Masterpieces of non-standard piano repertoire

The Piano-L list presents:
Masterpieces of non-standard piano repertoire


FEINBERG, Samuil Evgenevich (1890-1972).
A pianist of the very first rank, a pedagogue responsible for the Soviet theory
of legato playing, and a composer who stood in the vanguard of 1920s futurism,
S. E. Feinberg was one of the major figures of Russian music eclipsed by Soviet
cultural insularity. A 1911 graduate of the Moscow Conservatory, studying with
A. Goldenweiser, he combined his teachers love of J. S. Bach and the art of
counterpoint with a fascination for the synthetic harmony of A. Scriabin. He
explored the classical repertoire and the new music with unmatched
adventurousness, being the first to play the entire Well-Tempered Clavier in
the Soviet Union as well as the entire cycle of Beethoven sonatas. He performed
all the Scriabin sonatas, and works of his aesthetic colleagues, N. Miaskovsky,
A. Aleksandrov, and S. Prokofiev (he premiered the 3rd Concerto in the Soviet
Union). As a composer he specialized in piano composition, writing 10 sonatas,
3 concerti, 2 suites, and a number of romances for piano and violin. His early
sonatas (1-7) are virtuoso elaborations of post-Scriabin harmonic language,
moved by a Schumanesque romantic agitation. During the political turmoil of
the 1930s, which snuffed out experimentation, Feinberg reoriented his
compositional language, gravitating toward Miaskovsky's piano vocabulary.
Feinberg taught at the Moscow Conservatory from 1922 until 1962, being one of
the greatest piano pedagogues of the institution. His teaching about piano
technique, summarized in Pianizm kak iskusstvo ([Moscow]: Muzyka, 1965) is
the most artculate exposition of Moscow School pianism.

Feinberg's piano compositions were collected in 3 Volumes (Moscow: Sov.
Kompozitor, 1974-80). [A complete set is available at Cornell U, obtainable
through inter-library loan; the 3 vols may still be in print.] In addition to
original compositions he wrote 2 cadenzas for Beethoven's 4th piano concerto,
transcriptions of works by Borodin, Mussorgsky, and Tchaikovsky, and J. S. Bach's
Chorale-Preludes. Feinberg's piano performances are now being reissued in a
series on the French arlecchino label. Highlights of his ouevre include:


1 Sonata #1. Moscow: Muzykalnyi Sektor, 1924. Library of Congress

2 Sonata #2. Moscow: Muzykalnyi Sektor, 1926. Library of Congress

6 Sonata #4. Moscow: Muzykalnyi Sektor, 1923. Library of Congress

8 Four Preludes. Moscow: Muzykalnyi Sektor, 1926. Library of

9 Fantaziia # 1 &#2 for piano. Moscow: Gos. Muzykalnoe Izd-vo, 1922.

10 Sonata #5. Moscow: Muzykalny Sektor, 1926. Harvard U

11 Suite #1, 4 pieces in the form of etudes. Moscow: Muzykalnyi sektor,
1923. Harvard U

13 Sonata #6. Vienna: Universal Edition, 1925. (His most famous
futurist statement) NYPL

15 Three Preludes for Piano. Vienna: Universal Edition, 1925. Harvard U

19 Humoresque for piano. NY: Universal Edition, 1932. Indiana U

20 Concerto for piano & orchestra. Moscow: Edition de musique de letat,
1935. (2 piano reduction). UC Berkeley

25 Suite #2. Moscow: Gos. Muzykalnyi Sektor, 1937.

-- Sonata #9. Gos. Muzykalnoe izd-vo, 1940

30 Sonata #10. Moscow: Gos. Muzykalnoe Izd-vo, 1946.

40 Sonata #11. Moscow: Gos. Muzykalnoe Izd-vo, 1957.

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ALEKSANDROV, Anatolii Nikolayevich (1888-1982)
The longest-lived of the Russian composer-pianists, Alexandrov's career spanned virtually the entire Soviet epoch. He graduated from the Moscow Conservatory in 1916, a composition student of S. Tanayev and a piano student of K. Igumnov. Like his friend and classmate, A. Stanchinsky, Aleksandrov was influenced by the previous generation of Tanayev pupils -- Rachmaninov, Scriabin, & Medtner.
He wrote an opera, Two Worlds, for his graduation piece in 1916, but had already made a splash in musical circles with settings of Kuzmin's Alexandrian Songs in 1915. His compositional style of the 1910s & 20s was characterizedby L. Sabaniev as being lyrical, yet reserved, resembling N. Medtner's, but with a decidedly more Russian placement. There was a strain of mellifluousness in the piano pieces up through Opus 31 that stood at odds with the Age of Steel brashness of the Soviet futurists, A. Mosolov, S. Feinberg, and N. Roslavets. His works were in the repertoire of most Russian pianists during the 1920s-30s. From 1923 until his retirement he taught composition at the Moscow Conservatory. In his latter years he remade his style (audible in a 1968 Melodiya set of lps D-02105-6). He composed 2 symphonies, three operas, and four string quartets. He was also a capable film composer. Yet his piano works
are his lasting claim to fame. [A. N. Aleksandrov's Works for Piano were published in a three volume collection (Moscow: Soviet Kompositor, 1966-70). A copy is on file at the Library of Congress. Below are imprints of individual works and when possible, a library site that possesses a copy. There should not be interlibrary loan restrictions on most of this material. I've provided English translations of French or Russian titles; use Opus numbers when requesting works.]


3 Two Pieces for Piano. Moscow: Muzykalnyi Sektor, 1926. UC Berkeley

12 Sonata #2. Moscow: Gos. Muzykalnoe Izd-vo, 1957. [#1817] Harvard U.

17 Andante Patetico for violincello & piano. Moscow: Musykalbnyii Sektor, 1922.

18 Sonata #3. Moscow: Musykalbnyii Sketor, 1922. Southern California Regional Library Facility, U Texas Austin

19 Sonata #4. Moscow: Musykalbnyii Sektor, 1923 [#G. M. 3254] NYPL. Moscow: Gos. Muzylkal'noe Izd-vo, 1955. [#24835] Harvard U. & U Texas Austin

21 Visions: 5 pieces for piano: 1. Des profondeurs de la memoire, 2. Une idylle, 3. Visions de mer, 4. angoissee, 5. enigmatique. Moscow: Musykalbnyii Sektor, [1925?]

22 Sonata #5. Vienna: Universal Ed. 1925 [# 7346]. Harvard U. & So. CA Regional Lib. Facility, Rice U

26 Sonata #6.=09Moscow: Gos. Muzykalnoe Izd-vo, 1926. [#M. 6519 G.]
NYPL Research & Harvard U.

27 Three Pieces: Prelude, Dance, Sketch. Moscow: Muzikalnie Sektor, 1926.

31 Three Etudes for Piano. Vienna: Universal Editions, 1924. NYPL Research -- Sonata for Violin & Piano #3. Vienna: Universal Edition, 1928. [UE 9108] NYPL & Brown U.

33 Little Suite for Piano. Moscow: Gos. Muzykal'noe Izd-vo, 1935. UC Berkeley.

42 Sonata #7. New York: Leeds Music, 1938. [# M 16098 G.] So. CA. Regional Lib. Facility

46 Eight Pieces for piano based on songs of Soviet Peoples. Moscow: Gos. Muzykal'noe Ezd-vo, 1938. UC Berkeley

50 Sonata #8. Moscow: Gos. Muzykal'noe Izd-vo, 1946. [# 18422] Harvard & So. CA Regional Lib. Facility

51a Suite-Fantasia on Motives from the Opera, "Bela". Moscow: Gos. Muzykal'noe Izd-vo, 1956. Princeton U.

60 Otzbuki Teatra: Suite for Piano. Moscow: Gos. Muzykal'noe Izd-vo, 1955. Princeton U

61 Sonata #9. Moscow: Gos. Muzykal'noe Izd-vo, 1947 {# 18884] Harvard U & Carnegie Mellon U

72 Sonata #10. Moscow: Gos. Muzykal'noe Izd-vo, 1952. [#M. 22581G] Rice U,=09NYPL Research & Harvard U.

81 Sonata-Fantasia #11. Op. 81. Moscow: Gos. Muzkal'noe Izd-vo. [n. d.] Harvard U.

88 Romantic Episodes. Moscow: Sov. Kompozitor, 1967?.

90 Sonata #13. Moscow: Sov. Kompozitor, 1968 [# 4322]. Cornell U & Rice U

94 10 Pieces for Piano. Moscow: Muzyka, 1971. Indiana U.

97 Sonata #14. Moscow: Sov. Kompositor, 1973. Cornell U.

101 Concerto for Piano & Orchestra. 2 piano score. Moscow: Muzyka, 1976. Harvard U.

110 Five Pieces: Prelude, Zurka Obraz, Etude, Folktale, Epilogue. Moscow: Soviet Kompozitor 2 5900 K, 1981. Harvard Library.

112 Sonata for Violincello & Piano. Moscow: Sov. Kompositor, 1986 [# S7388K] NYPL Research & Northwestern U.

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MEDTNER, Nikolai Karlovich (1880-1951)
One of the signal shifts in critical opinion during the last fifteen years has
been the alteration of the judgment of Medtners worth as a composer. The old
assessment dismissed Medtner as a reactionary aesthete, who combined an
obsolete religiosity about his craft with an inclination for thick-textured
sonic gloom. Now he is increasingly recognized as a piano composer of the
first rank, possessing an ingenious mastery of long sonata forms, and a
dramatic way with short pieces.
Son of factory owner, and nurtured into an atmosphere of domestic
intellectualism, he was the most broadly educated of the triad of talents
educated by S. Taneyev at the end of the 19th century. More than Rachmaninoff
or Scriabin, Medtner restricted his creativity to the sound-world offered by
the piano. His orchestral writing was limited to the support given the piano
in 3 concertos. He composed chamber pieces, most importantly 3 sonatas for
violin and piano, and a quintet, published posthumously. He was also a writer
of art songs, specializing in a careful attunement of tune to text. His German
heritage is most clearly seen in the choices of texts to set for his songs,
with verses by Nietzsche and Goethe particular favorites.
As a pianist, Medtner was a greatly talented, having been trained by
Pabst as a child, and both Sapelnikov and his enemy Safonov at the Moscow
Conservatory. Upon graduation in 1900, he heeded Taneyev's advice to concentrate
his energies upon composition. Yet his technical ability was such that in
1909-1910 and 1915 to 1921 he taught piano at the Conservatory. Like his
friend, Rachmaninov, he left the country after Lenin consolidated power. He
led a peripetetic life, living for periods of time in Germany, France, and
finally England. His compositions, with their left hand melodies, sombre
harmonies, and rhythmic difficulty never won wide appreciation beyond a small
circle of devotees. His concerts never courted popularity, often featuring
lengthy works and his sonatas. In the 1940s he attracted the patronage of the
Maharajah of Mysore who bankrolled the recording of his ouevre. Horowitz,
Moisewitch, and Gilels played his works in concert. Yet the Medtner
art is largely the work of conductor E. Svetlanov in Russia, and Hamish Milne
in Great Britain. Now there is wide interest among performing pianists in his
work, and Medtner is on the verge of becoming a mainstream figure. The
compositions, because of their dark-hued, subtle melodies, withstand repeated
listening without palling. The sonatas afford ample opportunity for virtuoso
display--particularly The Night Wind Opus 25#2 and the Sonata Ballada Opus 27.
The skaza--(folk tales)--have long attracted attention for their bardic
grandeur. Prokofiev's debt to Medtner is particularly clear in this genre. The
violin/piano sonatas are central works in the Russian repertoire for that duo,
particularly the 3rd, Epica.

