Mendelssohn attended one party after another in Munich in October 1831, the month of the premiere, but he also played chamber music and taught double counterpoint.

[3] The concerto quickly obtained popularity, and contains many sections of improvisation, one of Mendelssohn's specialities; it is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani and strings.

The rest of the movement is fairly typical of concertos in its use of a modified sonata form, with a second, contrasting lyrical theme first heard from the piano over repeated accompaniment, and later on wind.

The piano joins in, at which point the mood lightens, and the closing rondo - Molto allegro e vivace - begins.

He sends for holy water and sprinkles the keyboard with it, but in vain—proof that it wasn't witchcraft but merely the natural result of thirty performances of one concerto.

Each piece danced, jumped, frisked about separately—on the pavement, between our legs, against the wall, in all directions, until the warehouse locksmith picked up this bedeviled mechanism in one armful and flung it in the fire of his forge, finally putting an end of it...Such a fine instrument!