The interchangeability of instrumental soloists in a given concerto solo is essentially a Baroque practice. The majority of concerto transcriptions lie in the Baroque Period and the Twentieth Century. Much of the attitude toward transcription comes from economic considerations as well as the desire to increase the utility of specific compositions. The creation of the interchangeable concerto is an outgrowth of this practice. In a work where the individual solo parts are both idiomatic and unique, interchangeability may provide a new and exciting addition to the approach of the composition of concerti and other works for solo and orchestra in the future.The work has as its main feature three interchangeable idiomatic concerto solos. Only one soloist of the three is featured per performance. While each of the three concerto solo parts is idiomatic for the specified instrument, each contains different material. The term interchangeable is used to describe the solos, as the solo itself is interchangeable with the single orchestral accompaniment, not merely a transcription of the single solo line. These features allow the concerto a greater potential for repeated performances by the same organization, providing utility for the work, and as far as it is known, make this work unique.The fundamental objective of the implementation of a single orchestral accompaniment with different concerto solos is realistic. The utility of the work was proven in the recording of the three versions of the concerto.The first chapter of the paper deals with the problem, purpose and uniqueness of the project. The second chapter of the paper is a brief review of transcription of works for soloist and orchestra. The third chapter is an analysis of the composed interchangeable concerto, Essay. The fourth chapter is a summary of the project. Appendix A is a list of transcriptions of works for soloist and orchestra, compiled from numerous sources. Appendix B is a list of addresses to which inquiries were sent concerning the project in seeking similar repertoire. Appendix C is the full score of the concerto. In addition to the paper and score, a reel-to-reel recording was made of all three concerti, giving complete documentation for the project. / School of Music

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Elgar is the greatest modern composer in Britain after Purcell. Though he never received formal musical education and training, through self-learning and composing ceaselessly, finally he gained both domestic and international approval for his works. In addition, he is a model of self-made composer. Elgar¡¦s works include oratorios, choruses, symphonies, concertos, orchestral music and chamber music. One who never received any academic musical education, Elgar however successfully created an indigenous English style of music through his own learning, exploration, and innovation. Among the main characteristics of his works are their noble temperament and romantic sentiment filled with nostalgia and retrospection. The Cello Concerto, op. 85 is the most well-known work of Elgar¡¦s later productions, one indispensable piece for the Cello concert repertoire. This study is mainly devoted to exploring the background and techniques of this most outstanding work in Elgar¡¦s later life. Besides, it will be analyzing the relationship between solo cello and the orchestra movement by movement. Lastly, it will be exploring Elgar¡¦s frequently-used technical expressions and the ways to perform and interpret this work.

In Baroque period, the concerto development mainly focus on solo concerto. Composers choosed violin as the primary solo instrument. At that time, harpsichord was treated as the basso continuo instruments in orchestra. No harpsichord concerto is found at the beginning of the development of solo concerto. Johann Sebastian Bach was the first composer who used harpsichord as solo instrument for concerto.His harpsichord concerto in Weimar period foreshadow harpsichord concerto in Leipzig period. The harpsichord concertos of J.S.Bach borrowed materials from other composers` or his own solo concertos. This paper uses harpsichord concerto BWV1052 as example to investigate the way Bach changed the role of harpsichord from basso continuo to solo instrument. This paper includes three parts. First, the development of the solo concerto in the Baroque period is explored. The second part focuses on harpsichord concertos of J.S.Bach. Thirdly, examines how Bach borrowed his own materials from Cantata BWV146 to BWV1052, and the relationship among C.P.E.Bach`s harpsichord concerto BWV1052a, Wilfried Fischer `s Violin concerto reconstruction BWV1052 and BWV1052. Finally, a conclusion will be made.

The first movement of Robert Schumann¡¦s A minor piano concerto is originally the Fantasy in A minor for piano and orchestra which composed in 1841. Four years later, Schumann himself added another two movements to let it become a concerto of three complete movements. The idea of monothematic is through out all movements to unite the concerto. This text is divided into four parts to research. The first part is the discussion of composing background. The second part is the realization of the compositional process. The third part is concentrated on the analysis, the formal structure of the three movements, includes the monothematic using and the strategy of thematic metamorphosis using. And the last part investigates the sound, harmony, melody and rhythm of this concerto, in order to understand the special composing method of Schumann. The A minor concerto not merely successfully incorporated Classic and Romantic composing styles, in the meanwhile, Schumann displayed his outstanding strategy of balancing the soloist and the orchestra.