Yale University has the finest collection of Medtner music of any library in
the United States, including a rare complete set of the complete works. In the
bibliography below I've tried to include citations for everything I could find
available through inter-library loan.

Complete Works.
[Moskva] Gos. Muzykal noe Izd-vo, 1959-
Vols. 1-4. Piano works
Vols. 5-6. Vocal works with piano
Vol. 7. (in 2) Violin and piano works
Vol. 8. Piano quintet, C major
Vol. 9. Piano works, 2 pianos
Vol. 10. Piano Concerto no. 1
Vol. 11. Piano Concerto no. 2
Vol. 12. Piano concerto no. 3

Album of selected works : for the piano.
New York : International Music, [1941]. Publisher's no.:
International 507
A mood picture. -- Fairy tale, op. 20, no. 1. -- Idyl, op. 7,
no. 1. -- Fairy tale, op. 26, no. 3. -- Dithyramb, op. 10,
no. 3. -- Fairy tale, op. 31, no. 3. -- Etude in C minor. --
Fairy tale in D minor. -- Novelette, op. 17, no. 1.

Sonatas, piano
Moskau : Muzyka, 1975-1976. 2 Volumes.

Selected romances : for voice and piano / N. Metner.
Moskva : Muzyka, 1983.
Zimni i vecher (op.13, no.1) -- Sumerki (op.24, no.4) --
Tol ko vstrechu ulybku tvo i u (op.24, no.6) -- Shepot,
robkoe dykhan e... (op.24, no.7) -- Babochka (op.28, no.3) -
Vesennee uspokoenie (op.28, no.5) -- Mogu l zabyt to


1 Angel. Song by Lermontov. Moscow: Gos. muzykalnoe izd-vo, 1921.
G.M.I.M.1233. 8 Stimmungsbilder: Prolog, Andante cantabile, Allegro
con impeto, Maestoso freddo, Andantino con moto, Andante, Allegro
con humore, Allegro con irs, Allegro con grazia.

2 3 Improvisations. Nixe, Memory of the Ball, Scherzo infernale.
Moscow: P. Jurgenson [1901?].

3 3 Romances. Moscow : P. Jurgenson [1903?] . Pl. no.: 29181--29183.

4 4 morceaux: Etude, Caprice, Moment musical, Prelude. Moscow: P.
Jurgenson, [1903?]

5 Sonate (fa) pour piano.
Leipzig : M.P. Bela ieff, 1904. PL #: M.P. 2498.
London : Boosey & Hawkes, M.P. Belaieff, 1904, 1955.

6 Goethe-Lieder. Moscow, P. Jurgenson [1906]. Pl. no.: 30967--31011.

7 3 Arabesquen. Leipzig: M. P. Belaieff, [1904?].

8 2 Marchen (Skazki). Leipzig: M. P. Belaieff, 1905.

9 3 Skazi. Moscou : P. Jurgenson, [192-]-1923.
3 v. Pl. no.: 31443--31444, 31599. Pub. no.: 4031--4033.

10 3 Dithyramben. Moscow: P. Jurgenson [1906].

11 Sonaten-Triade, fur Klavier, op. 11.
Moskau, P. Jurgenson [ca. 1906]
No.1. A major.--no.2. D minor.--no.3. C major

12 3 Poems by Heine.

13#2 Romance, op. 13#2 Epitafi i a. German & Russian.
Moskva : Gos. izd-vo, Muzykal nyi Sektor, 1923. Pl. no.: 32893

14 2 Skazi. Bonn : R. Forberg - P. Jurgenson, <1973>.
Leipzig : P. Jurgenson, [192-?]. Pl. no.: 32137--32138.
Opheliens Gesang -- Ritterzug.

15 15 Goethe Leider.

16 Trois nocturnes, pour violon et piano.
Berlin ; New York : Edition russe de musique, [19--] Pl. nos.: 1-3.
No. 1, D-moll.--No. 2, G-moll.--No. 3, C-moll.

17 Trois novelles pour piano.
Berlin: Edition russe de musique, [1909?]
Pl. no.: R.M.V. 4--R.M.V.5, R.M.V.35.
G-Dur -- c-Moll -- E-Dur.

18 Goethe Lieder. Huntsville, TX : Recital Publications, 1995.
Die Sprode. Dei Bekehrte. Einsamkeit. Mignon. Das Veilchen. Jagers
Berlin, New York, Edition russe de musique, [192-] R.M.V.48--R.M.V.53.

-- Two Cadenzas for Beethovens Fourth Piano Concerto Opus 58, G Major.
Berlin, Moscow: Edition Russe de Musique ; New York: Breitkopf & Hartel,

19 Gedichte von Nietzsche. Huntsville, TX : Recital Publications, 1995.
2 Gedichte von Nietzsche, (russisch von W. Kolomitzoff)
Berlin: Rossi iskago Muzykal nago Izd.;
Leipzig, New York: Breitkopf & Hartel, 1912.
1. Heimkehr.--2. Verzweiflung.
20 2 Skazi. Berlin; New-York : Edition russe de musique, [192-?]
2 v. Pl. no.: R.M.V. 61--R.M.V. 62.

21 Sonata for violin, piano, no. 1, B minor.
Berlin, New York, Edition russe de musique [192-?].

22 Sonata for piano, G minor.
Berlin; New-York : Edition russe de musique, [192-?]. R.M.V.92.

23 Quatre fragments lyriques pour piano.
Berlin ; New-York : Edition russe de musique, [192-?]
Pl. no.: R.M.V.96, R.M.V.208--R.M.V.210.
C-moll -- A-moll -- F-moll -- C-moll.

24 8 Poems by Fet & Tyuchiev.

25#1 Sonata-skazka (C-moll) pour piano. Berlin ; New York : Edition russe
de musique, 1911. Edition russe de musique R.M.V.126.

25#2 Sonate (E-moll) pour piano. Berlin : New York : Edition russe de
musique, 1912.

26 4 Skazki. Berlin ; New York : Edition russe de musique, [192-]
Pl. no.: R.M.V. 211--R.M.V. 214.
Es-dur -- Es-dur -- F-moll -- Fis-moll.

27 Sonate-Ballade pour piano.
Berlin ; New York : Edition russe de musique, [192-].
Pl. no.: R.M.V.215.

28 Songs of Fet, Brusiev, & Tyutchev.
Berlin, New York, Edition russe de musique [19--].
Pl. no.: R.M.V. 254--R.M.V. 265.

29 Pushkin Songs. Berlin , Rossi ikago Muzykal nago Izd.;
Leipzig, New York, Breitkopf & Hartel, 1914.
Pl. no.: R.M.V. 255-R.M.V. 261.

30 Sonate (A-moll) pour piano. Berlin ; New-York : Edition russe de
musique, c1922. Pl. # R.M.V.326.

31 3 Pieces (in memory of A. Stanchinsky): Improvisation, Funeral March,

32 6 poems by Pushkin.
Paroles francaises de M.D. Calvocoressi;
English translation by Edward Agate.
Berlin, New York, Edition Russe de Musique [c1922].
Pl. no.: R.M.V. 313--R.M.V. 318.

33 Concerto for piano, orchestra, no. 1, C minor; arr. for 2 pianos.
[Moskva : Gos. Muz. Izd-vo], 1922.

34 4 Skazki. Leipzig : J.H. Zimmermann, [c1919]

35 4 Skazki.

36 6 Pushkin Songs (in Russian & German).
Leipzig: J.H. Zimmermann, [c1923].
Der Engel. Das Blumlein. Nur Rosen sterben wonnig. Spanische Romanze.
Nacht. Arion.

37 Funf Gedichte von Tjutschew und Foeth, Gesang und Klavier.
Deutsche Uebersetzung von O. von Riesemann.
Leipzig, J.H. Zimmermann [c1923]
Pl. no.: Z.1115--Z.11119.

38 Forgotten Melodies. Set 1. Frankfurt am Main : W. Zimmermann ; sole
agents for U.S.A., C.F. Peters, New York, [c1922].

39 Forgotten Melodies. Set 2. Meditazione, Romanza, Primavera, Canzona
matinata, Sonata tragica. Frankfurt am Main: W. Zimmermann; sole agents
for U.S.A., C.F. Peters, New York, [c1923]

40 Forgotten Melodies. Set 3. Danza col canto, Danza sinfonica, Danza
fiorita, Danza jubilosa, Danza ondulata, Danza dithirambica.
Frankfurt am Main: W. Zimmermann ; sole agents for U.S.A., C.F. Peters,
New York, [c1923]

41 Sonate-vocalise, mit einem Motto "Geweihter Platz" von Goethe.
Leipzig, J.H. Zimmermann [c1924]

42 Skazki, Leipzig, J. H. Zimmermann [c1924].

43 2 Canzonas, violin, piano. Leipzig : J.H. Zimmerman, c1925.
Pl. no.: Z.11186. No. 1. C major.--no. 2. B minor.

44 Sonata # 2 violin & piano.

45 Songs of Pushkin & Tyutchiev. German & Russian Leipzig, J.H.
Zimmermann [1925?]. Pl. no.: Z. 11200--Z. 11203.

46 Sieben Lieder nach Dichtungen von Goethe, Eichendorf und Chamisso,
fur Gesang und Pianoforte. Berlin J.H. Zimmermann [c1927] Pl. no.: Z.
11193--Z. 11199. No. 1. Praeludium.--No. 2. Geweihter Platz.--No. 3.

47 2nd Improvisation, piano, F minor Leipzig : W. Zimmermann, [192-]
Pl. no.: Z.11214.

48 2 Skazki.

49 Three hymns in praise of toil. Leipzig: W. Zimmermann, [192-?] Pl.
no.: Z.11445--11447. Nr.1. Vor der Arbeit -- Nr. 2. Am Amboss -- Nr.
3. Nach der Arbeit.

50 Concerto for piano, orchestra, no. 2, C minor; arranged for two
pianos by the composer. Moscow : Muzyka, 1985. Pl. no.: 12960.

51 6 Skazki. Leipzig : W. Zimmermann, [192-?] Pl. no.: Z.11448--

52 Seven songs, poems by Alexander Pushkin, English version by A.
Collingwood. Leipzig: Wilhelm Zimmermann [1931]. Pl. no.: Z.11498--

53#1 Sonata romantica. Leipzig: Musikverlag W. Zimmerman [193-?].

53#2 Sonata minacciosa. Leipzig: Musikverlag W. Zimmermann, [193-?]
Pl. no.: Z.11.548 Musikverlag

54 Romantische Skizzen fur die Jugend. Frankfurt: Zimmermann, [1990?]
Prelude (Pastorale), Bird's tale, Prelude (Tempo di sarabanda), Tale,
Prelude (Tender reproach), Tale (The barrel-organ player), Prelude
(Hymne), Tale (The beggar).

55 Tema s variatsiyam, piano. Leipzig: Musikverlag Wilhelm
Zimmermann; sole agent, C. F. Peters Corporation, New York [195-].

56 Sonata-Idylle.

57 Sonata #3 for violin & piano. Epica.

58#1 Russian Round Dance for 2 pianos.

58#2 Knight-errant for two pianos. London : Augener, c1946. Pl. no.:
17938 R Augener

59 Two Elegies for piano. 1938.

60 Concerto for piano, orchestra, no. 3. Reductio pour deux pianos par
l'auteur. Frankfurt/Main, W. Zimmermann, [c1951]

61 Sieben hinterlassene Lieder. [Bonn] M.P. Belaieff; agents exclusifs:
Boosey & Hawkes, Ltd., London, New York [c1954]. Pl. no.: 3472.

