time with a waltz-style accompaniment.MacCluskey, James Thomas (b. 1931)
View on a Theme by Effinger
Publisher missing, 1954.
Level: I
MacDowell, Edward A. (1860–1908), United States
Composer, trained in Germany and France; taught at Columbia University. He was most successful in his short piano pieces, somewhat in the style of Grieg. He also wrote orchestral works, piano concertos, etudes, songs. His style derives from German Romanticism with touches of French Impressionism.
Moon Pictures (The Hindu Maiden; Story of the Stork; In Tyrol; The Swan; Visit of the Bears), Op. 21 (1884–1885)
Breslau: Hainauer, 1886; New York: Schirmer, 1886.
Based on the stories from Hans Christian Andersen’s Picture-book without Pictures, the five descriptive pieces of this pleasing suite are set in the composer’s lyrical, often saccharine, but practiced early musical idiom.
Level: I–UI
Three Poems (Night by the Sea; A Tale from Knightly Times; Ballade), Op. 20
Breslau: Hainauer, 1885; New York: Schirmer, 1905; Borner, Klaus, ed. Mainz: Schott.
Character pieces in bold, expressive, often thick-textured Romantic style; require interpretive subtlety to bring off well.
Level: I–LA
MacFarren, Walter (1826–1905), England
English pianist, conductor, and teacher. He wrote symphonic and choral music, songs, and piano works.
Sonata (e)
Publisher missing, ca. 1850.
MacGregor, Helen
Singing in the Moonlight
Cincinnati: Willis Music, n.d.
Level: E
Madeline, Georgette
Pour mes petits amis
Paris: Salabert, n.d.
Madsen, Trygve (b. 1940), Norway
Studied composition with Egil Hovland and piano with Ivar Johnsen. Additional studies with Erik Werba at the Akademie fur Musik und darstellende Kunst in Vienna. Music reflects his interest in the works of Russian composers as well as his interest in jazz.
Four Russiske Danser (Four Russian Dances), Op. 142
Oslo: MIC (Music Information Centre) Norsk.
Tuneful primo melodies in largely parallel unison at the octave with boom-chick accompaniment in the secondo. Manuscript makes it somewhat difficult to read.
Level: UI–LA
Maggio, Robert (b. 1964), United States
Composer of orchestral, chamber, vocal and choral music, musical theater, ballet and modern dance. A graduate of Yale University and the University of Pennsylvania. His teachers include Jonathan Berger, George Crumb, Michael Friedman, Jay Reise, Chinary Ung, and Richard Wernick. Chairs the Department of Music Theory, History, and Composition at West Chester University.
Dreams of Childhood
King of Prussia, PA: Theodore Presser, 2001.
Commissioned by the Music Teachers Association of California for their 2001 Annual Convention. A four-movement suite of pieces: I. I Am a Rock Star; II. Swimming beneath the Frozen Surface of the Lake; III. In the Middle of the Night, Something or Someone Is Under the Bed and I Decide to Look; IV. The Carousel Horses Take Off. Evocative and effective writing. Explores a variety of sounds including rock and minimalistic styles. Approximate performance duration: ten minutes.
Level: I
Makarov, E.
Who Is Faster?
In Brother and Sister.
Bustling, happy little teaching piece.
Level: UE
Maklakov, V.
Medved’ na progulke (The Bear Is Out for a Walk)
In Agafonnikov, ed., Sbornik fortepiannikh.
Level: UE–LI
Maler, Wilhelm (pseud. of Christoph Tucher) (1902–1976), Germany
German teacher, author of harmony text. His compositions include chamber music, orchestral works, dances, and piano pieces in neo-Hindemithian idiom.
Heidelberg: Süddeutscher Musikverlag (Willy Müller), 1946.
Malherbe, Charles Theodore (1853–1911), France
French musicologist and composer. Studied law and was later a student of A. L. Danhauser and Massenet.
Duo Concertant
Paris: A. Durand & Fils, 1897.
Level: LA
Malipiero, Clan Francesco (1882–1973), Italy
Italian composer of operas, symphonies, chamber music, songs, and piano music. His early style was influenced by the modes, but his later style became more dissonant.
Impressioni dal vero, IIa parte (Colloquio di Campana; I cipressi iI vento; Baldoria campestre)
London: Chester, 1924.
Pause del silencio
Bologna: Bongiovanni, n.d.
Mamlok, Ursula Lewis (Lewis-Mamlok, Ursula) (b. 1928), Germany
German American pianist, composer, and teacher.
Bells
Bryn Mawr, PA: Presser, 1956.
Mana-Zucca (pseud. of Augusta Zuckerman) (1885–1981), United States
American pianist, singer, and composer of songs and piano pieces in popular style.
7 Four Hand Fancies (Fun; Bees; Petals; Breezes; Bubbles; Sunshine; Play), Op. 285
Bryn Mawr, PA: Presser, 1973.
Short set of bright instructional pieces. The music is well laid out and predictable.
Level: UE–LI
Joking
New York: Schirmer, 1960.
Instructional piece.
Level: LE
Silver Stars, Op. 264/1
Boston: McLaughlin & Reilly, 1964.
Instructional piece.
Level: E
Three Little Ducks
New York: Schirmer, 1960.
Instructional piece.
Level: LE
Sleigh Bells
Melville, NY: Belwin, n.d.
Simple single-line melody in primo part with chordal accompaniment in secondo, the latter provided by David Carr Glover.
Level: UE–LI
Manenti, Luigi, Italy
Italian organist and teacher. He has written stage works, orchestral and chamber music, organ pieces, and numerous piano compositions.
Primi colloqui (Galante; Patetico; Scherzoso) (1958)
Milan: Curci, 1959.
Amiable suite in light, graceful, flowing style.
Level: UE–LI
Manevich, Alexander (1908–1976), Russia
Russian composer. Graduate of the Moscow Conservatory in 1943.
