Despite Paul Hindemith's prolific output, little has been written about his piano concertos. Today, the two piano concertos, Kammermusik No.2, Op. 36 No. 1 (subtitled Klavierkonzert; also known as Concerto for Piano Obbligato and Twelve Solo Instruments, 1924) and Piano Concerto (1945), are unfamiliar to the general musical population. The primary aim of this study is to treat Hindemith's two piano concertos as a single topic with emphasis on his compositional characteristics and the evolutionary aspects that are revealed in these two works. Hopefully, the results of this study will not only benefit musicians and music lovers but also stimulate pianists to perform these works more frequently.

The introductory chapter presents a brief overview and outlines the purpose, need, limitations, and procedures of the study. Included in this chapter is a survey of related literature. Chapter II consists of a biography of Hindemith and an overview of his compositional style. Chapters III and IV provide descriptive analyses of the two concertos. The Conclusion is a summary of Hindemith's stylistic features found in these works.

Finally, a Selected Bibliography groups important resources according to topic. Three appendices are included, containing chronological lists of Hindemith's piano works, the orchestral and chamber compositions that use the piano, and other theses examining Hindemith's piano works.