The world premiere of this concert took place at the 2005 Mini Festival. Dubrovay writes: “Since my youth I have been preoccupied with the sonorities of percussion instruments. Proof of this is my 1969 work Sei duo for violin and percussion. After a long passage of time, I composed my percussion symphony for the Amadinda group in 1998. Zoltán Varga's superb solo performances gave the idea of writing a concerto for him. This is how my Concerto for Percussion and Orchestra came to be written. The work is dedicated to Zoltán Varga.

My aim was to present the many faces of the lyrical percussion instruments, while giving the player ample opportunities to demonstrate his virtuosity. The composition is cast in three movements. The principal theme of the sonata form First Movement is played by vibraphone, the closing theme is intoned by glockenspiel and rattle. In the development section, only the marimba and vibraphone are employed soloistically. In the shortened reprise, the subsidiary theme is heard on vibraphone, while the closing theme is on glockenspiel and rattle. In the coda, the material of the principal theme is again heard on marimba.
In the introduction to the Second Movement, tubular bells are paired with the earlier instruments. From the distant sound of bells, the motif is born which creates the folklike melody and structure (A-B-A variation- B variation) of the movement. In the coda, the melody breaks down into its elements, rising in ever higher pitched sonorities.

The Third Movement unites the characters of jokey scherzo and virtuoso toccata movements. In one of the interludes, the lyrical subsidiary theme of the first movement makes its returned, in a transfigured environment, playfully indicating that everything: Drama, Lyric, Humour, Play – like a breeze, dies down to Nothing.”