Pokhodnaia pesnia kitaiskikh soldat (Marching Song of the Chinese Soldiers)
In Agafonnikov, ed., Sbornik fortepiannikh.
Level: UE–LI
Mankookian, Jeff (b. 1953), United States
American pianist, composer, and conductor.
Concerto for Piano Duet and String Orchestra
Windsor Editions, 2014.
Three-movement work: I. Allegramente; II. Andantino; III. Precipitato. Approximate performance duration: twenty minutes.
Level: A
Images of Armenia
Windsor Editions, 2012.
A five-movement work: I. Adagio malinconico; II. Moderato con anima; III. Lento semplice; IV. Andantino tranquillo; V. Allegretto gioioso.
Level: UI–LA
Scenes of the Seasons
Windsor Editions, 1996.
Twelve piano duets in four parts for each season: I. Winter Solstice: The First Snow—Moon over the Frozen Lake—Sleigh Ride; II. Spring Equinox: March Sun—April Rain—May Fest; III. Summer Solstice: Rustic Dance—A Summer’s Night—Celebration; IV. Autumn Equinox: Colored Leaves—Hymn of the Forebearers—Alleluia Toccata.
Level: I–UI
Marez Oyens, Tera de (1932–1996), Netherlands
Dutch pianist and composer. Studied at the Conservatorium van Amsterdam.
Ballade grotesque, for chorus and piano four hands
Amsterdam: Donemus, ca. 1973.
Margola, Franco (1908–1992), Italy
Italian composer; has written orchestral and piano music in lyrical style.
Three Pieces
Bologna: Bongiovanni, n.d.
Marinuzzi, Gino Jr. (1920–1996), Italy
Italian composer and conductor; has written piano pieces, orchestral and chamber music, and film scores.
Divertimento su un terra popolare Fra Martino campanaro
Milan: Carisch, n.d.
Marmontel, Antonin (1850–1907), France
French composer. Winner of the Prix de Rome in 1873.
Badinage
Paris: Armand Colin, 1893.
Level: UI–LA
Scherzo
Paris: Armand Colin, 1893.
A fast scherzo in C major, marked “Tempi di Scherzo. Allegro vivace.”
Level: I
Marschner, Heinrich (1795–1861), Germany
German composer of Romantic operas, songs, choruses, orchestral works, and piano pieces. His four-hand works are set in early Romantic style strongly influenced by Weber; although well written, they tend to be perfunctory.
Divertissement, Op. 17.
Leipzig: Hofmeister, 1822.
Rondo scherzando (C), Op. 81
Leipzig: Schuberth & Niemeyer, 1840; New Edition, 1881; Litolff, 1892.
Well-balanced work in early Romantic style.
Level: I
Tre scherzi (A♭, g, C), Op. 28
Leipzig: Probst, ca. 1823.
Sonatine facile et agreable, Op. 91
Geneva: Adolphe Nagel, 1836.
A three-movement sonatina: I. Sonatine; II. Romance; III. Tarantelle.
Level: I
Marsh, John (1752–1828), England
English composer. Composed as many as thirty-nine symphonies and over 350 works in total.
Two New Fugues (C)
Publisher missing, ca. 1780; New Edition, Magdeburg: Heinrichshofen, 1944.
Martin, Frank (1890–1974), Switzerland
Swiss composer and pianist. Studied mathematics and physics at the University of Geneva while simultaneously studying piano and composition with Joseph Lauber. Later, he worked extensively with Emile Jacques-Dalcroze. Throughout his career, he taught improvisation and theory of rhythm at the Institut Jacques-Dalcroze, chamber music at the Geneva Conservatory of Music, and composition at the Staatliche Hochschule fur Musik in Cologne. Composed in a variety of mediums including oratorios, symphonies, chamber music, and solo literature. His early colorful and intense Impressionistic style was superseded by a highly individual use of serial techniques.
Au Clair de la Lune
Vienna: Universal Edition, 1988.
A pleasant arrangement of this folk melody composed for the composer’s wife and his six-year-old daughter.
Level: I/E
Pavane couleur de temps
Geneva: Henn, 1920.
Adagietto movement transcribed by the composer from his own string quintet. Thin textured, tending toward linear writing; traditional harmonic idiom.
Level: I
Martin, Georges (1867–1943), France
French composer and conductor.
Amazones au bois, fantaisie
Paris: Hamelle, n.d.
Martin, Hazel
Peppermint Polka
Melville, NY: Belwin, n.d.
Level: UE–LI
Pineapple Polka
New York: Mills, 1955.
Teaching piece emphasizing double thirds. Vigorous, rhythmical, bright. Principal interest is in primo.
Level: LI
Tango moderne
New York: Mills, 1961.
Teaching piece with Spanish flavor and rhythms.
Level: LI
Tune Time for Two, eight modern duets
New York: Mills, 1962.
Set of instructional pieces featuring jazz and boogie-woogie rhythms.
Level: I
Martin, Jean, United States
Friends Forever
San Diego: Neil A. Kjos Music, 1993.
Four pieces: The Sea; Remembrance; Glad Rag; and Wishing Waltz. Refreshingly lyrical and pianistic.
Level: LI–I
Martin, Robert Charles
L’A. B. C. du quatre mains, Op. 123
Paris: Durand, n.d.
Suite of pleasant instructional pieces.
Level: I/UE
Entre grands et petits (Petite fleur de ces champs; Les cigales; Cornemuse; Menuet alsacien; Pastourelle; La capricieuse; Chasse), Op. 61
Paris: Durand, 1914.
Teaching pieces.
Level: UE
Marx, Karl (1897–1985), Germany
German composer of orchestral and chamber works, concertos, and music for young people.
Sonatine (E), Op. 48/5
Kassel: Bärenreiter, 1952.
