time.Labey, Marcel (1875–1968), and Sohy, Charlotte (1887–1955), France
Labey was French conductor and composer of orchestral and chamber works. He also wrote piano pieces in Romantic style influenced by his teacher, d’Indy.
Quatre pièces faciles (Pour Monique; Pour Elaine; Pour Philippe; Pour France)
Paris: Rouart-Lerolle, n.d.
Level: LI/UE
Labitzky, Joseph (1802–1881), Czechoslovakia
Composer, violinist, and conductor.
Valses, Op. 53
Paris: Richault.
Level UI
Lacerda, Osvaldo (Costa de) (1927–2011), Brazil
Brazilian composer and pianist. The first Brazilian composer to receive the Guggenheim Fellowship.
Brasiliana No. 4
São Paulo / Rio de Janeiro: Irmãos Vitale, 1968.
Lachner, Franz Paul (1803–1890), Germany
Composer and conductor. Friend of Schubert. His pedagogical music for piano includes a quantity of deftly and idiomatically written four-hand pieces.
Momento capriccioso, Op. 3
Vienna: Pietro Mechetti qm Carlo, 1824.
In A minor; time.
Level: A
Nocturne No. 1 sur un theme francais, Op. 21
Vienna: A. Pennauer, 1826.
Level: LA
Grande Sonate (d), Op. 39
Vienna: Diabelli, 1832.
Grosse Sonate (c), Op. 20
Vienna: Leidesdorf, 1827.
Opp. 20 and 39 are large-scale, well-written compositions; technically challenging but lacking in inspiration.
Level: UI
Vienna: Leidesdorf, 1829.
Carefully written compositions with occasional bright moments.
Level: I
Variationen (e), Op. 138
Mainz: Schott, 1868.
Perfunctory work of moderate length; neatly written for both partners.
Level: I
Lack, Théodore (1846–1921), France
French piano prodigy and composer of elegant salon music.
Impressions de voyage
Paris: Lemoine, 1911.
Lacombe, Paul (1837–1927), France
Composer and pianist. Studied composition with Bizet, who promoted his music.
Promenade sous bois
Paris: Pierre Lafitte, 1903.
In the salon style.
Level: UI
Lacôme d’Estalenx, Paul-Jean-Jacques (1838–1920), France
French composer of operettas, religious works, songs, orchestral and chamber music, and piano pieces.
La douce maison, scènes familiales (La maison active; Bercelonnette; Conte diver; La leçon de danse, petite valse; Le tennis, scherzo)
Paris: Costallat, 1908.
Les Pyrénées, suite
Paris: Enoch, 1899.
Ladmirault, Paul (1877–1944), France
French composer of piano works, operas, and sacred and orchestral music. His style is refined and lyrical with strong associations with Breton folk music.
Dan Lullaby
London: Oxford University Press, 1927.
Gentle, tranquil work in Romantic idiom with some Impressionistic sonorities.
Level: LI
Musiques rustiques, suite (Fantaisie sur deux “rounds” camoëlais; Tro Cornouailles; Final sur deux thèmes vannetais)
Paris: Demets, 1906.
Pleasant, skillful settings of Breton folk melodies.
Level: LI–I
Rhapsodic gaëlique (Les Campbells arrivent; Danse des fées; Nocturne; Limerick Pibroch; Chanson écossaise; Fantaisie sur une contredanse populaire)
Paris: O. Bouwens van der Boijen, 1909; Leduc, 1922.
Appealing, skilled settings of Celtic melodies from various sources, Scottish, Irish, and Breton.
Level: I–UI
Suite bretonne (Chant des bugale-noz; Chanson populaire, thème du XIIème siècle)
Paris: Salabert, n.d.
Vase mignonne
Paris: Consortium Musical, n.d.
Level: UE
Variations sur des airs de Biniou trécorois (tirés du recueil de Quellien)
Paris: Demets (Max Eschig), 1906.
Attractive settings of five Breton melodies; worth reviving.
Level: I
Ladukhin, Nikolai Mikhailovich (1860–1918), Russia
Russian composer of sacred pieces, chamber works, music for children, and solfeggio books.
Répertoire enfantin, recueil de pièces (Conte; Réveil; Cigales; Cortège)
Moscow: Jurgenson, ca. 1913.
Short, instructional piece with Russian folk song flavor.
Level: E
Ladurner, Ignaz Anton [Ignace Antoine] (1766–1839), Austria
Austrian teacher and composer; settled in France. He wrote operas, chamber works, and piano compositions.
Sonate (F), Op. 2
Paris: Boyer, 1793.
Strong, two-movement work with contrasting sections, well-developed themes, and textural variety. Rhythmic and harmonic interest is sustained throughout.
Level: I
Sonate, Op. 6
Paris: Naderman, ca. 1804.
Sonate (C), Op. 12
Paris: Naderman, ca. 1800.
Laemmerhirt, G.
Deux sonates faciles, Op. 2
Leipzig: Breitkopf & Härtel, 1798.
A contemporary review describes these two sonatas as melodious and well set, and emphasizes their qualities as fine study pieces for the beginning student.
Level: UE–LI
Lahmer, Ruel (b. 1912), Canada
Canadian American composer; student of Roy Harris; works include orchestral and choral pieces and chamber music.
Passacaglia and Fugue for Clarinet and Piano Duet, 1949
Publisher missing.
Lake, Genevieve
Czech Dance (e)
New York: Carl Fischer, 1948.
Pleasing folk song arrangement.
Level: UE
You and Who (two marches + two waltzes)
New York: Schirmer, 1969.
Instructional pieces without octaves; activity in both parts.
Level: E–UE
Lalo, Edouard (1823–1892), France
Violinist, violist, composer, teacher. Studied at the Paris Conservatoire with Francois Antoine Habeneck. Known for his Symphonie espagnole for violin and orchestra, the Cello Concerto in D minor, the opera Le Rois D’Ys, as well as chamber works.
La Mere et l’enfant: Deux petits morceaux (I. Romance [Allegretto non troppo/A♭ major]; II. Serenade [Allegretto/G major]), Op. 32
Paris: J. Hamelle, 1880.
An appropriate work for mother and child, as the title suggests, or teacher and pupil. The secondo is slightly more difficult than the primo, which is written entirely in parallel unison at the octave. The Serenade is only two pages in length. Charming salon style.
Level: I/UE–LI
Lambert, Cecily (b. 1915), United States
Composer who relocated to England.
A Droll Tale
Boston: Boston Music, n.d.
A Duet a Day (Helston Flora Dance; March of the Three Kings; Agincourt Song; Parado de Valldemosa; Trumpet and Drum; Elizabethan Dances; Acrobats)
London: Forsyth, 1968.
Effective collection including original pieces and arrangements of folk songs.
