Piano Duet Repertoire, Second Edition
761 pages
English

Vous pourrez modifier la taille du texte de cet ouvrage

Piano Duet Repertoire, Second Edition

-

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus
761 pages
English

Vous pourrez modifier la taille du texte de cet ouvrage

Obtenez un accès à la bibliothèque pour le consulter en ligne
En savoir plus

Description

Like Piano Duet Repertoire on Facebook


Since the 1981 publication of the first edition, Cameron McGraw's Piano Duet Repertoire has been a trusted guide for duet performers. This second edition, edited and substantially expanded by Christopher and Katherine Fisher, brings the volume into the 21st century, adding over 500 new or updated composer entries and nearly 1,000 new work entries to the volume, a testament to the renewed interest in piano duet playing. Entries are arranged alphabetically by composer and include both pedagogical and concert repertoire. The annotations and the grade-level indications provide piano teachers a wealth of instructional guidance. The book also contains updated appendices listing collections and duet works with voice and other instruments. This new edition features a title index and a list of composers by nationality, making it a convenient and indispensable resource.


Foreword, by the Anderson & Roe Duo
Preface, by Cameron McGraw
Acknowledgments from the original edition
Acknowledgments for the new edition
General Explanations
Sample Entry
Abbreviations
Piano Duet Repertoire
Appendix I: Collections of Four-Hand Music
Appendix II: Music for Piano, Four Hands with Voice(s) and/or Other Instrument(s)
Select Bibliography
Title Index
Alphabetical List of Composers by Nationality

Sujets

Informations

Publié par
Date de parution 09 mai 2016
Nombre de lectures 6
EAN13 9780253020963
Langue English

Informations légales : prix de location à la page 0,0025€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

Exrait

Facebook


Since the 1981 publication of the first edition, Cameron McGraw's Piano Duet Repertoire has been a trusted guide for duet performers. This second edition, edited and substantially expanded by Christopher and Katherine Fisher, brings the volume into the 21st century, adding over 500 new or updated composer entries and nearly 1,000 new work entries to the volume, a testament to the renewed interest in piano duet playing. Entries are arranged alphabetically by composer and include both pedagogical and concert repertoire. The annotations and the grade-level indications provide piano teachers a wealth of instructional guidance. The book also contains updated appendices listing collections and duet works with voice and other instruments. This new edition features a title index and a list of composers by nationality, making it a convenient and indispensable resource.


Foreword, by the Anderson & Roe Duo
Preface, by Cameron McGraw
Acknowledgments from the original edition
Acknowledgments for the new edition
General Explanations
Sample Entry
Abbreviations
Piano Duet Repertoire
Appendix I: Collections of Four-Hand Music
Appendix II: Music for Piano, Four Hands with Voice(s) and/or Other Instrument(s)
Select Bibliography
Title Index
Alphabetical List of Composers by Nationality

" />

Piano Duet Repertoire
INDIANA REPERTOIRE GUIDES
CAMERON MCGRAW
PIANO DUET REPERTOIRE
Music Originally Written for One Piano, Four Hands
Second Edition
EDITED AND EXPANDED BY Christopher Fisher AND Katherine Fisher
WITH A FOREWORD BY the Anderson Roe Piano Duo
This book is a publication of
Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA
iupress.indiana.edu
2016 by Indiana University Press
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
Names: McGraw, Cameron, compiler. | Fisher, Christopher, 1977- compiler. | Fisher, Katherine (Pianist), compiler. | Anderson + Roe Piano Duo, writer of foreword. Title: Piano duet repertoire : music originally written for one piano, four hands / Cameron McGraw ; edited and expanded by Christopher Fisher and Katherine Fisher ; with a foreword by the Anderson Roe Piano Duo.
Other titles: Indiana repertoire guides.
Description: Second edition. | Bloomington ; Indianapolis : Indiana University Press, 2016. | Series: Indiana repertoire guides | Includes bibliographical references and index. Identifiers: LCCN 2015044085 (print) | LCCN 2015044824 (ebook) | ISBN 9780253020857
(cloth : alkaline paper) | ISBN 9780253020963 (ebook)
Subjects: LCSH: Piano music (4 hands)-Bibliography.
Classification: LCC ML128.P3 M2 2016 (print) | LCC ML128.P3 (ebook) |
DDC 016.785/621920263-dc23
LC record available at http://lccn.loc.gov/2015044085
1 2 3 4 5 21 20 19 18 17 16
To Isaiah and Anna
Contents
FOREWORD BY THE ANDERSON ROE DUO
PREFACE BY CAMERON MCGRAW
ACKNOWLEDGMENTS FOR THE ORIGINAL EDITION
ACKNOWLEDGMENTS FOR THE NEW EDITION
GENERAL EXPLANATIONS
SAMPLE ENTRY
ABBREVIATIONS
Piano Duet Repertoire
APPENDIX I : Collections of Four-Hand Music
APPENDIX II : Music for Piano, Four Hands with Voice(s) and/or Other Instrument(s)
SELECT BIBLIOGRAPHY
INDEXES
Title Index
Alphabetical List of Composers by Nationality
Foreword by the Anderson Roe Duo
Through this window was pouring a stream of music-oh, such music as was never before heard! I sat up in bed and listened. Bang! Slam! Thump! Stamp! It was a four-hand- quatre-mains they call it-piece by Mendelssohn and Moscheles arranged from Weber s Preciosa. I recognized the airs, and remembered well that both players had arranged their own part. In other words, three ordinary hands were required by each player to get out the effects these master-players had set down on the paper. Talk about Leotard on the trapeze, and a tree full of monkeys quarreling over one cocoa-nut! Much more than this would not equal the effects produced by the agile fingers that swept that unhappy keyboard.
Letter to the editor, reprinted as Piano Playing a Nuisance, New York Times , 23 July 1882
Since its advent the piano duet has served a multitude of purposes-artistic, academic, social-but perhaps the predominant reason it has stood the test of time is a simple one: it s undeniably, almost impossibly, fun. For centuries, the art form has allowed pianists to break free from their lonesome and insular dominion, uniting two distinct personalities in a physically interactive and intrinsically social musical conversation, by turns cohesive and combative, playful and passionate, recreational and risqu . At its most virtuosic, four-hand piano playing can embody the spirit of dance or the terror of a multi-limbed monster; at its most hilarious, the two players grapple for pianistic real estate while compressed on a single piano bench ( a tree full of monkeys quarreling over one cocoa-nut! ); and at its most intimate, four-hand piano playing is a uniquely powerful conduit to interpersonal communion.
Playing together their hands had found each other. Eva, who had at first been reluctant to play together, but then had gotten a taste for it, had giggled and blushed, and the rest followed quite quickly. By the end of the lesson they presented themselves to her horrified mother as fianc es.
Fritz Anders, Sketches from Popular Life 1
Throughout history, composers and performers have adapted the genre to suit their own sensibilities and objectives, finding value in its modest domesticity, pedagogical potential, or latent sensuality (or in the example above, all three at once!). The nineteenth-century public was particularly captivated by the infinitely amorous, blush-inducing circumstances presented by the medium, as is manifest in the fiction, theater, paintings, anecdotes, and music of the day. Two individuals, seated together at the same piano, were granted the rare social blessing for public, non-marital intimacy, grazing hands, whispering musical requests alongside sweet nothings, breathing in synchronicity, laughing as one mishap after the next bonded them as potential lovers. Edvard Grieg first confessed his love to his duet partner while rehearsing with her; the two eventually married. 2 And as Robert Schumann poetically stated, A four-hand piece allows us reveries together with our beloved, provided she plays the piano. 3 While singer and accompanist look one another in the eyes, piano duet partners create music while physically intertwined; it is arguably the most intimate form of chamber music.
On the other side of the spectrum, the duet genre has coaxed the inner child from even the weightiest of composers. Franz Schubert, Robert Schumann, Georges Bizet, Claude Debussy, Maurice Ravel, and Gabriel Faur all wrote duet music for the young ones in their lives, and the results amount to a treasure trove of delights for children and adults alike. Schubert gifted a duet ( Children s March ) to his friend s young son on the occasion of his birthday; it is quaint to imagine Schubert arriving at the birthday party with a gift-wrapped musical score in hand, ready to place alongside a mound of toys. Then there was Ravel, who dedicated his Mother Goose suite to his dear friends children, Mimi and Jean, who must have been filled with glee-or bewilderment-to open the sheet music and find a movement entitled Little Ugly Girl. Beyond these works dedicated to children, it should be noted that a large portion of the four-hand repertory is meant expressly for beginner pianists. Such pieces make it possible for a pair of neophytes to execute music of complexity and fullness that would otherwise be too challenging for a mere ten fingers (especially ten inexperienced ones!) to perform.
The genre s inherent silliness and sensuality, its didactic capabilities, and its family-friendly appeal have lent itself naturally to the drawing room environment. And indeed, throughout its history piano duet playing has been widely considered a decorous, pleasurable, and convenient means of making music in the home. Cameron McGraw, in his preface to the first edition of this very book, wrote, The one-piano, four-hand medium was obviously more popular for home entertainment than two-piano playing . . . more intimate and less spectacular than its sister art. This assessment need not be viewed in a negative light; on the contrary, there is something quietly marvelous about the nature of music composed for the privacy of the home, wherein the act of musical creation becomes intensely personal and customized. Without the need to dazzle a mass of hundreds or more, piano duet playing in the living room materializes for the purest of reasons: to share the wondrous delights of music; to draw people together in a communal, inviting experience, fostering and enhancing social interaction; and to grant the players themselves a safe space for diary-like, confessional levels of expression.
If the living room is the perfect setting for private musicking, it has also become an ideal venue for informal performances; the cozy, tactile nature of the piano duet handily befits this milieu. History is riddled with countless scenes featuring four-hand exploits in domestic settings, with the listeners partaking in ways unimaginable in traditional concert venues. Schubert and his friends approached his piano duets with a mirthful, reckless merriment during the now legendary Schubertiades of the early 1800s, replete with booze and narcotics. Then there was Eliza Wille: I happily remember an evening when Liszt and Chopin played waltzes four hands, for a small, intimate circle, and us young girls were allowed to dance to the music. 4 Or Igor Stravinsky and Claude Debussy at a house party, navigating Part I of The Rite of Spring in its four-hand arrangement (included for the first time in this expanded edition of Piano Duet Repertoire ), prior to the work s official premiere. Such an unrehearsed, casual performance would have been inappropriate on the concert stage, but for a game audience of dinner guests, this behind-the-scenes perspective was likely the musical treat of a lifetime. The host s account of the scene is most evocative: Debussy agreed to play the bass. Stravinsky asked if he could take his collar off. His sight was not improved by his glasses, and pointing his nose to the keyboard and sometimes humming a part that had been omitted from the arrangement, he led into a welter of sound the supple, agile hands of his friend. . . . We were dumbfounded, overwhelmed by this hurricane. 5
Ah, to be a fly on the wall.
If it appears that the lion s share of piano duet lore stems from the nineteenth and early twentieth centuries, it is no coincidence. Piano duets after the advent of the phonograph were an entirely different ballgame. The convenience of modern recordings supplanted the need for four-hand transcriptions of symphonic music and at-home music making, and the complex compositional style of many avant-garde composers was ill suited to the needs of young piano duettists. Nevertheless, various composers still found inspiration in the genre, creating a substantial body of pedagogical material and concert repertoire (the sonatas of Paul Hindemith, Francis Poulenc, and Harold Shapiro among them), all of which are detailed in this volume.
In the years since Cameron McGraw wrote Piano Duet Repertoire , however, the four-hand piano landscape has undergone an enormous transformation. A dozen years ago, before we formed our own duo, four-hand piano music was hardly considered worthy of the grand concert stage. Yet in the intervening period, we have witnessed a remarkable shift in the perception of piano duet playing. This phenomenon may be due to various factors: duos such as ourselves and others have made it a mission to revive and reimagine the genre through creative programming, original arrangements, and inventive presentation; technology has played a crucial role in the global dissemination of the four-hand spectacle, with YouTube videos effectively showcasing the wild excitement of this medium (from every visual vantage point imaginable); and piano duos are steadily commissioning more works for four hands at a single piano, compelling composers to investigate the rich potential of duet writing and stretch it to unprecedented extremes. Beyond the growing number of duet-based music videos and commissions, new duo festivals and competitions are emerging each year. There are even a handful of concertizing piano duos that devote their attention exclusively to repertoire for four hands at a single piano; in the past, this practice has typically been reserved for two pianos.
Contemporary audiences are bound to find a four-hand piano team displaying a mash-up of the aforementioned themes catered to a 2,000-seat concert hall to be an acrobatic free-for-all wherein the duettists are engaged in an ever-evolving dance: a game of mischievous musical twister, then an erotic dalliance with pounding heartbeats, then an epic duel between fierce rivals, then a dazzling interplay of virtuosity, bravura, and exhilaration. A single wrong note (have mercy!) yields torn knuckles and bloodied keys. A misdirected arm leads to a black eye. (We should know-we ve done it ourselves, repeatedly.) Then suddenly, without warning, one of the pianists dashes inside the piano, an explorer of the forbidden, plucking strings and grabbing harmonics, while the other raps the fallboard of the instrument, throws a knowing glance at the audience, and swivels around her partner to reach that impossible note in the blink of an eye.
All the while, the audience is aghast and elated by the frenzy . . .
The overall effect of such displays has impelled audiences to reconsider the genre as something truly valid and valuable, eroding negative stereotypes of duets as being exclusively precious, archaic, juvenile, or lacking in artfulness. The popularity of four-hand playing is roaring back with a vengeance: as that adage goes, everything old is new again.