Opus Post.
Quintet, piano, strings, C . Quintet for piano, two violins, viola, and
violoncello. Moskva : "Muzyka", 1987. Pl. no.: 13359 Muzyka

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TCHEREPNIN, Alexander Nikolayevich (1899-1977)

Alexander Tcherepnin during his childhood absorbed music in a household that
may have been among the most experimental in St. Petersburg. His father,
Nikolai, was a rare musical progressive on the faculty of that city's
Conservatory (he was Prokofiev's favorite teacher). Young Alexander was given
free reign to pursue his inclinations. He was composing before age 10. (The
earliest surviving works--certain of the Bagatelles--date from his 13th year).
The Revolution forced the family to flee to Tiflis in 1918, and eventually to
Paris in 1921. In Paris he studied composition with Vidal. He quickly
established himself as a presence on the musical scene, making common cause
with a circle of expatriate composers located there--Martinu & Tansman among
them--touring as a pianist, and attaching himself to the ballet world. He was a
virtuoso pianist, but his mastery was displayed only in his own cause; he
rarely performed concert works by other composers. His Bagatelles Opus 5
established his reputation as a piano composer. They are quinessential
modernist miniatures, rhythmically aggressive, tartly chromatic, yet witty.
They recalled Prokofiev, but evinced a more experimental harmonic cast. Like
many Russian experimentalists of the 20s (Roslavets, Krein, Oubukhov, Joseph
Shillinger), Tcherepnin composed works employing unusual scales. One of
these--comprised of three tetrachords, each containing a whole tone and two
semitones--came to be known as the Tcherepnin scale. Yet Tcherepnin is
noteworthy among the experimentalists for his enduring concern with the
acoustic beauty of his works. He had little inclination for musical
expressionism, on one hand, or futurist agitation, on the other. Even his
Symphony #1 of 1926, a work which provoked a scandal in Paris with its movement
for untuned percussion, seems in retrospect a work of admirable craft. In 1934
Tcherepnin began a sojourn in China. He established a conservatory in Shanghai
and composed a series of pieces in a pentatonic idiom, most notably the 5
concert etudes & the 4th piano concerto. He returned to Paris in 1937,
remaining there through the war years. In 1947 he accepted an invitation to
teach at DePaul University in Chicago. There he became an energetic and
effective teacher--generating a series of instructional pieces for use with
beginning and intermediate pianists--while entering into a prolonged final
creative phrase in which he composed orchestral works in a demotic musical
language and piano works in an advanced language. Towards the end of his life
he experimented with electronic music, influenced perhaps be the work of his
composer son, Ivan Tcherepnin.
The piano pieces Opus 1-13 tend to be bravura compositions. The Opus 4
Sonatine Romantique is A. T.s evocation of the Russian Revolution, including
gunfire in the streets. Opus numbers 13-48 mark the Parisian phase, with
experiments in harmony, and the cultivation of pianistic wit. Concerto #2
emulates Prokofiev. Opus numbers 52-78 delimit the Chinese period--the
highlight being the effective 5 concert etudes. Opus numbers 82-109 mark a
sparer, more economical style of composition. Besides the piano, he wrote a
Suite for Harpsichord, Processional and Recessional for organ, and several
works in the 1960s for accordian.


1 Toccata, for piano, op. 1. [n.p.] M. P. Belaieff; sole agents, Boosey &
Hawkes [Lynbrook, N.Y., c1957]. Yale U.

2 First Nocturne for Piano. New York: Peters, 1957 rpt. 1917. Indiana

4 Sonatine Romantique, 1918. Paris : Durand, c1925. U Texas Austin.

5 Bagatelles, 1913-18. New York City, International Music Co. [1943].
Yale U.

7 Pieces sans titres

9 Huit preludes : pour piano. Paris, Heugel, [c1926]. Yale U.

10 Feuilles libres : (op.10), pour piano a deux mains. Paris : Durand,
(c1924). 4 short pieces. U Texas Austin

11 Four Arabesques, 1921

12 Piano Concerto #1, 1920.

13 Neuf inventions pour piano. Paris, Heugel [192?]. U Texas Austin

-- Petite suite pour piano. Paris : Durand, (1953, c1923) Marche. --
Chant sans paroles. -- Berceuse.--Scherzo.-- Badinage. -- Humoresque.
U Texas Austin

18 Dix etudes, pour piano. Paris, Heugel (c1925). U Texas Austin

19 Deux novelettes pour piano. Paris : Heugel, (c1923). U Texas Austin

20 Sonatas, violoncello, piano, no. 1, op. 20, D. Paris : Durand ;
Philadelphia : Elkan-Vogel, [c1925]. Yale U.
Toccatas, piano, op. 20. Hamburg : N. Simrock, c1974. Yale U.

22 Piano Sonata #1. Paris, Heugel [c1924]. Yale U.

23 Quatre preludes nostalgiques, pour piano. Paris, Heugel (c1923). U
Texas Austin

26 Piano Concerto #2, 1926

28 Canzona : fur Klavier. Hamburg : N. Simrock, [c1974]. Yale U.,

29 Sonatas, violoncello, piano, no. 1, op. 29, D major Paris : Durand ;
Philadelphia : Elkan-Vogel, <c1925>. Indiana U.

30#1 Sonata, violoncello, piano, no. 2, op. 30, no. 1. [Vienna] : T.
Presser, in cooperation with Universal Edition, [c1925]. Yale U

30#2 Sonata, violoncello, piano, no. 3, op. 30, no. 2. [Vienna] : T.
Presser, in cooperation with Universal Edition, [c1928]. Yale U.

31 Quatre romances pour piano seul. Vienna; New York : Universal-
Edition, c1925. U Texas Austin.

34 Trio pour violon, violoncelle et piano. Paris : A. Durand, c1925. Yale

39 Message, 1926. Indiana U.

-- Scherzo : pour piano. Paris : Durand & Fils, c1927. Pl. no. D.&F.
11018. U Texas Austin.

44 Piano Quintet, 1927. [Vienna]: Universal Edition <c1930>. Indiana U.

46 Entretiens : pour piano a deux mains. Paris : Durand & Cie., 1931. U
Texas, Austin.

48 Concerto for piano, orchestra, # 3. Mainz : Schott ; New York :
Associated Music, (19--). Arr. for 2 pianos. U Texas Austin.

52 Five Chinese Concert Etudes. Mainz : B. Schott's Sohne ; New York :
Associated Music Publishers, c1936. U Texas Austin.

-- Etude du piano sur la gamme pentatonique. Paris, Heugel (c1935) 3
vols. 1. Premiere suite.--v.2. Deuxieme suite.--v.3. Bagatelles
chinoises. U Texas Austin

56 7 Etudes for piano. Frankfurt : M. P. Belaieff, c1938. Indiana U.

63 Sonatine sportive, pour basson et piano. Paris : A. Leduc, <c1943>.
Indiana U.

66 Chant et Refrain, 1940

75 Showcase

78 Piano Concerto #4 (Fantasie)

82 Songs Without Words, 1951. New York, C. F. Peters, c1953. Indiana U.

85 12 Preludes, 1953. Frankfurt : M.P. Belaieff, c1972. Indiana U.

87a Rondo, for 2 pianos, 4 hands, op. 87a. 1955, New York, C. F. Peters,
c1957. Indiana U.

88 Eight Pieces for Piano, 1955. Bryn Mawr, Pa., T. Presser, c1957.
Yale U.

94 Piano Sonata #2. London, New York, Boosey & Hawkes [1962]. Yale U.

96 Piano concerto no. 5. Bonn : Edition M.P. Belaieff ; New York:
Peters, c1968. Yale U.

99 Concerto for piano, orchestra, # 6. (Bonn) M. P. Belaieff; sole
selling agent: Boosey & Hawkes, New York (1967). 2 piano arrangement. U
Texas Austin.

109 Opivochki, 1977

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MOMPOU y Dencausse, Federico (1893-1987)

Born in Barcelona into a Catalan family, Federico Mompou y Dencausse early
turned to music, receiving a thorough founding in the art at the Conservatory
of the Liceo in Barcelona under Pedro Serra. In 1911 he moved to Paris for
finishing. There he studied piano privately with Isidore Philipp and Ferdinand
Motte Lacroix. He also began to compose under the tutelage of Marcel Rousseau.
The First World War drove him back to Barcelona where he worked for seven
years, perfecting his lapidary style of composition, which combined a
post-impressionist playfulness with form and harmony and a Catalan rhythmic
sense and songfulness. He was a miniaturist in regards to form. In 1921, he
returned to Paris with a sheaf of manuscript compositions for piano,
buttonholed the critic Emile Vuillermoz, who listened to the
works, found himself entranced, and determined to make Mompou a celebrity.
Vuillermoz's extensive appreciation of Mompou in Le Temps won Mompou a publisher
and an audience. His magical sonorities marked his works as an
evolution in Iberian music beyond the art of Manuel deFalla. Mompou was a
fastidious composer, worrying certain pieces to perfection over long periods
of time. Consequently, a chronology of the works of the French period tells
little about his development. The Second World War forced Mompou back into his
native land again. There he lived as an international eminence until his death
in 1987. His final period was marked by an interest in vocal and choral music;
highlights include the songs The Struggle of sleep and the oratorio Improperia.
Besides broadening his scale, he orchestrated several of his earlier pieces,
and transcribed works for guitar. The guitar works have occupied an
increasingly important place in the repertoire of that instrument. During the
1970s, he recorded his piano compositions for the Ensayo label in
a distinguished series of lps (& later cds).

Since Mompou's death an increasing number of pianists have taken up his
compositions. The works seem on the verge of absorption into the mainstream

The standard performing collection of his works in print is

Piano album. Paris : Editions Salabert, c1989. E.A.S. 18795
Six preludes. No V, VI, VII, VIII, IX, X --
Variations sur un theme de Chopin --
Suburdis <i.e. Suburbis> : (Faubourgs) --
Scenes d'enfants --
Paisajes = Paysages --
Cancion y danzaIX -- Cancion y danza X --
Cancion y danza XI --
Cancion y danza XII --
Musica callada --
Fetes lointaines.
Melodies et chansons : piano-chant. Paris : Salabert, c1989.

The Piano works: (Highlights with the editions commonly held by conservatory

The Barcelona Period (1914-21)
1910-14 Intimate Impressions. (Laments, The Melancholy Bird, The Boat,
Cradle Song, Secret, Gypsy) Madrid, Union Musical Espanola,

1914-17 Nativity Scenes (Nativity, The Hermitage, The Shepherd)

1916-17 Suburbis. Paris: M. Senart, 1936.

1915-18 Scenes with Children (Cries in the Street, Games I, 2, & 3,
Young Girls in th Garden). Paris, M. Senart, 1936.

1919 Cants magics. (With Charmes the most interesting early works) Paris:
M. Eschig, 192?.

1920 Fetes lointaines.

1920-21 Charmes : pour piano. Paris : M. Eschig, <c1925>

The Parisian Period (1921-41)
1923 Dialogues 1-2

Six Preludes.

Variaciones sobre un tema di Chopin. Paris, Editions Salabert
<1961>Based on Chopin's Prelude, piano, op. 28, no. 7, A major.

Song and Dance. Canco i dansa (song and dance) part 1.
Providence, R.I., Axelrod-music,1938.

Canciones y danzas, piano. No. 7-8 Editions Salabert, c1949.

1937 Memories of the Exhibition.

1959 Musica callada, pour piano. Paris, Editions Salabert <1959-74>.

1982 Cancons (Canciones) becquerianas. Barcelona : Tenora, c1980.
1982 El pont : violoncello y piano. Madrid : Editorial de Musica
Espanola, 1982.