Level: UE–LI
March with Bells
Boston: Boston Music.
Lambert, Constant (1905–1951), England
English conductor and composer, strongly influenced by jazz. His works include ballets, film music, choral and orchestral compositions, chamber music, and piano pieces.
Trois pièces nègres pour les touches blanches (Aubade; Siesta; Nocturne) (1949)
London: Oxford University Press, 1950.
Ingenious, witty set of pieces introduced with a sly touch of Satie-esque puckishness in its antithetical title (Three Black Pieces for White Keys). Using pandiatonicism as a tonal basis the composer has formed all the melodies, chords, and dusters exclusively from white notes. The work has a jazz and West Indian Creole flavor with rhythmic variety, a unique modal quality, and fascinating tone color.
Level: I
Lambert, George Jackson (1794–1880), England
English composer and organist.
Duett for Two Performers (D)
London: Rutter & McCarthy, ca. 1815.
Short, two-movement instructional work in sonata form.
Level: UE–LI
LaMontaine, John (1920–2013), United States
Composer of an opera, orchestral and chamber music, songs, and piano pieces in refined neo-Classical style.
Sonata, Op. 25
Philadelphia: Elkan-Vogel, 1967.
Brilliant three-movement work (grave, ponderous Preamble; light, busy Scherzo; and brilliant concluding Fugue). Uses full resources of the keyboard. Tonal style influenced by twentieth-century French neo-Classicism and to some extent by Hindemith’s linear polyphony. This work is rewarding concert fare, requiring advanced pianism.
Level: A
La Motte Fouqué, Friedrich, Baron von (1874–1944)
6 Deutsche Tänze, Op. 33
In vol. 6 of Deutsche Hausmusik der Gegenwart, 1. Reihe, Instrumental-musik. Wolfenbüttel: Verlag für musikalische Kultur and Wissenschaft, 1936.
Deutsche Tänze, zweite Folge, Op. 39
Wolfenbüttel: Verlag fur musikalische Kultur und Wissenschaft, 1938.
These two sets of dances are arranged in frequently chromatic, traditional harmonic idiom. The use of occasional changing meters appears to be more decorative than functional.
Level: I–UI
Lancen, Serge (1922–2005), France
French composer of ballets, concertos, chamber pieces, and orchestral works.
Cubana
In Pianoforte album, original compositions, vol. 2. London: Hinrichsen, 1955. Moderately paced work in Latin American rhythmic patterns; set in traditional harmonic structure.
Level: LI
Lanchbery, John (1923–2003), England
English composer and conductor, known for his ballet arrangements and work with the Royal Ballet.
The Little Red Fox
London: Curwen, 1953.
Level: I
Landry, Albert (1866–1913), France
Composer of piano salon music, including piano duets that were published in Paris in the late nineteenth and early twentieth centuries.
Illusions, Op. 266 No. 2 (In a Boat)
Level: I/E
Un concert lilliputien, Op. 144
Paris: Gallet, n.d.
Level: UE–LI/E-5
Mariée du village, fête paysanne, Op. 216
Paris: Leduc, n.d.
Level: I
Trois petites pièces (Soir-rose; Clochettes villageoises; Bal d’enfants)
Paris: Durand, 1911.
Instructional pieces.
Level: UE–LI/E–UE
Trottez menu, Op. 142
Paris: Gallet, n.d.
Level: UE
Lang, David (b. 1957), United States
Pulitzer Prize–winning composer. Studied at Stanford University, the University of Iowa, and Yale University where he currently serves on the composition faculty.
Before Gravity
New York: G. Schirmer, 2012.
Constantly shifting meters. Composed for and premiered by Peter Poston and Andrew Zolinsky on 6 May 2012 at (le) Poisson Rouge, New York City. Approximate performance duration: three minutes.
Level: UI
Gravity
New York: G. Schirmer, 2005.
Slow and expansive. For one piano, four hands or two pianos. Lang writes: “With ‘gravity’ I had the image in my head of how to make a kind of music that would always be falling. The material is in a state of slow perpetual motion, moving inexorably downwards and yet never really resting or landing.” The work was commissioned by the Italian pianists Carlo Boccadoro and Andrea Rebaudengo. Approximate performance duration: three minutes.
Level: UI
New York: G. Schirmer, 2007.
Shifting meters. For one piano, four hands or two pianos. Lang writes: “In my piece ‘after gravity’ I wanted to make something floating, something weightless, something airier than ‘gravity’ but still structured in such a way that would keep the music from landing anywhere, or at least put the landing off as long as I could.” The work was commissioned by the Yvar Mikhashoff Trust for New Music for the Bugallo-Williams Piano Duo and dedicated to Karen Sander and Ernest Adams in honor of their marriage. Approximate performance duration: five minutes.
Level: LA
Lang, Hans (1897–1968), Germany
German composer and teacher; wrote choral works, songs, and instrumental pieces for children.
Kleine Maienkonzert, Musik über alte Frühlingslieder (G)
In Spielbuch, zeitgenössische Originalkompositionen.
Attractive, tasteful arrangements in traditional idiom of three German folk songs celebrating the coming of spring.
Level: LI
Lang, Johann Georg (1722–1798)
Bohemian composer; trained in Italy; resident in Darmstadt.
Quatre grandes sonates, dont l’une [G] est à quatre mains avec l’accompagnement d’un violon et violoncelle, Op. 7
Offenbach: André, ca. 1783.
Despite some weaknesses in craftsmanship and inventiveness, this is an engaging work in Classical style with interesting antiphonal effects, fresh harmonies, and lyrical melodies.
Level: I
Lang, Walter (1896–1966), Switzerland
Swiss pianist; has written chamber music and piano works.
Ferientage, Op. 64
Zürich: Amadeus, 1976.
Level: UE–LI
Lange, Gustav (1830–1889), Germany
German composer of light, popular music.
Traumende Blumen, Op. 70
Adm. Stoll, n.d.
Marked “Andante tranquillo” in F major.
Level: I
Lange, Samuel de Jr. (1840–1911), Netherlands
Dutch organist, conductor, and teacher. He wrote choral and organ works, chamber music, and piano compositions.
Cologne: J. F. Weber (Tonger), 1881.
Serious three-movement work, structurally sound, but written in a dry, academic conventional idiom, rooted in Mendelssohn.
Level: LI–UI
Lannoy, Eduard, Freiherr von (1787–1853), Belgium
Austro-Belgian conductor; composed operas, orchestral and chamber music, and piano works.
Trois grandes marches, Op. 8
Vienna: Mollo, 1820.
Lanz, Johann Michael (fl. late eighteenth century)
Sonata (F), Op. 5
Brunswick: Musikalische Magazin auf der Höhe, 1796; Zürich: Nägeli, 1796.
Short two-movement work in Classical style with pleasant melodies, simple harmonies, and well-balanced writing for both parts. Contains little or no thematic development.
