Bartók's Mikrokosmos holds a place unique in pianoforte literature. Its achievement lies far beyond that of the conventional course of progressive studies. From the earliest exercises, consistent use is made of the ecclesiastical modes, which often supplant the diatonic scale, and a real extension of tonal awareness is thus offered from the most elementary stages; the student is also familiarised with unusual time-signatures and rhythmic structures, while to the student of composition valuable insight into technical procedures is offered in a particularly clear form. And a use of the rhythms and melodies of folk music is of great value as documenting (accessibly) the constituents of Eastern European peasant song and dance.

I wrote my first piano concerto in 1926. I regard it as a successful work, although its texture is slightly difficult—indeed one might say very difficult—both for the orchestra and for the audience. This is why in my second piano concerto, some years later (1930–31) I wanted to write a kind of complementary piece to the first, with fewer difficulties for the orchestra, and more attractive in its thematic material. This is the reason for the lighter tone and more popular cut of most of its themes. In its light-heartedness it is sometimes almost reminiscent of one of the works of my youth, the orchestral suite Op. 3 (1905).

In the correspondence between Bartók and his publisher, Ralph Hawkes, a letter to the composer, dated 22 August 1940, contains what is apparently the first mention of the Third Piano Concerto:

I do not know whether you have developed any ideas for new works during the last few months, quite possibly not, but I would like to remind you of your promise of the orchestral version of the Two Pianos and Percussion work, also to advise you that I shall expect the Third Piano Concerto by the summer of 1941. My reason for saying this is that you will be wanted as soloist with this work for the New York Philharmonic during its Centennial Season 1941–42.

For the last programme of their 1904–5 season, on 15th March, 1905, the Budapest Philharmonic Society had announced the first performance of a new Scherzo for piano and orchestra by Bartók, in which the composer was to have played the solo part (as well as Liszt's Totentanz) with István Kerner conducting. Owing to the difficulties of the orchestral part, or rather to the inadequate rehearsal time allowed, and the resistance of the orchestral players, the work could not be learnt, and an earlier Scherzo by Bartok, for orchestra alone (a movement from a Symphony composed in 1902) was substituted, which Kerner had originally conducted at a concert of music by Academy students on 29th February, 1904.

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