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Virtuosity is defined by the Merriam-Webster Online Dictionary as “great technical skill” and virtuosity in music continues to be a constant source of discussion for musicians. What value do virtuosic elements have in late Romantic music, particularly those featuring the piano, a virtuoso-friendly instrument? Do these elements enhance the overall musical impact of the repertoire and if so, how? Does it make a difference if the work is a solo piano work, piano chamber music or music for voice and piano? These are the questions that I will explore in this performance dissertation. Each of my three recitals will feature one of these three iconic Romantic composers: Tchaikovsky, Brahms, and Rachmaninoff. Included will be a piano concerto, two piano trios, a piano quartet, and three sets of piano/vocal works, all significant in the solo and collaborative pianist’s repertoire.By the mid-nineteenth century, pianist Franz Liszt and violinist Nicolo Paganini had paved the way to a new age of instrumental technical virtuosity. Along with expanding the possibilities of what instrumentalists could do, virtuosic elements in music have even influenced the very setting of music performance. As chamber repertoire started expanding and becoming increasingly challenging in the late-nineteenth century, chamber music performances shifted from more casual, at-home venues, to being performed in some of the larger and most prestigious concert halls. Chamber music historically had been simpler, often meant for performance at home by amateurs. This began to change with the quartets of Beethoven, especially the late quartets and certainly the Brahms’ G minor piano quartet was not composed to be played on an upright piano in someone’s living room. First of all, the performance of a forty five-minute complex chamber music work for four musicians is in itself a virtuoso accomplishment! Throughout the quartet, Brahms displays his mastery of counterpoint and thematic development, as well as his ability to balance individual instruments and create a cohesive ensemble sound. The use of virtuosic elements in the piano part adds to the complexity and richness of the work. As instrumentalists continued to become more virtuosic, composers continued creating more challenging works for them throughout the nineteenth century. Brahms, Rachmaninov, and Tchaikovsky wrote some of the most technically difficult music of the time. Since Brahms and Rachmaninov were both famous pianists and understood the capabilities of the piano, their compositions further challenged musicians. Tchaikovsky’s compositions demonstrated many technical challenges as well, as they were often composed in the style of Anton Rubinstein, who was one the greatest pianists of the time, praised for his musicianship and technical abilities. The vocal works which are included in these recitals (the four romances by Tchaikovsky, the vocal set Op. 38 by Rachmaninoff and the Brahms Zigeunerlieder) were chosen to demonstrate how these composers transitioned from writing accompanimentally to more expanded and technically demanding piano parts. Through these programs, I hope to demonstrate the variety and value of the virtuoso elements in these Romantic masterpieces and how this contributes to making mesmerizing and meaningful masterworks which continue to attract audiences today. Additionally, I will be performing music which speaks to me in a very direct and immediate way and which I hope will then speak equally significantly to the listener as well. This dissertation and recordings can be accessed in the Digital Repository (DRUM) at the University of Maryland.