The Piano Concerto was commissioned by CCB (Cultural Centre of Belém, Lisbon) for the festival “Music Days 2010”. Being the festival’s main theme for that year the Traité des Passions de l’Âme by René Descartes - a curious book in which Descartes analyses human passions from a mechanicist point of view – I thought that a concerto for a single soloist and orchestra – the most dramatic instrumental “genre” by nature – would aloud me to make a straight away connection with the festival’s theme. The choice of the piano as the soloist was due to several factors: first of all, it is the most popular combination among all those possible; second, I never had written a piano concerto, and for a while I was thinking of writing something new for António Rosado, a great pianist and a friend, who premiered in Madrid and Lisbon my Concerto for Two Pianos (2003 and 2008). The Piano Concerto is divided in the three usual movements, fast-slow-fast, which allowed me to explore different moods (and also big differences in orchestration, such as the important role of the percussions, bass clarinet and double bassoon in the slow movement), even if, in each movement, the changes between light and shadow, seriousness and humour, tragedy and comedy, are always present, sometimes in quick and ghostly alternance. Descartes taught that the passions came from the pineal gland, and their “essences” were carried by small animals, mechanicist version of the electrical sparks between neurons in the brain, and that idea is, in a certain way, ideal for the concerto genre, who shares its motifs and “passions” among the orchestra. By its turn, the orchestra sometimes collaborates, sometimes fight with the piano.