Among the existing solo instrumental concertos of Joseph Haydn's oeuvre are two concertos for brass instruments. These are the Horn Concerto in D Major (Hob. VIId: 3) and Trumpet Concerto in E-flat Major (Hob. VIIe: 1). In addition to their standing as the only two concertos for solo brass instruments written by Haydn in existence, the two concertos provide a unique opportunity for insight into the history of the concerto genre and Haydn's change in compositional style. This is because of their chronological position within Haydn's oeuvre; the Horn Concerto was composed in 1762 during the early years of Haydn's employment with the Esterházy family and the Trumpet Concerto in 1796 as the last known concerto written by Haydn. Significant changes had occurred during that thirty four year time-span, not only in Haydn's life, but also within the field of music. This dissertation examines some of these changes and provides a comparative analysis of these two pieces. More specifically, it employs Schenkerian analysis of the voice-leading and structure of both concertos to examine the transformation in Haydn's compositional style and show the evolution of concerto form. This evolution in style between the Horn Concerto and Trumpet Concerto is most prominently marked by a loosening of compositional constraints, including freer formal procedures, instrumentation, harmonic structures, and an increase in chromaticism (aided by the new chromatic abilities of the trumpet). This document provides an in-depth comparative analysis within an often overlooked genre of music and gives insight into changes in Haydn's compositional style and the concerto genre.

Sergei Rachmaninoff's Second Piano Concerto is one of the most frequently performed and beloved works. It is ironic that, however, despite its huge popularity, there are not many in-depth studies of this concerto, offering pianists few opportunities to examine the work from an analytical perspective. The detailed analysis presented in this study reveals that the main structure of this concerto is directly related to a motto comprising three-notes, designated the 6-5-1 motto. In his use of this motto in the Second Piano Concerto, Rachmaninoff was profoundly influenced by the German-born composer Adolf von Henselt. Indeed, while von Henselt's importance for Russian music has been generally recognized, his impact, especially upon Rachmaninoff, has received insufficient attention in the scholarly literature. This study also examines Henselt's Piano Concerto Op. 16 in depth in order to demonstrate how Rachmaninoff's masterwork relates to its precursor. Additional studies of the 6-5-1 motto in European compositions from the nineteenth century trace the motto's origins.

This dissertation is divided into six chapters. The first chapter explains the purpose and significance of the study. The second chapter presents an analysis about Wanderer Fantasy, D.760 composed by Schubert, employing Schenker analysis to elucidate important motives. Chapter 3 provides an analysis of Schubert-Liszt, Wanderer Fantasy for Piano and Orchestra, S. 366 and shows how Liszt transcribed the original to emphasize certain motives, and further, describes the development of the piano history. Chapter 4 delves into an analysis of Schubert-Liszt, Wanderer Fantasy for Two Pianos, S. 653a transcribed by Franz Liszt and further explains the historic development of piano, in particular Érard's grand piano. Chapter 5 explains the analysis of Schubert-Liszt, Wanderer Fantasy for Piano Solo, S.565a and expands upon Érard's grand piano. Finally, Chapter 6 leads to this paper's summary and conclusion.