[3] Like the A minor piano concerto (1822), it remained unpublished during Mendelssohn's lifetime and it wasn't until 1999 when a critical edition of the piece was available.

[5] The young Mendelssohn was also influenced by Carl Maria von Weber and frequently performed his Konzertstück in F minor.

The main theme is reminiscent of Bach's style and recalls the Baroque era, with contrapuntal texture and a clear harmonic structure.

As the orchestra approaches a soft cadence, the piano solo abruptly begins with an arpeggio marked più Lento.

The orchestra takes over shortly and the solo instruments enter again, mimicking each other in an incredibly balanced duo, closing the exposition.

However, unlike a typical Classical era concerto, the development begins with a recitative section in D-flat major without orchestral accompaniment.

This recitative section clearly alludes to Mozart's operas, with the violin singing as a soprano and the piano mimicking orchestral tremolo.

The orchestral tutti begins with a beautiful melody, foreshadowing the style of Mendelssohn's "Songs Without Words" written six years later.

The final movement, Allegro molto, is a rondo in D minor that begins with the piano introducing the primary theme accompanied by difficult leaps in the bass.

The soloists enter a virtuosic interplay of rapid sixteenth note passages and thematic exchange until suddenly, the piano introduces a chorale à la Bach.