Altitud: violin y piano. Madrid : Editorial de Musica Espanola
Contemporanea, c1982.

A number of biographies have been written by Mompou, including a portrait by W.
Mellers. Yet the most useful contextualization of his work is a published

Paine, Richard. Hispanic traditions in twentieth-century Catalan music :
with particular reference to Gerhard, Mompou, and Montsalvatge / Richard
Paine. New York Garland Pub., 1989. viii, 310 p. : ill. ; 24 cm.

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Ignaz Friedman (1882-1948)

Friedman was born Solomon Isaac Freudman, and was also given the Polish
name of Ignacy. His father and uncle ran a family orchestra which played
Polish and Jewish and any local popular music throughout Eastern Europe and
as far as Turkey; they even came to the United Staes for a year or so.
Friedman as a young teenager toured with them. His first teacher, whose name
I am reluctant to venture to spell, gave him a thorough technical grounding.
When he was sent to study in Vienna, thanks to the generosity of a doctor in
Cracow, Leschetizky thought that he was too undisciplined in his playing, but
accepted him as a student. He was considered to have the best pure technical
ability of all of Leschetizky's many famous pupils. Judging from his records,
quite apart from the testimony of his contemporaries, Friedman has to rank
with Rachmaninoff and Josef Hofmann among the great pianists. His playing of
Chopin, particularly the Mazurkas, was incomparable. It is scarcely possible
to say whose interpretation are "best" - Artur Rubinstein played differently
and equally beautifully in the same repertory - but it is possible that
Friedman's childhood training playing in the Polish countryside, which was
quite different from Rubinstein's as a child prodigy, gives him more of a
claim for authenticity.
I give below a list of all Friedman's compositions. I have been able to
obtain copies of nearly all of these, from years of searching music stores in
Europe, or as photocopies from libraries. Most of the early music was
collected in Poland by Allan Evans, who has been working on a biography of
Friedman for quite a few years: we have exchanged photocopies so as to have
at least two complete collections.

Most of the early piano music is really "salon" material, reflecting Friedman's
background as a "popular" pianist. Naturally, he also wrote many tuneful piano
compositions for himself to play as encores. However, he also wrote some far
more substantial music. There is a very long list of arrangements.

In accordance with David Shields, I include only piano music, and also
chamber music with piano. I list publishers with the following abbreviations:
P = Piwarski; K = Kryzanowski; U = Universal Edition; H = Wilhelm Hansen.
G = Gebethner & Wolff; R = Roszavolgyi; A = Allan's music (Sydney); B&B =
Bote and Bock; B&H = Breitkopf and Hartel; N = Norsk Musik Verlag; I =
Two Polish publishers have also been cited, but the pieces from
these are not known to me (L. Zwolinski in Zakopane and T. Gieszczykiewicz
in Cracow.)
** means a piece I do not have.


8 Miniatures: Monologue; Arlequin; Canzonetta; Reverie Interrompu P

9 Three Lyric Pieces: A la Cornemuse; Chant d'Amour; Desillusion (to Paula
Szalit, a fellow Leschetizky student) P

10 Causeries: Intermezzo; Danse Fantastique; Capricietto; Chanson Triste;
Elle Danse P "Elle Danse", a famous piece, was published in a revised
version in 1921 (B&H). It was supposedly inspired by Anna Pavlova.

12 Petites Valses (eight; many are tuneful and not technically difficult) P

13 Five pieces: Improvisation; Melodie Elegiaque; Prelude; Marche Miniature;
Arabesque P

14 Four Novellettes K (These have more musical substance)

15 Four Mazurkas G (Likewise - worth playing)

18 Aquarelles: petite Berceuse; Minuetto; Poco Ostinato; Polka peu Dansante;
Mazurka P

19 Technical Problems (a book of exercises) P

20 Five Bagatelles: Prelude; Valse Noble; Humoresque; Noel; Pastorale P

22a Estampes: Impatience; Serenade du Pierrot; Discours Intime; Marquis et
Marquise (a charming little piece recorded by Friedman); a la Watteau;
Badinage U 2827

22b Scenes Enfantines: Petite Chanson; Soldats de Bois; Pres de l'Eglise;
En Valsant (a delicious and technical easy little waltz !); Le Paysan
Joyeuse; Au Lac; Grand'maman reve

24 Variations P

26 Three pieces: Paysage Slave; Appasionata; Esquisse P

27 Four pieces: Prolog; Gestandnis; Mazurka; Im Volkston P

28 Three Moniuzko transcriptions: Wiosna; Piesn Wieczorna; Dumka P

29 Four Preludes R

30 Theme Varie P

31 Three Intermezzi P

32 Romance for Violin or Cello and Piano P

33 Three Pieces: Etude; Mazurka; Tabatiere a Musique U 2539
No 3 arranged for Violin and Piano by Arthur Hartmann. U
The "Music Box" is a lovely piece, recorded by Stephen Hough among others
The Mazurka is also really good and well worth playing.

34b Two transcriptions: Die Linde (Backer-Grondahl); Ich Will Fort (Elling) H

38a Miniaturen (= "Zabawki"-Toys) 18 children's pieces P; and N
Many of these are quite lovely little pieces.

38b Impressions: Elan;C'Etait Autrefois;Pres d'Amalfi;A la Mazourka;Nocturne P

39 Three pieces: Melodie; Cracovienne; Caprice P

44 Passacaglia U 3053

45 3 Fantasiestucke: Einsamkeit; Tanz; Intermezzo U 3365

47a 4 Studien
47b Studien uber ein Thema von Paganini U 3366; 5145
The Paganini Variations are fully as challenging to the pianist as the
Brahms set, and at least for the first two-thirds of the way are worthy
of comparison in musical quality also. Unfortunately Friedman seems to run
out of inspiration, or just interest, for the final pages. Gunnar Johansen
felt the same way, and wrote an alternate ending which I have not yet seen.

48 4 Preludien (no 2 is identical to one of the variations from 47b) U 3377

49 2 Mazurkas. U 3378 No 1, on the "Cuckoo" theme, is a gorgeous piece.

50 2 pieces for Cello and Piano:Melodie Slave; Valse Lente U 3798 and 3799

51 5 Valses for Piano 4-hands. U These are lovely little pieces ! A solo
version of #4 was made by Victor Borge, which he used to play at almost
every one of his concerts. It was published in a piano music magazine.

53 Polnische Lyrik (I): Herbst; Schlummerlied; Bauerntanz; Wind U 3702
Four superb pieces ! The "Schlummerlied" has a short middle section with
a depiction of insect and cuckoo sounds, giving me a picture of someone
dozing under a tree in the heat of summer. The Bauerntanz is a joyous piece
complete with slightly-out-of-tune raucous fiddle music.

59 Lyric Episodes: Chaconne; Mazurka; Intermezzo; En Valsant; La Fileuse;
Aubade ("An meine Frau"); Sur l'Eaux; Jonglerie; Epilogue H
All are nice pieces, but En Valsant is a favorite of mine.

60 Polnische Lyrik (II) Dumka; Hymne; Im Mai; Valsette; Vieux Refrain. U 5710

61 Vier Preludien U 5711

63 16 Etudes H No 10, En Forme d'une Valse, is a lovely encore piece.
No 14, "Cakewalk" has no trace of authentic cakewalk music, but it's a nice
octave etude on the black keys.

66 Ballade U 6023

70 Suite for Two Pianos: Tema con Variation; Chorale; Finale. H
A great piece ! The first movement is particularly fine, ending with a
thunderous Polonaise to raise the roof. The chorale is mostly just C-major
arpeggiation, but the Finale is a Presto Tarantella that is very exciting.

71 Strophes H

72 Polnische Lyrik III: Weinachtslied; Von Lieb' und Leid; In der Dorfschenke;
Soldatenmarsch; Tandelei U 6022

76 Vignettes; 8 little pieces "an Meine Tochter Lydie" H

77 2 Morceaux: Barcarolle; Valse Tendre H The Barcarolle is a nice piece.

79 Stimmungen 9 pieces (dedicated to Rachmaninoff) U 6020;6021

80 8 Preludes H

81 5 pieces: Serenade; Masque Galante; Arlequinade; Mirage; Ecossaise U 6460-4

82 Sonatine U 6197 (?? - a second piece in op 82, not known to me)

85 6 Mazurkas U 8178 These are interesting pieces, reminiscent of Scriabin,
and quite different from Friedman's earlier late-Romantic style.

90 4 pieces: Plainte; Krakowiak; En Revant; Valse Gaie (photocopied from the
manuscript owned by Friedman's granddaughter)

92 Polonaise (similarly, photocopied from the manuscript)

96 3 pieces: Dance & Double; A la Mazourka; Prelude A
(Note: the manuscript of op 96 changes the order of the first two pieces,
and names them Plainte; Sarabanda; Esquisse; and includes two more pieces -
Saltimbanque and Krakowiak. All except the second are almost the same as in
the "op 90" manuscripts. The "Plainte" (A la Mazourka) is an evocation of
tragedy, and the events that led to its composition are known to all.

97 Piano solo arrangement of the Scherzo from Mendelssohn's String Quartet
op 44 no 3 A

99 (apparently the same as op 96, from another publisher not known to me,
with the titles Sarabande & Double; Air Plaintif; Esquisse)

100 Cadenzas to Beethoven's Piano Concertos (? Schirmer)

Works without opus numbers:

(a) Quintet for piano,2 violins, viola, and cello. H
A major work, perhaps written on the death of his father ( the theme of
a Polish folk song is featured in the last movement). This piece may be
uneven, but it deserves a first-rate professional recording. H

(b) Humoresque N

(c) Menuet in A P

(d) Masques: Ariette; Menuet "Les Reverences": Masovienne; Orientale;
Pierrette H The Masovienne is waltz-like and very beautiful.

(e) Exercises towards Higher Technique

Arrangements without opus numbers:

Anon Minuet "The Judgement of Paris" B&B
Bach Bouree from the violin partita no 2 A
Bach Brandebburg concerto no 3; first movement. A
Bach Chorale prelude "Wachet Auf..." Cantata 162
First version H Second version A
Bach Chorale prelude "Nun Kommt...."
First version H ?? second version - A?
Bach D-minor Organ Toccata & Fugue A
Bach Gavotte from violin sonata no 6 A
Bach "My Heart Ever Faithful" A
Bach "Sheep may Safeky Graze" A
Bach Siciliano from flute sonata no 2 A
Beethoven Ecossaises U 5075 (I do not have this)
Boccherini Pastorale from symphony in Cm B&B
Brahms Waltzes - no 15 with no 2 as middle section B&B
Chopin ? concerto Fm arranged for solo piano ??
Couperin La linotte effarouchee
Couperin Musette de taverni B&B
Dalayrac Romance ("La pazza per amore") U
Dall'Abaco Courante - studie nach der Sonate op 4 no 10 B&B
Dandrieu Les Fifres
Dandrieu Le Caquet
Dornel Tambourin
Dussek Menuett
Field Nocturne U 9528
Franck Prelude, Fugue, and Variation from op 18 no2 for organ A
Gaertner Wiener Tanze 1-6 (two versions of no 1) U
arrangement of no 2 for violin and piano by Arthur Hartmann U
Gluck Ballet des ombres heureuses U 5073
Gluck Flute solo from "Orpheus" A
Gluck Gavotte (from "Don Juan") U 5415
Gluck Gavotte (from "Iphegenia in Aulis")
Grazioli Adagio
Handel Gigue (from suite VIII) B&H
Handel Gigue (from suite X) B&B
Henselt Petite Valse (op 28 no 1) B&H
Hummel Rondo Favori op 11 B&H
Kirnberger Allegro
Lange-Muller Firenze H (a REAL Baritone aria - makes me think of Lauritz Melchior)
Lanner Die Schonbrunner (supplement in Denkmaler Tonkunst Osterreich)
Mahler Menuet from Symphony no 3 U 3703
Marais, Marian Rigaudon & Rondo
Mozart Romance from Eine Kleine Nachtmusic
Mozart Larghetto
Mozart Menuetto
Paganini piano accompaniments for caprices nos 1, 9, and 19 U 8702-4
Palmgren Der Fluss - piano concerto no 2. Orchestra arranged for 2nd piano
Rameau Le Rappel des Oiseaux U 5417
Rameau Musette
Scarlatti Pastorale
Scarlatti Gigue
Schubert Alt Wien. 2 Walzersuiten.
Schubert Rondeau
Shield Old English Minuet U 9526
Stamitz Prestissimo, from symphony in G B&B
Strauss (Joh Jr) Fruhlingsstimme U 0388
Strauss (Joh Jr) O Schoner Mai (ded to Horowitz) R
Strauss (Joh Jr) Schatzwalzer from The Gypsy Baron R
These three are famous virtuoso transcriptions

