This article conducts a comprehensive examination of the structural, technical, formal, and musical aspects of the piano section within Schnittke's 'Concerto for Piano and String Orchestra,' delving into the composer's compositional and musical approach to the work's preparation and interpretation. Employing qualitative methods, including document analysis, this study initially scrutinizes pivotal moments in the composer's life that contributed to the diversification of his musical understanding. Subsequently, the investigation centers on Schnittke's fundamental polystylistic approach, exploring how this approach is manifested within the composition. Finally, a variety of analyses of Schnittke's 'Concerto for Piano and String Orchestra' are conducted, utilizing the selected H. Sikorski (2009) edition. Notably, no Turkish-language article directly examining the piano part of the work was found during the research process. Within this context, the composition is examined through the perspectives of theorists, musicians, and musicologists, and an extensive literature review on the subject is undertaken. Drawing upon data related to the composer's life and compositional philosophy, this study provides recommendations aimed at inspiring interpretations of the work. While the primary objective of this article is not solely to highlight the limited body of written work on Schnittke within the domestic context, it can be seen as encouraging fellow musicians to reconsider and explore his oeuvre while also fostering analyses, critiques, and research into his compositions. Additionally, the article seeks to contribute to the definition of postmodern music and the polystylistic approach, utilizing Schnittke's 'Concerto for Piano and String Orchestra' as a foundational reference.

Keywords: Schnittke, Postmodernism, Polystylism, Concerto, Piano, String Instruments