Level: UE–LI
Lanza, Alcides (b. 1929), Argentina
Argentine Canadian pianist and composer who uses advanced compositional techniques, especially electronic.
Plectros (1962-II) for one or two pianos, 1962
Buenos Aires: Barry, 1963.
The tonal experiments of John Cage come to mind in this avant-garde work featuring unconventional use of the piano. Detailed instructions by the composer call for, among other things, striking the piano with the fist or palm of the hand, plucking the strings with fingernail or plectrum, or striking them with drumsticks.
Laparra, Raoul (1876–1943), France
French composer of operas, an orchestral suite, and piano pieces with striking Spanish and Basque influence.
Lore dantzariak (Les fleurs qui dansent), morceaux (Prélude: réveil des fleurs an matin; Arrosa-Gorreia, la rose rouge; Iatsia-Pherdia, la fougère; Belhar-Chuta, la lavande; Othia, le genêt épineux; Ansuna, rortie; Elhorri Churia, l’aubépine; Lift Ezteiak, les noces du lierre et de l’aubépine; Chira Ostua, le lierre; Guilharria, la bruyère; Sorguin Orracia, le chardon)
Paris: Enoch, 1927.
Pleasant settings of folklike melodies, possibly Basque, describing various flowers and plants of the Basque region. Rhythmic and harmonic interest with free use of changing meters and unusual phrasing.
Level: LI–I
Larsen, Libby (b. 1950), United States
Distinguished and prolific American composer. Her catalogue contains over 500 works including fifteen operas.
A Day
London: Oxford University Press, 2014; Appears in Aston, Michael, ed. Piano Duets: American Composers.
Two movements, entitled “Prelude” and “Postlude,” are seamlessly connected. The rhythmic “Prelude” features mixed meters and conveys a sense of anticipation. The more relaxed and warm “Postlude” presents a serene denouement. Approximate performance duration: four and a half minutes.
Level: I
For Two: A Perpetual Valentine for Four Hands and Four Legs Piano
Libby Larsen, 2004.
Single line staff per performer. The composer writes: “Sit quietly on the bench. Choose one of you and take that person’s pulse. Let that pulse be the tempo of the quarter note.” After playing through the work, the players take turns playing the other part without pause. A study in pulse and rhythm. Approximate performance duration: two minutes.
Level: I
Gavel Patter
Libby Larsen, 2004.
Inspired by an auctioneer’s patter, according to the composer, the work uses “auctioneer’s styles, pitches, timing, and complex rhythms to propel. The work features a “run to the close” in which the auctioneer, with the help of a partner placed out on the auction floor, plays two bidders off against each other at high speed in order to drive the bidding up to the close with the loud rap of the gavel.” Brimming with energy, this is a rhythmic tour de force. Approximate performance duration: five minutes.
Level: A
Last, Joan Mary (1908–2002), England
English pianist, composer, author, and pedagogue.
6 Pantomime Pictures
London: Oxford University Press, n.d.
Level: LI
Two and a Piano; a series of easy duets in five sets
London: Oxford University Press, 1960.
Instructional pieces: simple melodies in traditional style, well arranged, useful.
Level: E–LI
La Tombelle, Fernand de (1854–1928), France
French organist, student of Saint-Saëns; wrote organ and piano pieces, choral works, and chamber music.
Bourrée (E), from Bourriés et Montagnardes
Paris: Hamelle, n.d.
Montagnarde (d), from Bourrées et Montagnardes
Paris: Hamelle, n.d.
Prélude pour un conte de fées
Paris: HéreIle, 1924.
Level: LI–I
Latour, Francis Tatton (1766–1837)
Divertissement sur un thème de Pleyel
Offenbach: André, ca. 1822.
A Duett in Which Is Introduced the Air of O Dolce Concerto with Variations
Rotterdam: Steup, n.d.; Boston: Graupner, n.d.; The Hague: Weygand, n.d.; Philadelphia: Wittig, n.d.
Work in pallid style of Haydn imitators; larded with passage work and sequences; lacks musical substance.
Level: LI–I
Duo sur l’air de la Flûte Enchantée
Paris: Pacini, n.d.
Level: I
Duo sur l’air tyrolien et hongrois, No. 6
Bonn: Simrock, n.d.
Original Duett, Op. 6
London: Bland & Weller, ca. 1795.
Lau, Nancy, United States
Composer, arranger, and piano teacher. Studied composition with Dr. Norman Weston and piano pedagogy with Nakyong Chai at Saddleback College.
Gems for Two
Fort Lauderdale, FL: FJH Music, 2007.
A collection of five duets: Travelin’ Train; Starlight Lullaby; Rose Tango; Rainbow Waltz; Tarantella for Two. Highly effective writing including a lyrical and expressive lullaby and an animated, electrifying tarantella.
Level: I
In the City
Fort Lauderdale, FL: FJH Music.
A handsomely crafted three-movement suite: I. On the Move; II. In a Park; III. Downtown. Each movement depicts its title in sound ranging from the energy and hustle and bustle of the outer movements to the respite of the park.
Level: UI
Laub, Vaša (1857–1911), Czechoslovakia
Czech violinist and composer.
Slavisches Märchen (Slovanská pohádka), Op. 16
Breslau: Hainauer, 1893.
Salon pieces.
Level: I
Lauber, Joseph (1864–1952), Switzerland
Swiss conductor and composer. He wrote orchestral, choral, and chamber music.
Humoresque, Op. 36
Geneva: Heim, n.d.
Lavagnino, Angelo Francesco (1909–1987), Italy
Italian composer, known for his film scores.
Le danze antiche (Minuetto; Gavotta; Giga)
Milan: Carisch.
I giochi (Alle signore; La trottola; Alla guerra)
Milan: Carisch, n.d.
Incontri con Gesù (È nato Gesù Bambino; La notte della Befana; L’agnellino di Pasqua)
Milan: Carisch, n.d.
La passeggiate (Al Bosco dei mughetti; Al convento delle suore azzurre; Al vecchio mulino)
Milan: Carisch, n.d.
Lavignac, Albert (1846–1916), France
Music theorist and scholar; minor composer.
Berceuse, Op. 18
Paris: Henry Lemoine, 1877.
In F major and 
time.
Level: UI
Le jour de fete, Op. 16
Paris: Henry Lemoine, 1876.
Level: LA
Lawson, —
Rose Petals
Philadelphia: Presser, n.d.
Lazarus, Gustav (1861–1920)
Marche funèbre
Paris: Salabert, n.d.
Lazzari, Sylvio (1857–1944), Italy/France
Composer who studied at the Paris Conservatory with Ernest Guiraud and Charles Gounod after studying law in Austria.
2 Pieces pour piano a 4 mains, Op. 25
Paris: Armand Colin, 1893.
