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Analysis of the wind concerto finales reveals characteristics of several different concerto forms. Mozart incorporated ideas from the French Rondeau, the Baroque Concerto Grosso, and the Classical Sonata. His early concertos seem to favor earlier forms and ideas, and his final concerto exemplifies a more advanced Classical form. This research has revealed style relationships between forms of the Baroque compositions and Mozart's use of Rondo form in the finales of his wind concertos. This places historically Mozart's wind concerto Rondos between the Baroque Concerto grosso and the fully developed Rondo of Beethoven and Haydn.

The objective of this essay is to study technical problems and performance issues in the piano-reduction accompaniments of three solo arias from Mozart’s Don Giovanni: “Or sai chi l’onore,” “Dalla sua pace la mia dipende,” and “Batti, batti, o bel Masetto.” This study is executed through the comparative analysis of the arias’ accompaniments from four piano-vocal score editions of the opera (Bärenreiter, G. Schirmer, Ricordi, and Boosey & Hawkes) with cross-reference to the full orchestral score (the Neue Mozart-Ausgabe). The essay contains a detailed presentation of the merits and flaws of each of the four piano-vocal score editions; a discussion of the realizations’ quality; examples by the author of plausible modifications; and the author’s suggestions for practice, fingering, pedaling, and dealing with various performance issues. This essay can provide a stimulus for vocal pianists to explore the countless possibilities in piano realizations of the orchestral accompaniments of operatic works, and to continue to refine and improve their ability to imitate orchestral sonorities and textures at the piano.