Throughout our career as a piano duo, we have repeatedly revisited McGraw s original Piano Duet Repertoire , searching for works to balance or unify a recital program, to discover forgotten musical gems, or to fill in gaps within our knowledge of the repertory. Considering the enormous amount of compositions devoted to this unique instrumentation, we are indebted to McGraw s comprehensive resource.
However, a revised version of Piano Duet Repertoire could not be more welcome. With hundreds of new composers (and composer updates) and nearly 1,000 new work entries, this revised and updated edition by Dr. Christopher and Katherine Fisher finally accounts for some of the most significant contributions to the genre ever composed: John Corigliano s Gazebo Dances , George Crumb s Celestial Mechanics , Paul Schoenfield s Five Days from the Life of a Manic Depressive , plus music of David Lang, Gy rgy Ligeti, Terry Riley, Carl Vine, and many others. The list goes on and on, an embarrassment of riches certain to excite any curious pianophile. This compendium provides a highly convenient and indispensable resource for musicians exploring the latest works for the medium.
With this revised edition at hand, we encourage all budding piano duos to embrace the vibrancy of this medium s history and to draw inspiration from the qualities that has made four-hand playing so potent-the romance, intimacy, physicality, theatricality, and, most importantly, the fun!-but we also encourage pianists to reappropriate these elements in a contemporary context, to keep the marvel of four-hand playing fresh and illuminating. Thanks to the adventurous and imaginative spirit demonstrated by the latest generation of classical musicians, duet playing seems poised to evolve with the times and flourish as a timeless art. Ultimately, duet playing can serve as an essential reminder of the harmony to which all of humanity can aspire.
May the singular sphere of piano duets continue to bring beauty, surprise, and joy to the vast reaches of the musical cosmos.
Greg Anderson Elizabeth Joy Roe
April 2015
NOTES
1 . Fritz Anders, Skizzen as unrest heutigen Volksleben, Die Grenzboten 62, no. 2 (1903): 421.
2 . Ernest Lubin, The Piano Duet (New York: Grossman, 1970), 3.
3 . Robert Schumann, Gesammelte Schriften ber Musik und Musiker (Leipzig: Breitkopf H rtel, 1891), 2: 204.
4 . Eliza Wille, Richard Wagner and Eliza Wille-F nfzehn Briefe des Meisters nest Erinnerungen von Eliza Wille (Leipzig: Breitkopf H rtel, 1912), 58.
5 . Louis Laloy, quoted in Edward Lockspeiser, Debussy: His Life and Mind (Cambridge: Cambridge University Press, 1978), 181.
Preface by Cameron McGraw
Music history, like Alice s Wonderland, is full of unexpected and often extraordinary curiosities-subplots of the principal story, byproducts of major developments-which assume identities and purposes of their own. One of the most fascinating of these phenomena, which made its appearance in the cultural world of the late eighteenth century, was the rapid rise of the piano duet.
The astonishing growth and development of one piano, four hands, as an independent form of music making, its enormous popularity and consolidation as a social institution by a growing middle class, its flowering and expansion in the nineteenth century, and its current revival all attest to the tremendous appeal of this genre as a vital medium of musical expression. Yet the varied literature it has inspired has been largely neglected and, even to musicians, remains almost unknown.
The piano duet medium is unique because it is the only kind of musical encounter in which two people, using the full resources of a single instrument, effectively perform music originally written or especially arranged for that combination. In addition, it possesses a surprisingly abundant repertoire of remarkable diversity in both scope and function. As a purely pedagogical tool it is of unparalleled value in providing training in musicianship and ensemble playing, in sight reading, and in rhythmic control. And for serious study as well as for delightful diversion, it offers a distinctive literature of first-rate music at every level of technical proficiency.
The earliest examples of music written for two people at one keyboard, A Verse for Two to Play , by Nicholas Carlton, and A Fancy for Two to Play , by Thomas Tomkins, date from the early to mid-seventeenth century and belong to the tradition of the Elizabethan virginalist school. Written for the small harpsichord of the period with its range of only five and a half octaves, these pieces are amazingly effective, considering the restricted compass of their activity. But they stand as charming, unexplained isolates of the late English Renaissance, separated stylistically and spiritually from the next appearance of four-hand writing by an unaccountable gap of more than a century.
The second emergence of the four-hand medium occurred during the last forty years of the eighteenth century, with the appearance of Niccol Jomelli s Sonata, Joseph Haydn s The Teacher and the Pupil , and the little Sonata (C), K.19d, by Mozart. Impetus was given to the movement somewhat later by the publication of Charles Burney s Two Sonatas or Duets for Two Performers on One Piano-Forte or Harpsichord , which appeared in 1777, and, in response to apparent popularity, a sequel of two more sonatas in 1778. With the publication of Burney s works the art of four-hand writing was elevated to respectability: it had received the imprimatur of a well-known and highly esteemed musician and scholar and was thus no longer a novel curiosity.
The preface to Dr. Burney s 1777 work is worth quoting in its entirety for some of the insights it provides into four-hand playing and into the performance of music in general:
As the following pieces are the first that have appeared in print it may be necessary to say something concerning their utility, and the manner of performing them.
That great and varied effects may be produced by Duets upon Two keyed-Instruments , has been proven by several ingenious compositions, some of which have been published in Germany; but the inconvenience of having two Harpsichords, or two Piano-Fortes, in the same room, and the short time they remain exactly in tune together, have prevented frequent trials, and even the cultivation of this species of music, notwithstanding all the advantages which, in other respects, it offers to musical students. The playing Duets by two persons upon One instrument , is, however, attended with nearly as many advantages, without the inconvenience of crowding a room, or of frequent or double tunings; and so extensive is the compass of keyed-instruments, that the most full and elaborate compositions must, if played by one person, leave many parts of the scale unemployed; which, perhaps, first suggested the idea of applying Pedals to the Organ. And though, at first, the near approach of the hands of the different performers may seem aukward [ sic ] and embarrassing, a little use and contrivance with respect to the manner of placing them, and the choice of fingers, will soon remove that difficulty.
Indeed, it frequently happens, that when there are two students upon the same keyed-instrument, in one house, they are in each other s way; however, by compositions of the following kind, they become reciprocally useful, and necessary companions in their musical exercises.
Besides the Amusement which such experiments will afford, they may be made subservient to two very useful purposes of improvement , as they will require a particular attention to Time , and to that clair-obscure which is produced by different degrees of Piano and Forte . Errors committed in the Measure , by either of the performers of these pieces, who may accelerate, retard, or otherwise break its proportions, will be sooner discovered, and consequently attended with more disagreeable effects, than if such errors were committed by a single player, unless the other give way, and conform to the mistakes that are made. And with respect to the Pianos and Fortes , each Performer should try to discover when he has the Principal Melody given to him, or when he is only to accompany that Melody; in order, either to make it more conspicuous, or merely to enrich its harmony. There is no fault in accompanying, so destructive of good melody, taste, and expression, as the vanity with which young and ignorant Performers are too frequently possessed, of becoming Principals , when they are only Subalterns; and of being heard, when they have nothing to say that merits particular attention. If the part which would afford the greatest pleasure to the hearer be suffocated, and rendered inaudible, by too full, and too loud an accompaniment, it is like throwing the capital figure of a piece into the back-ground, or degrading the master into a servant.
It is hoped, however, that the great strides which the executive part of Music, at least, makes toward perfection, in this metropolis, abounding at present in a greater number of capital performers, of almost every kind, than any other in Europe, will soon render such remarks as these useless; and that something analogous to Perspective, Transparency , and Contrast in painting, will be generally adopted in music, and be thought of nearly as much importance, and make as great a progress among its students, as they have lately done in the other art.
St. Martin s-street, Jan. 1777
If Dr. Burney s contributions to early piano duet literature are somewhat lacking in musical inventiveness and excitement, they at least show the composer s sensitivity to some of the problems of four-hand writing in matters of textural variety and balance between the parts.
Mozart s youthful essay, the Sonata (C), K. 19d, mentioned above, shows a highly musical if rather experimental approach to the keyboard duet, but his mature works reveal him to be one of the great masters of the four-hand art. His Sonata (F), K. 497, is not only one of the finest masterpieces in piano literature but also one of Mozart s most profound and moving works.
Another of the early duet composers was Johann Christian Bach, the so-called London Bach, youngest son of Johann Sebastian. His three sonatas (1778-1780) are elegant, refined, controlled pieces very much in the early style of his young friend and admirer, Wolfgang Mozart.
By the closing years of the eighteenth century, piano four-hand music had become so well established that it was able to attract among its enthusiastic contributors such diverse composers as Muzio Clementi, Jan Ladislav Dussek, Ignace Pleyel, Giovanni Tommaso, and Giuseppe Giordani, Leopold Ko eluh, and Beethoven. They, and other composers writing before 1800, were careful to indicate in their titles optional use of harpsichord or piano, even though the piano seemed to be the preferred instrument of many of them. But by 1800 the word harpsichord had all but disappeared from such titles, just as the instrument itself had vanished from the musical scene.
The nineteenth century was witness to a number of developments that exerted a strong influence on the style and the function of piano four-hand music. Through a series of improvements and alterations, which included the extension of the keyboard to seven octaves and beyond and the expansion of its resonating capabilities by increasing the size and tension of the strings, the early nineteenth-century piano was gradually transformed into a full-toned instrument capable of responding expressively to every shade of dynamic subtlety and virtuosity demanded of it. Thus reinforced, strengthened, and amplified, it established itself firmly as the preeminent musical instrument of the nineteenth century-a Romantic instrument that both inspired and helped interpret the Romantic movement.
Coincidental with these gradual changes in the musical scene were parallel developments in the character, quality, and structure of early nineteenth-century society. One of the most significant of these was the rise and consolidation of a growing and prosperous middle class, eager for the cultivation of all the arts, but especially for participating in home music making. Just as the piano became the popular instrument of the era, piano duet playing came to be the favorite social and musical pastime in every affluent parlor.
For the reasons suggested by Dr. Burney in his preface-limited space and the need for frequent tunings-the one-piano, four-hand medium was obviously more popular for home entertainment than two-piano playing, even as early as 1780, with the result that the piano duet inclined toward the development of a chamber-music quality, but more intimate and less spectacular than its sister art. This is not to suggest that the piano four-hand repertoire is lacking in music of virtuosity and brilliance; on the contrary, there is a significant body of works originally written for the medium that makes great technical demands on both performers. An examination of the four-hand works of Schubert, for instance, the most prolific of all duet composers, reveals a surprisingly broad variety of musical styles, from the thin-textured intimacy of some of the Polonaises to the orchestrated brilliance of Lebensst rme , requiring great technical security and dynamic control to bring off a successful performance.
In response to the steadily increasing and seemingly insatiable public demand for piano duets, nineteenth-century publishers flooded the market with vast quantities of music that took advantage of the piano s expanded resources for sonorities, color, and dynamic effects, without measurably increasing the demands made upon the individual performers. A large part of this output appeared in the form of arrangements of music, either originally written for or associated with other media: marches, popular songs, dances, operatic arias, and the like, issued under a variety of titles such as duettino, rondino, fantasia, nocturne, and pot-pourri.
Furthermore, there is an extensive body of piano four-hand literature, well known to piano students and music lovers, consisting of arrangements of Classical and Romantic compositions: symphonies and chamber music of Mozart, Haydn, Beethoven, Mendelssohn, Schumann, and Brahms; complete operas of Wagner and Verdi-all of them valuable sources of instruction and pleasure to the music amateur of pre-phonograph and pre-radio days. Many a young nineteenth-century musician first became acquainted with the great works of music literature through just such transcriptions. A quick glance at current publishers catalogues indicates that a surprisingly large proportion of these works is still available in four-hand reductions, along with a healthy number of arrangements of twentieth-century orchestral works by Debussy, Richard Strauss, Max Reger, Schoenberg, Ravel, Stravinsky, and Hindemith.
It is interesting to note the lengths to which some tasteless merchants have been willing to go in order to take full advantage of the lucrative four-hand market. Since all music was fair game and every composition, great or small, was potentially marketable in some format, over-eager publishers occasionally pushed their enterprise to ludicrous extremes by issuing oddities such as piano-duet adaptations of some of Beethoven s piano sonatas (including Op. 57 in F minor, the Appassionata ), the Chopin Nocturnes, and even some of the latter s tudes.
However, beyond the reductions, arrangements, adaptations, and curiosities lies a body of first-class and little-known works. Consisting of dances, sonatas, variations, concertos, character pieces, suites, preludes and fugues, teaching pieces, studies, accompaniments to choral and/or instrumental pieces, and even a full-length Operetta without a Text , all these works were originally conceived for one piano, four hands. It is the purpose of this volume to present this repertoire to the increasing number of music students, teachers, and music lovers interested in broadening their knowledge of piano duet literature, and to the uninitiated, amateurs as well as professionals, to encourage them to join the ranks of those piano duettists who have already discovered this most amiable and rewarding way of making music.
Acknowledgments for the Original Edition
This book has benefited from the efforts and talents of many people. The author is indebted to all these collaborators-musicologists, librarians, historians, musical amateurs, friends, and other contributors-whose assistance, counsel, and encouragement have helped bring this work to completion.
Recognition is due, first of all, to Professors Donald Grout and John Kirkpatrick, inspired musicians and teachers, whose memorable duet performances many years ago at Cornell University first opened the author s ears to the sounds and delights of four-hand music.
Special appreciation is also due to the late Ernest Lubin, teacher, composer, and author of The Piano Duet , for his gracious support and warm interest.
For their invaluable help and practical suggestions, grateful acknowledgment is made to Douglas Townsend, musicologist and piano duet expert; Harold Samuel, Yale University School of Music librarian; Robert Dumm, Catholic University; Richard Stevens, San Francisco; Helene Hoffmann and Paul Strickler, Philadelphia; and to the late Rita Benton, University of Iowa, for her kindness in making available a quantity of material on Pleyel s four-hand music.
I would like to thank the following for their assistance in locating or providing music and special bibliographical data: Naomi Donaldson, Ann Arbor; John Diercks, Hollins College; Jack Gottlieb, Hebrew Union College; Harold Moore, Cornell University; Gretchen Buehler, Devon, Pennsylvania; Milton Salkind, San Francisco; the late L on Leduc, Asni res, France; Ruth Zimmerman, Leipzig; David Lloyd, Philadelphia; the staff of the Music Library of the British Museum; Sam Dennison, Frederick Kent, and John Angell, librarians at the Free Library of Philadelphia; Ruth Bleecker and her staff at the Boston Public Library; the staff of the Music Division, Library of the Performing Arts, Lincoln Center, New York; the staff of the Music Library of the University of Pennsylvania; the staff of the Music Division of the Library of Congress; R. E. Bar and Brian Martin of Allens Music, Melbourne; Kenzo Ito of Kawai Gakufu Co., Tokyo; and Shimpei Matsuoka, Zen-On Music Publishers, Tokyo.
Thanks are owed to the following national music information centers and their staffs for their generous contributions of catalogues and/or copies of works by their native composers: Liv Lindberg, Society of Norwegian Composers; Thorkell Sigurbj rnsson, Iceland Music InforNorwegian Composers; Thorkell Sigurbj rnsson, Iceland Music Information Centre; Per Olof Lundahl, Swedish Music Information Centre (STIM); H. A. Mutsaers, Canadian Music Centre (Toronto); Harald Goertz, sterreichische Gesellschaft f r Musik; M. M. de Azar do Goertz, sterreichische Gesellschaft f r Musik; M. M. de Azar do Perdig o, Calouste Gulbenkian Foundation, Lisbon; Hans Steinbeck Swiss Music Archives; Anna Van Steenberge, Centre Belge de Documentation Musicale; H. Barbu and A. Popa, Editura Muzical a Uniunii Compozitorilor din R.S.R., Bucharest; and Jan Hanu , Guild of Czechoslovak Composers.
A special word of thanks and appreciation is due to Philip Buehler, Drexel University, for his devoted interest and counsel, for reading the manuscript and making beneficial and practical suggestions, for providing a firm and dependable secondo at the keyboard when it was needed, and for faithfully helping pilot the book through to its conclusion.
I should also like to express my gratitude to my colleagues, family, friends, and students for their patience and unflagging encouragement.
Errors and omissions are an unavoidable consequence of a reference work of this nature, and the author would be most grateful to have corrections and additions brought to his attention.
Cameron McGraw, 1981
Acknowledgements for the New Edition
The authors gratefully acknowledge the generous assistance of many people whose contributions have made the completion of this revised and expanded edition of Piano Duet Repertoire possible: Dr. Sylvia Coats, who encouraged us to pursue this opportunity; Oswald Johnson, Alexandra Jones, and Sarah Welch for their able research assistance; Ohio University faculty colleagues and administration for their support and encouragement; the Ohio University Faculty Fellowship, Faculty Research Support Award, and College of Fine Arts Scholarly Research Award, which enabled the authors to complete the project; those who have provided childcare at various stages throughout the journey; Indiana University Press editors Raina Polivka and Janice Frisch and technology specialist Rich Pierce for their expert guidance; the distinguished Anderson Roe Piano Duo (Greg Anderson and Elizabeth Joy Roe) for writing the foreword to this revised and expanded edition; and the numerous publishers who so generously supplied materials to be reviewed for this volume, without which this edition would not be possible:
Alfred Music Publishing Company
Allegra Musikverlag
American Popular Piano / Novus Via Music Group, Inc.
Barenreiter Verlag
Belmont Music Publishers
Carl Fischer Music
Dover Publications
Editions Hieber
Faber Music
Faber Piano Adventures
The FJH Music Company, Inc.
Four Hands Plus
G. Ricordi Company
Heinrichshofen s Verlag
Henle Verlag
Hug Co. Musikverlage
Israel Music Institute
Lorenz Music
MIC Music Information Centre Norway
Musikverlag Zimmerman
Neil A. Kjos Music Company
Oxford University Press
Red Leaf Publishers
Robert Lienau Musikverlag
Schaum Publications, Inc.
Schott
Southern Music Company
Subito Music Corporation
Theodore Presser Company
Universal Music
Vienna Urtext
Christopher Fisher and Katherine Fisher, 2015
General Explanations
As its subtitle indicates, this book is limited to music originally written for one piano, four hands. Arrangements or adaptations from other media are excluded except in rare cases where the composers themselves have made the transcriptions or where such adaptations have long been considered part of the standard four-hand repertoire.
The piano duet repertoire is listed alphabetically by composer. Some or all of the following data are included:
1. Composer s surname followed by given name; birth and death dates; nationality; and, in some cases, a biographical note.
2. Full title of composition, followed in parentheses by titles of shorter pieces included under the main heading: e.g., Three Easy Pieces (March; Valse; Polka). Foreign titles, except those in French, German, or Italian, are given both in the original language and in their English translation; Russian titles are also transliterated.
3. Key signature. Major keys are given in capital letters (A ), minor keys in lower case (a ).
4. Opus number and date of composition. Opus numbers and series of pieces within a given opus are separated by a slash (/).
5. Place of publication, publisher s name, and date of publication. If a piece is available as both a sheet and in a collection, the sheet publication data is listed first, followed by the collection publication data.
6. Descriptive comment, critical evaluation, or other annotation. Approximate grade is indicated in parentheses by the following abbreviations: A-Advanced; E-Elementary; I-Intermediate; L-Lower; U-Upper. Examples: (LE)-Lower Elementary; (UI)-Upper Intermediate; (UE-LI)-Upper Elementary to Lower Intermediate; (LA)-Lower Advanced. A single notation, e.g., (E) or (LI), indicates that both the secondo and primo parts are at the same level of difficulty (in this case Elementary and Lower Intermediate). A difference in grade level between the two parts is designated by a slash (/): e.g., (I/E) means that the secondo part is Intermediate and the primo is Elementary.
Works in which one or both parts are restricted to a five-finger position are denoted by 5 added to the grade level: e.g., (I/E-5) is interpreted as secondo at the Intermediate level, while primo is Elementary and limited to five-finger span in both hands. (I/E-5) is also used to indicate those works, usually consisting of a series of short pieces, in which the easier part appears sometimes in the primo and sometimes in the secondo. The notation (E-5), reduced from (E-5/E-5), denotes that both primo and secondo are in the five-finger position at the Elementary level.
Because the greatest portion of duet music was directed to a performing public of modest technical and musical resources, ungraded entries in this catalogue tend to lie within the Upper Elementary (UE) to Upper Intermediate (UI) range of difficulty. Titles themselves frequently offer a clue to the approximate difficulty of a work: Grande sonate, Grand duo, Fantaisie brillante , and similar descriptive names suggest music of greater technical demands than Sonatina, Duettino , and Pi ce caract ristique .
A grade level, especially if it follows an entry without an accompanying annotation, is often the one given in the publisher s catalogue from which the citation was taken.
The terms conservative and traditional refer to the common-practice harmonic style cultivated in the eighteenth and nineteenth centuries and still very much in use today.
Instructional or pedagogical music-sometimes called teaching pieces-can be roughly divided into three general, often overlapping categories: etudes and technical exercises; pieces written for two performers at different levels, either teacher and pupil, or a beginning and a more advanced pupil; and teaching or recreational pieces for two students of equal proficiency.
The first category, etudes and technical exercises, is familiar to all piano students and is sparingly represented in four-hand literature by Carl Czerny, Henry K hler, and Heinrich Wohlfahrt, the major contributors to the genre. Well known for their solo piano studies and exercises, these three pedagogues composed a corresponding, though smaller, body of instructional music designed as an aid in mastering some of the technical difficulties peculiar to piano duet playing. These works, together with similar efforts by other nineteenth- and twentieth-century composers, constitute a modest collection of exercises and short studies that serve a useful purpose in developing musicianship and a feeling for ensemble playing.
Greater in volume and certainly more absorbing musically than the preceding is the popular repertoire of duets written for teacher and pupil, featuring one easy and one more difficult part. Many variations in the distribution and difficulty of the individual parts occur throughout duet literature, but the arrangement most frequently encountered is that in which the primo plays the easier part within the restricted range of five notes in each hand, while the secondo part is given to the teacher or a more advanced pupil. A number of composers, intrigued by the architectural strictures of the five-note form, have lavished some of their finest and most imaginative efforts on this popular and effective genre, which seems to have been first developed, if not invented, by Antonio Diabelli.
The third category, teaching or recreational pieces for two students of equal proficiency, is by far the largest and has consistently maintained its appeal up to the present time. The best of these teaching pieces are well written, melodious, and attractively set in a variety of styles-traditional through contemporary. The individual parts are well distributed, and they are intended to divert as they instruct.
The term salon describes a familiar type of second-rate music popular in the nineteenth and early twentieth centuries. Shallow, predictable, and mawkish at its worst, it is abundantly represented in four-hand as well as solo piano literature. Because of its dubious musical quality and because the bulk of it is material arranged from original two-hand versions, works of this type have been omitted from this listing. On the other hand, many of the lesser-known composers, as well as some of the more familiar figures of the period, have contributed duets of substance and considerable interest, solidly crafted in polished, elegant salon style, and these works are included in this volume.
SAMPLE ENTRY (FICTITIOUS) WITH EXPLANATIONS
Schmidt, Johann (1799-1860), Germany
2 Sonatinas (C, d ), Op. 102 (1801)
Leipzig: Breitkopf H rtel, ca. 1802; New Edition, 1903.
Instructional use.
Level: UE-LI/E-5
The two Sonatinas are in the keys of C major and D minor, written in 1801, and published in Leipzig by Breitkopf H rtel circa 1802; a new edition by the same publisher was issued in 1903. Both Sonatinas are teaching pieces with the secondo part written at the Upper Elementary level of difficulty while the less difficult primo part is set at the Elementary level in the five-finger position for both hands.
Abbreviations
(A)
Advanced
arr.
arranged; arranger
comp.
compiler
D.
refers to work by Schubert indexed in Otto Deutsch, Schubert: Thematic Catalogue of All His Works in Chronological Order . London: Dent, 1951.
(E)
Elementary
(I)
Intermediate
K.
