The musical compositions of Alfred Schnittke (1934-1998) have their own unique voice, and the Concerto for Piano and Strings is not an exception. Through the examination of Schnittke’s life and piano works in the context of the art and literature of his time, this monograph introduces Schnittke’s Concerto for Piano and Strings as something much more than just the analysis of a typical piano concerto while giving meaning to the polystylism existent in his works. Alfred Schnittke was of Jewish and German background and experienced living in the Soviet Union during World War II. An internal struggle for identity and the conflict present in the world at that time is evident in the works of Schnittke, which juxtaposes the dichotomy of good and evil. One cannot clearly understand the meaning behind the many different techniques and compositional devices of Schnittke’s music without a deeper knowledge of his life and the literature and art of the time; his music poses many poignant questions about religion and philosophy. The paper that follows consists of five chapters which begin with an introduction to Schnittke’s life, followed by a discussion of his pianistic style, an analysis of his works for piano, and a discussion of his piano concertos. The sections consist of a discussion of his Concerto for Piano and Strings within the context of his other works of the time and works of literature. Part of this discussion draws important parallels between Schnittke's Concerto for Piano and Strings and two literary works: The Master and Margarita by Mikhail Bulgakov and Doctor Faustus by Thomas Mann. It is hoped that this paper will bring a greater interest in Schnittke’s Concerto for Piano and Strings and his other piano works which are not frequently performed. / Music Performance