I composed The Piano Concerto as a graduate´s work at the Academy of Arts. The position of a solo

                        piano against the sound of the orchestra enabled me to make use of the principle of a conflict (fight)

                        and dialogue (a test of understanding). I tried to reduce traditional accompaniment role of the orchestra

                        and lay emphasis at the authenticity of the orchestral sound both in a whole and in individual instrumental

                        groups. The solo part of the piano makes more demands on sound and expression aspect than on showy

                        virtuosity, not only in expressive slow movement, but also in the first and last movements of toccata character.

                        The composition is formally divided into three movements connected with attacca, which are combined

                        in motifs in a whole.