He then took a break and took up the concerto again after finishing his Duo Concertant and Persephone, even though he was interrupted again due to an appendectomy.

Having figured out that he had given a three-year break to his composition, and this could result in a radical difference between its first movement and the rest of the work, he opted for asking Pleyel et Cie to build him a double piano, one appended to the back part of the other.

[3] In 1963, Stravinsky stated in a conversation with American conductor Robert Craft in their book Dialogues and a Diary (1963) that "the Concerto is perhaps my 'Favorite' among my purely instrumental pieces.

[4] The order of the movements was a challenging issue for Stravinsky, due to his break at the time of composing this work.

Both the prelude and the fugue are in D, but, towards the end, a descending chromatic scale performed nonsimultaneously by both of the pianos makes it to change to E major.

[2] The composition was premièred in Paris, at a recital given in the Salle Gaveau by the Université des Annales on November 21, 1935.

The concert was subsequently played during the following months with his son Soulima Stravinsky throughout Europe and South America.

[4] The fourth and final movement is a slow prelude and a four-voiced fugue, followed by an after-fugue in which the notes of the theme are represented in inversion.