This thesis aims to deal with the famous Violin Concerto no.2 of Wieniawski who is a member of French violin school and a virtuoso soloist during the mid-nineteenth-century. Wieniawski was admitted to the master class of Lambert Massart, a member of French violin school which many violin treaties and pedagogies came from. Wieniawski was a soloist when he¡¦s young. He settled in St Petersburg from 1860 to 1872 and exerted a decisive influence on Russian violin school. The first chapter is to introduce the main bibliography, the motive and the search process of the thesis. Also it is to make a survey of violin schools, soloists and important violin concertos before Wieniawski. The second chapter is to present the life, works and performance style of Wieniawski. The third chapter goes to discuss Wieniawski Violin Concerto no.2 and analyzes technique he used. The forth chapter is to mainly discuss several teaching ways for Wieniawski Violin Concerto no.2, including the levels of students and solutions of techniques to help different students. The fifth chapter concludes the four chapters above. After Beethoven, the violin concertos developed along three independent lines. One inherits tradition and stressed the musical value, another follows the virtuoso path, and the third is the new type of ¡¥national¡¦ concerto. Wieniawski Violin Concerto no.2 is an important virtuoso work like Concertos of Paganini and Vieuxtemps. Among the virtuoso works, this concerto is one of few works that could combine technique dexterity and music value. Wieniawski Violin Concerto no.2 is the fifth level of the String Syllabus by American String Teacher Association. There are many works in the same Level, like the Concertos no.4 and no.5 by Mozart, the Concertos no.7 and no.9 by Rode, the Concerto no.22 by Viotti, the Concertos ¡¥four seasons¡¦ by Vivaldi, ¡¥Havanaise¡¦ by Saint-saën, ¡¥Devil¡¦s Trill¡¦ by Tartini and so on. Compared with those works in the same level, Wieniawski Concerto no.2 is more difficult in technique. It is a bridge between the fifth and sixth level and a virtuoso violin work.

In the nighteenth century,the Paris Concervatory is the very important musical school and places a key position in France . At that time the Brussels Concervatory also places an important position in Belgium. The characteristic of French Violin School is the beautiful melody, and Belgian Violin School has the brilliant skills of Paganini¡¦s style. Henry Vieuxtemps is the representative of Franco-Belgian Violin School, which are the merge of the above two schools. This study focuses on the background, forms and playing skills of Vieuxtemps¡¦ Concerto No.5 in A minor.

Wolfgang Amadeus Mozart (1756~1791) is one of the most important composers in the Classic period. In his early age, he used to be a virtuoso, played across Europe such as England, France, and Italy, etc. Therefore Mozart was influenced by different styles of music. He then took these different music styles into a refined and harmonious integration. Mozart not only had great dedication in operas, but also in the sonata form with ¡§double exposition¡¨ which he used in the concertos. We can see this progressing from the piano concertos that Mozart composed through his whole life. Although Mozart¡¦s violin concertos belong to his early work, they are the bridge between the concertos with ritornello form in the Baroque period and the sonata form with double exposition in the Classic period. In addition to the preface, this thesis consists of three chapters. The First Chapter mainly summarizes the life of Mozart, dividing into three periods¡Xthe early period (1756~1779), Salzburg period (1773~1782), and Vienna period (1782~1791). The Second Chapter discusses the background of the Mozart¡¦s Violin Concerto No. 4, including the Mozart as a violinist, the interaction between Mozart and other violinists in his time , and the differences between the form of this violin concerto, ritornello form and the sonata form with ¡¨double exposition¡¨. The Third Chapter concentrates on the analysis of the concerto, and the tempo, dynamics, fingerings, and bowings, and the way of playing the decorative notes. In this article, the cadenza written by Joachim was adopted. The writer of this thesis sincerely hopes this article can make some attribution to the persons who are interested in Mozart¡¦s music and play the Mozart¡¦s violin concertos.

Wolfgang Amadeus Mozart¡¦s Bassoon Concerto in B-flat major K. 191 was composed in 1774, in Mozart¡¦s early life period. This thesis starts from the introduction of the composing background of Bassoon Concerto in B-flat major K. 191. Then discusses the structures of the concerto, the differences between the orchestral and the piano edition, and the interpretation of the performance. The third part of this thesis is to discuss the differences between Mozart's original version and the two piano versions arranged by Ivan Kostlan in 1961 and Arthur Weisberg in 1964. The first piano verstion which published by Musica Rara in 1961 was arranged by Ivan Kostlan. The second piano version which published by International Music Company in 1964 was arranged by Arthur Weisberg. The final part of this thesis is to discuss the musical phrases, cadenzas and special fingering.

Concerto for Piano and Wind Ensemble is a 16-minute work for piano and winds, brass, and percussion. Although piano is my primary instrument, I have written relatively little for it. With this piece I sought to write a work in the vein of the Romantic and early Twentieth Century piano concerto repertoire, which I listened to and absorbed as a young musician, but with a more contemporary harmonic language. Rather than using the traditional orchestra as the accompanying ensemble, I chose the wind ensemble, which has a limited concerto repertoire, giving me the opportunity to make a meaningful contribution to its literature. / text