One of the famous Russian composers and a pianist himself, Sergei Prokofiev (1891–1953) composed a vast quantity of piano music. His nine piano sonatas represent well how he projected his musical individuality and the principles that he addressed in his autobiography: classical line, modern trend, toccata line, lyrical line, and grotesque line. However, even though Prokofiev's piano sonatas are considered one of the important collections in the piano repertoire, not all of them have gained popularity and only a few tend to be frequently performed by pianists today. For this reason, this dissertation focuses on one of his less-performed piano sonatas, No. 4 in C minor, Op. 29. The pianists György Sándor and Boris Berman were chosen as specialists in Prokofiev's piano works, and their performance editions and recordings are analyzed and compared as main references. This study provides analysis and a performance guide to this piano sonata. This guide discusses pedaling, fingering, phrasing, touch, voicing, tempo suggestion, articulation, hand distribution, and expression.

In the case of Concerto for Orchestra, Béla Bartók transcribed one of his most emblematic orchestral compositions to his own solo instrument, the piano. This transcription's primary function was to suffice for ballet rehearsal accompaniment for the choreography to be introduced alongside a performance of the orchestral work. György Sándor, Bartók's pupil and pianist, prepared the original manuscript for publication. Logan Skelton, pianist-composer, used this published edition as a point of departure for his own piano arrangement of the same work. György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.György Sándor took an editorial approach to the score and followed the manuscript as literally as possible. On the other hand, Logan Skelton treated the same musical material daringly, striving for technical simplicity and a richer orchestral sound. The purpose of this study is to examine and identify the contrasting treatments pertaining to playability, text, and texture in the Bartók-Sándor edition and Skelton arrangement of the two movements, Elegia and Finale, of the Concerto for Orchestra piano arrangement.