I. Marche pour une fete joyeuse; II. Sevillana.
Level: UI
Rhapsodie hongroise
Paris: Leduc, 1903.
Level: I
Leaf, Mary, United States
Composer and teacher. Holds a degree in music education from the University of Washington with continuing education in piano pedagogy at North Dakota State University.
Soaring
Fort Lauderdale, FL: FJH Music, 2008.
This expressive duet in Mixolydian mode features a lyrical melody in the primo accompanied by flowing eighth notes in the secondo. The elegant initial section is interrupted by a rhythmic middle section marked by staccato and accented articulation. After this interlude, the opening melody returns and builds in complexity and sound. Pianistic and immensely gratifying to play, this is a duet that should not be missed.
Level: I–UI
Summertime Waltz
Fort Lauderdale, FL: FJH Music. Published as a sheet and in Two to Play, Book 1.
Level: E
The Popcorn Stand
Fort Lauderdale, FL: FJH Music. Published as a sheet and in Two to Play, Book 1.
Level: LE
Two to Play, Book 1
Fort Lauderdale, FL: FJH Music, 2011.
A collection of six lower elementary duets: Clementi’s Clavichord; The Popcorn Stand; Footsteps Following . . .; Summertime Waltz; Restless Sea; Old West Trail.
Level: LE
Two to Play, Book 2
Fort Lauderdale, FL: FJH Music, 2012.
A collection of six duets: Wizard’s Wand; Dance of the Wood Nymphs; Riding the Waves; Wild Horse Roundup; McAllistar’s Jig; Metro March.
Level: E–UE
Wildhorse Roundup
Fort Lauderdale, FL: FJH Music; published as a sheet and in Two to Play, Book 2.
A study in articulation.
Level: E
Wizard’s Wand
Fort Lauderdale, FL: FJH Music; published as a sheet and in Two to Play, Book 2.
Mysterious and enchanting.
Level: E
Leduc, Alphonse (1804–1868), France
Founder of Paris publishing house of A. Leduc; prolific composer of songs and piano salon pieces.
Golden Bell
St. Louis: Balmer & Weber, 1887.
Level: LI
Lee, Changhee, United States
Korean American pianist and composer.
Mambo
Milwaukee: Hal Leonard Corporation, 2014.
Winner of the 2014 Carol Klose Hal Leonard Composition Competition—Collegiate Division.
Level: I
Lee, Ernest Markham (1874–1956), England
English pianist, organist, and writer on music. His compositions include sacred works and many carefully written instructional pieces for piano.
Alice in Wonderland, twelve easy duets: (Set I) The White Rabbit Whisks Along; Alice Gets Smaller and Smaller; Alice Gets Bigger and Bigger; Resting against a Buttercup; The Cheshire Cat; Off with His Head; (Set II) The March Hare and the Mad Hatter; In the Beautiful Garden; Doleful Mock Turtle; The Lobster Quadrille; Sleepy Dormouse; Will You, Won’t You
London: Anglo-French Music (Oxford University Press), 1923.
Captivating suite of instructional pieces in practiced musical style: melodious, restrained, polished.
Level: UE–LI
Celandine
London: Curwen, n.d.
Level: LE
Diversions (In the Sunshine; Silks and Satins; Slavonic Dance; Tarantella)
London: Chappell, 1930.
Attractive teaching pieces.
Level: UE
First Duets (Chatterboxes; Dance; Evensong; Four-part Harmony; Merrymakers; Valse)
London: Chappell, n.d.
Folk Song
Melbourne: Allans Music, 1966.
In the Meadows
In Rowley, ed., Path of Progress. London: Lengnick, n.d.
Level: UE–LI
In Switzerland
In Moy, ed., Royal Road. London: Lengnick, n.d.
Level: E–UE
In Rowley, ed., Path of Progress. London: Lengnick, n.d.
Vivacious, high-spirited gigue in folk song idiom.
Level: I
Little Jack Horner
In Rowley, ed., Path of Progress. London: Lengnick, n.d.
Level: E
Merry Dance
London: Curwen, n.d.
Level: UE
Nigger Dance
In Rowley, ed., Path of Progress. London: Lengnick, n.d.
Bright, rhythmic, cheerful.
Level: LI
Norwegian Dance
In Moy, ed., The Royal Road. London: Lengnick, n.d.
Level: UE–LI
Oranges and Lemons
In Moy, ed., The Royal Road. London: Lengnick, n.d.
Level: E
O Where Is My Little Dog Gone
In Moy, ed., The Royal Road. London: Lengnick, n.d.
Level: E
Peasant Dance
Melbourne: Allans Music, 1966.
Prelude, Romance, and Irish Tune
London: Lengnick, 1924.
Engaging group of descriptive pieces well distributed for both parts; effective.
Level: LI–I
Procession
London: Winthrop Rogers, n.d.
Stately, somewhat pompous, march in the style of Elgar; well balanced for both parts.
Level: LI
Six Progressive Duets
Melbourne: Allans Music, n.d.
Reel
London: Curwen, 1949.
Gay, bouncy, teaching piece.
Level: UE–LI
Romance
In Moy, ed., The Royal Road. London: Lengnick, n.d.
Level: I
Sailor’s Dance
Melbourne: Allans Music, 1966.
Step by Step, ten easy and progressive duets: Valse; The Patrol; Dream Time; Gavotte; March; Bagpipes; Yo! Heave Ho!; Reverie; Mazurka; Polka
London: International Music, 1927.
Level: E–UE/E
Tarantella
London: Curwen, 1949.
Rhythmical, bright.
Level: UE–LI
Tunes for Two Players (Gavotte; A Quiet Time; Valse Triste; In Russian Style; Country Tune; Sleepy Head; Minuet; March)
London: International Music, 1926.
Level: UE/E-5
Lee, Noël (1924–2013), United States
American pianist and composer. He wrote ballet, orchestral music, chamber music, song cycles, and piano pieces in a neo-Classical style.
Diversions (1958)
Lee, Peter
A Conversation Piece for Two Persons to Sing and Play Together on One Harpsichord or Pianoforte
London: printed for composer, ca. 1790.
Lefébure-Wély, Louis (James Alfred) (1817–1869), France
French organist; composed liturgical works and piano music in salon style.
École concertante (lère série: Scherzo pastorale; Berceuse; Marche; Thème varié; Andante; Scherzo-chasse. 2ème série: Scherzo symphonique; Rêverie; Presto; Andantino; Boléro; Scherzo poste), Op. 85
Mainz: Schott, ca. 1856.
Level: I
Lefebvre, Charles Édouard (1843–1917), France
French teacher and composer of operas, church music, orchestral and chamber works, and piano pieces. Studied with Charles Gounod and Ambroise Thomas. Completed his studies at the Paris Conservatoire. Winner of the Prix de Rome. His four-hand works are salon in style.
