and A major. A gratifying work for intermediate pianists.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 à 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 “Bückeburg” 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 Stücke für vier Hände. 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) fürs Forte Piano und sechs Hände
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 pièces symphoniques en farme d’études
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; Été by Joseph Wihtol; Poule by Anatol Liadov; Trénis 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 Stücke; Diskant im Fünfton-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 Stüke; 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 Klavierstücke vierhändig
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 fantôme, 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 écossaise
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 Kraków; 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 (Prélude; 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.
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 & Härtel, 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 Tänze (Ländler; Menuett; Springtanz), Op. 24
Leipzig: Rieter-Biedermann, 1864; London: Augener, 1907.
Barlow, Fred (1881–1951), France
Plaisir de jouer: quatre pièces (La petite biche; Berceuse pour Yves; Le noble éléphant à 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 Märsche, 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
Barthelémon, François 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.
Bartholomée, 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.
Bartoš, Jan Zdeněk (1908–1981), Czechoslovakia
Prolific Czech composer of patriotic cantatas, chamber works, and educational music influenced by native folk songs.
Malý 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
Première 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
Deuxième suite de pièces enfantines (En flânant; Un pauvre petit; Le petit navire; Seconde berceuse; Haut les couleurs!; Prière; Chansonette; Pluie; Espagne; Bourrée; 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 mélodie, Op. 429/4
Paris: Hamelle, n.d.
Le départ, Op. 429/6
Paris: Hamelle, n.d.
Très pressé
Paris: Consortium musical, n.d.
Level: LI
Baum, Alfred (1904–1993), Switzerland
Swiss composer.
Sieben Klavierstücke 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 für Klavier zu vier Händen (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 poupées, six danses très faciles (Grotte ancienne; Valse mignonne; Polka mazurka; Galop; Polka; Mazurka)
London: Lengnick, 1905.
Bergers et bergères, gavotte
London: Ashdown, n.d.
Bluette
London: Ashdown, n.d.
Carnaval-Galop
London: Ashdown, n.d.
Menuet moderne
London: Ashdown, n.d.
Paquerette, mélodie
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 variés pour clavecin ou forte-piano: 1. Les amours d’été; 2. Mon petit coeur; 3. Des bergères 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 Handstücke. Heilbronn: Amon, 1793.
Level: UE–LI
Six pièces 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 à quatre mains et l’autre accompagnée d’un violon
Speier: Bossier, 1789.
Level: LI–I
Beck, Thomas (1899–1963), Norway
Norwegian composer.
Dansar frâ 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 & Jänichen, 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
Bečvařovsky (Beczwarzowsky), Antonín 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 Anfänger
In Kleinová, Fišrová, and Müllerová, 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.
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 für 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 Phantasiestücke, Op. 16
Leipzig: Breitkopf & Härtel, 1878.
Haidebilder aus Ungarn, drei Stücke wit Benutztung ungarischer National-Melodien, Op. 19
Berlin: Ries & Erler, 1878.
Was sich der Wald erzählt, fünf lose Blätter, Op. 23
Leipzig: Forberg, 1879.
Beeson, Jack (1921–2010), United States
Studied with Bartók; 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 Hände 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 & Härtel, 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)
Bèrben; 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 Koželuh]
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 Tänze
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 Koželuh
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 Tonstücke
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
Csárdás-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, chérie; berceuse
Leipzig: Hatzfeld, 1893.
Etelka, csárdás, Op. 415/3
Leipzig: Forberg, n.d.
Festklänge, Walzer
Dresden: Brauer, 1890.
Level: UE–LI/E-5
Fest-Ouvertüre
Milan: Carisch, n.d.
Gitanella, habañera
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
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 Stücke, Op. 328
Leipzig: Forberg, 1875.
Level: UE–LI/E-7
À toute brise
Paris: Consortium Musical, n.d.
Level: E
Ungarische Lieder und Tänze, Op. 392
Leipzig: Forberg, 1877.