Compact, airy work in refined neo-Classical tonal idiom with free dissonance. The opening movement is a bright, dance-like Allegro. The broad, flowing Andante poco sostenuto features a repeated ostinato figure accompanied by shifting harmonies. Using an inversion of the first movement as its principal subject, the Allegro vivace e giocoso finale ends the work in the spirited way it began. The texture is spare and linear, with considerable contrapuntal interest; quartal harmony is frequently used.
Level: I
Mašek (Maschek), Vincenc (1755–1831), Czechoslovakia
Czech composer, studied with Dušek. He wrote church music, operas, cantatas, orchestral works, chamber music, and piano pieces in Classical style.
Concertino for four hands, two clarinets, two flutes, two horns, two bassoons, and strings
Leipzig: Breitkopf & Härtel, ca. 1802.
Sonate
Leipzig: Breitkopf & Härtel, 1802.
Walzes, quadrilles et anglaises
Paris: Cochet, n.d.
Masetti, Enzo (1893–1961), Italy
Italian composer of film music, instrumental works, and stage music.
Una copanna, un bimbo, una stella
Bologna: Bongiovanni, 1931.
Short, atmospheric Christmas pieces emphasizing bell sonorities.
Level: UE
In Album di Musica Moderna, vol. 1.
Mason, Daniel Gregory (1873–1953), United States
Member of distinguished American musical family; educator and composer. He wrote in conservative style influenced by German Romanticism.
Birthday Waltzes, Op. 2
Boston: E. C. Schirmer, 1932.
Pleasant series of carefully crafted pieces.
Level: I
Mason, William (1829–1908), United States
Composer, pianist, and teacher. Son of Lowell Mason and uncle of Daniel Gregory. He studied with Moscheles and Liszt and wrote in refined nineteenth-century style.
Badinage, amusement, Op. 27 (1869)
Boston: Koppitz, Prüfer & Co., 1870.
Lively, appealing, well constructed, scherzo-like.
Level: LI
Teacher and Pupil, eight duos for instruction and recreation (Malbrook; Charming Little Valley; Mary Had a Little Lamb; Life Let Us Cherish; Baby, Bye, Here Is a Fly; The Honest Old Miller; Buy a Broom; Waltz from Der Freischütz), Op. 26
New York: Pond & Co. (1869)-1897.
Malbrook and The Honest Old Miller
In Anne McClenny and Anne and Maurice Hinson, eds., Duets of Early American Music. David Carr Glover Library. Melville, NY: Belwin-Mills, 1971.
Level: LI–I/UE
Massenet, Jules (1842–1912), France
French composer; best known for his operas. He also wrote instrumental music in an elegant, melodious salon idiom.
Année passée, suite de douze pièces (lere. Eyre, Après-midi d’été: À l’ombre; Dans les blés; Grand soleil. 2ème livre, Jours d’automne: Feuilles jaunies; Deux novembre; Joyeuse chasse. 3ème livre, Soirs d’hiver: Noël; En songeant; On valsait. 4ème livre, Matins de printemps: Les premiers nids; Lilas; Paques)
Paris: Heugel, 1897.
Level: I–UI
Première suite, trois pièces (F), Op. 11
Paris: Durand, 1882.
Scènes de bal (Entrée des masques; Première danse; Promenade au lair de lune; Deuxième danse; Causerie sentimentale; Troisième danse; Marche-finale), Op. 17
Paris: Heugel, 1865.
Level: I–UI
Masséus, Jan (1913–1999), Netherlands
Dutch composer; student of Badings and Pijper. He wrote in mildly contemporary style; also uses electronic techniques.
Confetti, modern dam
Hilversum: Harmonia, 1969.
Gezelle liederen, for soprano, alto, piano four hands, and percussion (1955)
Publisher and date missing.
Helicon Suite
Amsterdam: Donemus, 1952.
Zoological Impressions (The Aquarium; Sea Anemones; The Camel; The Chameleon; The Snake; Monkeys at Play), Op. 24
Amsterdam: Donemus, 1954.
Short descriptive tone pictures in French Impressionistic harmonic idiom, capably set for the medium.
Level: I–UI
Masson, Carol Foster, United States
Little Caprice
Florence, KY: Willis Music, 1977.
Light and cheerful. Articulations are explicitly marked.
Level: E
Swing-a-Ling
Florence, KY: Willis Music, 1997.
A jazzy study in swung rhythms for early level pianists. Both at the beginning and end, the primo slaps knees on beats one and three and snaps fingers or claps hands on beats two and four. Both performers end by softly saying, “Yeah.”
Level: UE
Massoud, Kathleen, United States
Pianist, composer, and teacher. Trained at the Hartt School of Music and the Longy School of Music.
Chickadee Waltz
Van Nuys, CA: Alfred Music, 2000; published in Contest Winners for Two, Book 1.
Dovetailing melodies are traded between parts. Tuneful.
Level: E
Mater, Eduardo (b. 1942)
Improvisaciones No. 1, for string quartet and piano four hands (1964)
Publisher and date missing.
Mathias, Georges (1826–1910), France
French composer, pianist, and teacher. Maintained an active career as a concert pianist. Studied at the Paris Conservatoire. Studied privately composition with Friedrich Kalkbrenner and piano with Frederic Chopin.
3 Esquisses Concertantes, Op. 42
Paris: Heugel & Cie., 1867.
Level: A
3 Marches caracteristiques, Op. 37
Paris: Heugel & Cie., 1866.
Level: LA
Les parisiennes, Op. 41
Paris: Heugel & Cie., 1867.
A grand waltz in C major. In the salon style.
Level UI
Matz, Carol, United States
Composer, arranger, author, and editor of educational music. Pianist and teacher. Studied at the University of Miami with an emphasis on studio and jazz writing.
Bella Tarantella
Van Nuys, CA: Alfred Music, 2013.
A lively dance in A minor featuring staccato chords and a whirling melody.
Level: LI
Copycat
Van Nuys, CA: Alfred Music, 2004.
Playful imitation between performers. Clapping marked in score. Performers must count carefully.