Andantino, Op. 15
Paris: Mackal & Noël (Heugel), n.d.
Level: I
Ballade
Paris: Salabert, n.d.
Level: LI
Menuet, Op. 2
Paris: Mackal & Noël, n.d.
Level: LI
Prélude dramatique et intermède, Op. 33
Paris: Noël, 1898.
Level: I
Lefeld, Jerzy (1898–1980), Poland
Polish pianist and teacher; wrote symphonic, chamber, and piano works in conservative style.
Dzwony (The Bells)
In Raube, ed., Drobiazgi, vol. 1.
Level: UE–LI
Marsz (March); Toccatina; Wariacje na temat ludowy (Variations on a Folk Theme)
In Raube, ed., Drobiazgi, vol. 2.
Level: I
Lefevre, Armand
Je dance
Paris: Consortium Musical, n.d.
Level: UE–LI
LeGallienne, Dorian (1915–1963), Australia
Australian music critic; wrote theater and orchestral music, chamber and choral works, and piano pieces in traditional style. Much of his music remains unpublished.
Sonatina (1941)
Manuscript.
LeGrand, E.
Trois petites esquisses (Causerie matinale; Petite retraite; Berceuse)
Paris: Salabert, n.d.
Level: I
Leidesdorf, Maximilian Joseph (1787–1840), Austria
Austrian pianist and guitarist; friend of Schubert and Beethoven.
Grande sonate brillante (E♭), Op. 44
Leipzig: Breitkopf & Härtel, 1816.
Large-scale, forceful, effective work, but rambling in style and lacking in melodic interest and harmonic variety.
Level: I–UI
Trois marches avec trios, Op. 46
Vienna: Cappi, ca. 1816.
Trois polonaises, Op. 57 (c), Op. 58 (D), Op. 59 (G)
Vienna: Mechetti, 1817.
Well-balanced pieces; elementary harmonies; unexceptional melodies.
Level: I
Le rendez-vous, adagio, Op. 68
Vienna: Cappi, 1818.
Vienna: Maisch, 1818.
6 Scherzi capricciosi
Vienna: Mechetti, 1817.
Sonatine (C), Op. 103
Vienna: Cappi, 1819.
Leighter, Henry Clough (Clough-Leighter, Henry) (1874–1956), United States
American organist, teacher, and composer of choral, orchestral, and chamber works, and piano pieces in salon style.
Four Novelettes
Boston: Boston Music, 1911.
Level: I–UI
Leitert, George (1852–1901), Germany
German pianist, pupil of Liszt.
7 Walzer, Op. 36
Leipzig: Seitz (Forberg), 1875.
Salon pieces.
Level: UE–LI
Lemacher, Heinrich (1891–1966), Germany
German composer of orchestral and choral works, chamber and piano music, and songs, many of them for use by amateur performers. He wrote in neo-Classical, often linear, style.
Duisdorfer Kirmes, Op. 115
Cologne: Gerig, 1954.
Diverting set of five pieces set with humor and a light touch.
Level: UE–LI
Leuzbacher Tänze, Op. 114
Wilhelmshafen: Noetzel, 1958.
Suite of light, buoyant dances in crisp modern idiom.
Level: I
Lemoine, Henry (1786–1854), France
French piano teacher and music publisher; composed educational piano works.
Bagatelle [No. 1] sur une mazurka et une valse favorites
Mainz: Schott, ca. 1845.
Level: I
Divertissement, Op. 30
Liége: Muraille, n.d.
Level: I
Lemon, Anne E.
Grand March and Trio
New York: Firth & Hall, 1843.
Level: UI
Lenel, Ludwig (1914–2002), Germany
German-born American teacher and was composer-in-residence at Muhlenberg College.
Variations Suite (1972); two sets of variations on Schnellpolka (Act III, Scene 3) from Alban Berg’s Wozzeck, and on H. Neusiedler’s Der Judentanz
Large-scale work in frequently complex but always vivid contemporary idiom that achieves its effect through rhythmic, harmonic, and textural variety and through the clarity of the four-hand setting. The composer’s choice of his two themes—written 400 years apart and exceptional music for their own times—is a masterful touch.
Level: A
Lenormand, René (1846–1932), France
French composer and writer on music; works include an opera, orchestral pieces, chamber music, songs, and piano compositions.
Divertissement américain, Op. 12
Paris: Hamelle, n.d.
Introduction et allegro, Op. 10
Paris: Hamelle, n.d.
Six morceaux, Op. 9
Paris: Hamelle, n.d.
La Nouba Medjenneba, fantaisie, Op. 19
Paris: Hamelle, n.d.
Lentz (Lenz), Heinrich Gerhard von (ca. 1764–1839), Poland
Polish German teacher and pianist; wrote a self-instruction manual on piano tuning. He composed songs, piano pieces, chamber music, and symphonies.
Sonata (F), Op. 2
Paris: Boyer, n.d.
Two-movement work in Classical style. Although it has some promising bright melodies, they are scantily developed, and the structure is overburdened with heavy reliance on parallelism (sixths and tenths between the parts), sequential passages, and antiphonal effects.
Level: LI–I
Leoni, Franco (1864–1949), Italy
Italian composer and conductor. Largely known for his operas.
A Little Garden of Melodies
New York: G. Schirmer, 1918.
A collection of five short duets with flowers for titles: Daisies; Pansies; Wild Roses; Chrysanthemums; Pinks.
Level: I
Lessel, Franz (Franciszek) (1780–1838), Poland
Polish composer; studied with Haydn. He published numerous piano works in Classical style.
Fugue (d), Op. 11
Leipzig: Breitkopf & Härtel, 1812.
Lesur, Jean Yves Daniel (1908–2002), France
French organist and pianist. He has written choral and orchestral works, chamber music, songs, organ pieces, and piano compositions in a lyrical and refined idiom.
Le bouquet de Béatrice (Le joli laurier; Void le mois de mai; La marjolaine; Gentil coquelicot; Giroflé, girofla), 1947
Paris: Durand, 1949.
Enchanting suite of short pieces based on traditional children’s melodies; elegantly written and effective.
Level: UE–I
Letnaň, Július (1914–1973), Czechoslovakia
Our Little Games
Prague: Panton, n.d.
Short instructional pieces.
Letorey, Omer (1873–1938), France
French composer of operas and instrumental works.
Pantomime des quatre médecins; fantaisie clans le style de Lulli, 1919
Paris: Demets, 1920.
Short piece in eighteenth-century style.
