Beethoven, Liszt, and many other composers fashioned works, usually for keyboard alone, employing themes from popular operas of the day. Meyerbeer's Robert the devil was premiered at the Paris Opera on November 21, 1831, achieving instant success with public and critics alike. Meyerbeer, previously an obscure composer, became an overnight sensation, his succeeding operas gaining immediate notice. Chopin had recently taken up residence in Paris as a Polish political exile when Robert the devil premiered, and like most lovers of opera, found its music unforgettable, and, more importantly, adaptable to another venue. In early 1832 he wrote this colorful work. Nine years later Liszt—a composer he undoubtedly influenced—would also write a composition using the same source, Reminiscences of Robert the devil—Infernal waltz.

Chopin's Grand duo concertante opens with a virtuosic and somewhat bombastic cadenza: while it is effective, in many ways it goes contrary to the composer's usual elegance and subtlety. His piano writing, in fact, augurs that of the more virtuosic side of Liszt here and in several other places. The cello finally enters after nearly two idle minutes and introduces a lovely theme. The melodies here in general have an Italianate flavor, and their character can in great part be attributed to German-born Meyerbeer's nine-year stint in Italy studying opera. Perhaps the most brilliant and effective keyboard writing comes near the end of the work, before the cello recaptures center stage for the colorful close. While the cello part is well-conceived throughout, especially when the soloist is playing Meyerbeer's lush themes in the upper ranges, it is the piano writing that draws the listener's attention when it steps into foreground. Despite minor flaws, this is an important work in the composer's small chamber output.

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