Level: UE
Dragon-Fire Fantasy
Van Nuys, CA: Alfred Music, 2012.
A melodramatic, fast-paced duet in D minor. Rhythmically driven. Both parts present the melody at some point in the piece.
Level: LI
Maul, Octavio
Cirandinha
Rio de Janeiro: Arthur Napoleão, 1957.
Instructional piece.
Level: E
Maxfield, Richard Vance (1927–1969), United States
Composer and teacher. He wrote an opera, a ballet, and instrumental works and used serial and electronic techniques.
Six Little Pieces, Op. 17 (1952)
Facsimile of manuscript.
Short pieces in serial style, contrasting in character and mood.
Level: A
Maxson, Frederick (1862–1934), United States
American organist; composer of anthems, songs, organ works, and piano pieces.
Boston: A. P. Schmidt, 1890.
Instructional pieces.
Level: E-5/UE–LI
May, Maureen, United States
Pianist, teacher, and composer. Adjunct Instructor of Piano at Vanderbilt University.
The Bear and the Butterfly
Fort Lauderdale, FL: FJH Music, 2005.
The roles of the bear and the butterfly are played by the secondo and primo, respectively. Performers will enjoy the interaction of the two animals throughout the course of the duet. This is a tuneful and charming work for the lower intermediate pianist.
Level: LI
Mayer, Carl (1799–1862), Germany
German pianist and prolific composer of educational piano pieces; student of John Field.
Arabesques, 12 morceaux élégants, Op. 207
Salon pieces.
Level: I
Notturno, No. 3
Paris: Richault, n.d.
Salon piece.
Level: I
Maykapar, Samuel (1867–1938), Russia
Russian pianist, pedagogue, and author of articles on music. He was important in the development of Soviet children’s piano literature.
First Steps; sixteen easy duets, Op. 29
New York: Leeds, 1948.
Appealing, melodious pieces carefully constructed in a variety of meters, with rhythmic interest and harmonic vitality. Especially useful and effective for the young pianist.
Level: UE–LI/E
Mayseder, Joseph (1789–1863), Austria
Viennese violinist, composer, and teacher. He wrote violin pieces, chamber music, religious works, and piano compositions in Romantic style.
Krönungs-Rondo, Op. 49
Vienna: Haslinger, ca. 1831.
Mayuzumi, Toshiro (1929–1997), Japan
Avant-garde Japanese composer. He has written electronic, orchestral, chamber, and piano music.
Sphenogrammes, for flute, alto sax, marimba, violin, cello, voice, and piano four hands (1950)
New York: Peters, n.d.
Level: A
Mazzinghi, Joseph (1765–1844), England
English teacher, organist, and piano pedagogue; pupil of J. C. Bach. He composed operas, glees, vocal works, and over seventy piano sonatas.
Air tyrolien varié über Wenn ich in der Früh aufsteh’
Berlin: Schlesinger, n.d.
Three Duets, Op. 35
London: Goulding, Phipps & D’Almaine, n.d.
Two Sonatas, Op. 27
London: G. Goulding, ca. 1798.
Two Sonatas, Op. 57
Publisher and date missing.
McBride, Robert (1911–2007), United States
Composer of theater works, music for dance, chamber and orchestral compositions, and piano pieces. His idiom is tonal, strongly influenced by jazz.
Easy Five
New York: American Composers Edition, n.d.
Student/teacher.
Level: E
Folk Tunes
New York: American Composers Edition, n.d.
Level: UE–LI
Vocalise for Chorus and Piano Four Hands (1959)
New York: American Composers Edition, n.d.
McGrath, Joseph G.
On the See-Saw
Philadelphia: Presser, 1920.
Instructional piece.
Level: UE–LI
Pieces of Eight, Op. 86
Boston: McLaughlin & Reilly, 1964.
Suite of melodious teaching pieces.
Level: UE
McGraw, Cameron (1919–1995), United States
American teacher, composer, and piano-duettist. He wrote choral and instrumental music as well as piano pieces for young people in traditional style.
Two Pieces (Pastorale; Country Dance)
Boston: Boston Music, 1964.
Level: UE
Circus Day, Op. 67, No. 5
Florence, KY: Willis Music, 1925.
Level: LI
The Meadow Lark, Op. 67, No. 2
Florence, KY: Willis Music, 1925.
Instructional piece.
Level: LI
A Sail Boat
Boston: Boston Music, n.d.
Instructional piece.
Level: E
Sunshine and Laughter, six four-hand recreations (Good Morning; Marching On; Galloping Along; Skipping Together; Summer Holidays; Merry Little Dancers), Op. 66
Cincinnati: Willis Music, 1925.
Attractive teaching pieces.
Level: UE–LI
Whistling Jim, Op. 67, No. 4
Florence, KY: Willis Music, 1925.
Level: LI
McLean, Edwin, United States
Pianist and composer. Gradute of the Yale School of Music where he studied with Krzysztof Pederecki and Jacob Druckman. Also holds a bachelor’s degree in music theory and bachelor’s degree in piano performance from the University of Colorado.
Wild Dance
Fort Lauderdale, FL: FJH Music, 2008; published in Duet Treasures, Volume 1 and In Recital throughout the Year, Volume 2, Book 2.
A thrilling, albeit brief dance. The melody and accompaniment is passed between parts.
Level: E
McSween, Frances H.
My Shadow
Melville, NY: Pro-Art, 1961.
Instructional piece featuring imitation.
Level: UE–LI
Meale, Richard (1932–2009), Australia
Australian pianist, conductor, and teacher. He has written works for orchestra, chamber groups, chorus, and piano in an advanced style incorporating serial, aleatory, and other contemporary techniques.
Sinfonia for Piano Four Hands and Strings (1959)
Publisher and date missing.
Level: A
Mederitsch, Johann (Georg Anton) Gallus (1752–1835), Austria
Viennese composer of light operas and piano pieces in Classical style.
