Following the 1934 Concertino du printemps, the Concertino d'Automne was the second of the four concertinos Milhaud called his Les Quatre Saisons (The Four Seasons). It was written in the early spring of 1951 to fulfill a commission by outstanding duo pianists Gold & Fizdale, who had also commissioned the Suite pour deux pianos et orchestre, Op. 300, as well as numerous works by other twentieth century composers. The duo gave the first performance at New York City's Town Hall in December of the year of composition.

The one-movement piece is more detailed and complicated than it sounds at first, even on a second hearing. Auditorily, it seems to be in three sections: ABA. In actuality, it is in five sections: ABCBA. Additionally, the melodic material of the A and B sections are used essentially in a palindromic fashion, so that even the canons are in retrograde upon their return. (Milhaud had exploited this use of palindrome in the Suite and Quatrième concerto, Op. 300).

Of particular note is the fantastic 25-bar cadenza at the end of the A section. It is the longest, and arguably the most difficult cadenza in all of Milhaud's oeuvre for piano and instruments. It mostly treats the A section material in sequence, with a canon at the fifth on the first melodic material and ending with a set of double canons. As if the cadenza wasn't pyrotechnically demanding enough, it only becomes more difficult upon its return, with the canons in retrograde. The point of greatest dissonant intensity is reached at bar 75, with huge, dense polytonal chords.

Regarding pianistic sonority, the two-piano and orchestra works are probably Milhaud's best, with the two-piano medium being particularly apt for the composer's use of polytonality. His customary glissandi in thirds are especially effective in this work, employed antiphonally. The Concertino d'Automne is exacting in regard to piano technique, musicality, and ensemble, but when the demands are wonderfully met, the results are brilliant.

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