This list is certainly not complete, for Friedman scattered his compositions
and arrangements among many different publishers. If anyone knows of any
additions or corrections, please let me know. Almost ALL of this music is out
of print, with the exception of some of the arrangements published by
Universal Editions. Allan's Music in Sydney, Australia, publishes a Friedman
Album (their no 1225) which includes everything listed above with an "A".
Some music has been reprinted as photocopies by Musica Obscura.

send comments to

Karl Tausig (1840-1870) was, along with Hans von Bulow, Liszt's first really
famous pupil. His first teacher was his father Aloys Tausig, who had been a
pupil of Thalberg. When he came to Liszt as a 14-year-old, he was a wild
young man - what we might call today a juvenile delinquent - with already
incredible virtuosity. Tausig dazzled his audiences with his incredible
technical facility. Liszt said that he had "fingers of steel" which was not a
total compliment. Robert Freund said of him that he performed superbly anything
that was grand or spectacular, but that he was totally lacking in any sense of
charm, in complete contrast to his master Liszt, so that smaller pieces by
Chopin or Schumann failed completely in their effect. He had a harshness of
personality that made him a terrible person as a teacher. Students were treated
to a barrage of criticism, after which Tausig would push them aside and play
himself, with no attempt at help or explanation. At 21 he married a Hungarian
pianist Seraphine von Vrabely, who was exactly his age. Tausig died at 30 of
typhoid fever; his widow survived him for another sixty years.

The opus numbers given by Tausig's publishers are in total confusion. His
teenage compositions were numbered efficiently from 1 to 6, but then another
publisher put out his two Concert Etudes as another op 1, and then yet another
published his "Das Geisterschiff" as yet another op 1 !! Still other pieces
were, perhaps sensibly, given no opus numbers at all. I have included only
those pieces which I know about with some certainty, but there are likely to
be more. Unfortunately many of Tausig's unpublished manuscripts, including a
Piano Concerto and at least one Symphonic Poem, were destroyed when a castle
was bombed in World War II.

Most of the works listed can be obtained through Musica Obscura. Others
can be found in the Library of Congress.


1a Impromptu Roder

2a Introduction and Tarantella Roder

3a? L'Esperance Roder; also Schirmer 9017

4a ?? Roder

5a Reverie Roder; also Schirmer

6a Le Ruisseau (Etude) Roder

1b Two Concert Etudes Steingraber

- Valses after J.Strauss Steingraber
The first three of these are well-known and have been recorded. The last
two are available in a Musica Obscura photocopy from a Russian edition.
All give ample scope for virtuoso display, as one might expect, but seem to
lack the Viennese charm of later transcriptions by pianists such as
Ignaz Friedman, Alfred Grunfeld, or Moriz Rosenthal. (Compare Freund's
comment about Tausig given above.)

1c Das Geisterschiff (Musica Obscura)
This is a Wagnerian pianistic extravaganza, highly melodramatic. perhaps a
suitably flamboyant pianist could excite an audience with this.

- Reminiscences of "Halka" (Moniuszko) (Musica Obscura)
Another virtuoso blockbuster, on themes from the Polish national opera.
It has some good tunes.

- Ungarische Zigeunerweisen Steingraber; also Musica Obscura
This was written by Tausig for his Hungarian wife. It is, needless to say
, a very demanding piece - but in my opinion it is Tausig's most
successful piano composition, perhaps because his marriage induced Tausig
to show evidences of human feeling sometimes hard to see in his other
works. Of course, if HAS to end in prestissimo pianistic fireworks !
I'd like to hear someone like Marc-Andre Hamelin give this its due, both
musically and pianistically.

- Twelve Preludes (Musica Obscura)

Bach-Tausig Praeludium, Fugue, and Allegro Musica Obscura

Berlioz-Tausig Gnomenchor & Sylphentanz Breitkopf 2179

Scarlatti-Tausig Five pieces Ricordi
Individual ones are avilable with titles such as "Pastorale" or
"Capriccio" from e.g. Schirmer

Schubert-Tausig Andantino and Variations op84 no 1 Musica Obscura
A lovely piece (the Schubert original was for 4-hands)

Schubert-Tausig Marche Militaire
There are two versions of this, an easy version (Schirmer) and a
virtuoso version (Peters) (Liszt also did a little-known transcription)

Schubert-Tausig Polonaise Melancolique Furstner

Schubert-Tausig Rondo a la Francaise op84#2 (NY public library)

Wagner-Tausig Meistersinger overture Schott 19656

Wagner-Tausig The Ride of the Valkyries
One can just imagine how Tausig himself would have stunned his
audiences with this one !

Weber-Tausig Invitation to the Dance
This is a famous virtuoso reworking of Weber's original piano
piece. If played by a great pianist, it CAN have all the
delicacy and charm of the original. Published by Peters
together with the Marche Militaire in one volume.

I am sure that there are Tausig compositions and especially arrangements
that I have left out. As always, please let me know of any additions and
corrections - Neil McKelvie

Send comments to

> PERSICHETTI, Vincent, 1915-1987

No cinema biography will ever be made of Vincent Persichetti for his life had
the uninterrupted success of a supremely fortunate and competent person. He
possessed a genius for working in institutions invariably winning the trust and
often the affection of his superiors, colleagues, and students. He was
enrolled at age five in the Combs Conservatory in Philadelphia. Upon receiving
his B Music in 1936 he was offered the position of head the the composition
department. While serving in that capacity he studied piano (with Samaroff)
and composition (Nordoff) at the Philadelphia Conservatory. When awarded his
Masters of Music in 1941 he was offered and accepted the chairmanship of the
theory and composition department of the Philadelphia Conservatory. He earned
a D Music degree there in 1945. In 1947, he joined the faculty of Julliard.
He became head of the composition program there in 1963.

His career as a composer was characterized by a a non-dogmatic
curiosity about the range of expressive techniques developed during the 20th
century. He could write in the calculatedly naive style of Satie, the bumptious
polytonality of Milhaud, and write an atonal mirror canon with a rigor that
rivaled Webern. He was a pragmatist, writing works that he was sure would be
performed. Having worked as a choir director during his teens, he developed a
life-long interest in choral music and wrote for both sacred and secular
occasions. Having studied conducting with Reiner, he wrote for orchestra with
a sensitivity to instrumental color matched only by Bernstein of his generation
of American symphonists. He wrote 8 symphonies. During the late 1970s and
early 80s, he composed a series of Parables for the individual instruments. He
wrote notable works for band. He is most famous, however, for his works for
keyboard--the 12 piano sonatas, the sonatas for harpsichord, and the series of
works for organ he began in 1960 and continued into the late 70s.
The piano works range from lyrical works of great candor and charm (the
3 volumes of Poems for instance) to the intricate mirror pieces of the 1980s.
In 1981 he published Reflective keyboard studies for piano : for equal and
simultaneous development of both hands Bryn Mawr, Pa. His knowledge of the
history of keyboard literary was profound. His textbook, Twentieth Century
Harmony (1961) was required reading in many conservatory theory classes. His
study of William Schuman (1954) afforded him an opportunity to air his views
concerning the development of 20th century American music. He was, from 1952,
the publications editor of Elkan-Vogel music publishers of Bryn Mawr, PA.
Allthe pieces listed below were issued by Elkan-Vogel. Best bet for
inter-library loan: Univ. of Pennsylvania which owns all of these.
(Also the Eugene Ormandy scores collection.)

Piano & Concerted Works


2 Serenade #2 for piano, (composed 1929) 1951.

3 First piano sonata, composed 1939; published 1945.

4 Poems, vol. 1, 1939.

5 Poems, vol. 2, 1939.

6 Second piano sonata. (composed 1939). 1982 ed.

13 Sonata for two pianos. 1955, rpt1976.

14 Poems, vol. 3, 1941.

16 Concertino for piano and orchestra.
orchestra score arr. for 2nd piano by the composer.1948

22 Third Piano Sonata, 1945.

36 Fourth piano sonata, (composed 1949) 1951.

37 Fifth piano sonata, 1951.

39 Sixth piano sonata,1953.

40 Seventh piano Sonata, 1953.

41 Eighth piano sonata, 1955.

56 Concerto for piano,1954, 1984 rpt.

57 Parades : for piano, 1955.

58 Ninth piano sonata,1963.

60 Little piano book,1954.

-- Serenade #7 for piano, 1957

62 Serenade #8 for piano four hands, 1956.

66 Quintet for piano and strings, 1956.

67 Tenth Piano Sonata, 1965.

-- Infanta Marina : for viola and piano, 1960.

90 Piano concerto, 1964. Two piano score.

-- Masques : violin and piano, 1965.

101 Eleventh piano sonata,1966.

134 Parable : for piano : (Parable XIX),1976.

-- Mirror etudes : for piano, 1980.

142 Three Toccatinas for Piano, 1980.

-- Four arabesques for piano,1982.

-- Little mirror book : for piano, 1983.

151 12th Piano Sonata: Mirror Sonata, 1982.

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BLUMENFELD, Feliks Mikhailovich (1863-1931)

A versatile and gifted musician, Blumenfeld is best known to posterity as a
teacher. He was the mentor of Barere, Grinburg, Neuhaus, Gauk, Dubyansky,
Tiomkin, and Horowitz. Horowitz's reminiscence of the charismatically elegant
Blumenfeld, suffering from syphilus, his fingers incapable of demonstrating
passages with his once spectacular technique, verbally directing Horowitz
through experiments that led to his flat-fingered method is a testament to
pedagogic genius. Blumenfeld himself learned from the greatest of 19th-century
Russian pianists, Anton Rubenstein. Upon graduation from the St. Petersburg
Conservatory, Blumenfeld was immediately retained as a piano instructor. He
premiered most of the new compositions for piano by Arensky, Glazunov, and
Liadov in the 1890s. He also became one of the most important conductors in
Russia, premiering Rimsky-Korsakov's "The Legend of the Invisible City of
Kitezh" and directing the first Russian performances of Scriabin's "Divine
Poem" and "Poem of Ecstasy."
As a composer Blumenfeld showed a marked predeliction for the piano.
His first works, created in the late 1880s evince a style that amalgamates
features of Chopins idiom and that of Rubenstein. His characteristic
compositional manner came to the fore in Opus 14 (1890). His major works (see
comments below) tend to have an impassioned rhetoric (similar to Scriabin's
tempestuous pieces), a heavily arpeggiated texture (Joe Bratcher thinks that
Henselt is the influence here), a strong melodic profile, and interlocking
octave and chordal passages. Besides his piano works he composed a string
quartet and a Tchaikowskian symphony, "To the Memory of the Beloved Dead" (Opus
39--a 1995 Russian Disc release RD CD 11 052 under the direction of Igor
Golovchin is available).