Level: LI
Levinson, Gerald (b. 1951), United States
Principal teachers include George Crumb, George Rochberg, and Richard Wernick at the University of Pennsylvania and Ralph Shapey at the University of Chicago. Later studied at the Paris Conservatory with Olivier Messiaen. Currently serves as the Jane Lang Professor of Music at Swarthmore College. Honored with the Music Award for Lifetime Achievement by the American Academy of Arts and Letters. His works have been performed in the United States and Europe by major orchestras and ensembles.
Morning Star: Chorale for Piano, Four Hands
Merion Music / King of Prussia, PA: Theodore Presser, 1990.
An evocative work that employs extended techniques. Approximate performance duration: seven minutes.
Level: A
Liadov (Lyadov), Anatoly Konstantinovich (1885–1914), Russia
Russian composer. His piano works especially show the influence of Chopin and Schumann, while his symphonic poems and other compositions are in Russian nationalist style.
Cortège triomphale; Galop; Gigue
See: Paraphrases under Papineau-Couture, Jean.
Poule
See: Badinage under Bacon, Ernst.
Valse
See: Paraphrases under Papineau-Couture, Jean.
24 Variations and Finale (with César Cui and Rimsky-Korsakov)
See: Paraphrases under Papineau-Couture, Jean.
Lichner, Heinrich (1829–1898), Germany
Prolific German composer of pedagogical works and salon pieces, a selection of which is listed below.
A Gladsome Day
Florence, KY: Willis Music; published in Four-Hand Recreations.
Cheerful and tuneful.
Level: I
Aus der Jugendzeit, 12 leichte and melodische Tonstücke, Op. 85
Berlin: Challier, 1871.
Dancing on the Lawn
Philadelphia: Presser, 1899.
Salon music.
Level: LI
Vier Rondos (C, F, D, d), Op. 182
Leipzig: Kistner & Siegel, 1878.
Salon pieces.
Level: LI
Der Sommernachtsball, 6 leichte Tänze, Op. 229
Leipzig: Kistner & Siegel, 1882.
Lichtenthal, Peter [Pietro] (1780–1853), Austria
Austrian musical amateur; wrote ballets, church music, songs, chamber works, and piano pieces.
Sei marce a quattro mani (D, F, A, C, E♭, G)
Milan: Ricordi, n.d.
Composed for and dedicated to Signora Costanza Casella, a nine-year-old piano virtuoso. These marches with trios are set in a pleasing harmonic idiom; they are fluent and melodious, with contrapuntal interest.
Level: LI
Lickl, Carl Georg (1801–1877), Austria
Viennese composer; son of Johann Georg.
Rondo alla polacca (A♭), Op. 42
Vienna: Jos. Czerný, ca. 1830.
Lickl, Johann Georg (1769–1843), Austria
Viennese piano teacher. He wrote stage music, operettas, church music, chamber works, and piano pieces.
Vienna: Musikalisches Magazin, ca. 1795.
Sonata (D), Op. 3
Vienna: Cappi, ca. 1807.
Well-balanced, three-movement work in Classical style. Appealing melodic ideas and harmonic variety; no innovations but worth investigating.
Level: I
Lidholm, Ingvar (b. 1921), Sweden
Swedish conductor and composer of orchestral and chamber music, choral works, and piano pieces.
See: Via nova under Nordenfelt, Birgitta, and Höffding, Finn.
Lieth, Lenore
Dance of the Toys, Op. 41/1
Philadelphia: Presser, 1926.
Instructional piece.
Level: UE–LI
Liftl, Franz J. (1864–1932), Austria
In the Woodland Mill
Philadelphia: Presser, 1915.
Instructional piece, well balanced for both partners.
Level: LI
Ligeti, Gyorgy Sandor (1923–2006), Hungary
Distinguished Hungarian composer. Initial training at the conservatory in Kolozsvar and with Pal Kadosa in Budapest. Following the war, he resumed studies in Budapest and graduated from the Franz Liszt Academy in Budapest. His teacher included Kadosa, Ferenc Farkas, Zoltan Kodaly, and Sandor Varess. Served as Professor of Composition at the Hamburg Hochschule fur Musik und Theater.
Five Pieces for Piano, Four Hands
Mainz: Schott, 1999.
No. 1 March; No. 2 Polyphonic Etude; No. 3 Three Wedding Dances; No. 4 Sonatina (in three movements); No. 5 Allegro. Stylistically reminiscent of the music of Bartok. Rhythmically driven, folklike tunes. Appealing, accessible works.
Level: UI–LA
Lighthill, Norman
In the Lead
Philadelphia: Presser, 1921.
Instructional piece.
Level: LI
Pianist, teacher, composer, and cognitive psychologist. Undergraduate degrees in psychology and honors in music performance from Carleton College. Master’s and Ph.D. in psychology from the University of Illinois. Left postdoctoral fellowship to earn a master’s degree in piano performance from the University of Michigan.
Floating in the Clouds
Fort Lauderdale, FL: FJH Music, 2008.
Tranquil and meditative, this expressive duet in A minor is a beautiful introduction to lyrical playing for elementary students. An excellent study in tonal control and phrasing. Dovetailing melodies between the hands.
Level: E
Sneaky Fox Boogie
Fort Lauderdale, FL: FJH Music, 2009.
Swing eighth notes and syncopation rhythms are hallmarks of this sly, crafty duet.
Level: UE
Lind, Gustave (pseud. of Alfred Frederic Mullen) (1868–1936), England
The Silent Mere, three impressions (Once upon a Time; The Woodnymph; Moonrise)
London: Augener, 1912, 1923.
Carefully written instructional pieces.
Level: LI–I
Lindberg, Oskar (1887–1955), Sweden
Swedish organist; composed orchestral and choral works, songs, and piano pieces in neo-Romantic style.
Hymn och Marsch
Manuscript.
Lindeman, Ludvig Mathias (1812–1887), Norway
Norwegian composer and organist; active collector and publisher of Norwegian folk music.
Variations on Gubben Noah (1839)
Manuscript.
Charming, ingratiating work in early Romantic style.
Level: I
Lindeman, Peter Byrnie (1858–1930), Norway
Norwegian composer and teacher, son of Ludvig Mathias.
Suite over Norske Fjeldmelodier (Suite on Norwegian Mountain Tunes), Op. 15
Oslo: Norsk Notestik & Forlag, n.d.
Liste, Anton Heinrich (1772–1832), Germany
German pianist, teacher, and conductor; composed piano music in early Romantic style.
Leipzig: Breitkopf & Härtel, ca. 1809.
Long, serious work, brilliant at times; competently set for the medium but lightweight and uneven in musical content.
Level: UI
Liszt, Franz (1811–1886), Hungary
Liszt’s contributions to the four-hand repertoire are minor and, except for one original duet, are arrangements of his orchestral works or four-hand versions of pieces for piano solo.
Festpolonaise
Publisher missing, 1876; included in the supplement to the biography by A. Göllreich, Franz Liszt (Berlin, 1908).
