This Scherzo for orchestra and piano was not published in Bartók's lifetime, not was it performed. However, the composer initially attached serious hopes to the work, placing it on the programme of a Philharmonia Society concert in 1905. However Bartók sensed the resistance and lack of preparation of the orchestra and became so angry at the rehearsal that he withdrew the performing rights. This composition is regarded as among the most interesting of Bartók's unpublished surviving works. At the time of its composition, it was his finest work to date and the one most predictive of his future path. Written in 1904, it did not see the light of day until Denijs Dille published it in 1961. It received its world premiere that same year, in a performance with pianist Erzsébet Tusa and the Radio Orchestra conducted by György Lehel.

László Somfai summarised the importance of the work like this: Since the Scherzo for piano and orchestra was published, many have written that the “ma poco variato” section is a precursor to a number of later Bartók scores. We hear the robust scenes of the Village Dance from Two Pictures, the orchestral version of the First Romanian Dance, the Scherzo of the Four Orchestral Pieces and particularly, the character of the puppet and dance material from The Wooden Prince in a new light knowing that Bartók had already discovered this remarkably characteristic “barbaric” voice in 1904-1905. Bartók certainly was aware of its importance and explained that he banned its premiere performance because it promised to be a farce. Since the score did not serve to show off the pianist's ability. Bartók could not have saved the production on his own because the piano's role was dwarfed by that of the orchestra.”