The 20th century was a transformative period for music history; advancements in science and technology during this era led to the adoption of innovations in musical expression and aesthetics. Composers developed experimental approaches such as atonality, polytonality, modality, and twelve-tone techniques, pushing beyond the limits of tonal systems. In this process, the field of electronic music expanded, and technological innovations had a significant impact on composers (Hecht, 2022, p. 1-2). Individualism also came to the forefront, musicians rejected the musical rules of the past and engaged in experiments that influenced international artistic movements; large-scale social and political uncertainties deeply affected the music of this period (Say, 1997, p. 467; İlyasoğlu, 1999, p. 202). 

Igor Stravinsky, recognized as one of the most influential composers of the 20th century, consistently paved the way for innovations throughout his musical career. From 1908 to 1923, he composed works reflecting Russian musical traditions, then transitioned into the Neoclassical period, adding a modern interpretation to the traditions of classical period composers. Notable works from this period include his violin concerto, ’Symphony of Psalms’, and ’Capriccio’. After 1953, he was influenced by Anton Webern’s serial techniques and adapted them techniques into his own compositions (Say, 1997, p. 375). The Neoclassical period holds a significant place as an effort to reinterpret past musical eras within a modern framework, and it has made a rich contribution to the art of music (Say, 1997, p. 483; Kütahyalı, 1981, p. 34; Burde, 1992, p. 392).

The influence of the Neoclassical movement in Igor Stravinsky’s compositions became particularly prominent from the early 20th century. Inspired by the works of 18th century Italian composers like Pergolesi, Stravinsky used manuscripts from this period and blended 18th century musical forms with modern ideas thought in his works (Say, 1997, p. 483). This effect is clearly seen in compositions such as ’Octet for Wind Instruments’ composed in 1923 and ’Concerto for Piano and Winds’ which appeared in 1924. In these works, Stravinsky created a bridge between the old and the new, seeking "unity in diversity" and successfully employing this concept in his musical formations (Burde, 1992, p. 388). This process deepened his Neoclassical understanding; his works were shaped more through traditional forms specific to the Baroque period like ’sonata da camera’ and ’sonata da chiesa’, rather than the classical sonata form. Stravinsky’s affinity for to the rondo form of this period determined the structural characteristics of his works and solidified his Neoclassical approach.

The foundations of Stravinsky’s Neoclassical style were also reinforced by the counterpoint technique used in his compositions. This approach is particularly evident in works such as ’Symphony for Wind Instruments’, ’Octet for Wind Instruments’, ’Concerto for Piano’, and ’Sonata for Piano’. In these works, Stravinsky engaged in a new creative process using pure counterpoint, not merely to enrich the music, but to seek clarity and precision, turning back to Bach in his compositions (Burde, 1992, p. 391). By adopting this approach, Stravinsky initiated a movement in the 1920s that was joined by other European musicians. Together, they merged the musical elements of the Renaissance and Baroque periods with modern musical thought in order to create a Neoclassical aesthetic (Mimaroğlu, 1995, p. 146). This demonstrates how Stravinsky’s compositions exhibit a stylistically rich and complex structure, integrating both traditional and unexpected elements.

In this research, the first movement of Igor Stravinsky’s neoclassical work "Concerto for Piano and Winds" was analyzed both musically and structurally. The study aimed to thoroughly examine the musical structure of the piece, highlighting Stravinsky’s contributions to the concerto genre and the work’s place within his neoclassical approach. The significance of the research lies in illuminating the evolution of Stravinsky’s musical language and the characteristic features of the neoclassical period, thereby offering innovative perspectives to the music literature. Additionally, this study demonstrates how the use of the piano in the work transcends the typical soloist role, establishing a rich dialogue with the orchestra. 

Some qualitative research methods were used in this study, including document analysis techniques. Books, articles, theses, and other publications related to Igor Stravinsky and the piece were reviewed, and the score along with several audio recordings were analyzed to identify its structural features and prominent musical elements. Using document analysis techniques, books, articles, theses, and other publications related to Igor Stravinsky and the work were reviewed, and the score and audio recordings of the work were analyzed to identify its structural features and prominent musical elements. The findings reveal Stravinsky’s subjective approaches to harmonic structures and musical materials, as well as the innovative perspectives he brought to the concerto genre with this work. Additionally, it was determined that the work deviates from the classical concerto form by integrating elements of the Baroque concerto grosso, such as the interplay between the soloist and the ensemble. Specifically, Stravinsky introduces innovations like his subjective approach to harmonic structures, the use of polyrhythms, and distinctive orchestration techniques that blend the piano and wind instruments uniquely. These elements not only reflect Baroque influences but also contribute to the piece’s distinctive neoclassical character, expanding the concerto genre beyond its traditional boundaries.