bach’s music, a brilliance that no other composer can claim: his works can be performed on any combination of instruments without losing any of their musicality. Bach's music, thus, stands as the purest form of music ever written, and if not for the piano’s percussive qualities, this piece would undoubtedly be at the top of the list.
Bach initially composed it for solo violin, then later re-arranged it for keyboard. True to his style, it is complex, featuring polyphonic harmonies of the highest caliber, demanding extreme technical skill — challenges Bach could easily overcome with his expert touch. This piece earns its place on the list as it represents the first truly solo concerto, where the soloist is allowed to showcase their talents.
8. Concerto in A minor, Op. 16 Edvard Grieg
This piece is notable for being first performed by Franz Liszt himself. It wasn’t in a public setting, but when Grieg brought it to him for approval. The two met in 1870 in Rome, and Liszt requested that Grieg play it for him. Grieg admitted he hadn’t practiced it yet, so Liszt proceeded to sightread the entire work, even tackling the orchestral parts.
Liszt immediately lavished praise on Grieg, particularly admiring the g-sharp in the final scale run of the first movement. Today, this concerto remains one of the most beloved, partly because it is relatively easier to perform compared to other pieces on this list, and it is in the relative minor of C Major. This key allows for an exquisite use of the lowest note on the piano. The second movement, in particular, is widely regarded as one of the most beautiful ever composed, a piece Grieg was especially proud of, aiming to evoke the image of a lush waterfall.
7.
No. 4, G Major, Op. 58
Ludwig van Beethoven
To this day, many critics, musicologists, and performers regard this as Beethoven’s greatest concerto. While this particular writer might not entirely agree, there is no denying Beethoven’s brilliance in achieving a perfect balance between melody, development, technique, musicality, and the interaction between soloist and orchestra in this piece.
Beethoven was known for creating short, motif-like themes, which he could expand into some of the most profound music ever composed. He had a remarkable ability to make much out of minimal material. But every so often, like in his 'Ode to Joy,' he could create a melody as lyrical as anything Mozart wrote. This is also true of this concerto, where the development of such lyrical themes poses a challenge for most composers, as history has shown. Mozart believed that once you’ve composed a great melody, the hard part is done. When excellent melodies meet masterful development, the result is a masterpiece — and that is exactly why this concerto is one.
The most striking feature of this piece occurs in the cadenza at the conclusion of the second movement. Beethoven composed this cadenza himself, but left the cadenza of the first movement to be improvised by the performer. He marked the second movement's cadenza as 'una corda.' In modern pianos, this refers to the soft pedal, which shifts the hammers from striking all three strings of each note to only one. However, in Beethoven’s time, this pedal shifted the hammers to one or two strings, depending on the composer’s direction. Beethoven specifically indicated that the cadenza should fully exploit this feature, calling for 'due e poi le corde' (two, then three strings) during the opening trill, and 'due poi una corda' (two, then one string) at the conclusion. To achieve this effect today, one would need a period piano from Beethoven’s era.
6. No. 1, B-flat minor, Op. 23 Peter Ilyich Tchaikovsky
Today, this may very well be the most recognizable concerto on this list, especially since Liberace practically adopted it as his personal theme song, even playing its opening overture on oversized piano keys placed beside his swimming pool. While Tchaikovsky could play the piano, he wasn’t quite practiced enough to perform this particular piece. Yet, for such a masterful composer, this was not a weakness. Like all great composers, Tchaikovsky composed while seated at a desk, not behind a piano.
This concerto was a bold choice for its time, particularly since Tchaikovsky dedicated it to his friend, the legendary pianist Nikolai Rubinstein, who was the brother of an even more renowned pianist, Anton. Nikolai was a supreme interpreter of Mozart’s piano music, and his playing style was ideally suited to works of refined cheerfulness and technical brilliance. Anton, on the other hand, was known for his power, sometimes even breaking piano strings during his practice sessions.
The concerto would have been a perfect fit for Anton to premiere, but Tchaikovsky was much closer to Nikolai, and Nikolai almost always premiered Tchaikovsky's new works. Unfortunately, when Nikolai first saw the score, he dismissed it in disgust, criticizing Tchaikovsky for what he called 'a concerto against the piano,' finding it far too bombastic for his tastes. Tchaikovsky was naturally hurt by this, but years later, Nikolai sought him out to apologize, admitting that it took him that long to appreciate the piece. From then on, he performed it frequently.
The most iconic section in this piece is the octave passage in the first movement. It requires a true artist to execute these octaves correctly without rushing, showcasing technical mastery rather than attempting to impress. There's also a second octave passage in the third movement. However, the true highlight of this piece is its opening: an exuberant celebration of ultra-romantic music, composed by one of the most romantic figures of the Romantic era. Interestingly, this overture doesn't even feature the first melody initially; it leads up to it. The first movement also concludes with a dramatic 1-4-1 cadence, a rare occurrence where tonic (1) and dominant (5) chords dominate, with the subdominant (4) providing an interesting twist.
5. No. 21, C Major, K. 467 W. A. Mozart
Musically, this piece would rank second on the list behind #9, but we are considering all aspects of the piano concerto. In terms of pianistic flair, this one is truly enchanting. Mozart is not typically associated with grandiose music, though he certainly composed some. A well-known quote goes, 'Bach gave us God’s Word. Mozart gave us God’s laughter. Beethoven gave us God’s fire.'
