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The Piano Quintet by Robert Schumann was written in 1842. It is in the key of E flat major and is his opus 44. Like most piano quintets, it is written for piano and string quartet (two violins, viola and cello).

The work was composed in just a few weeks in September and October 1842, during his "Chamber Music Year." Prior to that year Schumann had completed no chamber music at all with the exception of an early piano quartet (in 1829). However, during his year-long concentration on the genre he wrote three string quartets and a piano trio and piano quartet in addition to his popular piano quintet.

The piece is in four movements, in the standard quick-slow-scherzo-quick pattern:

1. Allegro brillante
2. In modo d'una marcia. Un poco largamente
3. Scherzo: Molto vivace
4. Allegro ma non troppo

It is interesting that the tempo marking for the first movement is "Allegro Brillante", instead of "Allegro Brilliante". This is confusing for many as brillante is the Italian word for "diamond" and has lead many to believe that it is a misprint. However, all editions of the quintet have this printed as such. This is very important when determining the character of the movement.

This movement is like a funeral march. It is of note that before the faster section of this movement, there is the same sequence of octaves in the piano as in the first movement before the piano solo.

At the end of the piece, the last movement's main theme is combined with the first movement's main theme in a double fugue.

Clara Schumann, the composer's wife and a noted pianist, premiered the work on 8 January, 1843, at the Leipzig Gewandhaus, and often played the work throughout her life, despite criticism of her performance from her husband late in his life and a statement that only a man could understand it (it is said, though, that Schumann said this in a moment of jealousy, as it is well known that he had sometimes problems with being "Mr. Clara Schumann", husband of the renowed virtuoso). Despite its popularity, Franz Liszt heard the piece at the Schumanns' home and was distinctly unimpressed by it, dismissing it as being "too Leipzigerisch", a reference to the conservative musical style of composers from Leipzig, especially Felix Mendelssohn.

• Daverio, John. “'Beautiful and Abstruse Conversations': The Chamber Music of Schumann.” Nineteenth-Century Chamber Music. Ed. Stephen E. Hefling. New York: Schirmer, 1998: 208–41.
• Nelson, J.C. ‘Progressive Tonality in the Finale of the Piano Quintet, op.44 of Robert Schumann’. Indiana Theory Review, xiii/1 (1992): 41–51.
• Wollenberg, Susan. ‘Schumann's Piano Quintet in E flat: the Bach Legacy’, The Music Review, lii (1991): 299–305.
• Westrup, J. ‘The Sketch for Schumann's Piano Quintet op.44’, Convivium musicorum: Festschrift Wolfgang Boetticher. Ed. H. Hüschen and D.-R. Moser. Berlin, 1974: 367–71.
• Tovey, D.F. Essays in Musical Analysis: Chamber Music. London: Oxford, 1944: 149–54.

• Chamber music
• Romanticism

• Piano Quintet was available at the International Music Score Library Project.