The tuneful, energetic concerto was commissioned by the Boston Symphony Orchestra to restore relations between Paris, Poulenc's hometown, and the United States after the Second World War.

It was noted that there was "more sympathy than real enthusiasm," which the composer attributed to the notion that the audience had listened to too much Sibelius.

[3] One critic wrote in Le Figaro: "Certainly it isn’t a concerto at all but a little picture of manners, done up by a minor master.

"[5][6] Each of the concerto's three movements is shorter than the one before: The first, reminiscent of various Rachmaninoff themes, meanders here and there, never quite making up its mind; there are subdued hints of the approaching Poulenc opera Dialogues of the Carmelites.

[4] In the last movement, in hopes of appealing to American audiences, Poulenc incorporates the tune of Stephen Foster's Swanee River[7] (some listeners alternatively believe that this section is in fact quoting the 15th century French song A la claire fontaine[2]); Poulenc also incorporates various Brazilian Maxixe rhythms.