The most important recent collection of his works is
Etiudy dlia fortepiano. Moscow: Soviet Kompositor, 1965. 138 p. 29 cm.
Op 2 #1, Opus 3 #1-3, Opus 4, Opus 14, Opus 25 #1-2, Opus 29 #1-2,
Opus 36, Opus 44 #1-4, Opus 48, Opus 54

In the United States important collections of Blumenfeld's piano music are found
at Univ. of California at Berkeley, the Library of Congress, and the Denver,
Colorado Public Library (Opus 20-40 in 2 vols.) As one of the members (w/
Glazunov, Scriabin, Liadov, Borodin, & Sokolov) of the Belayev circle, all of
his pieces until the Russian Revolution were issued by Belayev's publishing

Opus #

2 Four Pieces. Leipzig: M. P. Belaieff [1886].

3 3 Etudes for Piano: D flat, E Minor, A Minor. Leipzig: M. P. Belaieff [1887?]

4 Valse-Etude in F Major. St. Petersburg: A. Buttner,

7 Allegro de Concert [for piano & orchestra]. Leipzig: M. P. Belaieff, 1889.

8 Variations caracteristiques : sur un theme original, pour piano,
Leipzig : M.P. Belaieff ; St. Petersbourg : A. Buttner, [1889]

12 Quatre preludes pour le piano. Leipzig, M. P. Belaieff [1890] Pl. no.

14 Etude Sur mer. Leipzig: M. P. Belaieff, 1890. The first of Blumenfeld's
masterworks, in which he goes beyond the rhetoric of his teacher Anton

16 Valse-impromptu : pour piano. Leipzig : M.P. Belaieff, 1892.

17 24 Preludes pour piano. Leipzig : M.P. Belaieff, 1892. Reprint: Musica
Obscura, 1980. Works that prodded Scriabin to go beyond Chopin.

24 Etude de concert : F# minor, pour piano. Leipzig : M.P. Belaieff,
1897. A virtuoso work, written just after his appointment to the
Conservatory at St. Petersburg to wow his colleagues.

25 Deux etudes-fantaisies pour piano. Leipzig, M. P. Belaieff, (1898).
Impassioned large-scale works with blizzards of arpeggios & strong
romantic melody lines. Effective concert hall items.

29 Deux etudes: D major, A Major.Leipzig: M. P. Belaieff, 1898.

36 Etude for the left hand. Leipzig, M. P. Belaieff, 1905 . Standard
virtuoso piece to show off left-hand mastery. Recorded by many,
including his student, S. Barere.

44 Four etudes: G flat Major, D Flat Major, E Minor, A Minor. Leipzig: M.
P. Belaieff, 1912.

46 Sonate-fantaisie, si mineur, pour piano. Leipzig, M. P. Belaieff; St.
Petersburg: Jurgenson, 1913. Perhaps Blumenfelds greatest work. Should
be recorded.

47 Two lyric fragments. Moskva : Muzykalnyi sektor gosudarstvennogo
izd-va, 1928. Dedicated to his most talented pupil, A. Dubyansky, who
committed suicide at age 21.

48 Etude-Fantasie in F minor. Moscow: Muzykal'nyi sektor Gos. izd-va,
[192?] (composed 1916). Important--would fit well with the earlier
Opus 25 pieces on a program.

52 Iz zhizni tantsovshchitsy; siuita dlia fortepiano. Moscow: Muzykal'nyi
sektor Gos. izd-va, 1926.

54 Etude in F# minor. Moscow: Muzykalnyi sektor Gos. izd-va, 1927.

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Norwegian composer born in Kongsberg in 1856 and died in Oslo in 1941.
Sinding studied violin under Schradieck, theory and composition under Jadassohn
and orchestration under Reinecke at Leipzig Conservatory (1874-1879). He began
his career as a concert pianist gaining much prestige. A stipend from the state
allowed him to pursue composition. In 1920-21 he taught at the Eastman School
of Music in Rochester, NY. Younger than Grieg by 13 years he became one of the
most important Norwegian composers during his lifetime. On hearing Sinding play
his first symphony on piano, Grieg remarked, "It was magnificent. It was in the
spirit of the first movement of the ninth symphony yet it was all Sinding and not
Beethoven". Sinding is considered a first rate composer of the second rank who
wrote a great deal of music for piano as well as three symphonies, a substantial
amount of chamber music, two operas, about 250 songs and many folk song
arrangements. His celebrity as a composer was enjoyed in the first three decades
of the twentieth century but his reputation may have declined due to Norwegian
resentment for his endorsement of a Nazi supported regime.

His most famous piece, remembered today, is his Fruhlingsrauschen
(Rustles of Spring or Voices of Spring) from Op. 32 (1996 is its 100 year
anniversary). It has been a favorite due to its " exciting quality that makes it
sound rather like a lavish extract from a Wagnerian opera skillfully transcribed
for the keyboard" . His music is strongly influence by Wagner, Liszt, and Strauss
but his style is independent of any school. His harmony is closest to Liszt with
rich harmonies, frequent and sometimes abrupt modulations and many chromatic
progressions. His early works are considered his finest. Although his music is not
nationalistic, his piano works contain many uses of melodic and rhythmic folk song
elements. Some critics compare Grieg's music to an echo of the mountains and
Sinding's to an echo of the sea.

Sinding wrote one piano Concerto in c# minor Op. 6 (1889); [Hansen Edition no. 848
arranged for 2 pianos/ Indiana University]; the Andante is one of his finest works. His
piano Quintet Op. 5 (1882) [Tchaikovsky was shocked by its use of parallel fifths and
sevenths] brought him renown. The Grove Dictionary indicates that several pieces have
taken a permanent place in piano literature including his Variations in e flat minor Op. 2.
(1882) for two pianos, his Sonata Op 91 (1909) and the Variations Op. 94 (1909). The
sonata and other selections of Sindings work have been recorded by Jerome Lowenthal
on Arabesque (1987).

Principal publishers are Bote & Bock, Breitkopf & Hartel [B&H], Hals, Hansen [H],
Peters [P], Schott [St], Simrock [Sm], and Warmuth [W]. Schirmer [Sh] and Boston
Music [B] also have issued selected pieces from various opus numbers which are now
out of print. Many university libraries carry these. Many of his works are found at the
Sibley Music Library of the University of Rochester/Eastman School of Music [ESM].
Most of his works contain several short pieces and I have tried to indicate the titles of
each piece.

Early Piano Works

Op. No. Name Publisher/Source Year Published

2 Variations [2p 4h] H 188- 3 Suite B/ESM 1888 1 Preambule 2 Courante 3 Sarabande 4 Gavotte 5 Presto 5 Quintet (4 hands) H/B 1882 7 Studien H/ESM 190- 21 Symphonies [1p 4h] P/ESM 189- 28 Symra (Song) B 1896
Characteristic and Noteworthy Solo Piano works:

Op. No. Name Publisher/Source Year Published

24 1 Pomposo P/Sh/ESM 1894 2 Un poco lento 3 Andantino 4 Characteristic Piece 25 1 7 Stucke; Con Fuoco P/Sh/ESM 1895 2 Allegretto 3 Leggiero 4 Marcato 6 Alla marcia 31 1 6 Stucke; Allegro Energico P/Sh/ESM 1896 2 Albumblatt 3 Tempo di Menuetto 5 Chant Sans Paroles 32 1 6 Stucke; Marche Grotesque P/Sh/ESM 1896 2 Melodie 3 Fruhlingsrauchen 4 Im Volkston 5 Rondoletto Giocoso 6 Gobelin 33 1 A la Menuetto PSh/ESM 1896 2 Danse orientale 3 Scherzo 4 Standchen (Serenade) 34 1 6 Characterstucke; Prelude P/Sh/ESM 1896 2 Ondes Sonores(Sounding Waves) 3 Caprice 4 Crepuscule 5 Chanson 6 Rhapsodie gueirriere P/ESM 44 15 Caprices H/B/ESM 1898 #2(E flat),#9(B flat),#12(E),#13(F) Sh 48 6 Morceaux de Piano H 1900 1 Burlesque 2 Plaisanterie 3 Bagatelle 4 Coquetterie 5 Etude Melodique 6 Arlequinade 49 1 6 Klavierstucke; Praludium H/Sh/ESM 1899 4 Humoresque H/B/ESM 52 1 Melodies Mignonnes; Andante H/ESM 1900 2 Allegretto 3 Andante 4 Cantable 5 Andantino 6 Andante 53 1 Morceaux Characteristique; Minuetto H/ESM 1900 2 Nocturne 3 A la Burla 4 Scherzo 54 1 4 Morceaux de salon; Etude H/B/ESM 1900 2 Rondoletto 3 Serenade 4 Tempo di Valse Later piano works: Op. No. Name Publisher/Source Year Published
58 5 etudes ESM 1903 59 Valses (1p 4h) H/B 1903 62 1 Impromptu P/Sh/ESM 190- 2 Canto Funebre (noteworthy) Sh 3 Scherzetto 4 Danse ancienne 5 Capriccio 65 8 Intermezzos P/ESM 72 8 Intermezzos ESM 74 6 Stucke ESM 1905 76 10 Stucke ESM 1906 82 10 Studien und Skizzen H/B/ESM 1908 1 Resolution 2 Impromptu 3 Sketch 4 Whispering 5 Study 6 Memory 7 Caprice 8 Etude 9 Drinking Song 10.Humoresque 84 4 morceaux Sm/ESM 1907 1 Aube 2 Rivage 3 Decision 4 Joie 88 3 Pieces St/B/ESM 1908 1 En printemps 2 Nocturne 3 Humoresque Noteworthy later piano works:

91 Sonata in b minor H/B/ESM 1909 94 Fatum b flat variations B&H/ESM 1909 Virtually unknown later piano works: 97 5 Klavierstucke ESM 1909 103 Tonbilder ESM 1910 113 5 Klavierstucke ESM 1912 115 6 Klavierstucke ESM 1913 116 3 Intermezzos ESM 1913 118 Fantaisies ESM 1914

email comments to Richard Turk TURK@MBI.ORG


Piano Works:

1958 Little suite for piano : in five movements
1 score (6 p.) ; 31 cm. - Melbourne : Allans Music, c1969.
Allans Edition No. 1062.
Q786.2185/SIT 1

1962 Fantasia in memory of Egon Petri : fantasia No. 1
1 score (8 p.) ; 28 cm. - Sydney : Ricordi, c1972.
786.21956/SIT 1

1964 Seven statements for piano
1 facsimile score (16 p.) ; 31 cm.
Q 786.2/SIT 3

1967 Concerto for two solo pianos.
1 score (45 p.) ; 31 cm. -
London : Boosey & Hawkes, c1971.
785.6212/SIT 1

1969 Sonatina formalis : for piano
1 score (5 p.) ; 31 cm. - Melbourne : Allans, c1969.
Q786.21832/SIT 1

1971 Petra
1 facsimile score (4 p.) ; 42 cm. Supplement to Music and the teacher,
June 1972.
Q 786.2/SIT 4

1973 Bagatelles for Petra : 17 contemporary pieces for young pianists
1 v. of music (16 p.) ; 31 cm. -
Sydney : Ricordi (Australasia), c1973.
786.2088054/SIT 1