refers to work by Mozart indexed in Ludwig K chel, Chronologisch-thematisch Verzeichnis s mtlicher Tonwerke Wolfgang Amadeus Mozarts , 3rd edition, revised by Alfred Einstein. Leipzig: Breitkopf H rtel, 1937.
(L)
Lower
n.d.
no date
Notes
Quarterly Journal of the Music Library Association
Op.
opus
rev.
revised
(U)
Upper
VEB
Volkseigener Vertrieb ( People s Own Industry, used in the name of East German Publishers)
WoO
refers to works without opus numbers by Beethoven in Georg Kinsky and Hans Holm, Das Werk Beethovens, thematischbibliographisches Verzeichnis seiner s mmtlichen, vollendeten Kompositionen . Munich-Duisberg: G. Henle, 1955.
Piano Duet Repertoire
A
Aaronson, Sharon (b. 1950), United States
American pianist, composer, arranger, editor, and teacher. Graduate of the Berklee College of Music with studies in jazz and Classical piano, jazz arranging, and composition.
Stompin
Van Nuys, CA: Alfred Music, 1997.
A syncopated, toe-tapping tune. Performers are instructed to stomp their feet at strategic moments throughout. Melody lies primarily in the primo while the secondo plays a boom-chick accompaniment.
Level: I
Abeille, Johann Christian Ludwig (1761-1838), Germany
German pianist, court organist, director of music and conductor of the private orchestra of the Duke of Wurttemberg; composer of songs, stage entertainments, and piano music.
Grand concerto (D), Op. 6
Offenbach: Andr , 1793.
Written for harpsichord or piano with accompaniment of several instruments.
Sonate (C), Op. 22
Heilbronn: Johann Amon, n.d.
Despite an inclination toward excessive use of sequential passages and a general unevenness of quality, this two-movement sonata in Classical style is a flowing work with attractive harmonies and lyrical melodies (one of which bears more than a passing resemblance to the theme of Mozart s A major Rondo for solo piano). The rhapsodic character of the second-movement variations is especially intriguing, with frequent, unexpected cadenzas and sudden changes of meter.
Level: I
Six walses , Book 1 (D, G, C, g, B , E ); Book 2 (F, C, G, D, E , a); Book 3 (C, e, G, D, B , E )
Leipzig: Breitkopf H rtel, ca. 1808.
Instructional pieces for beginning pianists.
Level: I
Abesser, Edmund (1837-1889), Germany
German composer and musician.
Fruhlingsbluten
Cologne: P. J. Tonger, 1890.
Four pieces: I. Lied des Hirten; II. Jagdstuck; III. Durch grunende Felder; IV. Einsame Blume.
Level: I
Abril, Anton Garcia (b. 1933), Spain
Spanish composer and musician.
Homenaje a Copernico
Madrid: Bolamar Ediciones Musicales, 2009.
A three-movement work in fast-slow-fast construction. Rhythmically driven with pungent harmonic language. Fast octave passagework.
Level: LA
Adam, Johann Ludwig (Louis) (1705-1779)
Sonate
Publisher and date missing.
Symphonie concertante (F), Op. 5
Paris: Naderman et LeMenu, 1787.
For piano or harpsichord.
Adams, Mrs. Crosby (1858-1951), United States
Composer of educational piano music.
Barcarolle , Op. 2/1
Chicago: Clayton Summy, 1897.
Four Duets for Two Beginners , Op. 13
Boston, MA: Arthur P. Schmidt, 1906.
I. Boatman s Tune; II. The Nodding Grass Star; III. Old Folk Melody (The Hen and Her Chickens); A Voyage.
Level: UE-LI
Three Piano Duets in Unfamiliar Keys for Courageous Beginners ( Song without Words ; Peter Pan ; Valse arabesque ), Op. 20
Boston/Leipzig: A. P. Schmidt, 1907.
Adams, James O., England
A Duett for Two Performers on One Pianoforte
London: n.p. [1820].
Agafonnikov, Nikolai, Russia
Polka; Waltz; Russian Dance
In Agafonnikov, N., ed., Sbornik fortepiannikh .
Agay, Denes (1912-2007), Hungary
Hungarian-born American editor, arranger, educator, and composer.
Dance Toccata
New York: Sam Fox, 1962.
Sparkling, idiomatically written show piece in effective contemporary idiom.
Level: I
Aggh zy, K roly (1855-1918), Hungary
Hungarian pianist and composer of stage works, orchestral and chamber music, and piano pieces in Romantic style with strong Hungarian folk flavor.
Po mes hongrois , Op. 13
Berlin: Bote Bock, 1887.
Spirited, rhythmical set of pieces.
Level: I
Rondo all ongarese; Marcia , Op. 18
Berlin: Bote Bock, 1886.
Agnew, Roy (1891-1944), Australia
Australian composer and pianist. Studied piano with Daisy Miller, Sydney Moss, and Emanuel de Beaupuis at the NSW Conservatorium. Composed mostly for the piano.
The Village Fair
London: Augener, 1932.
Teacher-student duet. The primo plays entirely in parallel motion at the octave.
Level: I/LI
Agthe, Wilhelm Johann Albrecht (1790-1873), Germany
German pianist and teacher; composed numerous piano works in traditional style, often pedagogical in purpose.
Trois grandes marches (E, a, f), Op. 6
Leipzig: Peters, 1816.
Level: I
Trois marches (E , C, c), Op. 3
Leipzig: Breitkopf H rtel, 1814.
Strong, rhythmic works in Classical style.
Level: I
Aguilar, F., Spain
Spanish composer.
Pitusines , four easy pieces
Madrid: Uni n Musical Espa ola, n.d.
Ahlberg, Tor (1913-2008), Sweden
Swedish pianist; has written pieces for orchestra, chamber groups, and piano.
Tv Bagateller ( Two Bagatelles ) (1938)
Manuscript photoprint.
Aitken, George (1866-1942), England
La mascarade , suite ( Rendezvous ; Dance ; Le retour ), Op. 14
London: Leonard, 1899.
Aitken, Hugh (1924-2012), United States
American teacher and composer.
Four Pieces, Four Hands ( Arioso ; Chorale ; Canon ; Song )
Philadelphia: Elkan-Vogel, 1965.
Very short pieces in mildly contemporary idiom; interesting sonorities and technical devices.
Level: I
Aitkens, Attica, United States
Lazybones Blues
Florence, KY: Willis Music, 1983.
An accessible and relaxed dovetailing melody with some syncopation.
Level: UE
Akimenko, Feodor Stepanovich (1876-1945), Russia
Russian composer; pupil of Balakirev and Rimsky-Korsakov; settled in France in 1917. His four-hand works show influence of French Impressionism and are idiomatically set with carefully balanced parts.
Quatre morceaux ( Sur les Alpes, au printemps ; Clair de lune sur les ruins du Forum Romanum ; Au jardin de Luxembourg, les enfants ; Sous les vo tes de Notre-Dame ), Op. 41
Moscow/Leipzig: Jurgenson, 1909.
Six pi ces ukra niennes ( Dumka ; Do tantzu ; Piznia ; Vessila ; Listopad ; Gretchaniki ),
Op. 71
Paris: Salabert, 1925.
Level: I
Tableaux idylliques ( Valle ; Pastorale ; l gie: Danse rustique ; Romanza ), Op. 62
Leipzig: Jul. Zimmermann, 1914.
Level: I
Alb niz, Isaac (1860-1909), Spain
Spanish pianist and composer; student of Liszt. His works are written in a strongly Spanish nationalist idiom.
Arag n, fantasia
Madrid: Uni n Musical Espa ola, 1921.
Strongly rhythmical work in energetic Spanish style; attractive though not idiomatically set for four hands. The many doublings and frequent awkward collisions between the parts suggest a transcription, possibly by the composer, from an original two-hand version.
Level: I
d Albert, Eugen (1864-1932), Germany
German pianist and composer of French descent and British birth; student of Liszt; brilliant pianist; wrote operas, choral works, chamber music, and piano compositions in late German Romantic style.
Theme and Variations in B Minor , Op. 124
Leipzig: Rieter-Biedermann, 1870.
[12] Walzer , Op. 6
Berlin: Bote Bock, 1888.
Twelve ingratiating suite of lilting waltzes somewhat reminiscent of Brahms s Liebeslieder in style and polish; worth reviving.
Level: I
Albrechtsberger, Johann Georg (1736-1809), Austria
Austrian theorist, teacher, and composer; much sought as teacher of counterpoint. It is said he thought very little of the musical talent of his most famous pupil, Beethoven.
Pr lude et fugue (B )
Vienna: S. A. Steiner, ca. 1805, 1823(?)
Short, thin-textured academic work in Classical idiom; well distributed for both parts.
Level: I
Alexander, Dennis (b. 1947), United States
Composer, arranger, clinician, teacher, and pianist. Degrees from the University of Kansas. Prolific composer of educational piano music. Served as professor of piano and piano pedagogy at the University of Montana.
Just for You and Me, Book 1
Van Nuys, CA: Alfred Music, 1993.
Six elementary to lower intermediate duets: All Mixed Up; Chaser; Lean on Me; Reflections; Sentimental Waltz; Simple Dessert Rag. Expressive, lyrical style with fresh harmonies. Mixed meters, hemiola, and syncopation provide rhythmic challenges.
Level: E-LI
Just for You and Me, Book 2
Van Nuys, CA: Alfred Music, 1993.
Six intermediate duets: Cozy Nights; Czardas; Elegy; Fiesta Burlesca; Lazy Kind of Waltz; Thinking of You. Frequent meter and key changes provide challenge and interest.
Level: I
March in Cyberspace
Van Nuys, CA: Alfred Music, 1998.
A chromatic introduction sets a sly, mechanical mood. Melody lies entirely in the primo while the secondo supplies the accompaniment.
Level: UE
Preludium in D Major
Van Nuys, CA: Alfred Music, 1989.
A stately yet celebratory duet. Melody is passed between primo and secondo.
Level: LI
Star Gazing
Van Nuys, CA: Alfred Music, 1993.
Lyrical with flowing arpeggiated figures. Rich harmonic language.
Level: LI
Touch a Rainbow
Van Nuys, CA: Alfred Music, 2010.
A duet arrangement of Mr. Alexander s beloved solo. Lush harmonies and sweeping melodies.
Level: I
Valse caprice
Van Nuys, CA: Alfred Music, 1992.
A brilliant waltz that features frequent key changes and continuous eighth note patterns. A dazzling showpiece. Commissioned by the Madison Area Piano Teachers Association.
Level: I
Wild Horse Round-Up
Van Nuys, CA: Alfred Music, 2004; also published in Contest Winners for Two, Book 2 .
Spirited study in articulation. Primo plays some cross-hand arpeggios.
Level: UE
Alexander, Haim (1915-2012), Israel
Israeli teacher and composer.
Six Israeli Dances (arr. by the composer)
Tel Aviv: Israeli Music Publications, n.d.
Alexandrescu, Romeo (1902-1976), Romania
Romanian composer and teacher.
Trei piese usoare pentru pian la patra m ini ( Three Easy Pieces for Piano Four Hands ) (1957)
Bucharest: Editura Muzical , 1958.
Charming little instructional pieces based on Romanian folk songs.
Level: UE
Alford, Edith
A Day in the Woods
London: Elkin Company, 1917.
Six short instructional pieces.
Level: E-UE
Alkan, Charles-Valentin (Morhange) (1813-1888), France
French virtuoso pianist; greatly respected by Liszt, Chopin, and other contemporaries; composed a quantity of tudes, pr ludes, and other bravura concert pieces.
Bombardo-Carillon
Paris: G rard Billaudot, n.d.
This work was also transcribed by the composer for two performers, four feet, on organ pedals or pedal piano.
Level: UI-A
Finale , Op. 17
Paris: G rard Billaudot, 1842.
Trois marches (A , E , B ), Op. 40
Paris: Billaudot, n.d.
Rather long and technically demanding works containing the composer s characteristic writing: extended passage work, unexpected chromaticisms, and plenty of bombast. Fine textures alternate with thick chordal masses, always with enormous effect.
Level: UI-A
Allemande trois, ex cut e par Alexandre Casarti et ses deux soeurs, pour le pianoforte deux et quatre mains
Publisher missing, ca. 1830.
Allende Sar n, Pedro Humberto (1885-1959), Chile
Chilean violinist; teacher; and composer of symphonic and chamber music, piano pieces, and violin works; active in folk music research.
Seis piezas ( Six Pieces ) ( Tempo di marcia ; Minuetto ; Gavotta ; Corrente ; Alemanda ; Vals lento ; Rigod n )
Santiago de Chile: Published by composer, 1948.
Charming, graceful suite of pieces in old forms.
Level: I/E-5
Alpert, Pauline (1900-1988), United States
March of the Blues
Melville, NY: Belwin, n.d.
Level: E
Amon, Johann Andreas (1763-1825), Germany
German horn virtuoso, conductor, and prolific composer of operas, masses, symphonies, chamber works, and piano music.
Sonate (F), Op. 67
Mainz: Schott, ca. 1815.
Sonate (B ), Op. 100/6
Bonn/Cologne: Simrock, ca. 1823.
Three-movement work, similar in style to Op. 99, but longer and somewhat more difficult.
Level: I-UI
Deux sonates (C, E ), Op. 99
Offenbach: Andr , ca. 1823.
Three-movement works of moderate length in late Classical style, with rhythmic vitality, interesting thematic development, and melodic charm; worth reviving.
Level: I
Six variations sur un air de Conradin Kreutzer . . . cinqui me air vari , Op. 119/5
Hannover: C. Bachmann, n.d.
Six walses (C, C, C, C, F, C), avec guitarre oblig e, Op. 52
Offenbach: Andr , ca. 1809.
[5] Walzer (F, F, F, C, A) (seventh volume of waltzes), Op. 87
Wallerstein: Johann Amon, n.d.
Ancot, Jean (1799-1829), Belgium
Belgian pianist and prolific composer of violin pieces and piano works.
Favorite Air with Variations , Op. 221
London: Published by the composer, 1824.
Anderberg, Carl-Olof (1914-1972), Sweden
Swedish conductor, author, and composer. His musical style evolved through serial techniques into an advanced, highly complex personal idiom.
Als h tte ich vier H nde , Op. 60 (1967)
Manuscript.
Serious work of moderate length; dissonant; tightly organized structurally, with rhythmic complexities; technically demanding.
Level: A
Anderson, Leroy (1908-1975), United States
Composer and pianist. Studied piano at the New England Conservatory of Music, and harmony, counterpoint, orchestration, and composition at Harvard University, where he received bachelor s and master s degrees. Later studied towards a Ph.D. in German and Scandinavian languages at Harvard.
Fiddle Faddle
Van Nuys, CA: Belwin-Mills, 1983; published in Blue Ribbon Series: Favorite Piano Duets, Level Four, Volume 1 .
A toe-tapping, lively work in D major. Secondo provides a boom-chick accompaniment above which the primo plays fast, nimble passagework.
Level: UI
Anderson, T. J. Jr. (b. 1928), United States
Five Portraits of Two People ( Canvas ; Contemplations ; Capriciousness )
New York: American Composers Alliance-Composers Facsimile Edition, n.d.
Andersson, Margit E., Sweden
Fyra sm h nder. F r piano fyra h nder ( Four Little Hands, for Piano Four Hands )
Stockholm: Nordiska Musikf rlaget; Copenhagen: Hansen, 1946.
Level: E
Andersson, Richard (1851-1918), Sweden
Swedish pianist and pedagogue; pupil of Clara Schumann; professor at Stockholm Conservatory; composed songs and numerous piano pieces.
[12] Schwedische T nze (d, B , E , g, e, G, f, c, A , C, a, E)
Berlin: Simrock, 1881.
Suite of Swedish folk dances, contrasting in character, tempo, and texture, skillfully and imaginatively set in Romantic tonal idiom.
Level: I
Andr , Johann Anton (1775-1842), Germany
German pianist, violinist, teacher, businessman. His ingratiating four-hand compositions are instructional in character and written in a solid Classical idiom. The majority were published by the composer himself, who took over his father s publishing house in Offenbach. Although these tidy, well-balanced works make only modest demands on the performers, they are rich in rhythmical vitality and melodic grace.
Conversations musicales ( Marche [E ], Valse [E ]), Op. 42
Offenbach: Andr , 1818.
Short amiable works.
Six divertissements (C, F, D, G, B , d), Op. 18
Offenbach: Andr , ca. 1803.
Drei divertissements (C, E , G), Op. 19
Offenbach: Andr , 1803.
Trois divertissements (C, a, F), Op. 20
Offenbach: Andr , 1803.
New Edition, Divertimento (a), Op. 20/2
In Zeitlin and Goldberger, eds., New York: Peters, 1961.
New Edition, Divertimento (F) No. 3, Op. 20/3
In Townsend, D., ed., Piano Duets of the Classical Period . Bryn Mawr, PA: Presser, 1956.
The three sets of divertissements, Opp. 18, 19, and 20, consist of charming, concise, one- and two-movement pieces; masterfully written; arranged in progressive difficulty; they should all be revived.
Level: LI-I
Trois marches (D, d, C), Op. 28
Offenbach: Andr , 1805.
Brief, rhythmical, attractive.
Level: LI-I
Douze morceaux faciles , Op. 44
Offenbach: Andr , n.d.
Sonate (C), Op. 12
Offenbach: Andr , ca. 1801.
Level: I
Trois sonates (C, F, e), Op. 46
Offenbach: Andr , 1821.
Level: I
Easy Sonata (C), Op. 56
Offenbach: Andr , n.d.
Level: I
Six Easy Sonatinas (C, G, F, d, D, B ), Op. 45
Offenbach: Andr , 1820; New Edition: in Zeitlin and Goldberger, eds., Evanston, IL: Summy-Birchard, 1959.
Op. 45/1 (C)
In Eckard, ed., Forty-four Original Piano Duets .
Series of short, tuneful, workmanlike sonatinas.
Level: LI
Sonatina (C), Op. 73
Offenbach: Andr , n.d.
Neun leichte St cke (C, C, D, F, F, g, B , C, G), Op. 72
Offenbach: Andr , n.d.
Brief, melodious pieces in progressive difficulty with contrasts of rhythm and texture.
Level: E-LI
Andr , Julius (1808-1880), Germany
German organist, pianist, and composer. Son of Johann Anton; best known for his four-hand arrangements of Mozart s orchestral works.
Six morceaux amusants , Op. 38
Offenbach: Andr , 1864.
Musikalischer Familienkreis , Suites I and II, Op. 59; Suite III, Op. 63; Suite IV, Op. 64
Offenbach: Andr , 1875-77.
Drei Polonaisen , Op. 7
Offenbach: Andr , ca. 1832.
Nocturne in A Major , Op. 9
Sonata (F)
Offenbach: Andr , n.d.
Andriessen, Jurriaan (1925-1996), Netherlands
Member of famous Dutch musical family; pianist and composer. His works, influenced by Stravinsky and the French school, include film scores, chamber music, concertos, orchestra pieces, and piano compositions.
Fantasie (1962)
Amsterdam: Donemus, 1962.
Lively, sparkling work in mildly dissonant, open-textured idiom.
Level: I
Kathenka s Music Book ( Five Easy Pieces )
Amsterdam: Broekmans Van Poppel, n.d.
Short pieces written for one easy and one slightly more advanced part are so arranged that the exclusively white-note primo blends with the attractive harmonies of the secondo in a most refreshing way.
Level: UE-LI/E-5
Andriessen, Louis (b. 1939), Netherlands
Brother of Jurriaan; studied with Berio. His style has been influenced by Cage, Stockhausen, and Stravinsky. He has also written for electronic improvisation groups.
Ittrospezione No. 1, 1961
Manuscript.
Anonymous
A Favorite Grand Duett for Two Performers. . . . Composed by an Eminent Master in the Style of W. A. Mozart
New York: Printed and sold at J. Hewitt s musical repository library, 1807-1810.
This curiosity, capitalizing as it does on the name of a famous composer and on the guilelessness (or poor eyesight) of the innocent purchaser, is one of the respectable misrepresentations in the history of the music publishing business, which has had its share of piracy, deceptions, chicanery, frauds, and fast-money operators. A quick, uncritical glance at the title page leads one to believe that the composition is by Mozart; a careful scrutiny, however, reveals the fine print embedded in the decorative scrolls and flourishes. While the work is full of Classical melodic ideas and abounds in superficial references to Mozart s idiom, it would never be mistaken for the work of any eminent master, most assuredly not Mozart.
Level: LI
Anonymous (late eighteenth century)
Sonata per dui in uno Clavicembalo
Leipzig: Breitkopf H rtel, n.d.
Anonymous (late eighteenth century)
Sonatina (C)
In Kreutz, ed., Vermischte Handst cke .
Short, single-movement work in Classical style.
Level: UE
Anotta, Louise
Surprise
Paris: Consortium Musical, n.d.
Level: I
Ansch tz, J. A. (1772-1856), Germany
German pianist and conductor; founder of music school in Coblenz.
Scherzo symphonique
Paris: Heugel, 1897.
Brilliant, effective salon piece.
Level: I
Ansermet, Ernest (1883-1969), Switzerland
Swiss conductor; founder of the Orchestre de la Suisse Romande; well known as an interpreter of Stravinsky and twentieth-century French music.
Deuxi me marche militaire
Lausanne: Foetisch Fr res, n.d.
Antalffy-Zsiross, Ders (Desider von) (1885-1945), Hungary
Hungarian organist; U.S. resident; wrote light opera, choral works, organ pieces, and piano pieces in Romantic style.
Hungarian Suite (Alla marcia; Scherzo; Serenata; Finale), Op. 17
Boston: Boston Music, 1913.
Attractive set of pieces in Hungarian style, well distributed for both parts.
Level: UI-LA
Anthiome, Eug ne Jean-Baptiste (1836-1916), France
French composer of chamber music and instructional piano pieces.
Deux duos enfantins ( Valse sentimentale ; Moments joyeux )
Paris: A. No l, n.d.
New Edition, Moments joyeux
Paris: Consortium Musical, n.d.
Level: LI
Douze petites pi ces ( Berceuse ; Aux bords du Nil ; F te an s rail ; Barcarolle ; Marche de la patrouille ; Chasse ; Farandole ; Valse ; Mazurka ; Galop ; Bol ro ; Tarantelle )
Paris: Michel et Rosen, 1887.
Level: UE-LI/E-5
Anthony, Bert R. (1876-1923), United States
At the Dancing School; Rob Roy
In Playing Together for the Pianoforte .
Salute to the Colors
Bryn Mawr, PA: Presser, n.d.
Antiga, Jean (b. 1878)
Do Not Forget Me; Gavotte in Ancient Style; Impressions of Savoy; Souvenir of Spain
Boston: Oliver Ditson, 1910.
Level: LI
Applebaum, Stanley (b. 1922), United States
Musical Miniatures ( Barcarolle ; Hop, Skip and Jump ; Pastorale Dance ; Peasant Dance ; Reverie Rondino )
New York: Chappell, 1953.
Short, useful, contrasting teaching pieces; occasional mild dissonance and unexpected harmonic shifts help maintain interest.
Level: UE
Doubleplay, Ten Miniatures ( Peasant Dance ; Rondino ; Hop, Skip and Jump ; Barcarolle ; Reverie ; Pastorale Dance ; Romanza ; Space Age Polka ; Interplay ; Power Plant )
New York: Tetra Music, 1977.
This series incorporates the whole of Musical Miniatures together with five new pieces; jazz elements, modality, and pentatonic scale passages add further color and variety; the entire group is well laid out for the keyboard.
Level: UE-LI
Arbeau, P.
Pavane pour Evelyn
Paris: Choudens, n.d.
Ronde pour Jean-Claude
Paris: Choudens, n.d.
Archer, Violet (1913-2000), Canada
Canadian, studied with Hindemith and Bart k; her works include orchestral and chamber music, choral pieces, and piano compositions.
Ten Folk Songs (Book 1: The Dancing Top ; Singing Bells ; In the Woods ; Gay Is the Rose ; Music Everywhere . Book 2: Pirate Song ; Paul Jones ; Eskimo Prayer ; Cherry Tree Carol ; The Frog and the Mouse ) (1953)
Toronto: BMI Canada, 1955.
Group of Canadian folk songs of both French and English origin set in fastidious and inventive arrangements.
Level: LI-I
Arensky, Anton (1861-1906), Russia
Russian; student of Rimsky-Korsakov; wrote in a lyrical style close to Tchaikovsky s.
Six pi ces enfantines ( Conte ; Le coucou ; Les larmes ; Valse ; Berceuse ; Fugue sur im th me russe ), Op. 34
Moscow: Jurgenson, 1894.
New Edition, Mirovitch, ed. Augener; International; MCA: Six Recital Pieces (vol. 3 of The Student Pianist )
Moscow: USSR State Publishers, 1926.
Charming, melodious, well-balanced suite of pieces in transparent-textured Romantic idiom.
Level: LI-I
Kindersuite , canons, Op. 65
Leipzig: Jurgenson, 1904.
Twelve Pieces ( Prelude ; Gavotte ; Ballade ; Menuetto ; Elegie ; Consolation ; Valse ; Marche ; Romance ; Scherzo ; Berceuse ; Polka ), Op. 66
Moscow: Jurgenson, 1903; New Edition, International, n.d.
Carefully constructed works; tuneful; similar in style to Op. 34 but somewhat more difficult.
Level: I
Arenson, Adolf (1855-1936), Germany
Menuet and Habanera
Leipzig: Schubert, 1893.
Level: LI
d Argenton, Antonin
La danse des ombres ( Schattentanz ) (A ), Op. 21
Leipzig: Breitkopf H rtel, ca. 1872.
Arizaga, Rodolfo (1926-1985), Argentina
Argentine teacher, music critic, author, and composer; student of Nadia Boulanger and Messiaen. His early style was influenced by neo-Classicism and Spanish Impressionism, but he later developed his own eclectic idiom.
Serranillas de la infanza (1957)
Buenos Aires: Editorial Argentina de M sica, n.d.
Arma, Paul (pseud. of Imre Weisshaus) (1905-1987), Hungary
Hungarian pianist and composer; student of Bart k.
Pantomime, neuf petits morceaux
London: Goodwin Tabb, 1956.
Armand, J. O. (1853-1916), Germany
See: Knorr, Iwan.
Armstrong, William Dawson (1868-1936), United States
Composer of operas, sacred works, and instructional piano music.
Paola and Francesca
New York: Boosey Hawkes, 1902.
Level: UE
Papillon, air de ballet
New York: Boosey Hawkes, 1904.
Level: UE
Suite de ballet ( Entr act ; Valse lente ; Scene in the Garden ; The Kermesse )
Boston: A. P. Schmidt, 1895.
Descriptive pieces in salon style.
Level: I
Arnell, Richard (1917-2009), England
British composer, student of John Ireland; wrote in eclectic style with neo-Classical and Romantic affinities.
Sonatina , Op. 61
London: Schott, 1950.
Dedicated to George Balanchine and intended as a ballet score. Four-movement work cast in a tonal idiom spiced with mild dissonance. The twenty-one-bar introductory Andante movement leads into a bright Allegro, which in turn is followed by a contrasting Andante. The work ends in a bustling Presto. Rhythmically vigorous and melodically appealing, the entire Sonata is carefully written for the medium.
Level: I-UI
Two Simple Piano Duets ( Thoughts ; Second Thoughts )
London: Hinrichsen, 1961.
Witty, refined, entertaining works in artful settings; attractive, useful teaching material.
Level: UE
Arnold, Carl (1794-1873), Germany
German pianist and conductor; wrote church music, an opera, orchestral works, and piano pieces.
Rondo (D)
Offenbach: Andr , ca. 1818.
Arnold, Malcolm (1921-2006), England
English composer of film scores, ballets, instrumental sonatas; vivid orchestrator; wrote in a direct style, often ironic and whimsical.
Concerto for Pianoforte Duet and Orchestra
Publisher and date missing.
Written for Paul Hamburger and Helen Pyke, piano four-hand specialists.
Scottish Dances
Publisher and date missing.
Arrieu, [Mme. ] Claude (1903-1990), France
French composer of operas, chamber works, incidental radio music, and piano pieces in neo-Classical idiom.
Suite pour M lodyne ( Prologue ; Dominos ; Pic et dic et col et gram ; Trois soldats ; Romance ears paroles ; Berceuse ; Aubade M lodyne )
Paris: Amphion, 1946.
Delightful set of short, effective teaching pieces.
Level: LI-I/E-UE
Artaud, mile (b. 1849)
Marche nuptiale
Paris: Enoch, 1878.
Artsybushev, Nikolai (1858-1937), Russia
Russian composer; member of nationalist school.
Pantalon
See: Badinage under Bacon, Ernst.
Ashforth, Alden (b. 1933), United States
Big Bang
Manuscript, 1970, Available from the composer, Music Department, UCLA, Los Angeles, CA 90007.
Ashton, Algernon (1859-1937), England
English pianist and composer; German-trained; wrote chamber works and over 200 pieces for piano solo. His four-hand compositions, though rather long and often diffuse, are competently crafted in Romantic idiom with Brahmsian texture. The flowing style, frequently sparkling with brilliance, features abundant passage work, strong rhythms, and absorbing development of the fresh melodic ideas, some of which are of folk origin.
Level, all pieces: I-A
Englische T nze , Op. 10
Berlin: Simrock, 1883.
Irische T nze , Op. 26
Berlin: Simrock, 1885.
Marsch and Tarantella , Op. 30
Berlin: Simrock, 1887.
Schottische T nze , Op. 18
Berlin: Simrock, 1885.
Serenade (B ), Op. 40
Berlin: Simrock, 1885.
Trauliche Zwiegespr che , Op. 14
Leipzig: Siegel, 1886.
Asioli, Bonifazio (1769-1832), Italy
Italian theorist, educator, and composer. In addition to operas and a prodigious quantity of religious music, he wrote prolifically in late Classical style for instrumental combinations of all kinds; also wrote theory, harmony, and composition textbooks, and methods for playing the contrabass and the piano.
Capriccio (B ) (Adagio; Allegro; Allegretto; Allegretto con variazioni; Larghissimo; Presto), Op. 3
Z rich: N geli, ca. 1803.
Long, sectional work, light in character; weakened by overabundant passage work and lack of melodic variety.
Level: I
Sonata
Manuscript.
Possibly one of the three sonatas Asioli is supposed to have written in 1777, at eight years of age and without any instruction.
Sonatine (G) (Allegretto only)
Manuscript.
Melodious, direct, unpretentious one-page work in ingratiating style.
Level: E
Asioli, Luigi (1778-1815), Italy
Italian tenor and composer, probably brother of Bonifazio. In 1804 he moved to London, where a number of works appeared under his name between 1805 and 1825. In comparing the solo sonatas of the two brothers, William Newman (299) finds strong similarities in style and idiom. He suggests that Luigi, whose musical reputation in London was already established, may have had at least one of Bonifazio s works published under his own (Luigi s) name. If this assumption is true, then the two duets below may well have been written by Bonifazio.
Andantino tacitino assai (G)
Manuscript.
Short, one-page movement in appealing style; well laid out for the medium.
Level: UE-LI
Sonata ( Duetto ) (f)
London: Thomas Monzani, ca. 1813.
The three movements of this pleasant work in Classical mold are fluent and well balanced for both parts. Despite sections of arid passage work and weak thematic development, the composer s use of unexpected chromaticism in modulatory passages (foreshadowing later Romantic tendencies) and the overall rhythmic flow of the work help to sustain interest.
Level: I
Atterberg, Kurt (1887-1974), Sweden
Prolific Swedish composer of music in late Romantic style often containing folk material.
Rondeau r trospectif
Manuscript.
Level: A
Attwood, Thomas (1765-1838), England
English organist, pupil of Mozart, friend of Mendelssohn; wrote stage works, sacred compositions, solo songs, many sonatas, and lessons for piano.
March and waltz (E )
Publisher missing, ca. 1835.
d Aubel, Henri, France
Six morceaux (three and four hands) ( Ponca-Marche ; Calinette ; Danse tzigane ; Boute en train, galop ; Gard nia, polka mazurka ; Marche des pantins )