This concerto exemplifies that carefree, joyful essence for which Mozart is so renowned. Despite its lighthearted nature, the technical demands and musical finesse required make it a challenging piece for any pianist, particularly with the presto legato fingering. The second movement is famously used in the film 'Elvira Madigan,' and as a result, the concerto is sometimes referred to by that name. Beethoven, Haydn, and Hummel were present at one or more of Mozart’s performances of this piece, and all agreed that his technique, particularly with his right hand, was flawless, with the continuous passages in the third movement flowing as smoothly as a river.
4. No. 3, D minor, Op. 30 Rachmaninoff
This is unquestionably the most technically demanding concerto ever composed for any instrument, requiring immense pianistic power. Vladimir Horowitz, one of the greatest pianists to have recorded this piece, described it as 'elephantine.' Similar to his Second Concerto, this composition mirrors the nature of his hands, with massive, forceful chords that are as bold and weighty as the music itself.
The original cadenza Beethoven wrote for the first movement is full of these enormous chords, and the pianist must strike the piano with all their might to capture its fierce, lion-like essence. Lazar Berman’s interpretation is widely regarded as one of the finest, as he fully embraces the piece's challenges. The first movement builds towards several climaxes, before fading into a quiet, lush second movement. As expected from Rachmaninoff, the third movement erupts into an exhilarating, thunderous conclusion.
3. No. 5, E-flat Major, Op. 73 Beethoven
There are two theories surrounding the origin of the concerto's nickname, 'Emperor.' One story suggests that during the Vienna premiere, a French army officer in the audience declared, 'C’est l’empereur de concerti!'—'This is the emperor of concertos!' The more likely account is that Beethoven’s publicist in London, Johann Cramer, is responsible for bestowing this title.
The piece was first performed on November 28, 1811, at the Gewandhaus in Leipzig, with Friedrich Schneider at the piano. By this time, Beethoven’s deafness had prevented him from playing the concerto himself, though he was eager to do so. His excitement often led him to play too fast. A few months later, the 12-year-old Carl Czerny—who was not only Beethoven’s pupil but later Franz Liszt’s teacher—premiered it in Vienna. Czerny’s performance was reportedly magnificent, which is supported by the fact that Beethoven would never have allowed him to perform the piece poorly.
Performing such an incredibly challenging piece at the age of 12 is almost unheard of today. This concerto, along with Beethoven's 4th, was among the first to depart from the Classical tradition of starting with a lengthy orchestral introduction before the soloist enters. Instead, it opens with the orchestra establishing the key, and the piano boldly joins in with cadenza-like scale runs and trills.
The third movement is, of course, just as extraordinary as the first, but the second movement stands out as one of the most beautiful and poetic pieces ever composed. It is pure romance, with the piano and orchestra intertwined as lovers, making it the finest slow movement among all concertos. Rudolf Serkin’s recording, conducted by Leonard Bernstein, is widely regarded as one of the best.
2. No. 2, B-flat Major, Op. 83 Johannes Brahms
Sadly, Brahms himself was never captured in a recording of this piece, but his live performances were known to bring audiences to their feet. Although he was short, he was stocky and could easily channel his full body weight into the powerful passages. Today, this concerto is often considered as challenging as Rachmaninoff’s 3rd, not necessarily due to technical demands but because a smaller pianist struggles more than most to overcome the full orchestra.
This is a thunderous work that spans four movements, rather than the usual three. The first movement contains a passage that sounds strikingly similar to the Battle Hymn of the Republic—pure coincidence—and ends with a double trill flourish, where the pianist gradually adds more fingers, louder and louder, as the orchestra swells, with the piano always needing to be heard over the growing volume.
1. Concerto in A minor, Op. 54 Robert Schumann
This is one of the most meticulously crafted works on this list and embodies the ideal Romantic piano concerto. The piece revolves around a 4-note motif, with the first movement presenting it in a descending minor theme. In the second movement, it ascends in major, and by the third, Schumann introduces variations. The work thus functions as a cyclic composition, aiming to explore all variations of the melody. The most iconic cyclic composition in existence is Bach’s Art of the Fugue, which heavily inspired Schumann.
Clara Schumann, widely regarded as the greatest female pianist of all time, premiered this concerto on January 1, 1846. Grieg may have been directly influenced by it when composing his own concerto (#8). Both works share the same opening key and begin with an orchestral chord followed by the soloist’s descending melody. This concerto earns its place at number 3 on the list due to its pure Romantic nature, being the quintessential 1800s work, and its extreme musical complexity. As Artur Rubinstein once remarked, ‘No one younger than 40’ is truly capable of playing it effectively.
+ Concerto for Piano and String Orchestra Alfred Schnittke
As a passionate fan of contemporary classical music, I thought it would be only fitting to add a piano concerto by Alfred Schnittke, my favorite composer, to Flamehorse’s collection. Schnittke was known for his eclectic style, blending quotes from other great composers with his own distinct voice. This concerto proves that the art of concerto composition is alive and well. It is a deeply moving and emotional work of music. If you enjoy this piece, I highly recommend exploring more of Schnittke’s music as you’ll surely appreciate his other works.
