The first full-length analytic study devoted to the Concerto for Piano and Wind Instruments, combining sketch studies, musicological context, and straightforward analyses of all three movements.

Introduction
Context and Composition
Concerto as Catalyst
Analytical Tools and Recurring Elements
Counterpoint and Tonality in the First Movement
Tetrachords and Tritones in the Largo
Points of Imitation in the Finale
Conclusion
Appendix
Notes
Bibliography
Index