Paris: Leduc, 1887.
Level: UE-LI/E-5
Aubert, Louis (1877-1968), France
French pianist and composer; studied with Faur and Widor.
Feuille d images , diva pi ces enfantines ( Confidence ; Chanson de route ; S r nade ; Des pays lointains ; La danse de Fours de peluche )
Paris: Durand, 1930.
Level: E
Auda, Alain, France
Pour les petites personnes; premiere ann e, pi ces faciles clans tour les tons
Paris: Chappell, 1973.
Level: E-UE
Aulin, Tor (1866-1914), Sweden
Swedish violinist, conductor, and composer; student of Scharwenka; wrote symphonic music, chamber music, and piano compositions.
Valse-caprice
Stockholm: Elkan Schildknecht, Emil Carelius, n.d.
Auric, Georges (1899-1983), France
Youngest member of the French group les Six ; studied with d Indy. His melodious style shows influences of Stravinsky, Satie, and popular music. He wrote Lim scores, incidental music, songs, chamber works, and piano pieces.
Cinq bagatelles ( Ouverture ; Petite marche ; Valse ; R verie ; Retraite )
Paris: Heugel, 1926.
Short pieces in light style, arranged by the composer from incidental theater music into attractive and effective teaching material.
Level: UE-LI
Austin, Ernest (1874-1947), England
English businessman turned composer; wrote extensively in all musical forms. His piano duets are written in conservative nineteenth-century idiom.
Campbells Are Coming
London: Lengnick, n.d.
Level: I
Gavotte and Musette
London: Lengnick, n.d.
Level: LI
Lass of Richmond Hill
London: Lengnick, n.d.
Level: LI
Russian Song and Dance
London: Lengnick, n.d.
Level: LI
Sailor s Hornpipe
London: Lengnick, n.d.
Level: I
St. Patrick Was a Gentleman
London: Lengnick, 1915.
Brisk, catchy, rhythmical piece with folk song character.
Level: LI
Austin, Glenda, United States
Composer, arranger, pianist, teacher, and clinician. Holds bachelors and masters degrees from the University of Missouri.
Samba Sensation
Florence, KY: Willis Music, 2012.
Brimming with rhythmic energy, this duet begins with a dramatic introduction and concludes with a dazzling finish.
Level: I
Springtime Waltz
Florence, KY: Willis Music, 2010.
A charming and gracious melody with a gentle lilt.
Level: UE
Valse Elegante
Florence, KY: Willis Music, 1990.
Elegant and sophisticated. Well written and in an effective style.
Level: I
Wistful Waltz
Florence, KY: Willis Music, 2010.
This nostalgic waltz in C minor requires careful voicing of chordal melodies and lyrical scalar figures. Performers are provided explicit instructions with regard to dynamics and pacing.
Level: LI
Averre, Dick (1921-2001), United States
Rag-Weed Rag
Van Nuys, CA: Belwin-Mills / Alfred Music, 1982.
A witty rag in F major with contrasting section in the subdominant.
Level: LI
Avidom, Menahem (1908-1955), Israel
Studied at the American University of Beirut and the Paris Conservatory.
Served as General Secretary of the Israel Philharmonic.
Duo Sonatina
Tel Aviv: Israeli Music Institute, 1987.
Four-movement sonatina: I. Moderato; II. Allegretto; III. Adagio; IV. Allegro. Interesting counterpoint and mildly tart harmonic style.
Level: I-UI
B
Babin, Victor (1908-1972), Russia
Russian-born American pianist and composer; studied with Schnabel; performed in two piano team with his wife, Vitya Vronsky; director of Cleveland Institute from 1961 until his death. He wrote orchestral and chamber music, two piano concertos, and many piano works.
David and Goliath , eleven Bible scenes for young and old, edited and fingered by Vitya Vronsky (1. On the Ancient Hills under the Clear Wide Sky; 2. David Plays for King Saul; 3. David Drives Out Saul s Evil Spirit; 4. March of the Philistines; 5. Israel s Lament; 6. Challenge of Goliath the Giant; 7. David s Battle and Victory; 8. The Flight of the Philistines; 9. Israelites Prayer of Thanks; 10. The Israelites Dance and Rejoice; 11. End of the Story )
London: Augener, 1951.
Elegantly wrought series of descriptive tone pictures dextrously set in contemporary idiom. Though not excessively demanding, the work makes imaginative use of changing meters, imitations, polytonality, and free dissonance. There is rhythmical variety and excitement, and the textures in general remain thin and clear; at times the writing is widely spaced. The pieces are thoroughly pianistic and well balanced for both performers; the notes lie well under the hands, even in some tricky hand-crossing passages, and the total effect is captivating.
Level: I-UI
Bach, Johann Christian (1735-1782), Germany
Eighteenth child and eleventh son of Johann Sebastian Bach. Popularly known as the English or London Bach, Johann Christian was one of the first contributors to the four-hands medium. His sonatas, or duetti, are elegant, thin-textured works in two movements, written in the graceful, melodious galant style of the late eighteenth century.
Drei Sonaten (C, A, F), Op. 15/6, ca. 1778, Op. 18/5, ca. 1780, Op. 18/6, ca. 1780
Weisman, ed.; Peters.
Most familiar of Johann Christian s duets.
Duetto (C) ( Sonata [No. 1]); Duetto (A) ( Sonata [No. 2])
Kalmus; Nagels Musik-Archiv.
Level: I
Duett 1 (D) [No. 4], ca. 1780; Duett 2 (G) [No. 5], ca. 1780
London: Longman Broderip, ca. 1780; first published in Four Progressive Lessons for the Harpsichord or Piano forte and Two Duetts, for Two Performers .
Rondo (second movement) of Duett 2
In Ferguson, H., ed., Style and Interpretation , vol. 5.
Duetts 1 and 2 are similar in character to the first three Sonatas.
Level: LI
Rondo in F Major
Rehberg, Willy, ed. Mainz: Schott, 1937.
Level: I
Six sonatas quatre mains (E , G, B , D, C, F)
Manuscript.
Brief three-movement works, also known as lessons; slighter and less difficult than the other duets.
Level: LI
Bach, Johann Christoph Friedrich (1732-1795), Germany
Ninth son of Johann Sebastian; known as the B ckeburg Bach because of his activity at the court of that name.
Sonata (A) (1786)
Hillemann, ed. Wilhelmshaven: Noetzel, 1960. New Edition, Ruf, Hugo, ed.
Mainz: Schott Music, 1998.
Sonata (C) (1791)
Wilhelmshaven: Noetzel 1969.
Both sonatas are three-movement works in Classical style, showing influence of Mozart and Carl Philipp Emanuel Bach; tuneful, antiphonal, light-textured, with frequent doublings.
Level: LI-I
Bach, Leonhard Emil (1849-1902), Germany
Prussian pianist and composer. Studied with Theodore Kullak. Taught at the Guildhall School of Music in London.
Six Esquisses Polonaises for Piano Four Hands , Op. 41
Brussels: Schott Freres, 1891.
Level: I-LA
Six Waltzes for Piano Four Hands , Op. 42
Brussels: Schott Freres, 1891.
Bach, Wilhelm Friedrich Ernst (1759-1845), Germany
Son of Johann Christoph Friedrich and grandson of Johann Sebastian, Wilhelm Friedrich Ernst was the last male descendant of the J. S. Bach line.
Andante (a)
In Kreutz, Alfred, ed., Zwo St cke f r vier H nde . Mainz: Schott.
Graceful, flowing piece in gently nostalgic mood; strongly contrasting middle section.
Level: LI-I
Divertimento per quattro mani (Allegro assai [F]; Andante with Variations [F]; Allegro moderato [B ]; Andante legato [B ]; Allegro fugato [E ])
Manuscript.
Das Dreyblatt (F) (Andante con moto) f rs Forte Piano und sechs H nde
Though this amusing work is written for three players at one piano and, strictly speaking, is beyond the scope of the present catalog, it is included here for its commentary on a social aspect of multiple performers at a single keyboard. In a note on the first page of the piece the composer writes: The gentleman playing the middle part should sit a little further back than the two ladies on either side of him. Their arms should be held above his own. The restricted space makes it necessary for the three performers to sit somewhat closely together, the man in the middle playing the highest notes with his right hand, and the lowest notes with his left.
Duett (C), from Five Sonatas for the Harpsichord or Piano Forte and One Duett
London: Napier, ca. 1780.
Short, lightweight, two-movement piece in graceful Classical style.
Level: UE-LI
Bache, Francis Edward (1833-1858), England
English pianist and composer of two operas and works for piano.
Two Little Duets for His Little Brothers
London: Augener, 1909.
Bachmann, Georges (1848-1894), France
Chanson Louis XV
Paris: Consortium musical, n.d.
Level: I
Dix petites pi ces symphoniques en farme d tudes
Mainz: Schott, 1885.
Bachmann, Gottlob (1763-1840), Germany
Sonate (C), Op. 41
Bonn: Simrock, 1803.
Bachmann, Sixt (1754-1825), Austria
Austrian monk, organist, and composer. As a consequence of a dispute with the publisher Hofmeister, in Vienna, Bachmann refused to permit his works to be published.
Sonatine
Manuscript.
Bacon, Ernst (1898-1990), United States
American conductor, pianist, critic; his compositions have an American folk flavor and often feature folk tunes.
The Battle of Jericho (for two pianos or four hands)
New York: American Music Editions, 1962.
The Hootnanny ( Betty Anne ; The Boston Boy ; The Brave Volunteer ; Come In ; Cripple Creek ; Go to Sleep, Little Child ; Leather Britches ; Oyster River ; The Spire at Hancock, N. H .; Swannanoah )
New York: Chappell, 1954.
Exceptionally fine and sensitive descriptive tone pictures of American scenes plus arrangements of dance tunes.
Level: LI
Sassafras ( Wake Up ; Jockie and Jinnie ; Garry Owen ; Sassafras ; Joshua Ebenezer Fry ; The Blue of Heaven ; The Devil s Kitchen )
New York: Lawson-Gould, 1960.
Level: I
Badinage , Quadrille [6 pieces]. Pantalon by Nikolai Artsibushev; t by Joseph Wihtol; Poule by Anatol Liadov; Tr nis by Nikolai Sokolov; Pastourelle by Alexander Glazounov; and Finale by Nikolai Rimsky-Korsakov
Leipzig: M. Belaieff, 1891.
Suite of short easy pieces, each one page long, in ABA form; written for diversion, in late Romantic idiom, by a group of Russian composers, very much in the manner of Paraphrases (see entry under Papineau-Couture, Jean).
Level: UE-LI
Badings, Henk (1907-1987), Netherlands
Dutch musician trained as engineer; director of Royal Conservatory at The Hague; wrote in all musical forms in a balanced, neo-Classical idiom showing kinship with Hindemith s style.
Arcadia , Book 4. Zehn kleine St cke; Diskant im F nfton-Umfang (Preludio; Punto d organo; Intermezzo; Elegia; Tripla; Scherzo; Minuetto; Siciliano; Ballata; Finale)
Mainz: Schott, 1951.
Attractive set of pieces with contemporary flavor, elegantly written in chromatic-modal idiom.
Level: UE-LI/E-5
Arcadia , Book 5. Zehn kleine St ke; Diskant auf zehn Tasten (Preludio; Sarabanda; Canzonetta; Elegia; Cinque fante di piche; Mazurka; Enigma; Illusion; Gioco; Rondo finale)
Mainz: Schott, 1951.
Similar in idiom and fastidious setting to Book 4, but more difficult.
Level: I/UE-10 notes
Arkadia VIII: Kleine Klavierst cke vierh ndig
Amsterdam: Donemus, 1965.
Barletta grottesco (1939).
Vienna: Universal Edition, n.d.
Bagge, Selmar (1823-1896), Germany
German critic and teacher; wrote chamber music, a symphony, and piano pieces in Romantic style.
[13] Walzer , Op. 15
Berlin: Simrock, 1883.
Baille, Gabriel (1832-1909), France
Les bords de l Agli , Op. 68
Paris: Brandus, ca. 1870.
Suite of salon waltzes in Viennese style.
Level: LI
Valse d un fant me , Op. 73
Paris: Brandus, 1884.
Bainton, Edgar L. (1880-1956), England
English piano teacher and composer; settled in Australia; wrote piano pieces in conservative style.
A Dance
Melbourne: Allans Music, 1941.
Short piece in Classical minuet style.
Level: LI
Miniature Suite (Menuet; Barcarolle; English Dance)
London: Anglo-French Music, 1922.
Character piece in traditional setting.
Level: LI
Baker, F. T.
Dane cossaise
Philadelphia: Presser, n.d.
Level: LI
Baker, Thomas (1820-1888), England
Composer, conductor, arranger, and violinist. Studied at the Royal Academy of Music with Francois Cramer and Paolo Spagnolettic. He also studied piano with Thomas Attwood.
La Chasse Infernale Quadrille
New York: Horace Waters, 1855.
Baksa, Robert (b. 1938), United States
Composer of works for voice, choir, opera, and keyboard as well as chamber and orchestral music. Received a bachelor of arts degree in composition from the University of Arizona.
Spring Games: Sonata for Piano Four Hands
King of Prussia, PA: Theodore Presser, 2008.
A three-movement sonata: I. Moderately slow; Allegro; II. Smoothly; III. Gracefully, not too fast. Attractive writing. Approximate performance time is seventeen minutes.
Level: UI-LA
Balakirev, Mily (1837-1910), Russia
Russian musician; leader of nationalist group of composers, The Russian Five ; incorporated elements of Russian folk song into many of his works.
Seven Legends ( The Royal Princess of Krak w ; Kostriuk ; Nikita Romanovich ; Grisha Otrepiev ; Vasili Okulievich ; The Brigand Brothers and Sisters ; Birds and Beasts ) Bonn/Bad Godesberg: Robert Forberg-P. Jurgenson, Musikverlag, n.d. (reprint of original Jurgenson edition).
Arrangement of Russian folk songs in appealing settings with strong harmonies. The major drawback is the frequency of hand collisions and other awkward passages, which strongly suggest an arrangement, possibly of an original version for voice and piano.
Level: I
On the Volga
New Edition, see: Complete Works below.
Thirty Russian folk Songs (based on Thirty Songs of the Russian People )
Moscow: Jurgenson, 1898. New Edition, see Complete Works below.
Suite (c ) (Polonaise; Chansonette sans paroles; Scherzo)
Leipzig: Zimmerman, 1909. New Edition, see: Complete Works below.
Somewhat demanding work; colorful Russian-style Scherzo is brilliant, fast, and exciting; Chansonette has contrapuntal texture.
Level: UI
Complete Works of Balakirev
Sorokin, ed. Moscow: Moscow State Publishing House.
All the above works are available in vol. 3, part 1.
Baldenecker, Jean-Bernard (b. 1791), France
French musician.
Polonaise (D)
Mainz: Schott, n.d.
Two sonatas , Op. 9
Publisher and date missing.
Balkashin, Iuri A. (1923-1960), Soviet Union
Soviet composer.
Echo
In Agafonnikov, N., ed., Sbornik fortepiannikh .
Barabino, P.
Ems amable , mazurca
Buenos Aires: Ricordi, n.d.
Felicidad infantil , polca
Buenos Aires: Ricordi, n.d.
Gabriela , mazurca
Buenos Aires: Ricordi, n.d.
Maria Luisa , mazurca
Buenos Aires: Ricordi, n.d.
El recreo , orals
Buenos Aires: Ricordi, n.d.
Barbedette, Hippolyte-LaRochelle (1827-1901), France
French author of monographs on Beethoven, Chopin, and Weber; wrote chamber music and piano pieces in Romantic styles.
Divertissement hongrois , Op. 107
Paris: Hamelle, ca. 1860.
Divertissement italien , Op. 108
Paris: Hamelle, n.d.
Polonaise , Op. 59
Paris: Hamelle, n.d.
Valses , Op. 123
Paris: Hamelle, n.d.
Barber, Samuel (1910-1981), United States
Compositional style is traditional European Romantic, lyrical, and expressive, with strong neo-Classical influence.
Souvenirs , ballet suite, Op. 28 (Waltz; Schottische; Pas de deux; Two-step; Hesitation-Tango; Galop) (1952)
New York: Schirmer, 1954.
Delightful suite of popular dances evoking the atmosphere of the pre-World War era; full of nostalgia and charm; technically demanding in part.
Level: UI-A
Barblan, Otto (1860-1943), Switzerland
Swiss organist, conductor, and composer; wrote cantatas, organ pieces, part songs, and piano works in late Romantic style.
Zwei Walzer (C), Walze No. 1 (C)
Published by composer, n.d.; first printing in Musik-Beilage zur neuen Musik- Zeitung , ca. 1902.
Short one-page waltz in Viennese style.
Barbour, Florence Newell (1867-1946), United States
American concert pianist; composed choral works, songs, and piano pieces in conservative idiom.
Rambles in Musicland
Boston: A. P. Schmidt, n.d.; London: Lengnick, 1912.
Attractive instructional pieces.
Level: I
Treasure Island , six duets
Boston: A. P. Schmidt, 1915.
Bardac, Raoul (1881-1950), France
French composer; son of Debussy s second wife, Emma Bardac.
Petite suite majeure (Pr lude; Valse; Polka; En jouant; Finale)
Paris: Durand, 1914.
Charming group of pieces in early French Impressionistic harmonic language.
Level: I-UI
Bargiel, Woldemar (1828-1897), Germany
German teacher and musician; half-brother of Clara Schumann; wrote orchestral works, chamber music, and piano pieces.
Gigue , Op. 29
Erzhausen: Robert Lienau Musikverlag, 2000.
Level: UI
Sonata for Piano Four Hands , Op. 23
Leipzig: Rieter-Biedermann, 1864.
Three-movement work in G major: I. Moderato; II. Lento; III. Allegro molto, Allegro grazioso. Well-crafted, balanced, and accessible. Excellent fare for advancing pianists. Deserves attention.
Level: UI-LA
Suite (C), Op. 7 (Allemande; Courante; Sarabande; Air; Gigue)
Leipzig: Breitkopf H rtel, 1860.
Serious work in Romantic style, somewhat in the manner of Robert Schumann; well written, with melodic and harmonic interest, though wanting in inspiration.
Level: I
Drei T nze ( L ndler ; Menuett ; Springtanz ), Op. 24
Leipzig: Rieter-Biedermann, 1864; London: Augener, 1907.
Barlow, Fred (1881-1951), France
Plaisir de jouer: quatre pi ces ( La petite biche ; Berceuse pour Yves ; Le noble l phant son jeune fils ; Vase pour Claude )
Paris: Lemoine, 1957.
Level: E
Barlow, Sybil
The Sad Little Spinner , from Two Scenes from a Fairy Tale
London: Winthrop Rogers (Boosey), 1937.
Short lyrical piece with irregular phrase lengths; well-balanced parts.
Level: E
Barnes, Archie Fairbairn, England
Duo giocoso
London: Augener, 1951.
Bright, rhythmical work.
Level: LI
Holiday Sketches; seven duets: At the Seaside ; Swimming ; Tramping ; Fishing ; Boating ; Over the Rocks ; Cliff-Climbing
London: Augener, n.d.
Level: UE
Barth, Richard (1850-1923), Germany
German violinist and conductor; student of Joachim; close friend of Brahms whose strong influence is felt in his music: string quartets, violin pieces, and piano works.
Stimmungen and Regungen , Op. 16
Berlin: Simrock, 1903.
Pleasant suite of waltzes.
Level: LI
Barth, Rudolf (1885-1914), Germany
Vier M rsche , Op. 4
Leipzig: Rieter-Biedermann, 1871.
Barthe, A. (1828-1898), France
Pays barque, esquisses musicales ( Passacaille ; Marche espagnole ; Menuet de l Infante ; Chanson basquoise ; Le chevrier ; Gitanika )
Paris: Leduc, 1898.
Engaging, coloristic, evocative pieces with Spanish flavor.
Level: I
Barthel mon, Fran ois Hippolyte (1741-1808), France
Irish-French violinist, conductor, and composer; wrote operas, orchestral music, and chamber works.
Three Favorite Duets
New York: Peter Erben (organist of St. George s Chapel), 1807-1812.
Bartholom e, Pierre (b. 1937), Brussels
Invention premier double
Brussels: Schott Freres, 1969.
Bartlett, Homer N. (1846-1920), United States
American pianist, organist; composed sacred music, songs, and many short works for piano in late Romantic style.
Kuma Saka (founded on Japanese themes), Op. 218
New York: Schirmer, 1907.
Atmospheric piece using pentatonic and oriental scales.
Level: I
Bartoccini, Mario, Italy
Villanelle e canzone
In Album di Musica Moderna , vol. 1.
Barto , Jan Zden k (1908-1981), Czechoslovakia
Prolific Czech composer of patriotic cantatas, chamber works, and educational music influenced by native folk songs.
Mal oznamovatel ( The Little Announcer )
Prague: Artia, n.d.
Level: E-UE
Basili (Basily), Francesco (1767-1850), Italy
Italian conductor; wrote symphonies in the style of Haydn, as well as sacred music and piano pieces.
Fuga (e)
Milan: Ricordi, n.d.
Bassot, Nanine (b. 1901), France
Premi re suite de pieces enfantines ( Grave ; Choral ; L insouciant ; Complainte ; Les clothes ; Marche ; Romance ; La moqueuse ; Berceuse ; Piques ; Appel de clairon )
Paris: Heugel, 1953.
Excellent little pieces; imaginative use of simple harmonic materials.
Level: UE-LI/E-5 to span of octave
Deuxi me suite de pi ces enfantines ( En fl nant ; Un pauvre petit ; Le petit navire ; Seconde berceuse ; Haut les couleurs! ; Pri re ; Chansonette ; Pluie ; Espagne ; Bourr e ; Histoire des brigands )
Paris: Heugel, 1955.
Engaging suite of short pieces inventively written, containing unexpected harmonies, irregular phrase lengths, and rhythmic interest.
Level: UE-LI/E
Bastien, Jane Smisor, United States
American pianist, pedagogue, and composer. Graduate of Barnard College of Columbia University, Teachers College, Columbia University. Served as pedagogy professor and director of the Preparatory Department of Music at Tulane University. Co-author of the Bastien Piano Method and materials.
Duets for Fun (Music through the Piano series), Book 1 ( Alligator Blues ; John Brown ; The Fairy Tale Waltz ; Lazy Mary ; Little Indian Princess ; Mexican Clap Hands Dance ; Marching Moon Men ; Jingle Bens )
Park Ridge, IL: General Words and Music, 1968; San Diego: Neil A. Kjos Music, 1968.
Level: E
Duets for Fun , Book 2 ( Dog-Gone Blues ; Red Rock ; Petite Tango ; Misty Bells ; Country Gardens ; Greensleeves ; Battle Hymn of the Republic )
Park Ridge, IL: General Words and Music, 1971; San Diego: Neil A. Kjos Music, 1971.
Books 1 and 2 both contain tasteful folk song arrangements together with original pieces in capable instructional style.
Level: E-UE
Battman, Jacques Louis (1818-1889), France
French organist; wrote theoretical works; composed church music and piano pieces in Romantic style.
Simple m lodie , Op. 429/4
Paris: Hamelle, n.d.
Le d part , Op. 429/6
Paris: Hamelle, n.d.
Bauer, L., France
Tr s press
Paris: Consortium musical, n.d.
Level: LI
Baum, Alfred (1904-1993), Switzerland
Swiss composer.
Sieben Klavierst cke nach Negro Spirituals ( Good-by, Mother ; By an By ; Don t Let Your Watch Run Down ; Get Thee behind Me Satan ; Deep River ; Heaven ; Things about Comin My Way )
Manuscript, 1967.
Compact, artful arrangements in traditional jazz style.
Level: LI
Baumann, Herbert (b. 1925), Germany
German conductor; studied with Boris Blather and Celibidache; has written numerous stage works, film and television scores, orchestral and chamber music, and instrumental pieces.
Musa f r Klavier zu vier H nden (Toccata; Intermezzo; Variationen) (1950)
Halle: S. Mitteldeutscher Verlag, 1950.
Bright, energetic suite in neo-Hindemith idiom. Quartal harmony is the foundation of the work and is used throughout the three movements.
Level: I
Baumer, Cecil (1891-1937)
Five Duets for Young Fingers ( The Story ; Sailor s Song ; Tea Party ; Melody ; Polka )
London: Ascherberg, Hopwood Crew, 1965.
Tuneful melodies in traditional idiom.
Level: LI
Baumgartner, Eric, United States
American pianist, composer, arranger, and teacher. Holds degrees in jazz from Berklee College of Music and DePaul University.
Tango Nuevo
Florence, KY: Willis Music, 2012.
Built on the characteristic habanera tango rhythm, this exhilarating duet in D minor with contrasting section in D major features a dazzling glissando and dramatic finish. Printed in score format.
Level: LI
Bavicchi, John (1922-1912), United States
A Duet Dozen
New York: Oxford University Press, 1975.
Fascinating, bright pieces, ranging in length from six to twenty measures, admirably set for young players in contemporary tonal idiom featuring unconventional use of triads and scale fragments, surprise resolutions, and rhythmic turns.
Level: UE
Beach, Mrs. H. H. A. (Amy Marcy Cheney) (1867-1944), United States
Pianist and first American woman to achieve reputation as a serious composer; wrote a symphony, piano concerto, chamber music, choral works, and piano pieces in late Romantic style with strong Brahmsian influence.
Suite
Publisher and date missing.
Summer Dreams, Op. 47 , six duets: The Brownies ; Robin Redbreast ; Twilight ; Katydids ; Elfin Tarantelle ; Good-night
Boston: Arthur Schmidt, 1901; New Edition, Weekley, Dallas, and Arganbright, Nancy, eds. San Diego: Neil A. Kjos Music, 1994.
Ably crafted set of descriptive pieces; carefully balanced for both partners.
Level: UE-LI
Three Movements for Piano Four Hands
Mount Airy, PA: Hildegard, 1998.
Composed by a youthful Beach at the age of sixteen. This edition is based on the autograph manuscript in the Beach Collection at the University of Missouri-Kansas City. Evidence suggests it was to be performed as a three-movement suite: I. Allegro appassionato; II. Moderato; III. Allegro con fuoco. The first movement in F minor is an early version of the piano solo In Autumn from Sketches, Op. 15 (1892). The second movement, in D major and in a Schumannesque style, delivers a rich harmonic language. The third movement is somewhat of a tarantella in and A major. A gratifying work for intermediate pianists.
Level: I-UI
Variations on a Balkan Theme , Op. 60
Publisher and date missing.
Beale, William George Frederick (1784-1854), England
English organist and composer of glees, madrigals, and piano pieces.
Divertimento for Two Performers on One Pianoforte
London: Publisher missing, 1846.
Beard, Katherine, United States
American pianist, teacher, and composer. Studied at the Julliard School.
Fiddle Fancy: Impressions of the Fiddle Contest at the County Fair
Florence, KY: Willis Music, 1989.
A spirited, toe-tapping hoedown. Performers clap, stomp, shout, and slap the fallboard for effect.
Level: I
Beaumont, Paul (pseud. of Edward Sydney Smith) (1839-1889), England
English composer of salon pieces.
Bal des poup es , six danses tr s faciles ( Grotte ancienne ; Valse mignonne ; Polka mazurka ; Galop ; Polka ; Mazurka )
London: Lengnick, 1905.
Bergers et berg res , gavotte
London: Ashdown, n.d.
Bluette
London: Ashdown, n.d.
Carnaval-Galop
London: Ashdown, n.d.
Menuet moderne
London: Ashdown, n.d.
Paquerette , m lodie
London: Ashdown, n.d.
Beauvarlet-Charpentier, Jean-Jacques (1734-1794), France
French organist and composer; works include organ music, two concertos, music for harpsichord, and collections of piano sonatas.
Airs vari s pour clavecin ou forte-piano : 1. Les amours d t ; 2. Mon petit coeur; 3. Des berg res du hameau; 4. L ariette du jour de Cecil (par un bieau jour), oeuvre 14
Paris: LeDuc, 1782.
Four sets of variations on French popular melodies, all following the same structural formula. The note values in the passage work increase in each succeeding variation, while the underlying ostinato-like patterns (rhythmic, melodic, and harmonic) remain unchanged. Variation 3 is the most successful and has a great deal of charm.
Level: UE-LI
Beck, Christian Friedrich (late eighteenth century)
Active in the last quarter of the eighteenth century. His four-hand works are attractive, melodious pieces in the Classical tradition. Although the writing is occasionally blemished by an overabundance of sequential repetitions, the style on the whole is clean and economical.
Six menuets (G, F, B , E , G, C)
Vienna: Hoffmeister, 1794; Menuet (G), No. 5 in Kreutz, ed., Verrnischte Handst cke . Heilbronn: Amon, 1793.
Level: UE-LI
Six pi ces faciles (Allegretto [F]; Walzer [C]; Allegretto [G]; Marsch [C]; Walzer [F]; Andante rondo [E ])
Mainz: Schott, 179[?].
Level: UE-LI
Sonata (B ), from Deux sonates pour le clavecin l une quatre mains et l autre accompagn e d un violon
Speier: Bossier, 1789.
Level: LI-I
Beck, Thomas (1899-1963), Norway
Norwegian composer.
Dansar fr Gudbrandsdal ( Dances from Gudbrandsdal ), Op. 24
Oslo: Musikk-Huset A/S, 1946 (Noreg-Edition No. 38).
Well-fashioned settings of three Norwegian folk dances in Romantic harmonic style showing the influence of Grieg.
Level: I-UI
Becker, D. C.
Six sonatinas (C, a, G, F, G, B), Op. 30
Offenbach: Andre, 1871.
Beckwith, John (b. 1927), Canada
Canadian composer, teacher, music critic; has written in many styles; influenced by Satie, Ravel, Hindemith, Ives, and Stravinsky; has also used serial and collage techniques. Works include orchestral and chamber compositions, concertos, choral music, and pieces for other instrumental combinations.
Music for Dancing, Seven Pieces ( Prelude ; First Pantomime ; Waltz ; Second Pantomime ; Polka ; Dance for Two ; Round Dance ), 1948
Manuscript.
Attractive, elegantly set pieces in polished, lean-textured style.
Level: I
Becucci, Ernesto (1845-1905), Italy
Italian composer of sacred music and songs; best known for his piano pieces of light character.
Galop , Op. 308, No. 4 (from Ingenuita )
Una giornata di vacanza , quattro piccoli pezzi, Op. 194
Milan: Carisch, 1909.
Petits fieurs , dances faciles
Milan: Carisch J nichen, 1909.
Tre piccole ricreazioni ( Sorrisi ; Carezze ; Baci ), Op. 280
Milan: Ricordi, 1902.
Amiable pieces in instructional style.
Level: UE/E-5
Precipitevolissimevolemente , galop, Op. 266
Milan: Ricordi, 1900.
Jovial salon piece.
Level: I
Be va ovsky (Beczwarzowsky), Anton n Felix (1754-1823), Czechoslovakia/Germany
Czech composer; spent much of his life in Germany as organist and teacher. His four-hand sonatas and sonatinas are charming, solidly constructed works in refined Classical style; many of them are in single movements.
Vier leichte Sonaten (No. 1 [G], No. 2 [F], No. 3 [F])
Braunschweig: G. M. Meyer, n.d.
Vier leichte Sonatinen (No. 3 [G], No. 4 [D])
Braunschweig: G. M. Meyer, n.d.
Leichte Sonatine (F)
Braunschweig: G. M. Meyer, n.d.
Nouvelle sonatine instructive et progressive (G)
Berlin: Schlesinger, ca. 1812.
Leichte Sonatine fur Anf nger
In Kleinov , Fi rov , and M llerov , eds., Album of Four Hand Works by Old Czech Masters .
Level: UE-LI
Bedetti, Tiziano (b. 1976), Italy
Italian composer, born in Rovigo near Venice. Studied at the Adria Conservatory with Antonio Pulleghini (piano) and Luigi Verdi (composition). Winner of many international composition competitions.
