Guide to the Pianist's Repertoire, Fourth Edition

Roberts Wesley, Maurice Hinson

Description

Expertly guiding pianists for over 25 years

Guide to the Pianist's Repertoire continues to be the go-to source for piano performers, teachers, and students. Newly updated and expanded with more than 250 new composers, this incomparable resource expertly guides readers to solo piano literature and provides answers to common questions: What did a given composer write? What interesting work have I never heard of? How difficult is it? What are its special musical features? How can I reach the publisher?

New to the fourth edition are enhanced indexes identifying black composers, women composers, and compositions for piano with live or recorded electronics; a thorough listing of anthologies and collections organized by time period and nationality, now including collections from Africa and Slovakia; and expanded entries to account for new material, works, and resources that have become available since the third edition, including websites and electronic resources. The "newest Hinson" will be an indispensible guide for many years to come.

Preface
Using the Guide
Abbreviations
American Agents, Distributors, or Parent Companies of Music Publishers
Address of Music Publishers
Part I: Individual Composers: Their Solo Piano Works in Various Editions and Facsimile Reproductions
Part II: Anthologies and Collections
Bibliography
Appendix: Historical Recital Programs
Anton Rubinstein, 1885-1886
Ferruccio Busoni, 1911
Ossip Gabrilowitsch, 1915-1916
Indexes:
Alphabetical List of Composers under Nationality Designations
Black Composers
Women Composers
Compositions for Piano and Live or Recorded Electronics
Compositions for Prepared Piano
Title Index to Anthologies and Collections
Title Index to Anatomy of a Classic, Vistuoso Series, and Van Cliburn Competition commissioned
works and Publishers

Sujets

• Musique
• Technique musicale
• Technique musicale
• Techniques musicales
• Clavier
• Piano
• Music
• Référence
• Keyboard
• Keyboard instrument
• Multiple signal classification
• Reference
• Musical instrument
• Musical Instruments

Informations

• Publié par: Indiana University Press
• Date de parution: 03 décembre 2013
• Nombre de lectures: 12
• EAN13: 9780253010230
• Langue: English

Extrait

MAURICE HINSON & WESLEY ROBERTS
GUIDE TO THE PIANIST'S REPERTOIRE
Fourth Edition
INDIANA UNIVERSITY PRESS
Bloomington & Indianapolis
This book is a publication of
INDIANA UNIVERSITY PRESS Office of Scholarly Publishing Herman B Wells Library 350 1320 E. 10th Street Bloomington, IN 47405-3907
iupress.indiana.edu
Telephone orders     800-842-6796 Fax orders     812-855-7931
© 2014 by Maurice Hinson and Wesley Roberts
All rights reserved
No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The Association of American University Presses' Resolution on Permissions constitutes the only exception to this prohibition.
The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1992.
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Hinson, Maurice, compiler. Guide to the pianist's repertoire / Maurice Hinson and Wesley Roberts. — Fourth edition. pages cm Includes bibliographical references and indexes. ISBN 978-0-253-01022-3 (cloth : alkaline paper) — ISBN 978-0-253-01023-0 (e-book) 1. Piano music—Bibliography. 2. Piano music—Bibliography—Graded lists. I. Roberts, Wesley, compiler. II. Title. ML128.P3H5 2013 016.7862’0263—dc23 2013021515
1 2 3 4 5   19 18 17 16 15 14
This book is dedicated to pianists and piano teachers around the world who have inspired us.
With admiration and appreciation.
Contents
PREFACE
USING THE GUIDE
ABBREVIATIONS
AMERICAN AGENTS, DISTRIBUTORS, OR PARENT COMPANIES OF MUSIC PUBLISHERS
ADDRESSES OF MUSIC PUBLISHERS
PART I : Individual Composers: Their Solo Piano Works in Various Editions and Facsimile Reproductions
PART II : Anthologies and Collections
Collections Spanning Historical Periods
Baroque
Classical Period
Nineteenth-Century Romanticism
Twentieth Century to 2010
Tombeaux, Hommages
African
American
Australian
Austrian
Belgian
Brazilian
Bulgarian
Canadian
Chinese
Czech
Dutch
English
English Virginalists
Finnish
French
French Clavecinists
German
German: Bach Family
Greek
Hungarian
Irish
Israeli
Italian
Japanese
Latin American
New Zealand
Polish
Portuguese
Romanian
Russian
Scandinavian
Scottish
Slovakian
Spanish
Swiss
Yugoslavian
 
BIBLIOGRAPHY
 
APPENDIX: Historical Recital Programs
Anton Rubinstein, 1885–1886
Ferruccio Busoni, 1911
Ossip Gabrilowitsch, 1915–1916
 