Lubin states that this work is the composer’s only original piano duet and was composed in honor of the marriage of Princess Marie of Saxony.
Grand galop chromatique, Op. 12
Publisher missing, 1838.
Arranged by the composer himself from the two-hand version. This exciting, irrepressible, superbly written bravura piece is full of energy and drive.
Level: A
Grande valse de bravura (B♭), Op. 6
Leipzig: Schuberth, 1844.
Brilliant virtuoso piece similar in character to Op. 12, and, like it, arranged from the original solo version.
Level: UI–A
Mephisto Waltz
Weekley, Dallas, and Arganbright, Nancy, eds. San Diego: Neil A. Kjos Music, 1993.
Level: LA
Nine Nocturnes
See: Nine Nocturnes under Field, John.
Prelude, 1880
See: Paraphrases under Papineau-Couture, Jean.
Symphonische Dichtungen fur das Pianoforte zu vier Handen
Leipzig: Breitkopf & Härtel, 1884.
Twelve pieces in two volumes. Volume I: 1. Ce qu’on entend sur la montagne, S. 95; 2. Tasso: Lamento e Trionfo, S. 96; 3. Les preludes, S. 97; 4. Orpheus, S. 98; 5. Prometheus, S. 99; 6. Mazeppa, S. 100. Volume II: 1. Festklange, S. 101; 2. Heroide funebre, S. 102; 3. Hungaria, S. 103; 4. Hamlet, S. 104; 5. Hunnenschlacht, S. 105; 6. Die Ideale, S. 106.
Level: A
Weihnachtsbaum, 12 Klavierstücke (Psallite; O heilige Nacht; Die Hirten an der Krippe; Adeste Fideles; Scherzoso; Carillon; Schlummerlied; Altes provençalisches Weinachtslied; Abendglocken; Ehemals; Ungarisch; Polnisch)
Berlin: Fürstner, 1882.
This four-hand setting of the original solo version is a charming work, full of warmth and tenderness. The writing is well balanced and masterfully conceived for the medium, with special emphasis on textural diversity. The composer has taken account of the full resources of the keyboard with brilliant sonorities and massed tonal effects missing in the solo version.
Level: UI–A
Liubarskii, N.
6 P’es na temy ukrainskikh narodnych pesen (6 Pieces on Themes of Ukrainian Popular Songs)
Moscow: State Music, 1939.
Tasteful folk song settings; parts well distributed.
Level: UE
Liviabella, Lino (1902–1964), Italy
Italian composer of operas, symphonic poems, chamber music, and piano pieces.
Riderella; fiaba musicale (Il ruscello; La fuga del mare; La città azzuro; Il pianto di Riderella; La pietà del sole; Il ruscello)
Milan: Suvini-Zerboni, 1949.
Delightful suite of pieces in contemporary, often astringent, harmonic idiom; published in an elegant edition with attractive color illustrations.
Level: I/I–UI
Suite giocattalo, quadretti pianistici per bambini piccolissimi (La gocciolina; Il tamburino; Valzer; Cucù; La campane, omaggio a Mussorgsky; Capricetto finale), 1952
Milan: Suvini-Zerboni, 1953.
A collection of diverting little pieces in a refreshing idiom. The composer takes seriously his title “for very little children” and includes one three-hand piece for which the child is held on the parent’s or teacher’s lap in order to play the very easy inner part (the Cucù) while the older performer plays the outer voices.
Level: LI–I/LE–E
Loam, Arthur S. (b. 1892), Australia
Bushland Suite, 2 vols.
Melbourne: Allans Music, 1955.
Lobachëv, Grigorii Grigorevich (1888–1953), Russia
Russian composer of songs, chamber music, works for massed chorus and orchestra on Soviet themes, and pedogogical compositions.
Seven Songs of Different Peoples (Uzbek; Kirghiz; Don Region; Bashkir; Ukrainian; Georgian; Bashkir Dance), Op. 20
Moscow: State Music, 1926.
Melodies from various Soviet ethnic groups in agreeable, skillful arrangements.
Level: UE/E-5
Tanzstücke (Carioca; Fandango)
Cologne: Gerig, 1958; from Schmidt, Hugo Wolfram, ed., Neue Reihe No. 6, Blätter für Spielmusik.
Witty, amiable pieces in a light vein in mildly contemporary idiom.
Level: E–UE
Loeschhorn, Carl Albert (1819–1905), Germany
German pianist, teacher, and composer of pieces and instructional materials for piano.
10 Kinderstücke, Op. 182
Leipzig: Peters, 1883.
Level: UE–LI/E-5
12 Tonbilder, Op. 51
Leipzig: Peters, 1859. New Edition, Kalmus; Ricordi.
Level: UE–LI
Loewe, Carl (1796–1869), Germany
German organist, pianist, conductor, and writer on music; wrote ballads, operas, oratorios, and piano music in early Romantic style.
Grosse Duo, Op. 18
Berlin: Trautwein, n.d.
Large-scale sonata in three movements; well set for piano four hands. The musical style is strongly influenced by Beethoven, but is thinner and lacks well-defined character.
Logier, Johann Bernhard (1777–1846), Germany
German pianist and teacher; settled in Dublin, Ireland; composed choral works and piano pieces in drawing-room style. Considered to be the father of group piano teaching.
Introduction, fugue et deux canons, Op. 18
Berlin: Logier, n.d.
Serious work of uneven quality in this Classical style; at times brilliant, often academically dry and pedantic, but of special interest because of its ingenious contrapuntal manipulation and effective four-hand setting.
Level: UI
Lomon, Ruth (b. 1930), Canada
Canadian composer.
Soundings
Washington, DC: Arsis Press, 1975.
Avant-garde work; calls for mallets on strings, clusters, unusual pedalings; special notation.
Level: A
Longmire, John (1902–1986), England
Six Dance Duets
London: Forsyth, 1968.
Level: UE–LI
Longo, Alessandro (1864–1945), Italy
Italian pianist and musicologist; composed chamber music and piano works in conservative style.
Piccola suite, Op. 38/1 (A), 2 (D), 3 (b), 4 (F), 5 (B♭), 6 (G)
Milan: Ricordi, 1903.
Pedagogical in purpose, these six three-movement suites serve as introductions to various musical forms. They are set in traditional language by the well-known Scarlatti scholar and cataloguer. Well written for piano four hands.
Level: UE–LI
Serenade, Op. 10
Leipzig: Kistner, 1894.
Well-written salon music.
Level: I
Loomis, Harvey Worthington (1865–1930), United States
Composer, student of Dvořák. He wrote finely crafted operas, cantatas, children’s songs, and piano pieces.
After the Lesson; twenty-four miniature piano lyrics in duet form for teacher and youngest pupils, Op. 75
Boston: C. C. Birchard, 1902.