L auriga Celeste ( Suite Mitologica )
Ancona: Berben Edizioni Musicali, 1994.
A suite of six one-page duets that describes the myth of Phaeton: I. The Chariot of the Sun; II. Imploring; III. The Flight of Phaeton; IV. The Lightning of Jupiter; V. The Crying of Heliades; VI. The Rise of Phaeton. Effective writing.
Level: UI
La Musa dell Eridano (1993)
Level: A
Suite Italiana
Tiziano Bedetti, 2011.
A six-movement suite: I. Bandiera; II. Fest; III. Serenata: IV. Scena; V. Leggenda; VI. Danza.
Level: UI-LA
Beebe, Edward J. (b. 1925), China
Twenty Fingers ( Casual Encounter ; Courtly Caper ; Gay Episode ; Miniature Parade ; Reluctant Waltz ; Sagebrush Serenade ; Summer Doldrums ; Twenty Fingers )
Westbury, NY: Pro-Art, 1968.
Set of useful instructional duets featuring a variety of technical and musical problems.
Level: LI-I
Beecke, Ignaz von (1733-1803), Germany
German army captain and amateur musician; friend of Haydn, Mozart, Gluck, and Jomelli; brilliant pianist who developed his own approach to piano technique; composed operas, cantatas, orchestral and chamber works, songs, and piano pieces in Classical style.
Sonate
Publisher and date missing.
Zwei Sonaten (B , F)
Friedrich Munter draws special attention to these two sonatas for their fine handling of four-hand ensemble writing, their richly organized structure and melodic invention, and their effective ornamentation. Munter, Ignaz von Beecke (1733-1803) and seine Instrumentalkompositionen, Zeitschrift f r Musikwissenschaft 4 (1921-22).
Beer, Max Josef (1851-1908), Austria
Austrian pianist and composer; works include an opera, a cantata, and piano pieces.
Abendfeier , drei Phantasiest cke, Op. 16
Leipzig: Breitkopf H rtel, 1878.
Haidebilder aus Ungarn , drei St cke wit Benutztung ungarischer National-Melodien, Op. 19
Berlin: Ries Erler, 1878.
Was sich der Wald erz hlt , f nf lose Bl tter, Op. 23
Leipzig: Forberg, 1879.
Beeson, Jack (1921-2010), United States
Studied with Bart k; wrote operas, orchestral and band music, and instrumental works.
Round and Round , seven easy duets
New York: Oxford University Press, 1970.
Charming pieces fascinatingly set in linear style illustrating various type of canons; attractive music, interesting introduction to traditional contrapuntal techniques. 1. Round and Round: double canon at the octave. 2. Accidents: canon at the tenth. 3. First Tangle: canon at the third in contrary motion. 4. Simple Simon s Song: double canon at the ninth. 5. Second Tangle: bitonal combination of the Lydian mode on F major and G major. 6. Musical Chairs. 7. Round and Round Again: double canon at the octave; inversion of Round and Round.
Level: UE-LI
Beethoven, Kaspar (1774-1815), Germany
Brother of Ludwig.
According to German musicologist Robert Eitner, there is a manuscript in possession of the publisher Artaria and Co. in Vienna entitled Clavir vor vier H nde par Caspar Beethoven , consisting of a sonata in three movements in the composer s autograph ( Biographisch-Bibliographisches Quellenlexikon der Musiker und Musikgelehrten . . . . 10 vols.).
Leipzig: Breitkopf H rtel, 1898-1904.
Beethoven, Ludwig van (1770-1827), Germany
Beethoven did not lavish his greatest efforts on the piano duet medium, but the four-hand works he left behind-a relatively minor portion of his total output-all bear the strong and unmistakable imprint of the master. With the exception of the Grosse Fuge , Op. 134 (arranged by the composer from the original string quartet), Beethoven s piano duets are genial, lighthearted works of great charm and good-natured humor, and are well worth investigating.
Beethoven s complete four-hand works (exclusive of Op. 134) are available in International, Kalmus, Peters, and Universal Editions. (The Peters edition is published in two forms: as a single volume; and in two volumes, with Op. 6 and Op. 45 in Volume I, and the two sets of variations in Volume II.) The Henle edition contains the complete works, including Op. 134.
Complete Works for Piano 4 Hands in Two Volumes . Vienna: Wiener Urtext Volumes I and II, 1995.
Grosse Fuge (B ), Op. 134 (1826)
Henle. Arranged by the composer from the original finale of the String Quartet, Op. 130 (and later published separately as Op. 133). This long, difficult, and agonizingly unpianistic musical curiosity is interesting for its value as a study score of the original and for the insights it provides into the composer s techniques in transcribing his own music from one medium to another.
Level: A
Six Variations on the Song Ich denke dein (D) (1800), WoO74
This set of sensitive and inventive variations, based on an original song to a text by Goethe, is lighter and somewhat less difficult than the Count Waldstein variations.
Level: I
Sonata (D), Op. 6 (1797)
B rben; Durand; Consortium Musical; Schott; Alfred.
Two-movement work in the composer s early style; bright, vigorous Allegro followed by a flowing Rondo.
Level: I
Three Marches (C, E , D), Op. 45 (1804)
Strong, mature works, with rhythmic drive, hints of orchestral color, and waggish touches here and there; among the finest in the genre.
Level: I-UI
March (C), Op. 45/1 and Gavotte (F) [by Ko eluh]
Schott.
Variations on a Theme by Count Waldstein (C) (1794), WoO69
The eight imaginative variations and coda are deftly set; contrasting in character, mood, and technical demands. Terminates in a humorous coda with alternating fast and slow sections.
Level: I-UI
Works wrongly attributed to Beethoven:
[9] Deutsche T nze
Bittner, ed. Leipzig: Peters, 1939.
Edited from the music book of an amateur, dating from about 1815, these pieces have never been associated with Beethoven s name despite the assertion by the editor that they are unmistakably marked with Beethoven s art. They must be regarded as stemming from the pen of an unknown composer.
Gavotte (F), arranged from ballet music by Leopold Ko eluh
Behr, Franz (1837-1898), Germany
Prolific composer of salon pieces and pedagogical material; a partial list of his four-hand works follows.
L Alerte , Op. 512
Publisher and date missing.
Arabesques , huit morceaux de salon
Vienna: Goll, n.d.
Bilder aus Ungarn , charakteristische Tonst cke
Braunschweig: Litolff, ca. 1877.
Birthday Gavotte
London: Ashdown, 1890.
Two Brilliant Duets ( Hungarian Dance ; Turkish March )
London: Hammond, 1910.
Commencement March
New York: Schirmer, 1889.
Level: UE-LI/E-5
Cs rd s-Album , nach ungarischen Volksliedern
Leipzig: Peters, ca. 1879.
Nine pieces reminiscent of Brahms s Hungarian Dances .
Level: UI-A
[6] Danses hongroises , Op. 401
New Edition, Enoch.
Dors, ch rie; berceuse
Leipzig: Hatzfeld, 1893.
Etelka, cs rd s , Op. 415/3
Leipzig: Forberg, n.d.
Festkl nge , Walzer
Dresden: Brauer, 1890.
Level: UE-LI/E-5
Fest-Ouvert re
Milan: Carisch, n.d.
Gitanella , haba era
Leipzig: Hatzfeld, 1893.
Jadis , Chanson-gavotte
Leipzig: Hatzfeld, 1893.
Marche sultan
Publisher and date missing.
Quatre morceaux de salon , Op. 592
Leipzig: Forberg, 1889.
Level: I
Le Postillon d Amour , Op. 221/2
New Edition, Hartselle, n.d.
Level: LI
Il primo sogno , sei pezzi facilissimi ( Ninna-nanna ; Mattitino d estate ; Arrivederci ; Amaranto ; Cuoricino mio ; Mormorio della sera )
Milan: Carisch, n.d.
Level: UE
La revue
Publisher and date missing.
Romance
Paris: Consortium Musical, n.d.
Level: I
Schneeglockchen , Op. 451
Vienna: Doblinger Musikverlag.
Ungarische Tanze
Braunschweig: Litolff, 1879.
Twelve Hungarian dances. Most begin with a slow introduction followed by a faster section.
Level: I-LA
Slavische und ungarische Volksweisen , Op. 379
Paris: Hamelle, n.d.
Level: LI
Zwei St cke , Op. 328
Leipzig: Forberg, 1875.
Level: UE-LI/E-7
toute brise
Paris: Consortium Musical, n.d.
Level: E
Ungarische Lieder und T nze , Op. 392
Leipzig: Forberg, 1877.
Ungarische T nze
Braunschweig: Litolff; Boston: A. P. Schmidt, 1879.
vos souhaits
Paris: Consortium Musical, n.d.
Level: E
Zigeunerweisen
Leipzig: Breitkopf H rtel, ca. 1877.
Behrmann, Heinrich (1784-1847), Germany
Four Pianoforte Duets ( When Swallows Homeward Turn ; Daffodil Days ; Song of Springtime ; Merrymakers Dance )
London: Ashdown, 1909.
Short instructional pieces.
Level: UE
Belchamber, Eileen, arr.
Four Little Hands, Fifty Easy Piano Duets ; Nursery Songs, Folk Songs, and Christmas Carols
New York: Chappell, n.d.
Delightful, useful collection of folk songs in fastidious arrangements.
Level: E
Beliczay, Gyula von (1835-1893), Hungary
Hungarian pedagogue and composer. Works include choral, symphonic, and chamber music; songs; and piano pieces.
Drei St cke im ungarischen Stil , Op. 22
Leipzig: Breitkopf H rtel, 1880.
Bella, Rudolf (1890-1973), Czechoslovakia/Austria
Czech-born Austrian professor and choir director; Swiss resident.
F nf St cke
Leipzig: Weinberger, 1921.
Level: UE-LI/E-5
Bellak, James (1790-1895), United States
Composer of salon music.
L Africaine , Op. 1811
Lee Walker, 1866.
Level: UI-LA
Bellecour, M.
Petite suite, tr s facile
Paris: Hamelle, 1908.
Level: E
Bellenot, Philippe (1860-1928), France
French choirmaster at St. Sulpice; wrote operas, masses, motets, and piano music.
Berceuse
Paris: Consortium Musical, n.d.
Level: LI
Belletti, -
Six Little Character Pieces
Bologna: Bongiovanni, n.d.
Level: LI
Bellisario, Angelo (b. 1932), Italy/Sicily
Italian composer, journalist, pianist, and teacher.
Acquario , tre pezzi facili
Ancona: Berben Edizioni Musicali, 1973.
Three melodious, well-balanced pieces, attractively set in tonal, mildly dissonant idiom.
Level: LI-I
Smarties
Ancona: Berben Edizioni Musicali, 1974.
Pleasant, short work in mildly contempoporary idiom. Two bright, witty, and sharply rhythmical Allegros with ostinato figures frame a tranquil Adagio middle section. Rhythmically driven with frequent shifts in meter.
Level: LI-UI
Bellucci, Giacomo, Italy
Studied harmony, counterpoint, and fugue with Piero Giorgi at the Conservatory Rossini in Pesaro (1953-1958) and composition with Franco Margola and Virgil Mortari at the Conservatory Santa Cecilia in Rome (1959-1961).
Circles: A Twelve Variation Set for Two Friends
Ancona: Berben Edizioni Musicali, 1989.
Set of thirty-three short pieces.
English Prints
Ancona: Berben Edizioni Musicali, 1988.
A four-movement suite with English-inspired titles: I. Horses (Cavalli); II. The Old Sailor (Il vecchio veliero); III. Dancing School (Scuola di danza); IV. Fox-Hunting (Caccia alla volpe).
Level: LA
Benda, Friedrich Wilhelm Heinrich (1745-1814), Germany
Member of German musical family of Czech origin; pianist and composer of operas, oratorios, concertos, chamber music, and piano works.
Sonate , Op. 6
Berlin/Amsterdam: J. J. Hummel, ca. 1799; Ruf, Hugo, ed. Mainz: Schott Music, 1998.
Bendel, Franz (1833-1874), Czechoslovakia
Czech pianist and teacher; student of Liszt. His piano music is written in refined salon style.
Deutsche M rchenbilder , Op. 135
New York: Schirmer, 1908.
Descriptive pieces in light style.
Level: I
Kinder-Ball , sechs kleine Charakterst cke ( Polonaise ; Walzer ; Menuetto ; Polka ; Mazurka ; Fran aise ), Op. 4
Leipzig: J. Schuberth, 1860.
Tuneful, carefully written instructional pieces.
Level: I
L ndliche Bilder , sechs Charakterst cke, Op. 70
In Oesterle s Graded Four Hand Collection , vol. 4. Leipzig: Cranz, 1874.
Level: I
Shepherd s Poem , Op. 43, No. 3
Van Nuys, CA: Alfred Music, 2013; published in Masterwork Classics Duets, Level 5 .
Features grace note drones above which is played a lyrical, flute-like melody.
Level: I
Tarantella , Op. 56
Leipzig: Kahnt, ca. 1865.
Bendl, Karel (1838-1897), Czechoslovakia
Czech conductor and composer; wrote in a national musical style close to that of Smetana and Dvo k.
Z d tsk ho sv ta ( From the Children s World ), ten melodious pieces (1884)
Prague: Artia, n.d.
Benjamin, Arthur (1893-1960), Australia
Australian pianist, teacher, and composer; taught at Royal College of Music; wrote operas, songs, chamber music, and piano pieces.
Suite in C
London: Oxford University Press, 1925.
Bennett, Richard Rodney (1936-2012), England
English pianist and composer; student of Boulez; used serial techniques.
Capriccio
London: Universal Edition, 1968.
Bright, animated, atonal work. The brilliantly and cleanly scored single movement has a contrasting slower middle part. It features mirror writing and antiphonal sections. Concludes with a startling and effective double glissando with each part beginning simultaneously on two adjacent notes: the primo ascending from G and F to the top, and the secondo descending from the neighboring D and E to the bottom of the keyboard.
Level: A
Bennett, Sir William Sterndale (1816-1875), England
English pianist and composer; student of Mendelssohn and friend of Schumann; professor of music at Cambridge University. He wrote in graceful early Romantic style, influenced by Mendelssohn, and, to some extent, by Schumann.
Three Diversions (A, E, a), Op. 17
Leipzig: Kistner, ca. 1839; New Edition, London: Augener, 1885.
Moderately long, carefully constructed pieces in elegant style; worth reviving.
Level: I
Benser, J. B. (late eighteenth century) England
English conductor and pianist.
A First Set of Three Divertimentos in Two Parts , Op. 3
London: Published by composer, ca. 1791.
Five Sonatas and One Duetto , Op. 5
London: Published by composer, n.d.
Berardi, Gaston (1849-1926)
Valses hongroises
Brussels: Publisher missing, 1880.
Berens, Hermann (1826-1880), Germany
Pianist and composer of German origin; court conductor in Stockholm; wrote operas, incidental music, songs, and many pieces and studies for piano.
Autumn Song; Gnomes; In the Twilight
In Thirty-two Graded Pieces for Piano Duet .
Level: LI-I
Gesellschafts-Quartets for violin, cello, and four hands, No. 1, Op. 23, 1852; No. 2 (D), Op. 48, 1856; No. 3 (e), Op. 72, 1863; No. 4 (f), Op. 80, 1869
Leipzig: Cranz.
[27] Melodische Uebungsst cke , Op. 62
Hamburg: Cranz, 1861. New Edition, Kalmus; Peters.
Level: UE-LI/E-5
Berg, Alban (1885-1935), Austria
Associated with Arnold Schoenberg and Anton Webern as a member of the Second Viennese School.
Streichquartett , Op. 3 (1910)
Vienna: Universal Edition, 2007.
Transcription of the string quartet by the composer.
Level: A
Berger, Arthur (1912-2003), United States
Composer, music critic, and teacher. Studied at New York University and Harvard University. Teachers included Walter Piston and Nadia Boulanger.
Composition for Four Hands
Verona, NJ: Association for the Promotion of New Music / Subito Music Corporation, 1975.
Composed in 1978. Sparse, elegant style. Nine movements; wide variety of moods respresented. Approximate performance duration: fourteen minutes.
Perspectives III
Manuscript, Arthur Berger.
Composed in 1982. Drawn from the composer s Chamber Concerto. Six movements. Variety of textures presented. Approximate performance duration: seven minutes.
Suite for Piano Four Hands
Manuscript, Arthur Berger.
Composed between 1945 and 1947. Neo-Classical in style; often presents a quasi-tonal character. Includes Capriccio (1933, in early serial style); Aria (1947); and Rondo (originally published in 1945 as a birthday gift to composer Harold Shapero; arranged for piano four hands in 1980). Approximate performance duration: ten and a half minutes.
Berger, Ludwig (1777-1839), Germany
German musician, student of Clementi; famous as Mendelssohn s piano teacher.
Presto (D), Op. 44
Leipzig: Hofmeister, n.d.; New Edition, 184[?].
Dashing, bright scherzo in Classical idiom; forceful.
Level: LI
Rondeau (e), Op. 47
Leipzig: Hofmeister, n.d.
Moderately long work; competently written in sturdy though colorless style.
Level: LI
Sonata (g), 013. 15 (1805)
Berlin: Lane, ca. 1825. New Edition, Leipzig: Hofmeister, ca. 1844.
Three-movement sonata in skilled Classical style, probably intended as a pedagogical work. A pleasant, fluent, light-textured piece with attractive melodies, harmonic richness, and rhythmic activity. The work demonstrates the composer s skill in the manipulation and development of his thematic material. However, despite these virtues, the sonata lacks the inner fire and drive of an inspired hand and tends toward the kind of flatness that inspired Walter Georgia to remark that the piece tastes like bread which the baker forgot to salt ( Klaviermusik [Z rich-Freiburg: Atlantis Verlag, 1950]).
Level: LI-I
Berio, Adolfo (1847-1942), Italy
Italian composer and organist. Grandfather of composer Luciano Berio.
Berio Family Album
Vienna: Universal Edition, 1975.
I. Maria Isabella (Waltz) (the only duet in this collection); II. Che dice la pioggerellina di marzo? for voice and piano by Ernesto Berio; III. Petite Suite for solo piano by Luciano Berio.
Level: UI-LA
Berkeley, Lennox (1903-1989), England
English composer of operas, songs, film music, orchestral and choral works, and piano pieces. His style is lyrical and very approachable, influenced to some extent by Stravinsky and the modern French school.
Sonatina , Op. 39
London: Chester, 1954.
Tightly constructed neo-Classical work in frequently dissonant tonal idiom. Texture of the three contrasting movements-Allegro, Andante, and Allegro-is clear, often linear. Rhythmically brisk, well fashioned for duet and enjoyable to play.
Level: I-IU
Palm Court Waltz
London: Chester, 1976.
Nostalgic, evocative concert waltz in turn-of-the-century style with a few contemporary twists; melodious, appealing.
Level: I
Berkey, Jackson (b. 1942), United States
Composer, pianist, teacher. Has composed over 400 works in all genres. Studied at the Juilliard School with Josef Raieff. Known for his work with Mannheim Steamroller.
Homage to Antonin Dvorak
Omaha, NE: SDG Press, 2010.
Reminiscent of Dvo k s Slavonic Dance, Op. 46, no. 8 in G minor. In and and A major and minor tonality.
Level: UI-LA
Homage to Thomas Campion
Omaha, NE: SDG Press.
Inspired by the English poet and composer s poem View Me, Lord, A Work of Thine. Lyrical and expressive.
Level: LA
Hosanna Down! Major
Omaha, NE: SDG Press, 1996.
Fast, syncopated, and celebratory. Adapted from a choral work by Berkey.
Level: UI
Hosanna Down! Modal
Omaha, NE: SDG Press, 1996.
Using Dorian and Mixolydian modes, a jazzy version of this duet arrangement.
Level: LA
Midnight Berceuse
Omaha, NE: SDG Press, 2010.
Reflective settings of Gesu Bambino and It Came Upon a Midnight Clear.
Level: LA
Berkovich, I. J.
Soviet musician; has composed many pedagogical works for piano.
Ten Pieces , Op. 30
No. 6, Ukrainian dancing song, No. 9, Romanze, and No. 10, March. In Goldstein, ed., Brother and Sister . Moscow: Musfond, 1956.
Variations on a Russian Folk Song (a)
In Zeldin and Goldberger, eds., Russian Music for the Young Pianist , vol. 4.
Ingratiating, well-balanced work in conservative style.
Level: UE-LI
Berlin, Boris (pseud. of Lawrence London) (1907-2001), Canada
Canadian pianist, composer, and music educator.
Rosemary Skating Waltz
Oakland, ON: Frederick Harris Music, 1952.
Bernard, Emile (1843-1902), France
French composer and organist. Studied at the Paris Conservatoire.
Fete napolitaine , Op. 18
Paris: Henry Lemoine, 1877.
Level: LA
Bernard, Georges
Souvenirs d enfance ( C linerie ; Dans les pr s fleuris ; D fil des soldats de carton ; Flocons de neige ; Gai r veil ; Premier sourire ), Op. 306
Paris: Gallet, n.d.
The six pieces are issued separately by the current publisher, Consortium Musical, Paris.
Level: UE-LI/E-5
Berners, Lord Gerald Tyrwhitt (1883-1950), England
English composer, painter, author, aesthete, and diplomat; studied in Vienna and Dresden. His works, humorous and often parodistic, include one opera, ballets, film music, orchestral and vocal compositions, and piano pieces.
[3] Valses bourgeoises (I. Valse brillante; II. Valse caprice; III. Strauss, Strauss et Straus) (1917)
London: Chester, 1919.
Entertaining set of witty, satirical waltzes, well written for the medium; technically demanding in part.
Level: I-LA
Berr, Jos (1874-1947), Switzerland
Swiss pedagogue and composer, of German origin; wrote choral music, songs, and piano music.
Suite nocturne , Op. 86 (1942)
Published by composer, n.d.
Bertini, Henry (1798-1876), France
In addition to writing a quantity of popular fantasies on operatic themes, which appeared in both piano solo and duet versions, Bertini was a prolific composer of instructional and salon music. His piano duet tudes were issued in groups of twenty-five pieces arranged in progressive order of difficulty. Although these studies are written in an outworn musical idiom, they are nonetheless useful in working out some of the rhythmical and technical problems of ensemble playing.
[25] tudes , Op. 97
Leipzig: Breitkopf H rtel, ca. 1833.
[25] tudes , Op. 100
Publisher and date missing.
[25] tudes , Op. 135, livre 6
Mainz: Schott, 1842.
[25] tudes , Op. 149, livre 2
Mainz: Schott, n.d.
[25] tudes , Op. 150, livre 3
Mainz: Schott, n.d.
[25] tudes , Op. 160, livre 1 ( L art de la mesure )
Mainz: Schott, n.d.
Mother and Daughter , four easy pretty duets
Boston: Nathan Richardson, n.d.
Level: E
Motor Race
In Thirty-two Graded Pieces for Piano Duet .
Level: LI
Rondino (A), Op. 77
Leipzig: Breitkopf H rtel, ca. 1830.
Variations brillantes sur un th me original
Leipzig: Kistner, ca. 1830.
Berwald, Franz (1796-1868), Sweden
Swedish violinist and composer; studied in Germany. His works-operas, symphonies, chamber music, and piano compositions-were little appreciated in his lifetime, but he is now regarded as Sweden s most significant Romantic composer.
En landtlig Br llopsfest ( A Rustic Wedding )
Stockholm: Elkan, 1844.
Minnen af norska fj llen ( Recollections of Norwegian Mountains )
Stockholm: Elkan, n.d.
Bessem, Saar (1907-1996), Netherlands
Dutch pedagogue; specialized in writing music for children.
Danssuite naar oud-Hollandse Kinderwijzen ( Dance Suite on Old Dutch Children s Songs )
Amsterdam: Donemus, 1948.
Besset, Julian Raoul (b. 1939)
Bumbling Ostinato
Rhythmically sophisticated.
Level: A
Besthoff, Mabel, United States
Composer of instructional piano music.
The Bass Singer ; The Choir Singer ; Dainty Toes ; Dancing Dolores ; Happy Hop Toads ; On the Way to Dream Town ; Song of the Carillon Bells ; Tired Hikers ; The Toy Band Parade ; The Young Piano Prodigy
Belwin-Mills.
Level: UE
Betts, Lorne (1918-1985), Canada
Canadian musician; studied with Hunter Johnson, Ernst Krenek, Roy Harris, and Alan Rawsthorne. He wrote in a basically tonal style using occasional dissonance and polytonality.
Suite breve ( Parade ; En sourdine ; Rondeau ), 1967
Short set of light, good-humored pieces; pompous fanfare, dreamy interlude, and bright, rhythmical finale.
Level: I-UI
Beyer, Ferdinand (1803-1863), Germany
German composer and pianist. Known for his Vorschule im Klavierspiel ( Beginning Piano School or Elementary Instructional Book for the Piano ), Op. 101 (1851).
In an Old Castle
Level: E
Beyschlag, Adolf (1845-1914), Germany
German conductor; wrote songs and piano pieces.
Sechs T nze in Canonform , Op. 2
Mainz: Schott, 1873.
Bhatia, Vanraj (b. 1927), India
Indian composer, born in Bombay; studied at Royal Academy of Music.
Indian Nursery ( Rain ; My Cat ; Cat and Mouse ; Myself ; We Are Soldiers ; We Are Toys ; More Rain )
London: Novello, 1956.
Charming suite of descriptive pieces employing East Indian melodic ideas in a basically conventional harmonic idiom; well balanced for both performers.
Level: LI
Bialas, Gunter (1907-1995), Germany
German omposer and pianist. Studied with Max Reger and Max Trapp. Served as professor of composition at the State Academy of Music in Munich from 1959 until his retirement.
Polka (from Klavierbuch fur 3 bis 6 hande )
Kassel: Barenreiter.
Primo is a single line melody.
Level: E
Bibl, Rudolf (1832-1902), Austria
Viennese organ virtuoso; composed liturgical music, organ pieces, and works for piano.
Suite (G) (Allegro moderato; Waltz; Romance; Gavotte; Fugue), Op. 62
New York: E. Schuberth, 1888.
Agreeable set of pieces in well-fashioned salon style; the fugal finale is especially impressive.
Level: UI
Biederman, August Julius (1825-1907), Germany
German American musician.
la chasse Alla marcia , Op. 90; Columbus March , Op. 26; Dancing Waves , Op. 82; A Dream , Op. 79; La gondola , Op. 88; Impromptu , Op. 81, in Popular Duets , Book 1, comp. Fraemke; A Little Jewel , Op. 87; M lodie , Op. 28; The Village Blacksmith , Op. 80
New York: G. Schirmer; Leipzig: Dieckman, ca. 1890.
Instructional pieces.
Level: LI-I
Biehl, Albert (1833-1892), Germany
Prolific composer of piano methods and instructional material for both two hands and four hands.
Sonatine (G), Op. 74
Braunschweig: Bauer, 1879.
Level: UE-LI/E-8
Quatre sonatines m lodiques et instructives (C, G, C, G), Op. 104
Hamburg: Cranz, 1884.
Bierey, Gottlob Benedikt (1772-1840), Germany
German theater director and composer; successor to Weber as Kapellmeister at Breslau. Wrote operas, operettas, cantatas, and orchestral and chamber music.
Deux sonates faciles (G, C)
Leipzig: Breitkopf H rtel, ca. 1808.
Appealing, short instructional works in Classical style. Each sonata is in three contrasting movements; open-textured, flowing, melodious, with rhythmical interest.
Level: UE
Biggs, John (b. 1932), United States
La mort
Manuscript.
Bihier, Gregor
Variations pour le clavecin ou fort -piano ( Journal de musique pour les Dames , No. 43)
Offenbach: Andr , 1795.
Bihl, Rudolf
Concert Waltz , Op. 60
New York: Schuberth, 1888.
Large-scale work in salon idiom; brilliant in part.
Level: I-LA
Bilbro, Anne Mathilde (1870-1958), United States
Composer, pianist, and teacher. Composed over 600 works, most of which are educational.
At the Circus
Cincinnati: Willis Music, n.d.
Level: UE
By the Sea
Boston: Boston Music, n.d.
Level: UE
Eight Recollections
Cincinnati: Willis Music, n.d.
Level: E-UE
Flame Vine
Cincinnati: Willis Music, n.d.
Level: UE
Marche militare
Cincinnati: Willis Music, n.d.
Level: I
Our First Duet Book
Bryn Mawr, PA: Presser, n.d.
Level: UE-LI
Piano Duets for Two Young People
Cincinnati: Willis Music, n.d.; Melbourne: Allans Music, n.d.
Level: E
School March
Cincinnati: Willis Music, 1915; published in Four-Hand Recreations .
Level: I
Two Young Students , first grade piano duets: If Only Rain Would Stop ; Waltz of the Kewpies ; Peter Pan Polka ; Going to the Picture Show ; Marching in the Parade ; Waltz of the Christmas Dolls ; Naughty Little Goblins ; Jolly Club Girls ; Little Broken-Winged Robin ; At the Gypsy Camp
Philadelphia: Hatch Music, 1917.
Level: E
Billi, Vincenzo (1869-1938), Italy
Italian conductor; wrote pieces of popular character and instructional piano music.
The Happy Age , Op. 310, six little pieces on five notes ( The Little Sharpshooter, March ; With Full Sails, Barcarole ; On Green Meadows, Dance ; Village Bells ; The First Sorrow ; The Little Geisha, Japanese Dance )
Milan: Ricordi, 1915.
Primo is in five-finger position.
Level: UE-LI/E-5
La festa della mamma
Florence: Forlivesi, n.d.
Children s Paradise , six easy pieces ( Happy Dreams, Lullaby ; Pinocchio in War, March ; Among the Roses, Boston-Waltz ; The Fisherman s Song ; The Wandering Musician ; Chinese Drummer, Dance ), Op. 337
Milan: Ricordi, n.d.
Level: UE-LI/E-5
Pattaglia giapponese
Florence: Forlivesi, n.d.
Binet, Fr d ric (1862-1918)
Pour d chiffrer , Op. 44
Paris: Durand, n.d.
Twenty short, varied pieces arranged in progressive order of difficulty and set in contrasting musical forms. Rhythmical, pianistic, and ensemble problems are stressed.
Level: E-UI
Binkerd, Gordon (1916-2003), United States
Composer of symphonies, ensemble works, and piano pieces.
And Viva Sweet Love , for men s voices and four hands
New York: Boosey Hawkes, 1970.
Birch, Sven (b. 1960), Denmark
Danish pianist and composer. Studied piano in Aarhus, Denmark, with further studies in Vienna with Professor A. Jenner. Teaches piano at the Anton Bruckner University of Linz. Member of Ensemble North Copenhagen. Conductor and artistic director of the chamber orchestra Danube 2135.
A Sunny Day
Frankfurt: Zimmerman, 2006.
A well-crafted and enjoyable set of five pieces: I. A Sunny Day; II. Hanging Out; III. Remembering; IV. Titlesong; V. Dig It! The collection includes a variety of popular styles including rock, jazz, Latin, and tango.
Level: I
Bird, Arthur (1856-1923), United States
American pianist; studied with Liszt; spent most of his life abroad; composed in late Romantic style.
Amerikanische Weisen ( Rondes am ricaines ) (D, F, G), Op. 23
Breslau: Hainauer, 1887.
Suite of waltzes, more Viennese in style than American. The music is tastefully fashioned.
Level: UI
Ballet music , Op. 13
Breslau: Hainauer/New York: G. Schirmer, 1886.
Elegant, unpretentious work.
Level: UI
Drei characteristische M rsche (F, f, C), Op. 11
Breslau: Hainauer/New York: Schirmer, 1887.
Strong, vigorous, rhythmical.
Level: UI
Introduction and fugue (d), Op. 16
Breslau: Hainauer/New York: Schumer, 1887.
Masterfully written, large-scale work, brilliant in part; worth investigating.
Level: UI-A
Eine Karneval-Szene , Op. 5
Breslau: Hainauer, n.d.
Erste kleine Suite (F) (Marschm ssig; Ziemlich schnell; Langsam; M ssig schnell), Op. 4
Breslau: Hainauer, 1885.
Zwei Poesien (A, g), Op. 25
Breslau: Hainauer/New York: Schirmer, 1888.
Bishop, Dorothy
Ani-Mated Scale Duets
New York: Carl Fischer, 1977.