Sonate facile
Vienna: Träg, 1813.
Mehegan, John (1916–1984), United States
Composer, author, teacher, and jazz specialist.
Jazz Caper
New York: Sam Fox, 1965.
Vienna Woodshed
New York: Sam Fox, 1965.
These works of Mehegan are intellectualized jazz pieces featuring characteristic figures, rhythms, ostinati, and harmonies. They are cheerful and pleasant. The primo plays the melody in octaves while the secondo part accompanies with chordal figures.
Level: I
Melartin, Erkki [Erik Gustaf] (1875–1937), Finland
Finnish pianist and composer of orchestral and chamber music, an opera, and piano pieces.
Marionettes, suite (Entrée des marionettes; Pas de deux; Sérénade; Capriccio; Duo amoureux; Cortège et sorties de marionettes), Op. 1
Helsingfors (Helsinki): K. F. Wasenius, ca. 1900.
Salon pieces.
Level: I–UI
Mendelssohn, Fanny Hensel (1805–1847), Germany
German pianist and composer. Composed over 400 works including lieder, a piano trio, and several collections of piano solos.
Drei Stucke zu vier Handen
Kassel: Furore Edition; Edition Kunzelmann; Patay, Irene, ed., 1990, 1996.
I. Allegretto; II. Allegro Molto; III. Allegretto grazioso. Lyrical and refined compositional style. A clear romantic aesthetic and sensibility. The Furore Edition presents the secondo on the left and primo on the right while the Kunzelmann is in score layout with the parts stacked.
Level: A
Mendelssohn, Felix (1809–1847), Germany
Since Mendelssohn and his sister, Fanny, both excellent pianists, were frequent performers of duets at family concerts throughout their younger days, it seems surprising that the composer’s output of duet music was so meager. Mendelssohn’s original contributions to the duet medium include Allegro brillant, Op. 92, Andante and variations, Op. 83, and the unpublished Fantasia. In addition, the composer made a small number of four-hand arrangements of his own orchestral works, listed below. Both Op. 92 and 83 are available in International, Kalmus, Peters, and Schirmer editions.
Allegro brillant (E), Op. 92 (1841)
Somewhat shorter than Op. 83, this concise work is a bravura piece, one of the real virtuoso compositions of the four-hand repertoire. Technically and physically difficult, with rapid scale and arpeggio passages, brilliant antiphonal sections, and a dazzling impetuous coda. Requires control of dynamics, delicacy of touch, and sweeping velocity for successful execution.
Level: A
Andante and Variations (B♭), Op. 83 (1841)
Published after the composer’s death and erroneously listed as Op. 83a, this work also appeared in a piano solo version, arranged by Mendelssohn and published as Op. 83. It is a large-scale composition, fastidiously scored with Classical restraint and overflowing with the composer’s characteristic melodic invention. Impeccably set for the medium, each variation exploits a fresh musical idea. The entire work is technically demanding, especially the brilliant finale.
Level: A
Fantasia (d) (1824)
Manuscript.
This fresh, youthful work, written when the composer was fifteen, tends to be diffuse and overlong, but it contains many passages of great beauty. Its harmonic and melodic style, sometimes naive and undeveloped but always of a strongly defined character, bears the imprint of the more mature Mendelssohn.
Level: UI–LA
Seiben Lieder ohne Worte, Op. 62, Nos. 1–6, Op. 67, No. 1
Langley, Robin, ed. Kassel: Barenreiter, 1982.
This edition includes seven of Medelssohn’s arrangements of his “Songs without Words” for one piano, four hands. Primo often plays a single line, one-handed melody.
Level: I–LA
A Midsummer Night’s Dream, incidental music, arr. by the composer
Peters, ca. 1880.
The four-hand arrangement of the overture of this early orchestral work was performed by Felix and Fanny in November 1826, but it is not clear whether the duet setting of the remaining sections of the incidental music were also completed at the same time. At any rate, the full-length score was eventually published by Peters, only to be superseded ca. 1895 by a new edition transcribed by Richard Kleinmichel. A comparison of the two versions reveals the brilliance of Mendelssohn’s creative genius in transforming his own compositions from orchestral to keyboard music, to the detriment of Kleinmichel’s pedestrian transcriptions of the same work. Mendelssohn’s arrangements are more pianistic and capture the subtle spirit of the original with refinement and poetry.
Level: UI–LA
Manuscript.
This work was cited by Eric Werner in his review of “Das Problem Mendelssohn,” Notes 33 (1976): 281–84, as a four-hand work of “consummate polyphony that has no peer before Reger.” According to Werner, the Overture appears to be a more complex and ambitious arrangement of the composer’s own Symphony No. 12 (g) (Leipzig: Deutsche Verlag fur Musik, 1967, in Leipzig Ausgabe der Werken Felix Mendelssohn Bartholdys, Serie I, Band I).
Overture to the opera Das Heimkehr aus der Fremde (Son and Stranger), Op. 89 (1829)
Ernest Lubin asserted that this early work was originally written as a piano duet, possibly as a preliminary sketch for subsequent orchestration. An arrangement by Richard Kleinmichel appears in an edition of Mendelssohn’s overtures published by Peters, ca. 1895.
See also: Moscheles, Ignaz.
Mereu, Luca (b. 1963), Italy
Italian composer, guitarist, and mandolinist. Received training at Santa Cecilia Conservatory of Rome and Alfredo Casella Conservatory of L’Aguila in guitar and mandolin respectively. Studied composition with Mauro Bortolotti and Michelangelo Lupone.
Tre Pezzi
Ancona: Berben Edizioni Musicali, 2002.
Three short pieces: Folletti; Giocando; Nel Bosco. Rhythmically sophisticated.
Level: UI–LA
Mérigot, F., France
Grande marche
Paris: Durand, n.d.
Level: E
Pour deux tout petits
Paris: Durand, n.d.
