十九世紀初，有些鋼琴協奏曲繼續承襲莫札特與貝多芬所奠定的形式，但有更多演奏家兼作曲家們已經開始摒棄原有形式，嘗試以個人創作滿足獨奏家炫技的需求。因此，樂團與獨奏之間的關係也開始發生變化，漸漸打破原有雙呈示部的協奏曲式。克拉拉．威克（Clara Wieck，1819-1896）於一八三五年以年輕天才鋼琴家之姿，在孟德爾頌（Felix Mendelssohn，1809-1847）指揮下，演出自己創作的《A小調鋼琴協奏曲，作品七》（Piano Concerto in A minor, Op.7），一八四五年，舒曼（Robert Schumann，1810-1856）將其一八四一年完成的鋼琴作品《A小調幻想曲》，擴充為三個樂章的《A小調鋼琴協奏曲，作品五十四》（Piano Concerto in A minor, Op.54）。雖然克拉拉與舒曼這兩首協奏曲，前者為炫技式（或稱演奏家式）的協奏曲，後者則為交響式的協奏曲，但由於舒曼顯然是在非常瞭解克拉拉的協奏曲之後才開始創作，二者間因此具有相當之關聯性。本研究即在嘗試從十八世紀末至十九世紀初協奏曲的變化為基礎探討這兩首協奏曲之間的關係與異同，探討之內容包括：曲式架構的變化、素材的運用、裝飾奏的功能，以及獨奏與協奏之關聯性。

At the beginning of the nineteenth century, some composers used the concerto structure established by Mozart and Beethoven to write piano concertos whilst the majority attempted to create compositions for a virtuosic purpose. Therefore, the relationship and balance between the orchestra and solos shifted and the double exposition form writing abandoned. As a talented young pianist, Clara Wieck performed her original composition Piano Concerto in A minor Op. 7, conducted by Felix Mendelssohn, in 1835. Robert Schumann, too, expanded his music with the orchestral Fantasy in A minor to his three-movement Piano Concerto in A minor Op. 54 in 1854. Though Wieck and Schumann's concertos were of different approaches, Clara's virtuosic and Schumann's symphonic, Schumann's concerto has historically been proven to be developed with knowledge of Wieck's work. Consequently, these two concertos hold various points in common. This paper will discuss the relevance of contrast between the two concertos, based on the evolution of the piano concerto from the late eighteenth to early nineteenth century. The investigation will look into variants of structures, applications of musical materials, function of the cadenza, and the relationship between solo and tutti.