INDEXES:
Alphabetical List of Composers under Nationality Designations
Compositions for Piano and Live or Recorded Electronics
Compositions for Prepared Piano
Title Index to Anthologies and Collections
Title Index to Anatomy of a Classic, Virtuoso Series, and Van Cliburn Competition–Commissioned Works and Publishers
Preface
It has been said that the world of music in all its cultural realizations has no end. To this axiom one might add that it is equally true for the vast body of piano literature. The astonishing quantity of music composed for solo piano over the past three centuries must certainly have exceeded the imagination of the first composers for the instrument. Irwin Freundlich in the preface to the first edition of this book noted, “no single musician can successfully encompass the entire piano repertoire. It is, in fact, by far the largest devoted to any instrument, second only in scope to that for voice. Not only is it beyond the capability of the repertoire, but it is also equally difficult to have even a cursory acquaintance with its scope and be able to sift out material for study and performance from the mass of works accumulated over the years without some organized guiding hand to lead the way.” It was for this latter purpose that the Guide to the Pianist's Repertoire came into existence in 1973.
The original purpose of the Guide has remained unchanged since the first edition: to make available in one practical listing the important piano literature. New material has been added with each edition, while some repertoire has been deleted, either because it is out of print or because the authors have changed their ideas about certain pieces. A certain amount of subjectivity is unavoidable in a work of this nature, and we hope readers will bear this in mind as the book is consulted.
This fourth edition updates available resources for well-known composers and introduces both older and newer composers of merit. Not only have publishers in the first decade of the twenty-first century been interested in new works, but they have also been reissuing works long out of print. Continuing interest in reference and performing collections of complete works has yielded both familiar and not-so-familiar names in recent years. The Italian rivalry of two complete editions of the music of Clementi is an exceptional case in point. In contrast, lesser known would be the works of the Swedish composer Eduard Tubin, whose piano literature recently became the subject of a complete-edition series.
Works considered for the Guide cover the period from 1700 to the present. A few works predating this period have been included, however, only when they can be effectively realized on the piano. As a rule, transcriptions are excluded, though a few exceptions have been made when, in the authors' opinion, they are highly effective. Information about this fascinating genre may be found in The Pianist's Guide to Transcriptions, Arrangements, and Paraphrases (Indiana University Press, 1990) by Maurice Hinson.
Our understanding of Western music and especially piano literature has quietly been changing since the initial work on this text began a half century ago. Newer editions of historic works, especially urtext, from the Baroque through the nineteenth century have clarified and given greater insights into the works of these two hundred–plus years. Times changed more slowly during these centuries, and the ease with which stylistic tendencies could be traced has been rather straightforward. By contrast, the twentieth century has been an age of pluralism and compression, completely unsettled, with an undertow pulling maverick composers into realms unimagined while counterbalanced by composers dedicated to traditional craftsmanship. The number of -isms during the century proliferated and changed our general perception of music as we watched some come and go.
Twenty-first-century musicians will have the advantage and benefit of years of labor by scholars and performers who have strived to arrive at definitive texts by master composers. At the same time, a word of caution should be noted concerning the increased availability of older editions through the internet, many now freely distributed. As important as older editions have been, and in a few instances will continue to be, these should not become substitutes for scholarly editions. The search for each composer's musical intention requires a careful consideration of all available resources, especially those which have become available in recent years, and which in many instances have changed our approach to the literature itself.
Acknowledgments: Many individuals have generously given the authors assistance in the preparation of this and previous editions of the Guide. For the fourth edition, we gratefully acknowledge the assistance of librarians John Burch of Campbellsville University, Martha Powell of the Southern Baptist Theological Seminary, and Karen Little of the University of Louisville, and their staffs. Additional assistance was provided in area studies by Izumi Miyoshi (Japan), Joanna Ximenes (Brazil), María Milagros Boso Galli (Argentina), Kees Weggelaar (The Netherlands), and Denine LeBlanc (Kentucky); in linguistics by Sida Hodoroabă-Roberts; and in typesetting by Anne Gibbs.
Without the generous assistance of numerous publishers, this volume would not be possible. Special appreciation goes to Johannes Mundry of Bärenreiter, Pietro Spada of Boccaccini and Spada, Anne Sobel of Carl Fischer, Scott Wollschleger of European American Music, Marina Furtado of FJH Music, Erin Mathieus of Hal Leonard, Norbert Gertsch, Sigrun Jantzen, and Ulrike Lucht-Lorenz of G. Henle, Stephanie Clement of Friedrich Hofmeister, Mary Kaufman of Oxford University Press, Paul Corneilson of the Packard Humanities Institute, Arnt C. Nitschke of Peermusic Classical, Frank Billack of C. F. Peters, Allison Weissman of G. Schirmer, Kathinka Pasveer of Stockhausen-Stiftung für Musik, Gabriele Bonomo of Suvini Zerboni, Daniel Dorff of Theodore Presser, Katie Wood of United Music Publishers, and Judith Anne Still of William Grant Still Music.
To those mentioned, and to many more, we owe much gratitude.
 
August 2012
Maurice Hinson
Louisville, Kentucky
 
Wesley Roberts
Campbellsville, Kentucky
Using the Guide
ARRANGEMENT OF ENTRIES
In the “Individual Composers” section, all composers are listed alphabetically. Sometimes biographies and/or stylistic comments follow the composer's name and dates of birth and death. Under each composer's name, individual compositions are listed by opus number, or by title, or by musical form, or by a combination of the three. The entries in the “Anthologies and Collections” section include the editor or compiler, the publisher, the composers, and sometimes the titles represented in the collection.
Descriptions have been limited to general style characteristic, form, particular and unusual qualities, interpretative suggestions, and pianistic problems inherent in the music. Editorial procedures found in a particular edition are mentioned. The term “large span” is used when a span larger than an octave is required in a piece, and that occurs in many works written after 1900. “O