Ungarische Tänze
Braunschweig: Litolff; Boston: A. P. Schmidt, 1879.
À vos souhaits
Paris: Consortium Musical, n.d.
Level: E
Zigeunerweisen
Leipzig: Breitkopf & Härtel, 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 Stücke im ungarischen Stil, Op. 22
Leipzig: Breitkopf & Härtel, 1880.
Bella, Rudolf (1890–1973), Czechoslovakia/Austria
Czech-born Austrian professor and choir director; Swiss resident.
Fünf Stücke
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, très 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 Märchenbilder, Op. 135
New York: Schirmer, 1908.
Descriptive pieces in light style.
Level: I
Kinder-Ball, sechs kleine Charakterstücke (Polonaise; Walzer; Menuetto; Polka; Mazurka; Française), Op. 4
Leipzig: J. Schuberth, 1860.
Tuneful, carefully written instructional pieces.
Level: I
Ländliche Bilder, sechs Charakterstücke, 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 Dvořák.
Z dětského světa (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.
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 Uebungsstücke, 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 [Zürich-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 Dvořák’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 (Câlinerie; Dans les prés fleuris; Défilé des soldats de carton; Flocons de neige; Gai réveil; 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, José (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 études 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] Études, Op. 97
Leipzig: Breitkopf & Härtel, ca. 1833.
[25] Études, Op. 100
Publisher and date missing.
[25] Études, Op. 135, livre 6
Mainz: Schott, 1842.
[25] Études, Op. 149, livre 2
Mainz: Schott, n.d.
Mainz: Schott, n.d.
[25] Études, 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 & Härtel, ca. 1830.
Variations brillantes sur un thème 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 Bröllopsfest (A Rustic Wedding)
Stockholm: Elkan, 1844.
Minnen af norska fjällen (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 Tänze 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.
À 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; Mélodie, 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 mélodiques 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 & Härtel, 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 forté-piano (Journal de musique pour les Dames, No. 43)
Offenbach: André, 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
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, Frédéric (1862–1918)
Pour déchiffrer, 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 américaines) (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 Märsche (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) (Marschmässig; Ziemlich schnell; Langsam; Mässig 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 pièces enfantines (1er Album: Berceuse; Hornpipe; Choral; Claire fontaine; Le jeu du sapin. 2ème 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’Arlésienne, a symphony, choral works, and piano pieces.
Jeux d’enfants (Children’s Games), Op. 22 (1872)
Durand; Hug; International; Kalmus; Peters; Schirmer; Bèrben, 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 poupée (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’Arlésienne 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
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 pièces pittoresques (Marche militaire; Danse des poupées; Sur la montagne; Songe d’orient; Humoresque; Fantaisie joyeuse)
Paris: Enoch, n.d.
Level: UE–LI
Blomberg, Erik (1922–2006), Sweden
Fyra händer pâ 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
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
Bödecker, Louis (1845–1899), Germany
Ernstes Gedenken, Op. 27
Leipzig: Rieter-Biedermann, 1885.
Frühlings-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 Clavierstücke (Praeludium; Valse lente; Larghetto; Intermezzo; Rokoko; Humoresque; Valse noble; Polka bohême; 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
Boëllmann, Léon (1862–1897), France
Alsatian organist; successful composer of orchestral and chamber music, organ pieces, and piano works.
Scènes du moyen-âge (Ronde de la nuit; La veillée; Le tournoi)
Paris: Salabert, n.d.
Bohdanovicz, Basilius von (1754–ca. 1815)
Musikalische Familie für Klavier, from Daphnis et Philis with “Adieu à quatre mains,” 1798
Publisher missing.
Böhm, 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.
Deuxième série de rondeaux, pour piano à quatre mains et deux instruments à 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
Paris: Consortium Musical, n.d.
Level: LI
Marche militaire
Paris: Consortium Musical, n.d.
Level: LI
Prière du soir
Paris: Consortium Musical, n.d.