1973 Twelve mystical preludes : after the Nuctemeron of Apollonius of Tyana
for solo piano. 1 facsimile score (46 p.) ; 42 cm. Includes
performance notes.
Q 786.2192/SIT 1

1980 Fantasia No. 2, in memory of Winifred Burston
1 facsimile score (16 p.) ; 43 cm.
Q 786.21956/SIT 1

1981 Two folk-settings for piano ensemble.
1 facsimile score (10 p.) ; 42 cm.
6 pianos. Q 785.6216/SIT 1

1984 Sharagan : fantasia no. 5 for piano
1 facsimile score (25 p.) ; 42 cm.
Q 786.21956/SIT 2

1985 Fantasia no. 7 on a theme of Liszt : for piano
1 facsimile score (8 p.) ; 42 cm.
Includes Liszt's theme: the 14th Rhapsody (& the Hungarian Fantasy).
Includes performing instructions and programme note.
Q 786.21956/SIT 3

1986 Century : 128 piano pieces for young players, in four volumes.
Volume 1 / Larry Sitsky.
1 v. of music (20 p.) ; 39 cm. -
Chatswood, N.S.W. : Magpie Music, c1986.
786.2088054/SIT 2

1990 Fantasia No. 8, on D-B-A-S : for piano
1 facsimile score (10 p.) ; 42 cm.
Q 786.21956/SIT 4

1992 Fantasia no. 10 : for the Moore double keyboard piano
1 facsimile score (<15> p.) ; 30 cm.
Cannot be performed on a normal piano.
Moore double keyboard piano.
Q 786.2/SIT 2


1960 Eight oriental love songs
1 facsimile score (14 p.) ; 42 cm.
Voice, piano.
Q 783.2542/SIT 1

1960 Three songs for Ethel Harris
1 facsimile score (7 p.) ; 42 cm.
High voice, piano.
Q 783.3542/SIT 1

1961 Five improvisations : for mixed chorus and piano
edited by Frank Pooler. - 1961
1 score (28 p.) ; 28 cm. - New York : Walton Music Corporation, c1977.
SATB chorus, piano.
782.5542/SIT 1

1962 Sonatina for oboe & piano
1 facsimile score (6 p.) ; 37 cm.
Oboe, piano.
Q 788.521832/SIT 1

1962 Sonatina : for violin and piano- 1962
1 score (12 p.) ; 32 cm. + 1 part (3 p.).
Sydney : Ricordi (Australasia), c1974.
"Based on Israeli folk music" -- Caption. Violin, piano.
787.21832/SIT 1

1964 Dimensions : for piano & 2 tape recorders
1 facsimile score (17 p.) ; 42 cm.
Piano, 2 tape recorders.
Q 785.2999/SIT 1

1964 Sinfonia for 10 players
1 facsimile score (74 p.) ; 42 cm.
For a TV ballet "The dark refuge".
Flute, oboe, saxophone, trumpet, tenor trombone, percussion, piano,
violin, violoncello, double bass.
Q 785.2219/SIT 1

1972 Whitman cycle, A : six songs for low voice & piano
1 facsimile score (31 p.) ; 42 cm.
Low voice, piano.
Q 783.5547/SIT 1

1974 Eight settings after Li-Po : for low voice, flute, cello & piano
1 facsimile score (28 p.) ; 42 cm.
17 min. Low voice, flute, piano, violoncello.
Q 783.5542/SIT 1

1975 Atman, a song of serenity : for cello, violin & piano
1 facsimile score (14 p.) ; 37 cm. 10 min.
Violin, violoncello, piano.
Q 785.2813/SIT 4

1975 Narayana : for violin, cello & piano
1 facsimile score (28 p.) ; 38 cm.
Violin, violoncello, piano.
Q 785.2813/SIT 3

1977 Music in the Mirabell Garden:
a song cycle for soprano and 8 players
Words by Georg Trakl, translated by James McAuley. - 1977
1 facsimile score (88 p.) ; 42 cm. Includes performance note. 20 min.
Soprano voice, flute/piccolo, oboe/cor anglais, clarinet/bass clarinet,
trumpet, percussion, piano/celeste, violin, cello. Difficult.
Q 783.66547/SIT 2

1978 Busoni Sonatina seconda
1 facsimile score (32 p.) ; 42 cm.
Transcribed for ensemble.
Flute, oboe, clarinet, bass clarinet, bassoon, horm, trumpet,
percussion, piano, violin, viola, violoncello, double bass.
Q 785.3219/SIT 1

1981 Busoni Sonatina 1910 : freely transcribed for ensemble
1 facsimile score (37 p.) ; 42 cm.
Flute, oboe, clarinet, bass clarinet, bassoon, horn, trumpet,
percussion, piano, violin, viola, violoncello, double bass.
Q 785.3219/SIT 2

1982 Running-game song for children:
to words by Michael Dugan's "Nonsense numbers"
1 facsimile score (20 p.) ; 42 cm.
Children's voices, percussion, piano.
Q 782.7542/SIT 1

1984 Barerq : for horn trio
1 score (5 p.) ; 36 cm. - New York : Seesaw Music, c1990.
From Violin concerto no. 2. 4 min.
Horn, piano, violin.
Q 785.2513/SIT 1

1984 Deep in my hidden country :
cantata for soprano, flute, percussion, cello & piano
1 facsimile score (59 p.) ; 42 cm.
Settings from Christopher Brennan.
Includes programme note. "From Nietzsche"
15 min. Soprano, flute, percussion, piano, violoncello.
Q 783.66548/SIT 1

1984 Hungarian song : from my opera The golem
transcribed for violin and piano
1 score (4 p.) ; 33 cm. - New York : Seesaw Music, c1987.
Piano, violin.
Q 787.2/SIT 1

1984 Six concertos for six : (for flute, clarinet, piano, violin, viola &
1 facsimile score (62 p.) ; 37 cm.
14 min. Clarinet, flute, piano, viola, violin, violoncello.
Q 785.2416086/SIT 1

1984 Zuquerq : for solo clarinet, accompanied by 3 bongos,
or by piano with lid down over the keyboard
1 score (8 p.) ; 32 cm. - New York : Seesaw Music, c1987.
Clarinet, 3 bongos ; or piano.
Q 785.5612/SIT 1

1986 Trio no. 4, "Romantica" : for violin, cello & piano
1 facsimile score (31 p.) ; 42 cm.
Includes performance notes.
Piano, violin, violoncello.
Q 785.2813/SIT 2

1986 Trio no. 5 ("Oriental") : for flute, oboe & piano
1 facsimile score (29 p.) ; 42 cm.
Flute, oboe, piano.
Q 785.2613/SIT 1

1987 Secret gates of the House of Osiris (from the Egyptian book of the
dead) ;
for flute, viola, cello & piano
1 facsimile score (67 p.) ; 42 cm.
Flute, piano, violin, violoncello.
Q 785.2414/SIT 1

1987 Tetragrammaton : 4 pieces for violin & piano
1 facsimile score (29 p.) ; 42 cm.
Q 787.2/SIT 2

1988 Sharagan II : for cello & piano
1 facsimile score (19 p.) ; 42 cm.
Piano, violoncello.
Q 787.4/SIT 2

1989 Necronomicon : 18 aphorisms for clarinet and piano
1 score (37 p.) ; 36 cm. - New York : Seesaw Music, c1989.
Clarinet, piano.
Q 788.62/SIT 2

1993 Samsara : trio No. 6 for flute, clarinet & piano
1 facsimile score (29 p.) ; 42 cm.
Includes performance and programme notes.
Flute, clarinet, piano.
Q 785.2613/SIT 2


1963 Woodwind quartet : for flute, oboe, clarinet and bassoon
1 score (14 p.) ; 31 cm. - London : Boosey & Hawkes, c1974.
Flute, oboe, clarinet, bassoon.
785.814/SIT 1

1975 Variations on Waltzing Matilda : for flute, guitar & cello
1 facsimile score (9 p.) ; 42 cm.
Q 785.4413/SIT 1

1980 String quartet No. 2 : thirteen concert studies
1 facsimile score (29 p.) ; 42 cm.
2 violins, viola, violoncello.
Q 785.714/SIT 1

1982 Kundalini, the serpent fire :
a concerto for trombone, keyboards & percussion
1 facsimile score (35 p.) ; 36 cm.
Harpsichord, organ, percussion, piano, trombone.
Q 785.3713086/SIT 1

1985 Trio no. 3 for baroque violin, viola da gamba & harpsichord : Agharti
1 facsimile score (21 p.) ; 42 cm.
Harpsichord, viola da gamba, violin.
Q 785.2813/SIT 1

1985 Variations on Waltzing Matilda : re-arranged for flute, violin & guitar
1 facsimile score (8 p.) ; 38 cm.
Originally written 1975 for flute, guitar & cello.
Re-arranged 1985 for flute, guitar, violin.Incomplete score.
Refer to: Variations on Waltzing Matilda for flute, guitar & cello
(Q 788.4413/SIT 1) for full score.
9 min. Flute, violin, guitar.
Q 785.4413/SIT 2

1986 Diabolus in musica : for percussion quartet
1 score (27 p.) ; 36 cm. - New York : Seesaw Music Corp, c1990.
Includes programme note.
Q 785.6814/SIT 1

1987 Concerto for mandolin, with wind quartet
1 facsimile score (20 p.) ; 42 cm.
Bassoon, clarinet, cor Anglais, flute, mandolin.
Q 785.4415/SIT 1

1988 Music of Erich Zann, The :
six miniatures for violin, mandolin, viola & cello
1 facsimile score (25 p.) ; 42 cm.
Q 785.714/SIT 2

1989 Claviculis salomonis : for guitar quartet
1 facsimile score (30 p.) ; 37 cm.
Q 785.78414/SIT 1

1989 In pace requiescat : song cycle for soprano & strings, words after Poe
1 facsimile score (70 p.) ; 42 cm.
Soprano, double bass, viola, violin, violoncello.
Q 783.66547/SIT 1

1993 String quartet No. 3
1 facsimile score (25 p.) ; 42 cm.
2 violins, viola, cello.
Q 785.714/SIT 3


1959 Sonata for unaccompanied violin : opus one
1 facsimile score (20 p.) ; 42 cm.
Q 787.2183/SIT 1

1959 Sonata for solo flute
1 score (14 p.) ; 28 cm. - Sydney : J. Albert, c1971. Albert Edition
788.32183/SIT 1

1964 Improvisation and cadenza for solo viola
1 facsimile score (6 p.) ; 42 cm.
Revised 1995.
Q 787.3/SIT 1

1965 Improvisation for harpsichord :
being the harpsichord part of the overture to Fall of the house of
1 facsimile score (10 p.) ; 33 cm. -
Used as music to the film produced by Firebird Films, Robert Klippel :
Junk sculpture no. 3.
Q 786.4 /SIT 1

1968 Six Israeli dances : for guitar
1 v. of music (7 p.) ; 28 cm. - Sydney : Ricordi (A'Asia), c1969.
787.84/SIT 1

1969 Improvisation & cadenza : for solo cello
1 facsimile score (4 p.) ; 42 cm.
"Dug up from old notebooks for Raffaele Altwegg, Canberra, October
Q 787.4/SIT 1

1974 Seven meditations on symbolist art
1 facsimile score (29 p.) ; 42 cm.
Q 786.5/SIT 1

1979 The Fourteen days of Bardo Thodol :
(liberation by hearing on the after-death plane).
Sonata for solo flute no. 2
1 score (15 p.) ; 33 p. - New York : Seesaw Music, c1987.