A Folk Holiday ( This Old Man ; Vidalita ; Bridge of Avignon ; Mini ca ; Frog Went a-Courting ; Mayday Carol ; In Baia Town ; Weggis Fair ; Greensleeves ; Roselil ; Pat-a-Pan ; Sweet Betsy of Pike ; Night Herding Song ; Kolyada )
New York: Carl Fischer, 1959.
Fluent arrangements of folk songs in traditional idiom, neatly set for four hands.
Level: UE-LI
Bitsch, Marcel (1921-2011), France
French author and composer; along with orchestral, chamber, and piano music, he also wrote harmony textbooks.
Pastourelles , dix pi ces enfantines (1er Album: Berceuse; Hornpipe; Choral; Claire fontaine; Le jeu du sapin . 2 me Album: Aurore; Laendler; Pastorale; Harmonies municipales; Nocturne )
Paris: Leduc, 1956.
Ingeniously set, effective pieces in polished French style; mild dissonances and surprise harmonies add pungency.
Level: UE-LI
Bittner, Juilius (1874-1939), Austria
Self-taught Austrian musician and composer. Career in law.
Austrian Dances
Vienna: Universal Edition, 1917.
Level: UE-LA
Bizet, Georges (1838-1875), France
Illustrious French composer of operas ( Carmen and The Pearl Fishers ), incidental music to L Arl sienne , a symphony, choral works, and piano pieces.
Jeux d enfants ( Children s Games ), Op. 22 (1872)
Durand; Hug; International; Kalmus; Peters; Schirmer; B rben, Op. 22/2 only.
One of the most engaging works in the entire four-hand repertoire, this set of pieces contains some of the composer s finest and most sensitive writing. It is perhaps more familiar in its orchestral transcriptions. In its original form the suite was ingeniously designed for the duet medium and consists of twelve colorful, imaginative tone pictures warmly describing various children s games and activities. Each piece is a gem of workmanship and musical effect, and offers a refreshing interpretive experience to both performers. A basic repertoire item for every four-hand team; it demands exceptional delicacy of touch and dynamic control.
1. L Escarpolette ( The Swing )
While arpeggios rise quietly from the secondo bass and respond in descending cascades in the primo, a fervent sweeping melody in secondo describes the movement of the swing as it slowly accelerates, climbing higher and higher, gradually loses momentum, and finally returns to rest where it began.
Level: I-UI
2. La toupie ( The Top )
The unsteady progress of the top is depicted as it whirs along steadily at first, weakens and begins to falter, recovers only to stagger again, and finally wobbles off drunkenly before flopping down.
Level: I-UI
3. La poup e ( The Doll )
Gentle, lyrical lullaby.
Level: I
4. Les chevaux de Bois ( Merry-Go-Round )
Strongly accented, galloping scherzo.
Level: UI
5. Le volant ( Badminton )
The shuttlecock bounces back and forth between the players with rapid, smoothly floating chromatic passages.
Level: UI
6. Trompette et tambour ( Bugler and Drummer )
Little march with strong percussive beats and trumpet flourishes; triplet figures and dotted rhythms predominate; after an imitative middle section the sound begins to die away as the marchers move into the distance.
Level: UI
7. Les bulles de savon ( Soap Bubbles )
An undulating melody in the primo right hand bounces its way capriciously through the piece like the fragile, erratic flight of a bobbing soap bubble as the secondo pursues with a feathery light chordal accompaniment.
Level: I-UI
8. Les quatre coins ( Puss-in-the-Corner )
One of the most delightful, and difficult, pieces of the suite; bright and colorful, propelled by a strong, rhythmic motive; fugal development; exciting climaxes; some thorny technical problems.
Level: UI-LA
9. Colin-maillard ( Blindman s Buff )
The music follows the blindfolded child as he unsteadily gropes his way; he stumbles, recovers his footing, and, after several unsuccessful lunges, finally catches his quarry.
Level: I
10. Saute-mouton ( Leap Frog )
Light, capering triplet figure hops up and down the keyboard from low bass to high treble with constant hand-crossing.
Level: UI
11. Petit marl, petite femme ( Playing House )
Lyrical, sentimental theme (with hints of L Arl sienne to come) describes this warm-hearted domestic scene: the husband and wife have a mild disagreement followed by a tender, happy reconciliation.
Level: LI-I
12. Le bal ( The Ball )
Rousing, lively dance; exhilarating, impetuous, full of spirit.
Level: UI-LA
Blagoy, Dmitry (1930-1986), Russia
Russian pianist, composer, and musicologist.
Album of Pieces for Young Pianists
Moscow: Sovetsky Kompozitor, n.d.
Among the fourteen pieces in this collection is one duet.
Level: UI-LA
Blake, Charles Dupee (1847-1903), United States
Prolific American composer of salon music.
Chiming Bells , Op. 129
Boston: White, Smith, 1878.
Level: LI
Clayton s Grand Waltz
Boston: White, Smith, 1878.
Level: UI
Blake, Dorothy Gaynor (1893-1967), United States
Composer, pianist, and vocalist. Born in St. Joseph, Missouri, and lived much of her married life in Webster Groves, Missouri. Produced more than 800 published works. Served as education director for the St. Louis Symphony from 1929 to 1934.
The following works are published by Willis Music
The Camel , 1960
Primo melody with oriental flavor against ostinato figure in secondo.
Level: E
Companions at the Keyboard ( Spring Dance ; Christmas Chimes ; Wooden Shoe Dance ; In Seville, Spanish Dance ; Our Republic, March ; Down the River ), 1929
Tuneful, attractive pieces in instructional style.
Level: E-5
Indian Braves , 1926
Level: E
My Clock
Level: E
The Old-Time Fiddler , 1929
Also appears in Favorite Festival Ensembles .
A lively, toe-tapping tune in G major.
Level: E
Tunes for Two ( The Japanese Toy Man ; Trailing Moon Vine ; The Quick Step ; The Clock Man ; The Sunrise Trail ; Row, Brother, Row! ; The Maid in Green ; The Old-Time Fiddler ), 1929
Level: E-5
Blake, Jessie
Eight Duets for Beginners
London: Boosey Hawkes, n.d.
Level: E-UE
Blanc, Claudius (1854-1900), France
Intermezzo
Paris: Armand Colin, 1893.
Level: I
Passe-pied
Paris: Armand Colin, 1893.
Co-composed with Leopold Dauphin. In meter; features eighth-note scalar passagework.
Level: UI-LA
Bloch, Andre (1873-1960), France
Six petites pi ces pittoresques ( Marche militaire ; Danse des poup es ; Sur la montagne ; Songe d orient ; Humoresque ; Fantaisie joyeuse )
Paris: Enoch, n.d.
Level: UE-LI
Blomberg, Erik (1922-2006), Sweden
Fyra h nder p ett piano ( Four Hands at One Piano ) (1970)
Manuscript.
Craggy serial work; linear, spare textured, rhythmically complex.
Level: UI-A
Blumenschein, W. L. (1849-1916), Germany/United States
American conductor, organist, teacher, and composer.
Village Fete , Op. 113, No. 4
Florence, KY: Willis Music, 1918.
Level: I
Blumenthal, Sandro (1874-1919), Italy/Germany
Piccolo suite (A)
Leipzig: Hofmeister, 1907.
Salon music.
Level: I-UI
Blyton, Carey (1932-2002), England
British composer and pianist. Diplomas from Trinity College of Music, London. Professor of Harmony, Counterpoint, and Orchestration at Trinity College of Music from 1963 to 1973. Visiting Professor of Composition for Film, Television, and Radio at the Guildhall School of Music and Drama. Composed mostly miniatures, songs, chamber music, and short orchestral works. Published six piano duets and one piano duo.
In the Minimalist Mood: Easy Contemporary Pieces for Pupil/Teacher Duet
London: Faber Music, 1998.
Titles: I. Fanfare; II. The Pergola; III. At Sixes and Sevens; IV. The Tail of the Peacock; V. Loose Change; VI. Technicolor Shades; VII. Glow; VIII. The System Blues; IX. Chunky Salsa.
Level: I
Pasticheries ( non-Boulangerie ), Op. 82
Ancona: Berben Edizioni Musicali, 1990.
A set of three parodies and tributes for piano duet. I. The Return of Bulgy Gogo (Ragtime)-a Tribute to Peter Warlock; II. The Velvet Gentleman (a la brossienne)-a Tribute to Erik Satie; III. Up the Faringdon Road! (Valse Brilliantine)-a Tribute to Lord Berners. Approximate performance duration: five and a half minutes. Some odd stemming.
Level: UI
Sweet Sour Rag , Op. 85
Ancona: Berben Edizioni Musicali, 1990.
Light and witty. Written by the composer for his fiftieth birthday concert. Premiered by the composer and dedicatee, John Mitchell. Approximate performance time is four minutes.
Level: UI
Bober, Melody, United States
Composer, teacher, clinician, church piainst and accompanist. Hold degrees from the University of Illinois at Champaign-Urbana and Minnesota State University. Prolific composer of educational music for piano.
Grand Duets for Piano, Book 1
Van Nuys, CA: Alfred Music, 2009.
Eight early elementary pieces: Back and Forth Waltz; Dance Class; Hometown Celebration; Hot Popcorn!; Listen to the Wind; A Mysterious Adventure; Race Car Boogie; Twilight Tune. Uses mostly five-finger patterns with limited shifting of position. Both parts are equal in difficulty. Primo plays one octave higher and secondo one octave lower throughout.
Level: LE
Grand Duets for Piano, Book 2
Van Nuys, CA: Alfred Music, 2009.
Eight elementary pieces: 3-Point Play; Dueling Fingers; Fiesta de Mexico; A Frightful Night; The Magic Calliope; Main Street Parade; Palomino Gallop; Stormy Sea. Written in accessible keys with limited shifting of positions. Occasional use of hand-crossings. Primo plays one octave higher and secondo one octave lower throughout.
Level: LE-E
Grand Duets for Piano, Book 3
Van Nuys, CA: Alfred Music, 2010.
Six late elementary pieces: A Bell Carol; Icicle Waltz; Jalapeno Hop; Recital Rag; Rockin Good Times; A Suspenseful Situation. Employs some syncopated rhythms and key changes. Utilizes a wider variety of keys and styles found than in previous levels. Primo often plays one octave higher than notated. Uses syncopated pedal.
Level: E-UE
Grand Duets for Piano, Book 4
Van Nuys, CA: Alfred Music, 2010.
Six early intermediate pieces: Ancient Legend; Fiesta Fun; A Mysterious Moment; Nostalgia; Rock Solid; Russian Festival Dance. Appearance of ledger lines. Employs a more sophisticated harmonic language.
Level: UE-LI
Grand Duets for Piano, Book 5
Van Nuys, CA: Alfred Music, 2010.
Seven intermediate pieces: Dramatic Dance; Lakeside Dreams; Pelican Rag; Sea Voyage; Song of Autumn; Too Cool; A Winter Tale. A variety of styles, meters, and keys. Introduces sixteenth notes and dotted-eighth rhythms. Colorful, engaging compositional style. Well suited for student recital programming.
Level: LI-I
Grand Duets for Piano, Book 6
Van Nuys, CA: Alfred Music, 2010.
Five late intermediate pieces: Grand Celebration March; The Keepsake; Luck o the Irish; Plymouth Pride; Tango. Similar in style and leveling to Book 5. Pieces are slightly longer and more ambitious. Rapid sixteenth note passagework appears in primo and left hand octaves in the secondo adding flair.
Level: I
Gypsy Rondo
Van Nuys, CA: Alfred Music, 2009; published in Piano for Busy Teens, Book 2 .
A boisterous gypsy dance in A minor, that duet features syncopated rhythms and parallel chordal passages between the parts. The melody is shifts between primo and secondo throughout. Repetition of patterns facilitates ease of learning.
Level: I
Hats Off to You!
Fort Lauderdale, FL: FJH Music, 2004.
Six delightful duets: Secret Agent; Sombrero Song; The Wild West; The Pirate Ship; Carnival Clowns; Batter Up! Excellent material for duet or multiple piano recitals. The composer suggests costuming, instrumentation, and special keyboard sounds effects to enhance the performance of these entertaining elementary duets.
Level: UE
King of Swing
Van Nuys, CA: Alfred Music, 2010; published in Piano for Busy Teens, Book B . A jazzy duet that features swing eighths and chromaticism. The primo is largely in parallel motion one octave apart. The melody is passed between the parts.
Level: EI
Play It in Peoria
Fort Lauderdale, FL: FJH Music, 2004.
Also available as a piano solo, this jazzy duet features syncopated rhythms, mixed articulation, and chromatic passagework that is passed between the parts. While relatively brief, there is much excitement packed within this delightful duet.
Level: I
Puppy Pranks
Florence, KY: Willis Music, 1992.
A playful, jocular duet in G major.
Level: UE
Race to the Peak
Fort Lauderdale, FL: FJH Music, 2006.
The primo part features a parallel motion melody that suggests climbing up and down a mountain peak. While the secondo largely provides a boom-chick accompaniment, it does feature a melodic duet with the primo part prior to the coda.
Level: LI
Reverie
Florence, KY: Willis Music, 1997.
Soaring melody and rich harmony characterize this mediative duet. A sprightly and more rhythmic B section interrupts the dreamlike A section.
Level: I
Rhapsody Grandioso
Van Nuys, CA: Alfred Music, 2009.
An expansive, dramatic opening theme in with contrasting brighter second theme in . Shifts from D major to D minor. Features octave melodies, full-textured chords, and some brilliant sixteenth note scalar passages. Commissioned by the Fort Worth Music Teachers Association.
Level: UI
Rio Rhumba
Fort Lauderdale, FL: FJH Music, 2001.
Built upon the traditional rhumba rhythm, this cheerful dance also features the cha-cha-cha rhythm. The repetition of material makes this piece a quick learn for the intermediate student.
Level: I
Roller Coaster Ride
In Recital Duets, Volume 1, Book 1 . Fort Lauderdale, FL: FJH Music, 2006.
Five-finger ascending and descending patterns.
Level: LE
Rustic Dance
In Recital throughout the Year, Volume 1, Book 5 . Fort Lauderdale, FL: FJH Music, 2004.
A festive dance in ABA form.
Level: I
Southwest Landscapes
Van Nuys, CA: Alfred Music, 2008.
Three-movement suite consisting of three titles: Colorado River Rapids; Sedona Sun; Majestic Grand Canyon. Highly effective writing. The jazzy middle movement features tapping and snapping and swung rhythms, and concludes with a dazzling contrary motion chromatic scale between parts.
Level: I
Suite in Season
Van Nuys, CA: Alfred Music, 2012.
A duet arrangement of a trio for piano, flute, and basoon that was commissioned by the Music Teachers National Association. A four-movement suite with each stylistically unique movement illustrating a season: Autumn Ballade; Winter Romance; Spring Jazz; Summer Latin. Harmonically and rhythmically rich. Highly effective writing.
Level: UI
The Northern Prairie
Van Nuys, CA: Alfred Music, 2008.
Three-movement suite consisting of titles: Prairie Stomp; Minnesota Morning; Blizzard. Effective and well-crafted pianistic style. The suite begins with a spirited stomp is followed by a lyrical ballad, and concludes with an exhilarating finish. Primo includes some rapid sixteenth note passagework.
Level: I
The Phantom
Fort Lauderdale, FL: FJH Music, 1998; also appears in Dynamic Duets, Book 1 and Spotlight on Duets, Book 2 .
Ghostly and mysterious with many surprises. Features a memorable theme.
Level: I/UI
Walnut River Rag
Van Nuys, CA: Alfred Music, 2007; published in Contest Winners for Two, Book 4 .
Features syncopated rhythms, jump bass, and chromatic lines. Dazzling contrary motion glissandi finish the piece. Dedicated to the teacher and students of the Kansas Walnut Valley Music Teachers Association.
Level: I
Wild River
Van Nuys, CA: Alfred Music, 2009; published in Piano for Busy Teens, Book 3 .
Abounding in rhythmic energy, this duet begins and ends in time with a contrasting lyrical B section that imitates a flowing river. A dazzling ending that features a descending glissando in the secondo.
Level: I-UI
Windrider
Fort Lauderdale, FL: FJH Music, 2007.
This high-spirited duet in C minor captures the spirit of a thrilling horse ride. Melodic and rhythmic material is shared between the parts. The duet ends with an exhilarating coda.
Level: I
Boccosi, Bio (1912-2006), Italy
Noted Italian accordion performer and advocate, he was the Secretary General of the Confederation Mondiale de l Accordeon and the founder and director of several branches of the Italian Music Teaching Centre.
Tarantella
Ancona: Berben Edizioni Musicali, 1969.
Spirited and tuneful.
Level: UI
B decker, Louis (1845-1899), Germany
Ernstes Gedenken , Op. 27
Leipzig: Rieter-Biedermann, 1885.
Fr hlings-Idylle , Phantasie (C), Op. 16
Leipzig: Rieter-Biedermann, 1882.
Salon piece.
Level: I
Sonatina (A), Op. 26
Leipzig: Rieter-Biedermann, 1885.
Bodenhoff, Harold
Bagatellen , neon Clavierst cke ( Praeludium ; Valse lente ; Larghetto ; Intermezzo ; Rokoko ; Humoresque ; Valse noble ; Polka boh me ; Polonaise ), Op. 7
Leipzig/Boston: A. P. Schmidt, 1908.
Boekleman, Bernhardus (1838-1930), Netherlands
Dutch composer and pianist. Studied with Ignaz Moscheles, Louis Plaidy, Ernst Friedrich Richter, and Mortiz Hauptmann at the Leipzig Conservatory.
Inauguration March
New York: Edward Schuberth, 1885.
Level: UI
Bo llmann, L on (1862-1897), France
Alsatian organist; successful composer of orchestral and chamber music, organ pieces, and piano works.
Sc nes du moyen- ge ( Ronde de la nuit ; La veill e ; Le tournoi )
Paris: Salabert, n.d.
Bohdanovicz, Basilius von (1754-ca. 1815)
Musikalische Familie f r Klavier , from Daphnis et Philis with Adieu quatre mains, 1798
Publisher missing.
B hm, Johann Christian (1740s-1792)
Wechselgesang mit vierhandiger Klavier-Begleitung in Part and Stimmen vom 6. VII. 1798
Manuscript.
Bohm, Karl (1894-1981), Austria
Austrian composer of pedagogical music.
Aus der Brautzeit , Walzer, Op. 270
Breslau: Hainauer, 1881.
Suite of three tuneful waltzes in salon style.
Level: LI
Blonde Locken , Walzer, Op. 208
Schirmer Edition, 1938. In Fraemcke, ed., Popular Duets . Publisher and date missing.
Salon piece.
Level: LI
Two Duets (Allegro brillante; Rondo in C), Op. 217
London: Hammond, 1911.
A Fanfare , military rondo, Op. 303
Berlin: Simrock, 187[?]; In Exhibition Pieces for Four Hands , and in Ditson, Presser, and Schirmer editions.
Le fanfare des Uhlans , galop militaire, Op. 213
Berlin: Simrock, 1883; New York: Schirmer.
Popular salon piece of the late nineteenth century.
Level: I-UI
Geburtstags-Musik , modern Suite ( Marsch ; Wiegenlied ; Zwischenspiel ; Walzer and Finale ), Op. 250
Breslau: Hainauer/New York: Schirmer, 1881.
Pleasant group of pieces in salon style.
Level: I
Kindersonate (F), Op. 108
Berlin: Simrock, 1873.
Level: UE-LI
Rondo in militarischen Stile , Op. 333a
Breslau: Hainauer, 1886.
[2] Sonatas (D, G), Op. 84/1, 2
Leipzig: Ruble, 1874; New York: Schirmer, 1889, 1892.
Salon pieces in serious vein; more difficult than Op. 391.
Level: I
Sonate (F), No. 3, Op. 317
Berlin: Simrock, 1884.
Level: LI-I
Zwei Sonaten (G, D), Op. 391
Berlin: Simrock, 1884.
Instructional sonatas.
Level: LI-I
Tanzskizzen , Op. 305
Leipzig: Hainauer, 1884.
Twelve pieces in salon style; demanding in part; effectively scored.
Level: I-UI
Tarantella
London: Lengnick, 1913.
Waltz , Op. 207
In Oesterle s Graded Four Hand Collection , vol. 2.
Level: UE-LI
du Bois, Rob (1934-2013), Netherlands
Dutch composer of music for solo instruments, orchestra, ensembles; makes use of contemporary techniques and unusual playing devices.
Deuxi me s rie de rondeaux , pour piano quatre mains et deux instruments percussion ad lib. ( Glass Chimes ; Petite caisse avec deux baguettes de bois ) (1964) Amsterdam: Donemus, 1967.
Each of the nine rondeaux in this set involves the solution of a different technical or stylistic problem. The idiom is current, atonal, pointillistic, frequently aleatory.
Level: A
Boisard, Victor (d. 1927)
Berceuse
Paris: Consortium Musical, n.d.
Level: E
Gavotte
Paris: Consortium Musical, n.d.
Level: LI
Marche militaire
Paris: Consortium Musical, n.d.
Level: LI
Pri re du soir
Paris: Consortium Musical, n.d.
Level: LI
Boisdeffre, Charles-Henri Ren de (1838-1906), France
French composer of orchestral, chamber, and instrumental works in elegant salon style.
Marche religieuse , Op. 14
Paris: Hamelle, n.d.
Quatre petites pi ces faciles ( Ronde champ tre ; S r nade ; B b et sa grand maman, berceuse ; Les cloches du village, carillon ), Op. 69
Paris: Hamelle, n.d.
Level: LI
Suite ( Pr lude, en forme de dame ; Air de ballet ; Orientate ; Valse ), Op. 44
Paris: Hamelle, ca. 1904.
Level: UI
Suite lorraine ( Les bords de la Moselle ; Le chant des bergers ; Idylle ; La f te au village lorrain ), Op. 92
Paris: Hamelle, 1899.
Bolcom, William (b. 1938), United States
Studied composition with George Frederick McKay and John Verall at the University of Washington, with Darius Milhaud at Mills College, with Leland Smith at Stanford University, and with Olivier Messiaen and Milhaud at the Paris Conservatoire. Composers of chamber, vocal, choral, operatic, cabaret, ragtime, and symphonic music. Accolades include the Pulitzer Prize, National Medal of Arts, and Grammy Award. Taught at the University of Michigan from 1973 to 2008.
Dedicace: A Small Measure of Affection
New York: E. B. Marks Music, 2007.
Written in memory of the composer s teacher, Darius Milhaud, these two brief movements-I. Gently, not slow; II. Barcarolle-allude to the somewhat tangy harmonic language of Milhaud. The secondo plays the final two measures standing behind the primo.
Level: LA
Boldemann, Laci (1921-1969), Sweden
Swedish composer of Finnish descent; wrote operas, symphonic music, choral works, songs, and piano pieces.
Liten soft p egna barnvisor ( Little Suite on Original Children s Songs ), Op. 16 (1960)
Stockholm: Nordiska musikf rlaget, 1961.
Charming group of short pieces in mildly contemporary idiom.
Level: I-LA
Bonawitz, Johann Heinrich (1839-1917), Germany
German pianist, conductor, and teacher; wrote operas, religious music, chamber and orchestral works, and piano pieces.
Divertissement , Op. 17
London: R. Cocks (Augener), 1894.
Two Impromptus , Op. 4
London: Cocks, 1894.
T nze , Op. 3
Vienna: Kratochwill, 1877.
Bonis, M lanie Helene (1858-1937), France
Born Melanie Helen Bonis, she composed under the name Mel Bonis. Prolific French composer of over 300 works for piano solo and four hands, organ, choral music, and works for orchestra.
Les gitanes , valse espagnole
Paris: Hamelle, n.d.
Pieces a 4 Mains , Op. 130
Paris: Editions Max Eschig / Associated Music Publisher, 1930.
I. Caravane; II. Andante Religioso; III. Carillon de Fete; IV. A Matines; V. Habanera; VI. Minuit sonne a la Grosse Horloge. Charming salon music.
Level: I-UI
Suite en forme de valses ( Ballabile ; Valse lente ; Danse sacr e ; Scherzo-valse ; Interlude ; Bacchanale )
Paris: Leduc, 1898.
Attractive set of waltzes in various styles and tempi.
Level: LI-UI
Bordes, Charles (1863-1909), France
French musical scholar, teacher, organist, and composer; founder of the Schola Cantorum in Paris. He devoted his life to the revival of polyphonic sacred and secular music. Composed liturgical works, orchestral and chamber music, and piano pieces.
Divertissement sur un th me b arnais
Paris: Herelle, 1924.
Euskal Herria
Paris: Salabert, n.d.
Bornhardt, Johann Heinrich Carl (1774-1840), Germany
Sechs kleine Sonatinen f r angehende Spieler
Leipzig: Breitkopf H rtel, 1825.
Borodin, Alexander (1833-1887), Russia
Brilliant and productive member of the Russian Five group of nationalist composers, Borodin shared his interest in music with an equally successful career as a professor of chemistry. His musical compositions include orchestral and chamber works, operas, songs, and piano pieces.
Marche fun bre
See: Paraphrases under Papineau-Couture, Jean.
Mazurka
See: Paraphrases under Papineau-Couture, Jean.
Pi ce (E ) (1879)
Incomplete unpublished manuscript.
Polka
See: Paraphrases under Papineau-Couture, Jean.
Polka (d) ( H l ne ) (1843)
In Zeitlin and Goldberger, eds., Russian Music for the Young Pianist , vol. 6. Moscow: Musgiz, n.d.
Short, tuneful, bright, rhythmical piece in lightweight style; an arrangement by the composer of a two-hand piece he wrote for the object of a boyhood crush.
Level: LI-I
Requiem
See: Paraphrases under Papineau-Couture, Jean.
Tarantella (D) (1862)
Moscow: Musgiz, 1938.
Borris, Siegfried (1906-1987), Germany
German music scholar, pedagogue, and composer. Studied economics at the University of Berlin and music at the Berlin Hochschule fur Musik with Paul Hindemith.
Aufzug ( Fr hlings Gesellen ), Divertimento und Sonatine
Berlin: Sirius-Verlag, 1950.
Rhapsodie , Op. 104
Bortkievich, Sergei Edvardovich (1877-1952), Russia
Russian emigr composer; wrote orchestral, chamber, and piano music in refined Romantic style.
Russische T nze , Op. 18
Leipzig: Kistner Siegel, 1898, 1914.
Russische Weisen und T nze , Op. 31
Leipzig/Milan: Rahter, 1926.
Appealing arrangements of Russian folk tunes.
Level: I
Bortz, Alfred (1882-1969), Germany
German teacher and composer; wrote opera, orchestral music, choral works, and piano pieces.
Sonata (a), Op. 22
Berlin: Simrock, 1920.
Effectively written three-movement work in conservative idiom; useful teaching material.
Level: I-UI
Boscovich, Alexander Uriah (1907-1964), Israel
Israeli composer of Romanian origin; his style incorporates many elements of Near Eastern folk music.
Semitic Suite
Tel Aviv: Israeli Music Publications, 1958.
Set of colorful, descriptive, character pieces with vivid folk flavor inspired by Israeli dances; also exists in two piano and orchestra versions.
Level: I-UI
Bossi, Marco Enrico (1861-1925), Italy
Italian organist; wrote orchestral and chamber music, operas, organ works, and piano pieces in Romantic style.
Suite de valses , Op. 93
Leipzig: Rieter-Biedermann, 1894; Peters, 1918.
Bright set of waltzes in Viennese style.
Level: I
Bottenberg, Wolfgang (b. 1930), Germany/Canada
Canadian of German descent; cultivates dissonant tonal style.
Three English Carols ( God Rest You Merry, Gentlemen ; The Holly and the Ivy ; Good King Wenceslas ) (1963)
Cincinnati: Westwood Press, n.d.
Bouchard, Remi G. (b. 1936), Canada
Canadian musician and composer.
Ode for Piano Duet
Waterloo, ON: Waterloo Music, 1976.
Brief, tuneful, but naively written and structurally weak.
Level: LI
Boucherit-Lefaure, M., France
Mikou et son ours , petit amusement pour la transformation de rhythme ( Berceuse ; VaIse ; S r nade ; Bourr e )
Paris: Lemoine, n.d.
Level: E
Bourgault-Decoudray, Louis Albert (1840-1910), France
French composer of operas, cantatas chamber music, and piano pieces.
Le carnaval d Ath nes , danses grecques
Paris: Choudens, 187[?].
Bourges, Jean Maurice (1812-1881), France
French composer, critic, editor; composed songs, an opera, piano pieces, and chamber music.
Quatre pi ces ( Cort ge-ballet ; Les noces d or ; Musette tambourin ; Tertullia )
Paris: Publisher missing, ca. 1884.
Six pi ces de caract re ( Premier fragment de ballet ; Deuxi me fragment de ballet ; Marche-cort ge pour une f erie ; Procession des p nitents ; Marche ; Marche noble )
Paris: Publisher missing, ca. 1884.
Boutron, M., France
Jour de f te , pi ce tr s facile pour deux l ves
Paris: Lemoine, n.d.
Level: E
Boutry, H., France
Tabati re de musique
Paris: Salabert, n.d.
Bowen, York (1884-1961), England
English composer, pianist, violinist, horn player; composed orchestral music, concertos, viola pieces, and piano works in fastidious Romantic idiom. Studied at the Royal Academy of Music with Frederick Corder (composition) and Tobias Matthay (piano) and was later appointed professor at the Academy.
Four Pieces ( Prelude ; Humoresque ; Serenade ; Dance Tune ), Op. 90
London: Oxford University Press, 1930.
Suite ( Prelude ; Dance ; Nocturne ), Op. 52
London: Stainer Bell, 1919.
Level: I-UI
Suite No. 2 (Allegro; Barcarolle; Moto perpetuo), Op. 71
London: Stainer Bell, 1923.
A handsomely crafted collection of three duets. Serious, engaging work. The inner slow movement Barcarolle is flanked by two fast outer movements. Vigorous allegro; affecting barcarolle; brilliant moto perpetuo. Rich harmonic language.
Level: I-LA
Suite , Op. 111
Out of print.
Boyd, Anne (b. 1946), Australia
Australian composer and professor of music at the University of Sydney.
Rain on Castle Island , for SSS (or SSA), percussion and piano four hands; text by Kitahara Hakuso
London: Novella, 1970; No. 28 in Musical Times , supplement November 1970.
Short work in advanced idiom; primo limited to glissandos played by fingernail crossing strings; secondo plays similarly on lower strings with occasional plucking.
Level: A
Boyle, Harrison (b. 1953), United States
American; cultivates eclectic, basically tonal, style.
Two Ecclesiastical Scherzi , Op. 27
Manuscript.
Commissioned by Howard Levitsky and Jeffrey Eschleman, piano duettists. Hymn-tune fragments, a waltz, and jazz elements, together with echoes of Stravinsky and Messiaen, are present in the two movements of this gently parodistic work: The Transmogrification of St. Francis and St. Vitus Dance.
Level: A
Songs of Religion (1. What Tomas Said in a Pub , poem by James Stephens [1978]; 2. The War Prayer , text by Mark Twain), for baritone and piano four hands, Op. 22
American Music Center Manuscript, 1976.
Braal, Andries de (1909-1987), Netherlands
Small Rondo (1973)
Amsterdam: Donemus, 1973.
Brady, Deborah, United States
Composer, arranger, pianist, and teacher. Holds a bachelor of music degree from Shorter College and completed studies by extension from Victory Institute.
Copycat
Milwaukee: Hal Leonard, 2003.
A delightful study in balance and ensemble. Each parts takes turns playing the melodic material. There is a theatrical appearance of Chopsticks prior to the return of the main theme.
Level: UE
Brahms, Johannes (1833-1897), Germany