Level: LI
Boisdeffre, Charles-Henri René 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 pièces faciles (Ronde champêtre; Sérénade; Bébé et sa grand’maman, berceuse; Les cloches du village, carillon), Op. 69
Paris: Hamelle, n.d.
Level: LI
Suite (Prélude, 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 fête 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 pâ egna barnvisor (Little Suite on Original Children’s Songs), Op. 16 (1960)
Stockholm: Nordiska musikförlaget, 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.
Tänze, Op. 3
Vienna: Kratochwill, 1877.
Bonis, Mélanie 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 sacrée; 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 thème béarnais
Paris: Herelle, 1924.
Euskal Herria
Paris: Salabert, n.d.
Bornhardt, Johann Heinrich Carl (1774–1840), Germany
Sechs kleine Sonatinen für angehende Spieler
Leipzig: Breitkopf & Härtel, 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 funèbre
See: Paraphrases under Papineau-Couture, Jean.
Mazurka
See: Paraphrases under Papineau-Couture, Jean.
Pièce (E♭) (1879)
Incomplete unpublished manuscript.
Polka
See: Paraphrases under Papineau-Couture, Jean.
Polka (d) (“Hélène”) (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 (Frühlings Gesellen), Divertimento und Sonatine
Berlin: Sirius-Verlag, 1950.
Rhapsodie, Op. 104
Bortkievich, Sergei Edvardovich (1877–1952), Russia
Russian emigré composer; wrote orchestral, chamber, and piano music in refined Romantic style.
Russische Tänze, Op. 18
Leipzig: Kistner & Siegel, 1898, 1914.
Russische Weisen und Tänze, 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.
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; Sérénade; Bourrée)
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’Athènes, 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 pièces (Cortège-ballet; Les noces d’or; Musette tambourin; Tertullia)
Paris: Publisher missing, ca. 1884.
Six pièces de caractère (Premier fragment de ballet; Deuxième fragment de ballet; Marche-cortège pour une féerie; Procession des pénitents; Marche; Marche noble)
Paris: Publisher missing, ca. 1884.
Boutron, M., France
Jour de fête, pièce très facile pour deux élèves
Paris: Lemoine, n.d.
Level: E
Boutry, H., France
Tabatière 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; Bèrben (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 Ländler, arranged for four hands from Schubert’s two-hand Ländler, 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 & Härtel, 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 & Härtel 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 Ländler).
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 Zeitgenössische 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.
Deuxième 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
Bréville, Pierre de (1861–1949)
In Spielbuch Zeitgenössische 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 stücke, Op. 39
Leipzig: Steingräber, 1923.
Brown, Rayner (1912–1999), United States
American; church organist; has written orchestral and chamber music, organ pieces, and piano compositions.
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.
Brück, Julius (b. 1859)
Danses hongroises, Op. 13
Budapest: Bárd, 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.
Brüll, 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 fünf Tönen, 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.
Buée, 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
Suisse et Alsace, trois valses caractéristiques
Paris: Publisher missing, ca. 1861.
Bugbee, L. A.
Dance of the Fairy Queen
Philadelphia: Presser, n.d.
Level: E
Bülow, 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’entrée; Branle; Chanson d’amour (Liana’s Song); Valse: après 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
Bürgel, Konstantin (b. 1837–1909), Germany
Variationen über 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 vénitien, 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
Burgmüller, Friedrich (1806–1874), Germany
German composer of pedagogical music and light salon pieces.
Easy Duets for Master and Pupil
London: Publisher missing, 1863.
La fête au couvent, quadrille
Mainz: Schott, n.d.
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 très faciles (Canzonetta; Brimborion; Sérénade en mer; Pas d’armes; Kermesse; Retour du pêcheur)
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
Büsser, Henri (1872–1973), France
French conductor, teacher, organist, and composer of operas, symphonic and chamber music, organ pieces, and piano works.
Marche de fête
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 intimité; Sur le gazon; Petite réception au château)
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