Level: E
Merikanto, Oskar (1868–1924), Finland
Finnish organist, pianist, conductor, and musicologist. He wrote operas, organ works, piano music, and songs in Romantic style with Finnish folk song influence.
Valse mélancolique
Helsinki: Frazer, n.d.
Merrill, Mary B.
First Robin
New York: Schroeder & Gunther, 1941.
Level: UE
Mesquita, Carlos de (1864–1953), Brazil
Brazilian pianist, organist, conductor, and teacher. Studied in France.
Gondole-Lied, Op. 63 (Romance Sans Paroles)
Paris: Armand Colin, 1893.
Level: I
Phoebe (Valse Lente), Op. 64
Paris: Armand Colin, 1893.
Intrada and Berceuse. Expressive writing.
Level: UI
Messager, André
See: Fauré, Gabriel, and Messager, André.
Messager, Andre Charles Prosper (1853–1929), France
French composer, organist, pianist, conductor, and administrator. Composed ballets and over thirty operas.
Deuxieme valse
Paris: Pierre Lafitte, 1903.
Level: I
Messemaeckers, Henri (1778–1864), Netherlands
Dutch, Brussels-based composer of operas, chamber music, and piano pieces.
Marche triomphale suivie d’une valse
Publisher and date missing.
Works in light Schubertian style.
Level: LI
Metis, Frank
Pop/Rock Sketches
New York: Piedmont Music, 1972.
Likable, effective pieces in thin-textured, simplified rock style.
Level: LI
Metzner, A.
Loisirs du jeune âge
Paris: Consortium musical, n.d.
Six sonatines caractéristiques (Enfantine [G]; Champêtre [F]; Sérénade [D]; Romantique [A]; Vénitienne [C]; Militaire [B♭])
Paris: Leduc, 1912.
Instructional pieces.
Level: UE–LI
Meunier, Gérard (b. 1928), France
French pianist, composer, and pedagogue. Director of the Aubervillers-La Courneuve Conservatory.
Deux pièces (Pierre et Pierrette; Berceuse pour Jean)
Paris: Consortium musical, n.d.
Level: UE–LI
Meyer, Leopold de (1816–1883), Austria
Austrian pianist and composer. Student of Czerny and Fischhof. Court pianist.
Marche triomphale d’Isly, Op. 30
Correspondence Musicale.
Level: LA
Meyer, Nett (Nett-Meyer)
Bibliothèque rose en musique, recueil (Ronde des petites fines modeles; Complainte des deux nigauds; La promenade de Cadichon; La noce des Montonet)
Paris: Consortium musical, n.d.
Level: LI
Meyer-Helmund, Erik (1861–1932), Russia
Russian-born German singer; composed songs, operas, a ballet, and piano pieces.
Walzer (G), Op. 14
Hamburg: Rahter, ca. 1885; Schirmer, 1905.
Salon piece.
Level: I
Meyer-Olbersleben, Max (1850–1927), Germany
German pianist and conductor, student of Liszt; composed in Romantic style.
Drei Dichtungen (Lyrisch; Episch; Drammatisch), Op. 25
Leipzig: Otto Forberg, 1886.
Salon pieces.
Level: I
Micheuz, Georges
Boléro
Paris: Consortium Musical, n.d.
Level: I
Midgley, Charles W.
Dance in the Minors, suite
Sacramento: Publisher missing, 1964. Reproduction from holograph.
Four instructional pieces.
Level: UI
Mieg, Peter (1906–1990), Switzerland
Swiss pianist, critic; studied with Frank Martin. His decidedly individual musical style tends to be linear and polyphonic, influenced to some extent by Bartók and Stravinsky.
Manuscript.
Duo (1947)
Published by composer.
La passeggiata (1968)
Geneva: Ed. Henn, 1969.
In three movements (fast, slow, fast), tonal. Frequent use of alternating scale; variety of textures: linear and chordal; unusual notation of accidentals. Brilliant presto finale.
Level: UI–A
Mier, Martha (b. 1936), United States
Composer, teacher, clinician, pianist. Prolific composer of educational music for piano. Graduate of Florida State University.
Jazz, Rags & Blues for Two, Duet Book 1
Van Nuys, CA: Alfred Music, 2003.
Six early intermediate duets: Blackberry Rag; Bouncin’ Boogie; Lazy Afternoon in Dallas; San Francisco Blues; Straw Hat Strut; Teasing Rag. Expertly crafted, the Jazz, Rags & Blues for Two series is among the finest and most beloved educational duet literature of its kind. Abounding in energy and flair, these pieces feature syncopated rhythms and a rich and colorful harmonic language.
Level: LI
Jazz, Rags & Blues for Two, Duet Book 2
Van Nuys, CA: Alfred Music, 2003.
Six intermediate duets: Country Ragtime; Fancy Dancin’; Fifth Avenue Blues; Saxophone Blues; Skateboard Boogie; Suwannee River Blues.
Level: I
Jazz, Rags & Blues for Two, Duet Book 3
Van Nuys, CA: Alfred Music, 2003.
Six intermediate to late intermediate duets: Downtown Blues; Easy Street Blues; I’ll Wait for You; Louisiana Strut; Pepperoni Rag; Renaissance Rag.
Level I–UI
Jazz, Rags & Blues for Two, Duet Book 4
Van Nuys, CA: Alfred Music, 2003.
Four late intermediate to early advanced duets: Jazz Alive; Jazz Walk; Nice ’n Easy Blues; Ramblin’ Rag.
Level UI–LA
Otter Creek Stomp
Van Nuys, CA: Alfred Music, 2004.
In the ragtime style. Features syncopated rhythms. In F major with a brief contrasting section in B♭ major. Foot stomps enhance the entertainment.
Level: I
Santa Fe Sunset
Van Nuys, CA: Alfred Music, 1998.
To be played slowly and with majesty. Meditative and contemplative. In C major.
Level: UE–LI
Terrific Tunes for Two, Book 1
Van Nuys, CA: Alfred Music, 1997.
