He was obliged to put it to one side while he worked to a deadline to write another concerto, the D major, for the left hand, commissioned by Paul Wittgenstein.

His colleague Gustave Samazeuilh believed that Ravel drew on his earlier ideas for the outer movements of the G major concerto, and Orenstein notes a Basque influence in the opening theme of the work.

[11] A few days after the premiere, Ravel and Long began a European tour with the concerto, playing in sixteen cities, starting in Antwerp and including Brussels, Vienna, Bucharest, Prague, London, Warsaw, Berlin, Amsterdam and Budapest.

[n 3] Ravel told Leroi, "In order not to needlessly weigh down the orchestral texture, I called for a reduced orchestra: the usual strings are joined only by one flute, piccolo, oboe, cor anglais, two bassoons, two horns, one trumpet and one trombone".

[14] The full tally of instruments, apart from the piano, comprises piccolo, flute, oboe, cor anglais, E♭ clarinet, clarinet in B♭ and A, 2 bassoons, 2 horns in F, trumpet in C, trombone, timpani, triangle, snare drum, cymbals, bass drum, tamtam, wood block, whip, harp, 16 violins, 6 violas, 6 cellos, and 4 double basses.

Where a cadenza might be expected in such a concerto movement, Ravel writes three: first for harp, then for the woodwind, and finally for the piano; the last of these draws on the fifth theme of the exposition.

An extended coda concludes the movement, bringing back some of the material from the development section and finishes with a series of descending major and minor triads.

[19] There follows a more dissonant episode, imbued with what Fleury calls a slight sense of trepidation; the orchestra plays slowly ascending chord progressions while the piano part consists of "iridescent harmonies".

[n 6] Four brisk chords at the beginning launch what Fleury describes as "an unstoppable onslaught, spurred on by the shrieks of the clarinet and the piccolo, the donkey brays of the trombone and occasional fanfare flourishes in the brass".

[21] The first recording of the concerto, made in 1932, featured Marguerite Long as soloist with an ad hoc orchestra of the best players in Paris,[22] conducted, according to the label, by the composer.