Like Beethoven before him, Brahms made a comparatively small contribution to the four-hand repertoire, but he brought to the medium the full measure of his inventive genius, rigorous self-criticism, and solid craftsmanship.
Ein Deutches Requiem , Op. 45
Leipzig/Winterthur: J. Rieter-Biedermann, n.d.
An arrangement for one piano, four hands by the composer.
Level: UI-LA
Hungarian Dances (1858 and earlier) (Book 1: g, d, F, f, f , D , A, a, e, E; Book 2: a, d, D, d, B , f, f , D, b, e, e)
New Editions: Boosey Hawkes; Consortium Musical; Durand; Hansen (Book 2 only); Henle; International; Kalmus; Peters; Ricordi; Schirmer; Schott; B rben (No. 5 only).
Possibly Brahms s most popular compositions, these twenty-one piano-duet settings of original melodies patterned after Magyar and gypsy tunes have been arranged for innumerable instrumental combinations.
Level: I-A
Eleven L ndler , arranged for four hands from Schubert s two-hand L ndler, D. 366
See: Schubert, Franz.
[18] Liebeslieder waltzes , Op. 52 (1869); [15] New Liebeslieder waltzes , Op. 65 (1875)
New Editions: Boosey Hawkes (Op. 52a and Op. 65a only); Peters; Simrock; Universal Edition.
These ingratiating waltzes were originally written for vocal quartet with four hands accompaniment and sound best in that arrangement, although all of Op. 52 and part of Op. 65 are performable as four-hand solos. Both sets also exist as Op. 52a and Op. 65a, in Brahms s own arrangement for four hands solo; less effective than the originals.
Level: UI-A
Overtures
Musgrave, Michael, ed. Munich: G. Henle.
This collection includes Brahms s arrangements of his Academic Festival Overture , Op. 80, and Tragic Overture , Op. 81.
Level: LA
Piano Concerto No. 1 in D Minor
Mineola, NY: Dover Publications, 1991.
The composer s original arrangement for piano four hands with an introduction by Ralph Neiweem and Claire Aebersold. The concerto originated as work for two pianos with plans to transform the work into a four-movement symphony. Brahms was encouraged by his publisher to create a version for piano four hands. At first Brahms resisted, but later agreed for financial reasons.
Level: A
Serenades
Leipzig: Breitkopf H rtel, n.d.; Berlin: Simrock, n.d.; Munich: G. Henle.
Arrangement by the composer of his Serenades . The Serenades were originally scored for chamber orchestra.
Level: LA
Souvenir de la Russie: Six Fantasies for Piano Four Hands ( 1. Russische Nationalhymne ; 2. Der Zweig ; 3. In der Morgendammerung wecke sie nicht ; 4. Die Nachtigall ; 5. Ein grosses Dorf liegt auf dem Weg ; 6. Der Zopf )
Kassel: Barenreiter, 1994.
While pseudonymously published by G. W. Marks, modern scholarship establishes Brahms s authorship of these fantasies with great certainty. A medley of six salon fantasies based on Russian and Bohemian tunes. Represents Brahms s youthful style and tone.
Level: A
Symphonies
Pascall, Robert, ed. Munich: G. Henle.
As was the case during the nineteenth century, arrangements of major symphonic works for piano four hands brought the concert hall into the home and made this music accessible to a larger audience.
Level: A
Variations on a Theme by Robert Schumann (E ), Op. 23 (1861)
New Editions: Boosey Hawkes; International; Peters; Simrock.
Based on a theme that Schumann, in his final delirium, imagined had been dictated to him by Schubert and Mendelssohn. This profound and poetic set of variations was Brahms s personal tribute to his friend. With its rich harmonic and melodic variety and its frequent references to orchestral effects, it is one of the great masterpieces of the four-hand literature.
Level: A
[16] Waltzes , Op. 39 (1865) (B, E, g , e, E, C , c , B , d, G, b, E, B, g , A , c )
New Editions: Boosey Hawkes; Henle; International; Kalmus; Peters; Schirmer; Schott, Universal Edition, Wiener Urtext.
Suite of Viennese waltzes with occasional touches of Hungarian flavor; also arranged by the composer in a simplified edition.
Level: I-LA
Complete Works
Breitkopf H rtel critical edition of 1884-1897, vol. 4; available in reprint by Dover Publications, New York. Complete one-volume edition of Brahms s four-hand works (exclusive of the arrangements of Schubert s L ndler).
Braithwaite, Sam Hartly (1883-1947), England
English teacher and composer.
Chopinesque
London: Augener, n.d.
Pastorale
London: Augener, 1937.
Level: I-UI
Prelude in the Style of the Eighteenth Century
London: Augener, 1937.
Long, brisk, restless work in Classical idiom with an abundance of passage work and a thickening of the basically linear texture as the piece moves forward; the parts are well laid out.
Level: I-UI
Brandse, Wim (1933-2011), Netherlands
Double Dutch
New York: Schirmer, 1977.
Brant, Henry (1913-2008), Canada/United States
Canadian-born American; studied with Riegger and Antheil. In his compositions he has made use of controlled improvisation for easy performance of complex textures; also experiments with unusual instruments and sound effects.
Ceremony , triple concerto for violin, oboe, soprano, alto, tenor, bass, divided orchestra, and piano four hands (1954)
Publisher and date missing.
Bravi, Daniele (b. 1974), Italy
Professor of Composition at Conservatory Giovanni Pierluigi da Palestrina of Cagliari (Sardinia).
Acquerelli
Ancona: Berben Edizioni Musicali, 1997.
A suite of three brief works in slow-fast-slow order. Evocative writing style. The middle, fast movement presents some rhythmic challenges.
Level: UI-LA
Brehme, Hans (1904-1957), Germany
German pianist; wrote in Reger-Hindemith idiom.
Gavotte (V) and Musette
In Spielbuch Zeitgen ssische Originalkompositionen .
Tuneful dances in conservative style with harmonic and rhythmic interest; textures incline to be overdense.
Level: I
Bremner, Ernst J., Germany
German organist and composer.
Deuxi me suite (d) ( Praeludium; Tanz; Intermezzo; Alfa siciliana; Scherzo finale )
Paris: A. Bourlant-Ladam, 1906.
Work in salon style.
Level: UI
Brendler, Frans Frederik Edward (1800-1831), Sweden
Swedish flutist; friend of the composer Geijer.
Sonatine (C)
Stockholm: Eberling, 1830.
Bresgen, Cesar (1913-1988), Austria
Austrian composer who derives his musical style from the melody and rhythms of old German folk songs.
Kuckuckssuite (G)
Bret, Emile (1835-1868), France
Le carroussel
Paris: Heugel, 1868.
Level: UI-LA
Br ville, Pierre de (1861-1949)
In Spielbuch Zeitgen ssische Originalkompositionen .
Light, playful set of pieces in three short movements.
Procession (from Album pour Enfants )
Paris: Edition mutuelle (Salabert), 1912.
Brings, Alan (b. 1934), United States
Student of Otto Luening, Gardner Read, and Roger Sessions.
Passacaglia, Interlude and Fugue
Variations on a Solemn Theme
Manuscript, 1975.
Slow-moving, linear work in modal idiom. Because of the unvarying texture and the subtlety of its harmonic and rhythmic fluctuations, the piece tends to sound static; it nonetheless has a certain charm and appeal.
Level: UE-LI
Brink, Jules ten (1838-1889), Netherlands
Six Pieces
Paris: Publisher missing, ca. 1881.
Briquet, Marc (1896-1979), Switzerland
Swiss composer.
Nyam-nyam (burlesque)
Published by composer.
Britten, Benjamin (1913-1976), England
Noye s Fludde , Op. 59, for solo voices, string quartet, amateur string orchestra, recorders, bugles, percussion, and four hands (1957)
London: Hawkes Son, 1958.
Level, Piano parts: LI-I
Broaddus, Helen
Tulip Time
Cincinnati: Willis Music, 1936.
Instructional piece.
Brockt, Johannes (1901-1980), Austria
Austrian conductor, musicologist, and composer.
Piccoli pezzi contrapuntistici , Op. 37
Vienna: Doblinger, 1946.
Brodersen, Viggo (1879-1965), Netherlands
Dutch composer and pianist.
Drei st cke , Op. 39
Leipzig: Steingr ber, 1923.
Brown, Rayner (1912-1999), United States
American; church organist; has written orchestral and chamber music, organ pieces, and piano compositions.
Variations
Los Angeles: Western International Music, 1970.
Brown, Timothy, United States
Composer, pianist, and educator. Holds a master s degree in piano performance from the University of North Texas. Recipient of a post-graduate fellowship from the Royal Holloway, University of London, where he studied composition and orchestration.
Dance Preludes
Fort Lauderdale, FL: FJH Music, 2009.
Five preludes inspired by Lutoslowski s Dance Preludes for Clarinet and Piano (1954). Brimming with rhythmic vitality and rich in harmonic color.
Level: A
Fantasy
Fort Lauderdale, FL: FJH Music, 2006; published in In Recital Duets, Volume 1, Book 6 .
In D minor, this epic-sounding duet features a rippling sixteenth note accompaniment flanked by a melancholy melody that gives way to a dramatic, determined chordal theme.
Level: UI
Fire Dance
Fort Lauderdale, FL: FJH Music, 2008; published in Duet Treasures, Volume 1 and In Recital Duets, Volume 1, Book 3 .
An energetic, pattern-oriented duet that sounds more difficult than it is. Effective and dazzling.
Level: UE
Marche diabolique
Fort Lauderdale, FL: FJH Music, 2010; published in In Recital for the Advancing Pianist Duets .
Dark and foreboding, this duet is marked by dissonance and sharp, angular rhythms.
Level: LA
Smoky Mountain Reel
Fort Lauderdale, FL: FJH Music, 2004.
A toe-tapping and rollicking tune abounding in rhythmic vitality. The melody is passed between the parts.
Level: UI
The Dreamland Tree
Fort Lauderdale, FL: FJH Music, 2008; published in Duet Treasures, Volume 1 and In Recital Duets, Volume 1, Book 2 .
Brief and lyrical.
Level: E
Toccata
Fort Lauderdale, FL: FJH Music, 2004.
Students who enjoy high-energy pieces with drive are sure to enjoy this work. The secondo part consists mainly of perpetual motion rhythmic patterns, while the primo plays a primarily melodic role. This is an engaging work that is sure to motivate.
Level: UI
Waltz of the Shadows
Fort Lauderdale, FL: FJH Music, 2014.
A haunting waltz in G minor.
Level: LI
Bruce, M. Campbell
Divertissements
London: Curwen, n.d.
Level: I
Matelotte, masque and tarantelle
London: Curwen, 1953.
Level: I
Tinker Tailor
London: Curwen, n.d.
Level: E
Bruch, Max (1838-1920), Germany
German conductor and composer; best known for his first violin concerto; also wrote symphonies, operas, choral works, and chamber music in German Romantic idiom.
Capriccio , Op. 2
Leipzig: Kistner Siegel, 1858.
Level: I
Swedish Dances , Op. 63
Bonn: Simrock, n.d.
Also exists in versions for solo piano and for violin and piano.
Br ck, Julius (b. 1859)
Danses hongroises , Op. 13
Budapest: B rd, ca. 1897.
Settings of Hungarian tunes in traditional style.
Level: I
Bruckner, Anton (1824-1896), Austria
Three Little Pieces (1852-54)
New Editions: Oxford University Press; Schott.
Written when the composer was a piano teacher. These short pieces have a simple charm and directness.
Level: E
Quadrille (1854)
New Edition, Lemacher, Heinrich, ed. Magdeburg: Heinrichshofen, 1944.
The three amiable, sowing pieces in this somewhat more difficult set of duets have been partially reconstructed from the composer s original score by the editor, the first page of secondo and the last page of primo parts having been lost.
Level: I
Bruguier (Brughier), David
Three Duetts , Op. 7
London: Publisher missing, ca. 1820.
First Set of Three Favorite Duetts , Op. 3
London: Publisher missing, ca. 1826.
Br ll, Ignaz (1846-1907), Austria
Austrian pianist and composer; friend of Brahms; wrote in late Romantic style.
Bretonische Melodien , Op. 45
Publisher and date missing.
Brunner, Christian Traugott (1792-1874), Germany
German organist and conductor; prolific composer of salon pieces and instructional music for piano.
Les joyeux , Op. 237
London: Publisher missing, ca. 1852.
Le petit bouquet , six rondeaux mignons
Mainz: Schott, ca. 1868.
Sonatine (F) im Umfang von f nf T nen, Op. 336
Magdeburg: Heinrichshofen, 1859.
Level: UE/E-5
[3] Sonatinen (G, F, D), Op. 465
Berlin: Bote Bock, 1866.
Bruzdowicz, Joanna (b. 1943), Poland
Polish composer.
Esitanza
Paris: Choudens, n.d.
Bryan, Charles Faulkner (1911-1955), United States
Folk Fun for Four Hands
Glen Rock, NJ: J. Fischer, 1952.
Bu e, A. Quintin
Three Sonatas, the Third for Two Performers (B )
London: printed for the composer, ca. 1800.
Bueno, L.
In Grenada
Florence, KY: Willis Music, 1917.
Level: LI
Buesser, Fritz
Suisse et Alsace , trois valses caract ristiques
Paris: Publisher missing, ca. 1861.
Bugbee, L. A.
Dance of the Fairy Queen
Philadelphia: Presser, n.d.
Level: E
B low, Hans von (1830-1894), Germany
German pianist, music editor, conductor; disciple of Liszt and Wagner; also champion of Brahms; wrote symphonic works, songs, and piano pieces.
Humoristische Quadrille caber Motive aus Berlioz Cellini
Berlin: Schlesinger, n.d.
Bungert, August (1845-1915), Germany
German composer and poet.
Deutsche Reigen , Op. 16
Leipzig: C. F. Peters, 1877.
Level: UI-LA
Buntzly, Gerd (b. 1949), Germany
3 Klavierstucke fur Kinder
Gerd Buntzly, 1997.
Level: UI
Burchett, E. C. (1884-1966), Australia
Australian composer.
Seven Piano Duets for Beginners
Melbourne: Allans Music, 1951.
Burge, David (1930-2013), United States
American pianist, conductor, composer, and teacher. As a pianist, he was known as a champion of contemporary music.
Liana s Song
New York: Henmar / Edition Peters, 1999.
A ballet in six parts: L entr e; Branle; Chanson d amour (Liana s Song); Valse: apr s M. Ravel; Ninna-Nanna (Lullaby); Ritornelle. Composed in 1995 for Burge and his wife, Liliane Choney, to perform on one piano, four hands, with the San Diego Ballet, which premiered the work in 1996.
Level: UI-LA
B rgel, Konstantin (b. 1837-1909), Germany
Variationen ber ein eigenes Thema (d), Op. 30
Mainz: Schott, 1879.
Burgess, Marjorie (1915-2005), United States
Composer, pianist, and teacher. Studied at the Berklee College of Music.
Mosquito
Florence, KY: Willis Music, 1980.
A fast and imaginative duet. The primo part is composed in continuous eighth notes on a single staff.
Level: LI
Penny Candy
Florence, KY: Willis Music, 1987.
A toe-tapping rag in C major with contrasting section in A minor.
Level: I
Burghardt, Hans-Georg (1909-1993), Germany
German pianist, musicologist, professor at Martin-Luther University, Jena. He has written piano concertos, sonatas, symphonic and chamber works, an opera, choruses, and keyboard pieces.
Sonate , Op. 98 (1963)
Leipzig: VEB Peters, 1967.
Brilliant, intense, three-movement work in chromatic, neo-Classical idiom. The first movement features fugal development of the thematic material; the tranquil Romantic second movement is an ingenious exercise in bitonality; the work concludes with a bright, scherzo-like finale. Except for a few fortissimo climaxes muddied by thick doublings in the secondo part, the textures throughout are generally thin and clean. The writing is well balanced for both parts.
Level: I-UI
Burgmein, J. (pseud. of Giulio Ricordi) (1840-1912), Italy
Italian music editor and composer.
Carnaval v nitien, suite mignonne ( Florinda ; Rosaura ; Colombine ; Le Seigneur Arlequin )
Milan: Ricordi, 1897.
Suite in salon style, beautifully printed and illustrated, and elegantly bound.
Level: I
Les amoureux de Colombine
Milan: Ricordi, 1895.
Level: UI-LA
Burgm ller, Friedrich (1806-1874), Germany
German composer of pedagogical music and light salon pieces.
Easy Duets for Master and Pupil
London: Publisher missing, 1863.
La f te au couvent, quadrille
Mainz: Schott, n.d.
Burke, James C. (b. 1958)
The Easter Bunny March
James C. Burke, 2009.
Octaves and chords that demand large stretches.
Level: A
The Falling Down Waltz
James C. Burke, 2009.
Level: UI
Burnam, Edna Mae (1907-2007), United States
American pianist, composer, and educator. Studied piano at the University of Washington and Chico State Teacher s College in Los Angeles. Author and composer of the popular A Dozen a Day and Step by Step Piano Course series.
Changing Places
Florence, KY: Willis Music, 1963.
Performers change places at the piano in this duet that features several well-known folk tunes, including Skip to My Lou, Country Gardens, and Turkey in the Straw. Fun for performers and audience alike.
Level: UE
A Dozen Piano Duets
Florence, KY: Willis Music, 1957.
Instructional pieces.
Level: LI
Rounds for Reading , twenty pieces
Florence, KY: Willis Music, n.d.
Burney, Charles (1726-1814), England
Dr. Burney, the famous English historian, chronicler, and composer, wrote two sets of four-hand duet sonatas, which, as he states in his introduction to the first series, were the first of their kind to be published in England. If interest in these works is more historical than musical, it is because of their inclination toward excessive length and their lack of a well-defined musical character. However, they are nonetheless skillfully written, melodious compositions, competently arranged for the medium, and they contain many passages of charm and beauty.
Four Sonatas or Duets for Two Performers on One Piano Forte or Harpsichord (F, D, B , C)
London: R. Bremner, 1777.
Level: I
Sonata (F) [No. 1]
Ed. Rowley. London: Schott, 1952.
A Second Set of Four Sonatas or Duets . . . . (E , G, D, F)
London: R. Bremner, 1778.
Sonata (E ) [No. 1]
In Piano Duets of the Classical Period .
Burney, Charles Rousseau (1747-1819), England
Nephew of Dr. Charles Burney.
A Duett [E ] for Two Performers
London: Broderip Wilkinson, n.d.
Four Sonatas and a Duet [E ] for Two Performers
London: Published by composer, ca. 1795.
Two Sonatas and a Duet [a] for Two Performers , Opera 2
London: Published by composer, ca. 1800.
The two four-hand sonatas (E , a) are two-movement works in Classical style. Both are musically weak and often with poorly balanced parts, a condition offset somewhat by their appealing melodies.
Level: UE-LI
Burns, Felix
Flowers in the Forest
Cincinnati: Willis Music, n.d.
Level: UE-LI
Burty, Marc
Gais loisirs , six duos tr s faciles ( Canzonetta ; Brimborion ; S r nade en mer ; Pas d armes ; Kermesse ; Retour du p cheur )
Paris: Consortium Musical (Colombier), 1888.
Busch, Adolf (1891-1952), Germany
German-born violinist, composer; took Swiss nationality as protest against Nazism; member of famous musical family; founder of Busch String Quartet; colleague of son-in-law Rudolf Serkin. His musical style was influenced by Reger.
Thema and Variationen
Manuscript.
Busoni, Feruccio (1866-1924), Italy
Prodigious pianist and teacher; influential composer of Italian-German background; cultivated eclectic, polyphonic, anti-Romantic style, blending Italian grace and Teutonic intellectualism; important influence on Hindemith, Toch, Casella, and Malipiero.
Finnish Folk Tunes , Op. 27
New Edition, New York: Peters, 1953.
Two moderately long settings of Finnish folk songs, skillfully arranged for the medium in the composer s distinctive idiom.
Level: UI
B sser, Henri (1872-1973), France
French conductor, teacher, organist, and composer of operas, symphonic and chamber music, organ pieces, and piano works.
Marche de f te
Paris: Durand, n.d.
Petite suite , divertissement Watteau
Paris: Durand, 1897.
Level: I
Butler, N. C.
A Duet for Two Performers , in which is introduced the favorite air Sweet Passion of Love and the popular dance The Recovery
London: Skillern, ca. 1820.
Butler, Thomas Hamly (1755-1823), England
English musician; studied in Italy with Piccini; wrote theater music and piano pieces.
Amo amas , a rondo for two performers
London: Longman Broderip, ca. 1789; Glasgow: J. Aird, ca. 1795.
Amusing arrangement of the popular song The Frog and the Mouse.
Level: I
Butterley, Nigel (b. 1935), Australia
Australian composer; cultivates advanced techniques including serial writing. His choral works often have religious context.
Toccata [No. 18], 1955
Manuscript.
Buzzi-Peccia, Arturo (1854-1943), Italy
Italian song composer; also wrote an opera, symphonic and chamber music, and piano pieces in light style.
Les rendez-vous , suite galante ( Timide ; Calant ; Amoureux ; Joyeux )
New York: Schirmer, 1921.
Well-written salon pieces.
Level: I
Voyage de noces , suite intime ( En voyage ; Enfin seuls!! ; Douce intimit ; Sur le gazon ; Petite r ception au ch teau )
New York: Schirmer, 1922.
Salon pieces.
Level: I
Byrd, William (1540-1623), England
A Battle or No Battle , in Musica Britannia , vol. 19
London: Stainer Bell, 1963.
This delightful curiosity by the distinguished Elizabethan composer is in the form of divisions on a ground. Strictly speaking, it is a three-hand piece, but is included here because of its historical interest as one of the earliest examples of keyboard duets. The primo has the major responsibility in the work while the secondo plays only the ground bass line, which in many instances coincides with the bass line of the primo.
Level: I
C
Cahn, Alfred (b. 1922), United States
Jewish American composer.
Oom-Pah-Pah
Mequon, WI: Schaum Publications, 1992.
The primo may be played as a solo. Performers shift parts in the middle of the duet.
Level: LI
Calderara, -
Ninna-nanna della bambola
Bologna: F. Bongiovanni, n.d.
Calkin, Jean Baptiste (1827-1905), England
English pianist, organist, choirmaster, teacher; composed liturgical works, chamber music, organ pieces, and instructional piano music.
Hommage Mozart , morceau symphonique
London: Publisher missing, 1880.
M lodies gracieuses , six duettinos, Op. 11
London: Publisher missing, 1854.
Les vivandi res , marche, Op. 41
London: Publisher missing, 1866.
Calvini, A.
La chasse aux gazelles , Op. 11
Philadelphia: Presser, n.d.
Level: LI
Camidge, John (1790-1859), England
Member of famous family of Yorkshire musicians; his father, grandfather, son, and grandson were organists of York Minster.
Grande march, Duett
London: Publisher missing, ca. 1815.
Campbell, Carolyn Jones, United States
Cindy Goes Folk
Florence, KY: Willis Music, 1989.
A delightful collage of folk tunes set in a variety of styles including the Viennese waltz as well as jazz influence. High-spirited and good humored fun.
Level: I
On the Beach at Manzanillo
Florence, KY: Willis Music, 1990.
A highly rhythmic and festive duet that reflects the balmy breezes of the Mexican resort town.
Level: EA
The Big Sky
Florence, KY: Willis Music, 1990.
A meldley of tunes such as Oh Shenandoah and The Yellow Rose of Texas.
Level: UI-LA
Campbell, Colin Macleod (1890-1953), England
British composer and conductor; wrote operas, children s ballet, and piano works.
Legend
London: Curwen, 1950.
Imaginative teaching piece featuring modal melodies and unusual harmonies.
Level: E-LI
Moon Fairies
London: Paxton, 1932.
Mood piece; dreamlike and inviting.
Level: LI
Campbell, Henry (b. 1926), United States
American; studied with Burrill Phillips and Bernard Rogers; has written orchestral and chamber music, choral works, and piano pieces.
First Piano Duets
Glen Rock, NJ: J. Fischer, 1966.
Thirteen short, varied instructional pieces, resourcefully written at the very beginning level.
Level: LE
Sonata
Manuscript, ca. 1960. Available from composer, Montana State University, Bozeman, MT 59715.
Three-movement work in dissonant, Bart kian idiom.
Level: A
Capanna, Alessandro, OFM (1814-1892), Italy
Le quattro stagioni , il parco lieto in primavera, grand divertimento serale
Turin: F. Blanchi, n.d.
Caplet, Andr (1878-1925), France
French conductor and composer; friend of Debussy. He wrote orchestral music, sacred works, chamber music, and piano pieces in a refined and sensitive idiom.
Pour les enfants bien sages: un tas de petites chooses ( Une petite berceuse ; Une petite clanse slovaque ; Une petite barcarolle ; Une petite marche bien fran aise, Un petit truc emb tant )
Paris: Durand, 1925.
This charming suite is both fascinating as duet material and intriguing as a compositional tour de force. The primo part of all the pieces is written entirely within a five white-note span (C-G) in both hands, while the secondo changes key signatures for each piece.
Level: I-UI/E-5
Capuis, Matilde (b. 1913), Italy
Italian composer, organist, pianist, and educator.
Bozzetti (Sketches) ( Variazioni ; Canone ; Pastorale ; Divertimento ; Corale ; Toccata )
Milan: Edizioni Curd, 1969.
Short, bright teaching pieces, admirably set for the medium.
Level: UE-LI
Caracciolo, Eduardo, Italy
Fantasia di concerto
Milan: Publisher missing, 1872.
Carbajo, Victor (b. 1970), Spain
Spanish composer and pianist. Studied at the Royal Conservatory of Music in Madrid.
Cozy Beasts ( Comodos Brutos )
Victor Carbajo, 1997.
Three-movement suite: I. Pastorale; II. Staccatosso; III. Selvaggio.
Level: LA
La Hermetica ( The Hermetic She )
Victor Carbajo, 1995.
Level: LA
Carell, Rainer
Rhythmische Fantasie , from Moderne Rhythmen , IV
Leipzig/Berlin: Harth Musik Verlag, 1970.
Waltz, Foxtrot, and Carioca are three of the forms employed in this cheerful work set in a 1950s jazz idiom.
Level: I-UI
Carleton, Nicholas (c. 1570-1630), England
English composer of two of the earliest known keyboard duets.
A Verse for Two to Play on One Virginall or Organ
See: Elizabethan Keyboard Duets under Eiges, Konstantin Romanovich.
Carman, Marius
Joyeux postillon
Paris: Lemoine, n.d.
Level: I
Marche des Petits Marsouins
Paris: Lemoine, n.d.
Level: UE
Carmichael, John (b. 1930), Australia
Australian pianist, composer, and music therapist.
Puppet Show , suite ( Puppet Overture ; Marionette Waltz ; Sacha the Hungarian Gypsy ; Parade of the Puppet Ponies ; Lullaby of the Sleeping Doll ; Finale )
London: Augener, 1959.
Fresh, light, airy, descriptive music in popular style; the writing suggests a transcription.
Level: I
Carmichael, Mary Grant (1851-1935), England
British pianist; composed an operetta, song cycle, and piano pieces.
Five Waltzes for Two Performers
London: Publisher missing, 1878.
Carr, Benjamin (1768-1831), England/United States
English-born music publisher, arranger, and composer; emigrated to America with his father and brother and established flourishing music stores in Baltimore, Philadelphia, and New York, where they printed music of European as well as American composers. He wrote operas, incidental music, and piano pieces.
Two Duetts , Op. 3
Baltimore: J. Carr; Philadelphia: Willig; New York: J. Hewitt, ca. 1804.
Sonata , duets for two harpsichord [ sic ] (E )
Manuscript.
In large part this curious, naive little work can be performed quite comfortably on a single keyboard.
Level: LI
Carre, John F. (b. 1894), United States
Whitecaps
New York: J. Fischer, n.d.
Carroll, Geoffrey, United States
See: Engle, David.
Carse, Adam (1878-1958), England
English teacher and writer on music; wrote orchestral pieces, chamber works, and educational music.
A Little Concert (thirty-six pieces in two books)
London: Augener, 1914.
Level: E
Progressive Duets (three volumes)
London: Augener, 1913.
Melodious, carefully scored pieces in traditional idiom.
Book 1
Level: UE-5
Book 2
Level: LI
Book 3
Level: I
Tunes for Two ( Jumping Frog ; Two Voices ; A Rustic Dance ; A Step Behind ; Fair Exchange ; Waltz ; Turn About ; Dance ; Upstairs and Downstairs ; Goodnight )
London: Augener, 1925.
Appealing set of pieces in conventional style.
Level: E
Variations on a Theme (a)
London: Joseph Williams, 1919.
Solid, well-written, organically developed set of variations; interest is sustained throughout.
Level: LI
Three Waltzes
London: Augener, 1912.
Level: LI
Carter, Charles Thomas (1735-1804), Ireland
Irish organist and composer of musical comedies, songs, and harpsichord sonatas.
Two Favourite Duets (C, G) and a Sonata (F)
London: Printed for S. A. P. Thompson, ca. 1780.
Short works in thin, Haydnesque style; somewhat lacking in melodic freshness, but having an unsophisticated charm of their own.
Level: LI
A New Invention, for One Performer, or Two Performers on the Same Harpsichord ;
La chanson de Mi Lord Malbroug, and some variations
London: Published by composer, n.d.
Caryll, Ivan (pseud. of Felix Tilkin) (1861-1921), Belgium
Belgian American composer; made his career in England and United States as composer of operettas and musical comedies.
La valse du prince
London: Chappell, n.d.
Casella, Alfredo (1883-1947), Italy
Italian composer and pianist. His compositions reflect a variety of influences, from Mahler to Debussy, from Romanticism to neo-Classicism and beyond. Many of his works are touched with irony.
Fox-Trot (1920)
Vienna: Universal Edition, 1922.
An excellent, absorbing study in early jazz; occasionally dissonant.
Level: UI-A
Pagine di guerra , Op. 25 (1915-1918) ( Nel Belgio: sfilata di artigleria pesante tedesca ; In Francia: devanti alle rovine della cattedrale de Reims ; In Russia: carica di cavalleria cosacca ; In Alsazia: croci di legne )
London: Chester, 1922.
Descriptive musical pictures, transcribed by the composer from his short orchestral pieces, suggested by filmed incidents from World War I; intended to convey in startling musical language the brutality, violence, and horror of modem warfare.
Level: A
Pupazzetti , cinque musiche per marionette ( Marcietta ; Berceuse ; Serenata ; Notturnino ; Polka ), Op. 27
London: Chester, 1921.
Masterfully written pieces of great charm and sense of fantasy, cast in moderately dissonant, coloristic, pungent harmonic idiom. Also in version for nine instruments.
Level: UI-A
Casey, Jerry, United States
Fiesta
Florence, KY: Willis Music, 1990.
A festive, rhythmically driven duet in A major with a dazzling finish.
Level: I
Casimiro da Silva, Joaquim (1808-1862), Portugal
