Composition remained untouched for a span of ten years until the composer crossed paths with a soloist, Montreal-based pianist Jean-Philippe Sylvestre.

Sylvestre's keen enthusiasm for performing the concerto, coupled with his ability to "do it justice and add finishing touches," as described by the composer, led to the revival of the piece.

[7] This influence is evident in his typical style, characterized by neo-romanticism, in this case, a Piano Concerto, featuring melodious and harmonically rich content infused with elements drawn from Russian folk music.

The orchestral sections demonstrate skillful composition, while the solo passages require significant technical proficiency from the instruments, especially the woodwinds.

The buoyant atmosphere gradually diminishes as the piano introduces a noble Andante cantabile theme through a short recitative in G minor.

A dramatical climax in C Major is followed by a section where the piano engages in delicate exchanges with the woodwinds and this time clock-like pulse of a glockenspiel.

After some development, including the return of the fanfare, the main theme resurfaces in B flat Minor, following an energetic section marked con sarcasmo.

Emmanuel Bernier of Le Soleil wrote: "The piano section offers significant advantages to the performer, featuring double octaves and expansive, harmonically rich chords.

Michael Church of BBC Music Magazine wrote: "Ichmouratov clearly loves what he can do in a pianissimo environment, teasing the listener into following intricate paths".

"[8] Jean Lacroix of Crescendo Magazine wrote: "...undeniable qualities in the field of orchestral treatment: demonstration and luxuriance, vitality and solemnity, expressiveness and melodic capacity.