This thesis investigates the contributions made by British composers to the repertoire of piano concertante works during period 1918-1955. It has two fundamental aims: 1) to elucidate the reasons for the remarkable upsurge of interest in the genre on the part of British composers and audiences in the earlier twentieth century, with particular reference to historical, cultural, and social factors; and 2) to examine the stylistic and structural trends evident within these works, highlighting the extent to which they continue romantic traditions, on the one hand, and reflect contemporary modernist developments, on the other. Chapter 1 sets out to demonstrate how the popularity of this repertory arose from nineteenth-century developments in piano manufacture and public concert life. Chapter 2 continues this investigation into the twentieth century, highlighting those key factors that encouraged the composition of concertante works, including the emergence of British piano virtuosi in significant numbers and steadily increasing performance opportunities. Chapter 3 presents a critical survey of British piano concertante works composed during the period under examination, discussing the stylistic trends and approaches that are in evidence. Finally, Chapters 4 and 5 focus respectively on examining a selection of key piano concertos and concertante works from the period that are representative of the technical and formal approaches that were predominant, contextualising these in relation to nineteenth-century precedents and contemporary modernist concertos written in other countries