Portuguese composer of sacred and stage music, and piano works.
Sonata
Manuscript Calouste Gulbenkian Foundation, Lisbon, Portugal.
Cassad , Gaspar (1897-1966), Spain
Spanish cellist and composer; pupil of Casals. His compositions reflect the influence of Ravel and Falla.
Hispania
Paris: Salabert, n.d.
Ceiller (Ceillier), Laurent (1887-1925), France
French composer; published collection of Breton songs; also wrote instrumental works.
Pi ces pour Anne-Marie ; six petites pi ces pour de grands enfants ( Entr e ; Chanson pour danser en ronde ; Penser ; Interm de ; Lied ; Sc ne )
Paris: Durand, 1912.
Engaging group of pieces; interest and activity in both parts.
Level: I
Chabeaux, Paul (1854-1901), France
French composer.
Barcarolle , Op. 15
Paris: Henry Lemoine, 1874.
Level: UI
Chabrier, Emmanuel (1841-1894), France
French composer, pianist, conductor; wrote one opera, orchestral works, and piano compositions. His melodious and carefully fashioned works are direct and alive, and they lean toward lightness and humor.
Cort ge burlesque ( Oeuvre posthume )
Paris: Costallat, 1923.
Lively, bright, merry work in the style of a vivacious Gallic polka; delightful to play.
Level: I-UI
Souvenirs de Munich , quadrille sur les principaux motifs de Tristan et Yseult de Wagner
Paris: Chabrier, 1911 ( ditions Musicales Transatlantiques).
Entertaining, cleverly written, high-spirited quadrilles on themes from Wagner s Tristan und Isolde with strong Gallic flivor. Written by a minor composer out of respect and admiration for a major one. Not altogether successful pianistically or always of equal interest for both partners, but amusing nevertheless; cf. Faur -Messager Souvenirs de Bayreuth .
Level: UI
Trois valses romantiques
Paris: Enoch, n.d.
Chadwick, George W. (1854-1931), United States
Composer and teacher. Though German-trained, he is considered a pioneer in establishing a distinctively American kind of symphonic composition. His style was conservative, late Romantic, and his works include operas, choral and orchestral compositions, chamber music, and pieces for piano and organ.
Cricket and the Bumblebee
Melville, NY: Belwin-Mills, n.d.
Chagrin, Francis (pseud. of Alexander Paucker) (1905-1972), Romania
Romanian-born composer, lived in England; studied with Dukas and Boulanger; works include piano concerto, film music, orchestral suites, chamber music, and piano pieces.
Aquarelles ( Portraits of children )
London: Augener, 1951.
Level: LI
Six Duets
London: Novello, 1968.
Chaminade, C cile (1857-1944), France
French composer and pianist; student of Godard. She wrote operas, ballets, orchestral suites, and light piano pieces in salon style.
Andante et Scherzettino , Op. 59
Paris: Freres et Costallat, 1891.
Level: LA
Six pi ces romantiques ( Primavera ; La chaise porteurs ; Idylle arabe ; S r nade d automne ; Danse hindoue ; Rigaudon ), Op. 55
Paris: Enoch, n.d.
Chanaud, J.
Danes savoyards ( Le chalet des fonds ; Le Lac de Gers ; La bourgeoise ; Le criou )
Light, winsome descriptive pieces, together with dances of the Savoy.
Paris: Published by composer, 1913.
Level: I
Charles-Henry, -
Trois plus trois , petites pieces Ladles pour le piano-jazz ( Strut-Slow ; The Just Average ; Lime Tree Slow ; Invention de Blanc ; Negro Baby ; It is Claering [sic] Up )
Paris: Lemoine, n.d.
Level: UE
Charles-Ren , -
Reflets du nord ( F te flamande ; Paysage, suit d hiver ; Marche agreste ; Le lutin d Argyll ; F te polonaise )
Paris: Lemoine, n.d.
Level: LI-I
Trois valses caprices ( Dans la plain ; Dans les bois ; Dans l espace )
Paris: Lemoine, n.d.
Charpentier, Jean Jacques Beauvarlet (1734-1794), France
See: Beauvarlet-Charpentier, Jean Jacques.
Chatman, Stephen (b. 1950), United States
Educated at Oberlin College Conservatory of Music and the University of Michigan. Teachers include Ross Lee Finney, Leslie Bassett, William Bolcom, and Karlheinz Stockhausen. He is a professor and Head of Composition at the University of British Columbia.
Blues Bells
Toronto: Frederick Harris Music, 1998.
Six brief yet effective duets: Sweet Baby Blues; Bells of St. Cecilia; She s Like the Swallow; Shaughnessy Rag; The Porcelain Princess; Busy Corner. Explores a wide variety of styles and sounds, including impressionism, ragtime, blues, and even a work that employs bitonality.
Level: I
Chavagnat, douard, France
Les d buts de Fanfan , r cr ations faciles ( Le carillon ; La balancoire ; Petit Guignol ; La bo te musique ; Petits chevaux de bois ; Le r giment qui passe )
Paris: Enoch, n.d.
Level: UE-LI
Pupazzi: Air de Ballet , Op. 153
Paris: Leon Grus, 1894.
A light and buoyant duet in D major. The primo part is slightly more difficult than the secondo.
Level: I/UI-LA
Chernov, A., Russia
Soviet musician.
Negritanskaia melodia ( Negro melody )
In Agafonnikov, N., ed., Sbornik Fortepiannikh .
Level: UE-LI
Cheslock, Louis (1898-1981), England
English-born American violinist and composer. He has written operas, orchestral and choral music, and chamber works.
Rhapsody in Red and White
Chesneau, C. France
Les Kosaks de l Ukraine
Paris: Enoch, n.d.
Choisy, Laure
Cinq petites pi ces enfantines ( Le petit enfant triste; Berceuse de la poup e; Pierrot la promenade; [missing]; En passant pr s de la vieille glise )
Geneva: Henn, 1918.
Compact, attractive set of pieces; expressive, contrasting in style and mood.
Level: UE-LI/E
Chollet, Henri (1840-1914), France
French composer and pianist.
Marche fete , Op. 126
Paris: Maison des religieuses de St. Charles, 1895.
In B major.
Level: UI
Chopin, Fr d ric (1810-1849), Poland
Variations sur un air national de Maore (D) (ca. 1826), with reconstruction of lost pages by Jan Elder
Elder, Jan, ed. Warsaw: Ars Polonia, 1965.
One of the several partially reconstructed pieces of the four-hand literature, this recently discovered curiosity is an early work, dating from the composer s sixteenth year. Except for the lost Variations (f) and Chopin s own four-hand arrangement (Op. 15) of his Grand Duo for Pianoforte and Cello , this is the composer s only four-hand work, and in it he lavishes most of the pianistic interest on the primo part. It abounds in characteristic Chopinesque scale and arpeggio passage work, while the secondo is largely confined to accompanying figures. The reconstruction is convincing and the editing scholarly.
Level: I-UI/UI-LA
Chovan, Coloman (1852-1928), Hungary
Hungarian composer and teacher.
Danses Hongroises , Op. 4
Paris: Brandus Cie, 1885.
Six Hungarian dances.
Level: UI-LA
Chown, Ruth Nordine (1936-2008), United States
Composer, arranger, educator. Graduate of Northern Michigan University.
Sonatina Prima
San Diego: Neil A. Kjos Music, 2007.
A brief, three-movement work. The first movement is a bold and dramatic Fanfare followed by a graceful Minuet. The piece concludes with a brisk Finale. A few awkward passages that require thoughtful choreography.
Level: UE
Chr tien, Hedwige (1859-1944), France
French composer and professor of music at the Paris Conservatoire.
Balancelle , petite valse
Paris: Evette Schaeffer, successeurs au Buffet-Crampon Cie, 1923.
Simple, effective little piece.
Level: LE
Pastels
Paris: Rouart, 1929.
Christmann, Johann Friedrich (1752-1817), Germany
German Lutheran clergyman, composer, pianist, and writer.
Recucil de douze marches pour le pianoforte contenant aussi deux quatre mains, Op. 3
Offenbach: Andr , n.d.
Chv la, Emanuel (1851-1924), Czechoslovakia
Czech music critic and composer of songs, chamber music, orchestral works, and piano pieces.
Obr zky z babi ky ( Pictures from Grandmother )
Prague: Mojmir Urb nek, 1902.
Kirchfesttag
Prague: Urb nek, n.d.
Veselohern pochod ( Comic March )
Prague: Urb nek, n.d.
Z jarn ch dojmu ( Impressions of Springtime )
Prague: Urb nek, n.d.
Chwatal, Franz Xaver (1808-1879), Germany
German music teacher and composer of instructional pieces for piano.
Premi re grande sonate (C), Op. 15
Leipzig: Schuberth Niemeyer, n.d.
Well scored; parts carefully distributed, but lacking in musical substance.
Level: I-LA
Cibulka, Matth us Aloys (1770-ca. 1810)
Allemandes faciles
Leipzig: K hnel, Bureau de musique, ca. 1813.
Claasen, Arthur (1859-1920), Germany
German conductor and composer, lived in the United States; wrote orchestral and choral works, songs, and piano pieces.
Zwei L ndler (f, G), Op. 38
Leipzig: Siegel, 1900.
Salon pieces.
Level: I
Clarice, Hugh Archibald (1839-1927), Canada
Canadian-born American organist and teacher; wrote oratorios, orchestral music, songs, and piano pieces.
Romanza ; Sonatina (C)
Boston: Oliver Ditson, n.d.
Clark, Mary Elizabeth, United States
American pianist, educator, and composer.
Alpen Dance
Boulder, CO: Myklas Music, 1977.
Pleasant teaching piece in l ndler style.
Level: E-UE
Three Spanish Dances ( Sevillanas; Jota Navarra; Fandango )
Boulder, CO: Myklas Music, 1976.
Attractive arrangements of Spanish folk melodies.
Level: UE-LI
Clark, Sondra (b. 1941), United States
Composer and pianist. Degrees from Juilliard School of Music, San Jose State University, and Stanford University. Composition teachers include Vincent Persichetti, Leland Smith, Leonard Ratner, and Georgle Perle. Served on the faculty of San Jose State University where she taught music theory, history, advanced piano, and keyboard harmony.
Three Scenes from New Orleans
San Diego: Neil A. Kjos Music, 1998.
A three-movement suite inspired by New Orleans: Funny Gumbo; River Serenade; Mardi Gras Morning. The outer movements are rhythmically conceived while the inner movement-River Serenade-is more expressive and tranquil.
Level: UI
Clarke, Lucia, United States
Three Jazz Duets
Van Nuys, CA: Myklas Music / Alfred Music, 1977, 2004; published in Contest Winners for Two, Book 5 .
A collection of three duets in jazz style. Bright and attractive. Rhythmically and harmonically pleasing.
Level: LI-I
Claussmann, Alo s, France
French organist, pianist, and composer.
Alsace , six valses, Op. 25
Versailles: Vern de, n.d.
Clavers, R.
Quatre pi ces faciles ( Joyeux carillon; M lodie; Vieux refrain; La ronde improvis e )
Paris: Lemoine, n.d.
Level: UE
Clementi, Aldo (1925-2011), Italy
Italian pianist and composer. Studied composition with Goffredo Petrassi at the Rome Conservatory. Taught music theory at the University of Bologna.
Studio 2 ( sulla monotonia )
Milan: Editioni Suvini Zerboni, 2006.
Static, minamilistic tendencies. The challenge lies in the subtle changes and nuances.
Level: LA
Clementi, Muzio (1752-1832), Italy
Clementi s four-hand works are worthy counterparts of his more familiar piano solo compositions. Classical in idiom, their difficulty ranges from moderately easy to intermediate, and they are rewarding both pianistically and musically. In addition to the three rondos and seven sonatas (the latter arranged here in chronological order and with the composer s own opus numbers), Clementi left manuscripts of a number of small four-hand pieces that he called Duettini . Originally written for his daughter Cecilia Susanna, these late works are shorter and easier than his major duet compositions. According to Pietro Spada, in the introduction to his edition of Tre Pezzi , the Duettini were conceived as a series of six works but were never finished as a group. The Duettino (C), Tyson WO24, alone exists in complete three-movement form, while only the first and second movements of the Duettino (G), Tyson WO25, and unfinished sketches of a third survive, together with assorted pieces that appear to be single movements and fragments of the projected series. Both Duettini (C, G) and three of the shorter pieces have been published in modern editions listed below. Tyson catalogue numbers (Alan Tyson, Thematic Catalogue of the Works of Muzio Clementi [Tutzing: Hans Schneider, 1969]) are furnished for supplementary identification. Titles of individual sonata movements are also given in the following list, along with numberings and order of the sonatas that differ from Clementi s. Two editions in which such disagreements appear are cited below with abbreviations: OC indicates Oeuvres complettes de Muzio Clementi (Leipzig: Breitkopf H rtel, 1804-19); and ZG refers to Zeitlin and Goldberger, ed., Muzio Clementi, Six Sonatas (New York: Schirmer, 1960).
Allegro (C), Tyson WO26 (as Duettino 2 )
Allegro (Chasse) (C), Tyson WO27 (as chasse Duettino 1, M. C. )
Allegro (C), Tyson WO28 (Manuscript 34007, Duettino sei per pianoforte di M. Clementi )
New Edition, Tre pezzi (dai Duettini ), Tyson WO26, 27, 28
Spada, Pietro, ed. Milan: B rben, 1972.
Level: UE-LI
Duettino No. 1 , Tyson WO24
I. Allegro (C); II. Alla negra: Allegretto moderato (F); III. Allegro (C).
Duettino No. 2 , Tyson WO25
I. Allegro vivace (G); II. Masurka; III. Andante con moto (C); IV. Allegretto vivace (G).
New Edition, Two Duettinos , Tyson WO24, 25
Spada, Pietro, ed. New York: Schirmer, 1972.
Level UE-LI
New Edition, Tre Duettini , Tyson WO24 only
Margola, Franco, ed. Padua: Zanibon, 1969.
Level UE-LI
Troix rondeaux agr ables (G, C, G), Op. 41
Bonn: Simrock, ca. 1798.
New Edition, Three Rondos
Townsend, ed. New York: Schirmer, 1967.
Level: LI-I
Sonata (C), Op. 3/1 (Allegro spiritoso; Rondo presto), 1779
OC-IV/4; ZG:4 (Op. 16/1)
Sonata (E ), Op. 3/2 (Allegro maestoso; Andante, tempo di menuetto), 1779
OC-IV/5; ZG:5 (Op. 16/2)
Sonata (G), Op. 3/3 (Allegro; Rondo allegretto), 1779
OC-IV/6; ZG:6 Op. 16/3)
Sonata (C), Op. 6 (Allegro assai; Larghetto con moto; Presto), 1780-81
OC-XII/8
Sonata (C), Op. 14/1 (Allegretto; Adagio; Allegro), 1786
OC-IV/1; ZG:1 (Op. 14/1)
Sonata (F), Op. 14/2 (Allegro; Allegro assai), 1786
OC-IV/2; ZG:2 (Op. 14/2)
Sonata (B ), Op. 14/3 (Allegro; Adagio; Rondo allegro), 1786
OC-IV/3; ZG:3 (Op. 14/3)
Editions of Clementi s four-hand sonatas:
Six Sonatas
In Zeitlin and Goldberger, eds.
Complete except for Op. 6
New York: Schirmer, 1960.
[4] Sonatas , Op. 14/3; Op. 3/1, 2; Op. 6
Kalmus; Peters.
Sonata (C), Op. 14/1
In Townsend, D., ed., Piano Duets of the Classical Period .
Sonata [G], Op. 3/3, Allegro only
In Ferguson, H., ed., Style and Interpretation , vol. 5.
Sonata (C), Op. 6, Allegro assai only
In Classical album , G. Schirmer; and Pianoforte album , C. F. Peters.
Clough-Leighter, Henry (1874-1956), United States
See: Leighter, Henry Clough.
Cobb, Hazel (d. 1973), United States
Piano Duets
Chicago: Chart Music, 1959.
Short pedagogical pieces; careful and effective writing.
Level: E-UE
Playing Together (Hot Cross Buns; Waltz for Two; Children s March; Fiesta; Temple Bells; Heel and Toe; Vesper Bells; Chinese Down; Peasant Dance; Dance for Dmitri; Ancient Irish Tune)
New York: Harold-Flammer, 1962.
Delightful set of pieces; well weighted for both parts.
Level: E-LI
Spirit of the U.S.A . (F)
Cincinnati: Willis Music, n.d.
Level: UE-LI
Coenen, Louis (1856-1904), Netherlands
Dutch pianist and composer; student of Liszt.
Sonata (E )
Amsterdam: Alsbach, 1902.
Large-scale, four-movement work in Wagnerian harmonic idiom; well distributed for both partners, but somewhat dry and academic.
Level: A
Coerne, Louis Adolphe (1870-1922), United States
American conductor and composer, trained in Germany. He wrote operas, symphonic pieces, chamber music, and piano compositions in late Romantic style.
Three Duets for Young Pianists ( A Fairy Tale; The Music Lesson; Under the Apple Blossoms ), Op. 153
New York: Schirmer, 1922.
Level: E-UE
Four-Hand Recreations ( Pussy Willows; Little Shepherdess; May Morning; Pearls; Love s Raptures ), Op. 136
Philadelphia: Presser, 1919.
Instructional pieces.
Level: UE-I/E-5
Three Piano Pieces ( La Gaciosa; Autumn Gold; Birthday Song ), Op. 158
Boston: Oliver Ditson, 1921.
Light salon pieces.
Level: UE-LI/E
Cohen, Jules (1830-1901), France
French composer, pianist, organist, and chorus master. Studied at the Paris Conservatory.
Pages enfantines
Paris: E. Demets, 1907.
A collection of four pieces, the fourth of which is a duet titled Aurore. In C major and .
Level: I
Colizzi, Johann Andreas (1742-1808), Italy
Italian composer and keyboard player.
Three Keyboard Duets , Op. 11
J. Dale.
Level: UI
Colomer, Blas Maria (1840-1917), Spain
Spanish composer, pianist, organist, teacher. Studied at the Paris Conservatory.
Chanson matinale
Paris: Fr res et Costallat, 1893.
Level: UI
Idylles et caprices
Paris: L on Grus, 1876.
Six pieces.
Level: UI
Valses concertantes , Op. 24
Pairs: Leon Grus, 1878.
Level: UI-LA
Valses intimes
Paris: Enoch, Fr res Costallat, 1888.
Four waltzes.
Level: UI-LA
Cominetti, Ennio (b. 1957), Italy
Italian organist, composer, and conductor. Founder and conductor of the Lombardy Chamber Orchestra, the Ensemble Vocal Soli Deo Gloria and the Academic Choir Lombardo. Held faculty positions at the Conservatory of Trapani and the Arts Academy in Rome. Artistic director for the publishing house EurArte.
Cinque canzoni infantili Finlandesi
Ancona: Berben Edizioni Musicali, 1996.
A collection of five settings of Finnish children s songs.
Level: E
Compton, Randall (b. 1954), United States
Composer and musician. Holds degrees in psychology and music education from Iowa State University.
C. S. Theme and Variations , Op. 6
Dayton, OH: Heritage Music Press, 1985.
Subtitled For One Piano, Four Hands (Give or Take a Hand), this humorous duet is dedicated to the comedic pianist Victor Borge. Cleverly combines the opening theme from Liszt s Hungarian Rhapsody No. 2 with Chopsticks. Features rapid alternating chromatic thirds and octaves as well as glissandi. Pianists shift positions on the bench to intensify the humorous impact.
Level: LA
Concone, Joseph (Giuseppe) (1801-1861), Italy
Italian singing master, pianist, and composer; best known for his solf ge exercises and instructional music for piano.
1 re livre , quinze tudes l mentaires, Op. 46
New Edition, Paris: Consortium Musical (Gallet), 1923.
2 me livre , quinze tudes dialogu es, Op. 38
New Edition, Consortium Musical, n.d.
Consalvo, Tommaso (late eighteenth century), Italy
Due sonatines (C, D), per use delta Signorina D
Manuscript, Carolina Hipman.
Sonatina (C)
Manuscript.
Short, single-movement pieces in thin Classical style; pedagogical in purpose.
Level: UE
Conus (Konyus), Georgy Eduardovich (1862-1933), Russia
Studied with Arensky and Taneiev. His works include orchestral and chamber music, ballets, and piano compositions written in late Romantic style.
Morceaux ( Valse; Nocturne; S r nade ), Op. 16
Moscow: Jurgenson, n.d.
Easy, flowing, salon pieces.
Level: UE-I
Trois pi ces sur des th mes populaires slaves , Op. 41
Moscow: Jurgenson, 1913.
Tasteful arrangements of Russian folk songs.
Level: I
Converse, Frederick Shepherd (1871-1940), United States
Studied with Rheinberger. His works include four operas, six symphonies, other orchestral works, including Flivver Ten Million (which celebrates the manufacture of the ten-millionth Ford car), chamber music, and piano pieces. His style ranges from academic Classicism to Romanticism.
Valzer poetici , Op. 5
Boston: Miles Thompson, 1896.
Suite of waltzes in Brahmsian style; serious, skillfully constructed, graceful for the medium.
Level: I
Coolwijk (Coolwyk), Dennis H.
Puck ( Petit chanson de Puck; Litanie; Chanson russe et trepak; Arietta; Berceuse; S r nade; Valse lente; Loure; Petite danse russe; und zum Schluss ein Wiener Walzer )
Utrecht: Wagenaar, n.d.
Engaging suite of short pieces in conservative idiom with French Impressionistic color.
Level: I
Cor-de-Lass, Jose de
Danse slave
Paris: Costallat Cie, 1896.
Corigliano, [Domenico, Marchese] di Rignano, Italy
Sinfonia per pianaforte a quattro mani
Naples: G. Gerard, n.d.
Corigliano, John (b. 1938), United States
Prominent American composer whose works include concerti, symphonies, chamber music, solo instruments works, an opera, as well as scores for film.
Gazebo Dances
New York: G. Schirmer, 1984.
A set of four dances inspired, in Corigliano s words, by the pavilions often seen on village greens . . . where public band concerts were given on summer evenings. The dance set begins with a Rossini-like Overture, followed by a rather peg-legged Waltz, a long-lined Adagio, and a bouncy Tarantella. Approximate performance duration: sixteen minutes. Highly effective writing for the medium characterized by a strong rhythmic drive.
Level: A
Cork, Cyril (d. 1988), England
Four Hands Adventuring
London: H. Freeman, 1962.
Set in a non-adventurous idiom, these instructional pieces are well constructed and give both parts an equal workout.
Level: LI
Cornick, Mike (b. 1947), England
Studied at the Trinity College of Music where he was awarded the Ascherberg Composition Prize. Has taught music in primary, middle, and secondary schools as well as adult education classes. Best known for his educational jazz compositions, many of which have been selected for graded piano examinations throughout the world.
Jazz Suite for Piano Duet
Vienna: Universal Edition, 2009.
1. Latin; 2. Blues; 3. Swing; 4. Waltz; 5. Boogie/Latin Sophisticated jazz rhythms, shifting meters. Jazz solos in primo parts. Stylistically rich. Appealing for performers and audience alike.
Level: UI-UA
Jazzy Piano Duets
Vienna: Universal Edition, 1992.
Six jazz-inspired duets: Sue s Blues; Taking it Easy; Three to Go!; Taking Your Time; On Your Marks . . . !; Swingummy Jig. Harmonically and rhythmically engaging.
Level: I
Jazzy Piano Duets 2
Vienna: Universal Edition, 1994.
Six jazz-styled duets: Sur La Plage; Blues in F; A Little Latin; Daybreak; Fugue; Classic Blues.
Level: I
Latin Piano Duets
Vienna: Universal Edition, 2000.
Two three-movement Latin duet suites that explore six Latin dance styles. May be performed individually. Titles include: Beguine, Slow Tango, Conga, Bossa Nova, Habanera, and Samba. Rhythmically rich.
Level: I
Piano Ragtime
Vienna: Universal Edition, 1997.
Six rags: The One-Minute Rag; Modulating Rag; Dissonance Rag; Intermezzo; Classic Syncopation; Old Fashioned Rag. Accessible introduction to the style.
Level: LI-I
Corticelli, Gaetano (1804-1840), Italy
[2] Polonese (C, A)
Manuscript.
Costello, Jeanne, United States
Composer and piano teacher. Educated at the Hartt School of Music at the University of Hartford.
The Cricket and the Bullfrog
Fort Lauderdale, FL: FJH Music, 2009.
Quirky and full of clownish wit.
Level: E
Costley, Kevin, United States
Pianist, teacher, composer, and clinician. Holds degrees in music education and piano pedagogy, including a doctorate from Kansas State University. Assistant Professor of Early Child Education at Arkansas Tech University.
Travels for Two
Fort Lauderdale, FL: FJH Music, 2008.
Five duets: A Night in Moscow; Montana Rodeo; A Holotafun Rag; The Traveler in Disguise; New England Getaway. Inspired by sights and sounds of the composer s travels, these pieces are sure to spark the imagination of the performer.
Level: I
Coulpied-Sevestre, G., France
Choral quatre mains
In Pour mes petits amis, premier livre, courts pr ludes deux et quatre mains .
Paris: Consortium Musical, n.d.
Level: UE
Des grosses notes pour quatre petites mains ; six pi ces tr s faciles
Paris: Consortium Musical, n.d.
Level: E
Marche nuptiale
In Silence, je vais jouer , courts pr ludes deux et quatre mains. Paris: Consortium musical, n.d.
Courras, Phillippe (1863-1920), France
French composer.
Aines et Cadets
Paris: Paul Decourcelle, 1900.
Twelve attractive instructional duets.
Level: I
Cramer, Johann Baptist (1771-1858), Germany
Famous German pianist, pedagogue, and composer; student of Clementi. He combined a career as successful concert pianist with that of composer; best known for his piano studies and other pedagogical compositions.
Grande sonate No. 2 (G), Op. 33
Leipzig: Breitkopf H rtel, 1817.
S r nade favorite
Brussels: H. Messemaeckers, n.d.
Salon piece.
Level: I
Sonata (E ), Op. 27
Leipzig: Breitkopf H rtel, ca. 1810.
Cramer s duet sonatas, Opp. 27, 33, and 88, are large-scale, three-movement works in Classical style. Despite their general aridity and lack of any marked stylistic individuality, they are masterfully laid out for both parts and are thoroughly pianistic.
Level: I-UI
Cramer, Louis (1863-1892)
Les lutins de Bretagne
Paris: Heugel, 1867.
Level: UI
Cramm, Helen J.
Five Juvenile Dances ( Peek-a-Boo Waltz; Dame Trot s Dance; Grandmother s Polka;
Dutch Doll s Dance; Promenade, Two Step )
Philadelphia: Presser, 1925.
Instructional pieces.
Level: E
Cras, Jean (1879-1932), France
French composer and naval officer. He wrote in a lyrical and expressive style. His compositions range from orchestral and chamber music to choral pieces and piano works.
mes d enfants ( Pores; Na ves; Myst rieuses )
Paris: Senart, 1922.
Three charming, warm, atmospheric tone pictures about young people but not intended for them to play. The music describes different aspects of the child s soul. Impressive, affecting.
Level: I-LA
Crawley, Clifford (b. 1929), England
Born and educated in England with degrees from the University of Durham and diplomas from Royal College of Music and Trinity College, London. Studied with Lennox Berkeley and Humphrey Searle. Professor Emeritus from Queen s University in Kingston, Ontario.
Four Uneasy Pieces
Toronto: Frederick Harris Music, 1994.
Four pieces: I. Intrada; II. Intermezzo; III. Scherzo; IV. March. Sophisticated rhythms, voicing, and choreography present the performers with exciting challenges to negotiate in these intriguing and at times humorous short pieces. The set received first prize in the Canadian Federation of Music Teachers Association competition for piano duets and was premiered in Halifax, Nova Scotia, in 1991 by Ardelle and Tyson Hynes.
Level: I-UI
Cr vecoeur, Louis de France
Amphitrite errante ( Matin sur la mer g e; Iris dance sur les flots; Le bacchanale passe au loin des les; Vois, petite m re, les trir mes ), suite br ve
Paris: Demets, 1922.
Light, pleasant group of pieces on Greek mythological subjects.
Level: LI
Cristiani, Stefano (1770-ca. 1825), Italy
Born in Italy, resided in New York and Philadelphia.
Sonata (C)
Philadelphia: Published by composer, ca. 1819.
Bright, cheerful, two-movement work in lightweight, often clumsily fashioned Classical style.
Level: UE-LI
Croisez, A., France
Carnaval de Venise
Paris: Consortium Musical, n.d.
Les chasseurs au rendez-vous
Paris: Consortium Musical, n.d.
Level: UE-LI
Souvenir des Alpes
Paris: Consortium Musical, n.d.
Level: UE-LI
Crotch, Dr. William (1775-1847), England
English child prodigy organist and composer; wrote sacred choral music, glees, fugues, and piano pieces.
March and Waltz for Two Performers on the Piano Forte
Manuscript, 1833.
Crumb, George (b. 1929), United States
Distinguished American composer of avant-garde music. His work explores a wide variety of innovative compositional techniques, timbres, and notational formats.
Celestial Mechanics ( Makrokosmos IV ) Cosmic Dances for Amplified Piano, Four Hands
New York: Editions Peters, 1979.
The fourth work in a series of works entitled (or subtitled) Makrokosmos . The first two were composed for solo piano while the third ( Music for a Summer Evening ) was scored for two pianos and percussion. Four movements: I. Alpha Centauri; II. Beta Cygni; III. Gamma Draconis; IV. Delta Orionis. Crumb writes that the title Celestial Mechanics is borrowed from the French mathematician Laplace and the movement titles are the names of stars of the first through the fourth magnitude. He suggests that the movement of these stars inspired this work of cosmic choreography. At two moments in the score, the page turner must participate, making this a six-hand work. Employs a host of extended compositional and performance techniques including muted strings, production of harmonics, pizzicato playing, striking the soundboard, and amplification of the piano. Commissioned by the Chamber Music Society of Lincoln Center and premiered by Gilbert Kalish and Paul Jacobs in Alice Tully Hall, New York City, on 18 November 1979. Approximate performance duration: twenty-five minutes.
Level: A
Csige, Paul (b. 1982), United States
American pianist, composer, and filmaker. Studied at the Berklee College of Music.
Sonata for Four Hands
Paul Csige, 2008.
Level: LA
Cui, C sar Antonovich (1835-1918), Russia
Russian musician of French descent; member of nationalist group of composers known as The Five. His works include ten operas, orchestral and chamber compositions, and piano pieces.
Ten Pieces on Five Notes , Op. 74 (1906)
Moscow: State Music, 1929.
The short, moderately easy pieces in this volume are imaginative and artful, with unusual harmonies and especially felicitous writing for both parts.
Level: I/E-5
Scherzo (F), Op. 1
St. Petersburg: Bessel, 1857.
Scherzo la Schumann , Op. 2
St. Petersburg: Bessel, 1857.
Valse
See: Paraphrases under Papineau-Couture, Jean.
[24] Variations and Finale (with Liadov and Rimsky-Korsakov)
See: Paraphrases under Papineau-Couture, Jean.
Cumming, Richard (b. 1928), United States
Studied with Ernest Bloch, Schoenberg, and Sessions.
Holidays ( Prelude; Sarabande; March; Waltz-Musette; Lullaby )
New York: Boosey Hawkes, 1962.
Short, attractive, straightforward pieces, with abundant rhythmic interest and harmonic color; make only the simplest demands on both partners.

  • Accueil Accueil
  • Univers Univers
  • Ebooks Ebooks
  • Livres audio Livres audio
  • Presse Presse
  • BD BD
  • Documents Documents