Seven elementary to late elementary duets: Dandelion Waltz; Evening Prayer; First Waltz; Moonlight Stillness; The Old Rocking Chair; Red Rooster Strut; Shoe Shinin’ Blues. High-spirited and tuneful duets for two equal performers.
Level: E–UE
Terrific Tunes for Two, Book 2
Van Nuys, CA: Alfred Music, 1997.
Six late elementary to early intermediate duets: Billy Goat Rag; Celebration March; Four O’ Clock Tea; Piano Reveille; The Royal Procession; Swingin’ Smoke Signals.
Level: UE–LI
Treasures for Two, Book 1
Van Nuys, CA: Alfred Music, 1994.
Six early intermediate to intermediate duets: The Ancient Lantern; Argentina Tango; Killarney Colleen; Main Street Shuffle; Sand Dunes; Wade in the Water (arr.). Explores a broad range of styles including the tango, an Irish dance, and a jazzy shuffle. Both parts are of the same level of difficulty. Each piece is pianistically conceived and musically gratifying. Excellent, inspiring introduction to the duet medium.
Level: LI–I
Treasures for Two, Book 2
Alfred Music, 1994.
Six intermediate to late intermediate duets: Biloxi Blues; Blueberry Rag; Happy-Go-Lucky; Moonbeams; Spanish Gypsies; Western Plains. Presents a variety of styles including blues, ragtime, and a Spanish dance. Both parts are of the same level of difficulty.
Level: I–UI
Upside-Down Tango
Van Nuys, CA: Alfred Music, 2009.
Aurally and visually entertaining. Performers trade places midway through the work. Explores both D minor and D major.
Level: LI–I
Mier, Shirley, United States
Composer, music director, and educator. Holds degrees in music and composition from Grinnell College and the University of Minnesota. Faculty member at Century College (Minnesota).
Western Trail
Van Nuys, CA: Alfred Music, 2004; also published in Contest Winners for Two, Book 3.
A toe-tapping hoedown.
Level: LI
Migot, Georges (1891–1976), France
French writer on music, talented painter, and composer. He wrote orchestral and chamber music, stage works, and piano pieces.
Danse de Bérénice
Paris: Leduc, 1953.
Miles, — (early nineteenth century)
Sonata
London: Lavenu, n.d.
Miles, Walter E. (1885–1961), United States
President of the Walter E. Miles Coal Company.
Sparklets
New York: Sam Fox, n.d.
The Water Bug
New York: Sam Fox, n.d.
Milford, Robin (1903–1959), England
English composer, pupil of Vaughan Williiams and Holst; works include a violin concerto, choral and chamber music, songs, and piano pieces.
Lullaby
London: Oxford University Press, 1941.
Slow, languid pieces subtitled “for Hubert Foss, in memory of a bicycle ride that never took place”; parts of the song “A Bicycle Built for Two” are dextrously incorporated into the piece with playful effect.
Level: UE–LI
Two Easy Duets (Mr. Ben Jonson’s Pleasure; Mr. John Peel Passes By)
London: Oxford University Press, 1930.
Level: UE–LI
Milhaud, Darius (1892–1974), France
Prolific French composer of orchestral and chamber music as well as vocal, organ, and piano pieces. He wrote in an individual style often lyrical, often banal, incorporating a variety of techniques and influences: polytonality, jazz, folk song, Jewish chant, and polyphony.
Le Boeuf sur le toit (The Ox on the Roof: The Nothing Doing Bar), Op. 58
Mineola, NY: Dover Publications, 2002.
Premiered in 1920, it is a surrealist ballet (pantomime farce) based on a score that is heavily influenced by Brazilian popular music, including tangos, sambas, and maxixes (Brazilian tangos). Based on a script entitled “The Nothing Doing Bar” by Jean Cocteau, it was originally scored for chamber orchestra but published for one piano four hands the same year as “Cinema-Symphony on South American Tunes.” A vibrant and abundantly energetic score.
Level: A
Enfantines (Fumée; Fête de Bordeaux; Fête de Montmartre)
Paris: Eschig, 1928.
Charming, short, bouncy pieces transcribed and recast by the composer from songs set to words by Jean Cocteau.
Level: LI–I/UE
Militello, Sergio (b. 1968), Italy
Italian composer, organist, pianist, harpsichordist, and musicologist.
Danza
Manuscript, Sergio Militello, 2000.
Rhythmically conceived and driven.
Level: LA
Miller, Carolyn, United States
Teacher, composer, performer, clinician, and adjudicator. Graduate of the College Conservatory of Music at the University of Cincinnati and Xavier University.
A Colossal Day
Fort Lauderdale, FL: FJH Music, 2006.
A lively duet featuring a lighthearted melody and much rhythmic vitality.
Level: I
Beyond the Horizon
Florence, KY: Willis Music, 1997.
A soaring melody in G major gives way to a bold, rhythmic theme in E minor. The primo plays a two-handed arpeggiated figure a sixth apart.
Level: I
Caribbean Holiday
Florence, KY: Willis Music, 1996.
Features a rhythmic tune with an arpeggiated four-note chord accompaniment pattern in the primo.
Level: LI
Cool Blue
Fort Lauderdale, FL: FJH Music, 2006.
A colorful harmonic language makes this duet satisfying for both performance and audience alike. The primo primarily carries the melody while the secondo provides a rhythmic accompaniment.
Level: I
Country Fair
Florence, KY: Willis Music, 1997.
A boisterous romp with a western flair that features quick sixteenth note scalar passagework and a lively rhythmic accompaniment.
Level: EI
Festival
Florence, KY: Willis Music, 2004.
A playful, highly patterned duet that features a five-finger melody and boom-chick accompaniment that alternates between parts.
Level: LI
Festive Celebration
Florence, KY: Willis Music, 2009.
An animated duet that features syncopated rhythms and seventh chords in the secondo. The primo presents some quick octave changes and leaps.