Instructional pieces.
Level: UE–LI/LE–E
The Young Musicians, Op. 81
New York: Witmark, 1909.
Instructional pieces in traditional idiom arranged in progressive order of difficulty.
Level: UE–LI
Lopez de la Rosa, Horacio (1933–1986), Argentina
Argentine composer of theater music, choral and chamber works, organ and piano pieces. The following works are available from Editorial Argentina de Música:
Divertimento, 1962
Manuscript.
For piano two hands and four hands.
Sonata, 1960
Manuscript.
For piano two hands and four hands.
Manuscript.
For piano two hands and four hands.
Louis, Nicolas
Six méditations musicales (À Henri Herz; À Mendelssohn; À Bertini; À Thalberg; À Chopin; À Liszt), Op. 100
Mainz: Schott, ca. 1840; Paris: Meissonnier, ca. 1840.
Light, superficial musical curiosity; series of pieces in the style of different composers.
Level: I
Trois mélodies italiennes variées, Op. 109
Mainz: Schott, n.d.
Instructional pieces.
Level: I
Variations brillantes sur un thème original, Op. 60
Paris: Lemoine, n.d.
Florid variations in salon style.
Level: UI–A
Variations brillantes sur un thème original (A)
Bonn: Simrock, 1842.
Brilliant demanding work in salon style.
Level: UI–A
Lovell, Joan
Scherzino
London: Galaxy, n.d.
Level: E
Twos and Threes: duets and trios for one piano
London: Elkin, 1960; London: Novello, n.d.
Lovelock, William (1899–1986), England
English composer and pedagogue.
Short Sketches
Melbourne: Allans Music, 1963.
Suite (Prelude; Fugue; Arabesque; Waltz)
Melbourne: Allans Music, 1958.
Pleasing works contrasting in mood and style; attractive teaching material.
Level: I
Løvenskjold (Lövenskiold), Hermann Severin (1815–1870), Norway
Norwegian organist; composed ballets, operas, orchestral works, chamber music, and piano compositions.
Quatre impromptus caractéristiques en forme de scherzos, Op. 8
Vienna: Diabelli, 1839.
Long, three-part pieces, more like waltzes than scherzi, in conservative Mendelssohnian idiom with some surprising modulations and chromaticisms.
Level: I
Sonatine (G), Op. 27
Hamburg: Kreisler, 1860.
Löw, Josef (1834–1886), Czechoslovakia
Czech pianist, composer, and teacher; composer of a quantity of popular, instructional piano pieces and studies, a selection of which is listed below.
6 Charakteristische Tonstücke, Op. 318
Bremen: Praeger, 1878.
Charakteristische Vortrags-Stücke, Op. 414
Bremen: Fischer, 1881.
Level: UE–LI/E-5
Geburtstagsklänge, Bilder in Tönen, 30 kleine charakteristische Stücke, Op. 191
Stuttgart: Stümer, n.d.; Philadelphia: Presser, 1910.
3 Instruktive charakteristische Tonstücke, Op. 563
Leipzig: A. P. Schmidt, 1892.
Level: UE–LI/E-5
Ländliche Bilder, Op. 150
Brunswick: Litolff, 1877.
Level: UE–LI/E-5
4 National-Tänze, Op. 570
Leipzig: A. P. Schmidt, 1892.
Level: UE–LI
6 Rhythmisch-melodische Tonstücke, Op. 330
Leipzig: Rieter-Biedermann, 1878.
Level: UE–LI
Scenen aus dem Orient, Op. 583
Leipzig: A. P. Schmidt, n.d.
Level: UE–LI
Sei ruhig, mein Gemüth (In Sweet Repose), Op. 562
Boston/Leipzig: A. P. Schmidt, 1892.
Level: LI
Teacher and Pupil, a practical course of four-hand playing
New York: Schirmer, n.d.; Kalmus.
Settings of sixty-five folk songs, operatic excerpts, national songs, and the like, arranged in progressive order of difficulty.
Level: I/E-5 to UE
Lubin, Ernest (1916–1978), United States
American teacher, critic, author, and composer; influential figure in the revival of interest in four-hand music through his book The Piano Duet.
Theme and Variations (d)
Boston: A. P. Schmidt, 1955.
Short, ingratiating set of variations on an original theme, skillfully set for four hands.
Level: LI–I
Łuciuk, Juliusz (b. 1927), Poland
Polish composer; studied in Poland and in France; his works include choral and orchestral compositions, piano pieces; songs, and chamber music.
Mini-Opus (Bagatelle; Legend; Scherzino; Cradle Song; Toccatina; Imitation; Structure), 1971
Kraków: Polskie Wydawnictwo Muzyczne (Polish Music Publishers), 1972. Exceptionally attractive suite of short pieces in polished, imaginative, mildly contemporary tonal idiom. The textures are generally thin, often single lines, and melodic fragments appear antiphonally. Chromaticism and dusters are used occasionally. Rewarding teaching fare.
Level: UE–LI
Luening, Otto (1900–1996), United States
American teacher and conductor; has composed an opera, orchestral works, and many pieces using tape recorder.
The Bells of Bellagio
New York: Peters, 1973.
While two people can play this vibrant, sonorous, well-crafted contrapuntal work with great effect, it is most tellingly performed by three players at one, two, or three pianos.
Level: I
Łutoslawski, Witold (1913–1994), Poland
Polish composer of orchestral works, children’s songs, choral music, and piano pieces. In his later years he used electronic and serial techniques.
Zaslyszana melodyjka (A Tune I Once Heard)
In Raube, ed., Drobiazgi, vol. 2.
Level: I
Luzzatto, F.
Les deux soeurs, 12 morceaux caractéristiques faciles
Paris: Hamelle, n.d.
Lybbert, Donald (1923–1981), United States
Composer and teacher. He wrote in a contemporary idiom using serial techniques and complex rhythmical devices.
Movement
New York: Peters, 1967.
Variously described in reviews as “pungent,” “eccentric,” “taut,” “finely wrought,” and even “well-intentioned,” this six-minute atonal composition contrasts two brilliant Allegro intrepido outer movements with a brief, delicate Lento middle section. Wide leaps, tremolos, trills, repeated ostinato-like figures, harmonics, grace notes, and glissandi are some of the effects employed in this intricate work, which makes considerable demands on both performers.
Level: A
Lysberg (Bovy-Lysberg), Charles Samuel de (1821–1873), Switzerland
Swiss pianist, pupil of Chopin; teacher at Geneva Conservatory. He composed a comic opera and a quantity of piano music in salon style.
La baladine, caprice, Op. 51
Paris: Lemoine, n.d.
Brilliant, exhilarating, impetuous caprice; technically demanding in part.
Level: UI–LA
Valse brillante, Op. 22
Paris: Richault, n.d.; Hamelle.