I have always had a great interest in late nineteenth-century pianists and composers. Their expressive forms have brought the concert for piano and orchestra to the height of its splendor. Over the years, I have always floated the idea of dedicating myself to this type of writing. I took as a formal model, the great concerts of Rachmaninov, Prokofiev and Metner, recognizing in them the greatness and wisdom in giving the piano, the maximum of technical performance and musical expressiveness. My concert is structured in three movements. The first, Majestic, characterized by a passionate and vibrant melody, in which episodes of a playful nature alternate with moments of great excitement. The second movement, Lento, in which the orchestra introduces a sweet and melancholy theme, immediately leaving the place for the piano, which begins the second movement with a dreamy and delicate melody. The third movement, instead of starting immediately with a rapid tempo, begins in an atypical way with a Moderato performed by the orchestra. Right after the piano, it bursts in with a tumultuous short cadence, introducing a stormy new theme. Needless to say, I gave the piano a role of maximum expressiveness, permeating the piano writing with an amazing virtuosity.