Sketched September 18-20, 1849 and orchestrated by September 26, the Introduction and Allegro appassionato in G major, Op. 92, was first performed on February 14, 1850, in Leipzig. The work was published by Whistling in 1852. Like the "Concerto" for four horns, Op. 86, the Introduction and Allegro appassionato in G major, Op. 92, received the title, "Konzertstück" (Concert Piece). Thus, Schumann recognized that such works did not fit into any of the molds brought to mind by other terms. Unfortunately, the Introduction and Allegro appassionato, Op. 92, has always been overshadowed by Schumann's Piano Concerto, Op. 54, although the later piece marks a significant stylistic departure for the composer. Schumann conceived the Introduction and Allegro appassionato while immersed in the works of Lord Byron. He had only recently worked on his Manfred overture, Op. 115, inspired by Byron, and would soon begin setting Byron in the Hebrew Melodies, Op. 95. Schumann translated the heroism depicted in Byron's poetry into a work for piano and orchestra.

The lengthy introduction unfolds slowly, with the pianist playing constant arpeggios, accompanied almost imperceptibly by individual instruments in the orchestra. After a dramatic pause, the Allegro begins with the orchestra performing a grand gesture, echoed by the piano, which tries to push the harmony toward E minor. Once this new key is established, a secondary theme emerges in the left hand of the piano that then shifts to the right hand for a repeat, all the while with minimal accompaniment in the orchestra.

In the adventurous development section the secondary theme receives particularly interesting treatment, appearing in the distant key of E flat minor and then dissolving into an E major rendition of the introductory material. Schumann alternates between a Beethovenian inversion and fragmentation of melodies and full statements of ideas on different harmonies in this dense, relentless development. Struggle occurs as the melodic material attempts to return to the home key. In the recapitulation we finally hear the secondary theme on the tonic, although its presentation is not literal. Schumann's grand close is not as grand as it could be.

Critics disagree concerning the importance of the Introduction and Allegro appassionato, some calling the work uninspired while others claim it is an important example of Schumann's mature style. Certainly, it is a unique structure in its single-movement format with multiple sections and unusual processes of development.

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