1984 Armenia : a suite for solo alto saxophone
1 score (7 p.) ; 32 cm. - New York : Seesaw Music, c1987.
Alto saxophone.

1984 Dagh : for solo trumpet
1 score (8 p.) ; 33 cm. - New York : Seesaw Music, c1987.
Q 788.92/SIT 1

1984 Khavar : for solo trombone
1 score (8 p.) ; 33 cm. - New York : Seesaw Music, c1987.
Q 788.93/SIT 1

1984 Maherq : fantasia no. 6, in memory of John Crocker, for solo bassoon
1 score (8 p.) ; 32 cm. - New York : Seesaw Music, c1987.
Q 788.58/SIT 1

1984 Mertzazil : for solo horn
1 score (7 p.) ; 33 cm. - New York : Seesaw Music, c1987.
Q 788.94/SIT 1

1984 Sayat-nova for solo oboe
1 score (7 p.) ; 33 cm. - New York : Seesaw Music, c1987.
Q 788.52/SIT 1

1984 Two pastorales : for solo flute
1 score (4 p.) ; 33 cm. - New York : Seesaw Music, c1987.
Q 788.3/SIT 2

1984 Vartarun for solo clarinet
1 score (7 p.) ; 32 cm. - New York : Seesaw Music, c1987.
Q 788.62/SIT 1

1990 The Phantom drummer of Tedworth: for solo percussion
1 facsimile score (v, 13 p.) ; 42 cm.
Q 786.8/SIT 1


1966 Apparitions / Larry Sitsky. - 1966
1 score (26 p.) ; 32 cm. - London : Boosey & Hawkes, c1975.
Piano (4 hands), youth orchestra.
784.44/SIT 1

1968 Prelude for orchestra : "Homage to Igor Stravinsky"
1 facsimile score (23 p.) ; 42 cm.
4 min. Orchestra.
Q 784.2192/SIT 1

1971 Concerto for woodwind quintet and orchestra
1 score (125 p.) ; 28 cm. - Sydney :
Facsimile of composer's manuscript.
25 min. Flute, oboe, clarinet, bassoon, horn, orchestra.

1972 Concerto for violin, orchestra & female voices (ad lib) :
Mysterium cosmographicumtext from the writings of Johannes Kepler. -
1 facsimile score (163 p.) ; 42 cm.
SSA choir, violin, orchestra.
Q 782.65186/SIT 1

1972 Whitman cycle, A : III. Look down fair moon
1 facsimile score (5 p.) ; 52 cm.
F 784.2/SIT 1

1973 Symphonic elegy / Larry Sitsky. - 1973
1 facsimile score (31 p.) ; 38 cm.
Q 784.2/SIT 1

1974 Song of love, A
1 facsimile score (34 p.) ; 35 cm.
Q 784.2/SIT 2

1980 Fantasia No. 3 : in memory of Don Banks
1 facsimile score (7 p.) ; 36 cm.
6 min. Trumpet, small string orchestra.
Q 784.71892/SIT 1

1980 Six orchestral songs : (a Whitman cycle) / Larry Sitsky, Douglas
Krehans. -
1 facsimile score (98 p.) ; 37 cm.
Alto, orchestra.
Q 783.68547/SIT 1

1982 Santana : concert for clarinet and strings
1 facsimile score (40 p.) ; 42 cm.
Photocopy of pencil score.
20 min. Clarinet, string orchestra.
Q 784.71862/SIT 1

1983 Gurdjieff concerto No. 2 : for violin with small orchestra
1 facsimile score (60 p.) ; 42 cm.
20 min. Violin, small orchestra.
Q 784.3172/SIT 1

1984 Busoni/Sitsky Concerto for orchestra :
a completion & realization of Busoni's Fantasia contrappuntistica
1 facsimile score (181 p.) ; 42 cm. Includes programme notes.
35 min. Orchestra.
Q 784.2186/SIT 1

1984 Concerto for guitar & orchestra
1 score (66 p.) ; 36 cm. - New York : Seesaw Music Corp., c1988.
"For the ABC subs. & recording on the occasion of my 50th birthday"
20 min. Orchestra.
Q 784.2784186/SIT 1

1984 Songs & dances from "The golem" for orchestra
1 facsimile score (87 p.) ; 42 cm. - Orchestra.
Q 784.2/SIT 3

1987 Suite for concert band : (in 5 movements)
1 facsimile score (82 p.) ; 42 cm.
Concert band.
Q 784.83085/SIT 1

1987 Violin concerto no. 3 : I ching. The eight trigrams
1 facsimile score (70 p.) ; 42 cm.
19 min. Violin, orchestra.
Q 784.272186/SIT 2

1991 Concerto for piano and orchestra
1 facsimile score (159 p.) ; 42 cm.
Q 784.262186/SIT 1

1993 Sphinx : concerto for cello and orchestra
1 facsimile score (83 p.) ; 42 cm.
"For David Pereira" -- Cover.
Solo cello, orchestra.
Q 784.274186/SIT 1


1965 Fall of the House of Usher : one-act opera after Edgar Allan Poe
libretto by Gwen Harwood. - 1965
1 facsimile score (63 p.) ; 30 cm.
Vocal score. Facsimile of score pub.: Sydney : Ricordi, c1974.
"This opera was the very first to be staged at the Sydney Opera House
on 25th July, 1973. Soprano, tenor, bass, piano.
782.1/SIT 1

1969 Fall of the House of Usher : one-act opera after Edgar Allan Poe
libretto by Gwen Harwood. - 1965
1 facsimile score (<85> p.) ; 42 cm.
Part IX (Usher's monologue) revised 1969.
3 voices, orchestra, tape.
Q 782.1/SIT 4

1970 Lenz : opera in one act, after Buchner's story
libretto by Gwen Harwood ;
4 facsimile scores ; 39 cm.
Mixed voices, orchestra.
Q 782.1/SIT 2

1975 Fiery tales : a comic opera in one act / libretto by Gwen Harwood ;
5 facsimile scores ; 43 cm.
Voices, orchestra.
Q 782.1/SIT 1

1975 Fiery tales : a comic opera in one act;
libretto by Gwen Harwood (after Chaucer & Boccaccio).
1 score (iv, 181 p.) ; 28 cm. - New York : Seesaw Music Corp., c1992.
Piano/vocal score.
2 sopranos, contralto, 2 tenors, 2 baritones, 2 basses, piano.
782.1/SIT 2

1977 Voices in limbo : a radiophonic opera
libretto by Gwen Harwood
1 facsimile score (91 p.) ; 42 cm.
Soprano, altos, tenor, baritones, speaking voices, mixed choir,
electric guitar, bass guitar, flute, piccolo, violin, keyboards,
percussion, VCS3 synthesizer, eventide phaser, high flier, ring
modulator, computer, multitrack recording, tape echo.
Q 782.1/SIT 3

1982 De Profundis Espistola in carcere et vinculis :
a monodrama for baritone, two string quartets & one percussion player
original words of Oscar Wilde arranged into a libretto by Gwen Harwood
1 facsimile score (108 p.) ; 36 cm.
Baritone, 2 string quartets, percussion.
Q 783.88547/SIT 1

1993 Golem, The : grand opera in three acts;
libretto by: Gwen Harwood.
1 libretto (43 p.) ; 21 cm. - Australia : Pellinor Pty Ltd, c1993.
782.1/SIT 3

email comments to Anthea Parker

Born June 9, 1865, Noerre-Lyndelse (near Odense), Denmark
Died October 3, 1931, Copenhagen, Denmark

Carl Nielsen's solo piano output is virtually unknown to most people
outside Denmark. Due to his idiomatic, strongly Nordic style and hefty
dissonances, his entire output has been underappreciated until about 20
years ago, but performances and recordings of his Symphonies in the
'70s by Leonard Bernstein/ NY Philharmonic and Jascha Horenstein/ New
Philharmonic changed all that. Arguably, these recordings still set the
standard for performances, though they have, more recently, been challenged by
Blomstedt/ San Francisco Symphony and a host of other recordings too
numerous to mention,

His piano music, however, only has been recorded sporadically. My
personal favorite is the no-longer-available Arne Skjold Rasmussen (no, not my
family) mono LP set. Later recordings include those of Herman D. Koppel,
Anker Blyme (both 1950s), Mina Miller and Anne Oeland (both quite
recent). Of these only Miller is non-Danish. Miller is also the editor of the
new Complete Edition of the piano works (Ed. Wilhelm Hansen), the only
reliable and reasonably accurate printed source available.

As to his solo piano music, much of it is even more dissonant than the
symphonies and, furthermore, strangely symphonic and to a certain degree
unfriendly to the less than patient listener. Performing Nielsen's piano
music is not easy, but all is very original and makes great contributions to
recital programs. Some of his lighter pieces are ideal for younger players.


3 Five Piano Pieces (1890)
These are some of the best of his easier music. No. 1 (Folketone - Folk
Melody) is very popular with students and is a great prelude to a
recital. No. 2 (Humoreske) is one of the few easily accessible early
pieces that show the full power of Nielsen's harmony.

8 Symphonic Suite (1894)
This is definitely a piece to stay away from. It is nearly unplayable
and oddly messy in its composition.

11 Humoreske-Bagateller (1894-97)
A masterpiece of lightness and grace. Check out No. 2 (Snurretoppen -
The Spinning Top), a ravishing perpetuum mobile; the awkward No. 3
(Spraellemanden - The Jumping Jack); the elegant, Pinocchio-like No. 4
(Dukkemarch - Doll's March); and the harmonically strange and surprising
No. 6 (Spillevaerket - The Musical Clock). These pieces are universally
accessible. Like Mozart's C major Sonatina, they are too easy for
children and too difficult for grown-ups.

-- Festpraeludium [Festival Prelude] (1900)
A short, pompous piece in Nielsen's most Symphonic style. Difficulty:

-- Droemmen om "Glade Jul" [The Dream of Merry Christmas] (1905)
Paraphrase on "Silent Night" in which Nielsen uses powerful harmonic
and rhythmical tools to make a completely different piece. Difficulty:
Easy, but requires a certain level of maturity.

32 Chaconne (1916)
In my opinion, the most effective concert piano piece that Nielsen
wrote. It is not an audience-pleaser, but a rewarding full-bodied work
that will really require your attention. Difficulty: Hard.

40 Theme and Variations (1917)
The theme is Brahms-like, but the variations develop more and more into
a Symphony. This is a very demanding - and long - work. Difficulty:

45 Suite (1919-20)
Nielsen's greatest piano work. For the first time, Nielsen shows a
genuine understanding of the piano's capabilities. The six-movement
work, written shortly before his famous 5th Symphony (and very much
written on the same scale), offers a great variety of expression and a
huge range of technical finesse. The structure is much like Bartok's
4th and 5th String Quartets with a central slow movement flanked by
fast outer movements. The 2nd, 4th and 5th movements are lighter in
style, like minuets or scherzi. The finale is especially long and
complex with frequent glissandi. Difficulty: Strictly for the dedicated
professional. It is one of those works you just can't sight-read, no
matter how good you are.

59 Three Piano Pieces (1928)
Written close to the 6th Symphony, and like it, the work bears the
stamp of resignation. The pieces are quite pianistic, but extremely
dissonant and aggressive, with the exception of #2, which softens with
chorale-like chords. These pieces should not be your first acquaintance
with Nielsen. Difficulty: like the Chaconne: hard. Perhaps #3 is even
harder.The Opus number indicates that these pieces were published
posthumously (in 1937)

53 Klavermusik for Smaa og Store [Piano Music for Young and Old] (1930)
A sad farewell to the piano by a great composer: These works serve a
strictly didactic purpose and cannot be counted among Nielsen's best
compositions. They all stay within a pentatonic scale. Difficulty: Easy
to Medium.

Kristian Rasmussen

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