Level: LI
Five Easy Duets
Florence, KY: Willis Music, 2014.
A collection of five equal-part duets: Clap Your Hands; Hopscotch; Autumn Waltz; The Penguins; The Traveling Caravan.
Level: LE–E
Flying
Florence, KY: Willis Music, 2002.
A lyrical dovetailing melody in time with a waltz-style accompaniment.
Level: E
Funtasia in F Minor
Fort Lauderdale, FL: FJH Music, 2006.
Brimming with rhythmic energy. The primo part features sixteenth note passages that lie largely in a five-finger pattern. Patterns and repetition make this duet an accessible yet exciting choice for intermediate students.
Level: I
Hoe-Down
Florence, KY: Willis Music, 2002.
An energetic romp. Patterned and accessible.
Level: LI
In the Groove
Florence, KY: Willis Music, 1997.
A dotted-eighth sixteenth melodic idea drives this piece with a simple half-note accompaniment. Melody and accompaniment shift between parts.
Level: E
On the Trail
Florence, KY: Willis Music, 1998; also appears in Favorite Festival Ensembles.
A cheerful five-finger pattern duet in C major. Ends with a hand-cross stinger.
Level: E
Petite Spanish Dance
Florence, KY: Willis Music, 1994; also appears in Favorite Festival Ensembles, Book 2.
A vivacious tango. Melody is passed between parts.
Level: LI
Russian Bear Dance
Florence, KY: Willis Music, 2001.
An exhilarating, rhythmic dance in E minor with a brief B section in E major. Features fast, parallel sixteenth note passagework that lies comfortably in the hands. A study in articulation. The melody and accompaniment switch between parts. Sounds more difficult than it is to execute. Sure to be a student and audience favorite.
Level: LI
Tango in D Minor
Florence, KY: Willis Music, 2011.
A saucy tango in ABA form.
Level: LI
The Chase
Florence, KY: Willis Music, 1993; also appears in Favorite Festival Ensembles, Book 2.
Co-composed with David Engle. Tuneful. Primo must negotiate many shifts in register.
Level: UE
The Journey
Florence, KY: Willis Music, 2002.
A high-spirited work in A minor that features quick sixteenth-note parallel passagework.
Level: I
The Race
Florence, KY: Willis Music, 2002.
In A minor, this thrilling duet features fast, spinning three-note sixteenth figures, chromatic scales, and four-note arpeggios against a motoric accompaniment pattern. Pattern-oriented and easier to play than it sounds.
Level: I
Millico, Gioseffo (1739–1802)
Duett; March
Publisher and date missing.
Milligan, Ralph
Together We Two
Boston: Boston Music, 1969.
Seven folk song arrangements in traditional style.
Level: UE–LI
Millot, —
Quatre sonatas et deux duos à quatre mains pour le clavecin ou le forte piano, Op. 1
Paris: Leduc, ca. 1784.
Milne, Elissa (b. 1967), Australia/New Zealand
Composer, pianist, teacher, and writer. Studied composition at the University of Auckland, semiotics and education at the University of Sydney, and arts administration at the University of Technology-Sydney.
London: Faber Music, 2004; published in Very Easy Little Peppers.
A leisurely, lyrical five-finger primo melody that features a dotted-quarter, eighth rhythm.
Level: LI/E
Mulga Bill
London: Faber Music, 2006; published in Pepperbox Jazz, Book 1.
Abounding in rhythmic vitality, this delightful duet is in 
time with periodic shifts to 
. Explicity marked articulation intensifies the rhythmic energy. According to the composer, the title is based on a character from a Banjo Peterson poem. Milne writes, “Riding home on his new bicycle, [Mulga Bill] comes to grief descending a steep slope to a shallow creek.”
Level: LI
Ninety-nine
London: Faber Music, 2006; published in Milne, Elissa, Pepperbox Jazz, Book 2. Van Nuys, CA: Alfred Music, 2006.
Expertly crafted, this dazzling duet is marked by a syncopated groove and rhythmic flair.
Level: LA
Wagon Wheel
Australian Music Examination Board; From the piano method, P Plate Piano, Book 3.
Modona, —
Waltz on Two Notes
Florence: Forlivesi, n.d.
Mokrejs, John (1875–1968), United States
Composer of Czech descent. He wrote an opera, chamber music, and a quantity of teaching pieces for piano.
Bohemian Folk Songs, Op. 12
Chicago: Clayton F. Summy, 1908.
Sprightly settings of Czech and Slovak folk songs.
Level: I
Möller, Johann Gottfried (1774–1883), Germany
Sonata, Op. 7
Gotha: Angermeyer, ca. 1797.
Monnikendam, Marius (1896–1977), Netherlands
Dutch composer, student of d’Indy. His works are influenced by Orff and Honegger and are in a contemporary idiom featuring polytonality and fragmentary thematic material.
Sonate biblique
Amsterdam: Donemus, 1967.
Pezzi liriche, 12 espressioni (Corteo umoristico; Serenata di Primavera; Voce del ruscello; Festina grottesco; Dolce lagune; Sorrisi; Per i viali; La preghiera; Salmerie; Parata di Lilliput; Sensazioni africane; La danza)
Milan: Ricordi, 1937.
Level: I
Scenes from Childhood
Milan: Ricordi, n.d. (Belwin).
Moon, Andrea, United States
Pianist, vocalist, educator, and composer. Degrees from Temple University and Oakland University in Rochester, Michigan.
Side-by-Side Blues
Fort Lauderdale, FL: FJH Music, 1999.
A boogie-styled blues tune featuring syncopated rhythms.
Level: I
Morganti, Giovanni, Italy
Suite
Milan: Ricordi, 1884.
Mortari, Virgillio (1902–1993), Italy
Italian pianist and composer, studied with Pizzetti. His works demonstrate a clarity of style, touches of humor, and frequent influences of folk melody.
Le favole e le danze dei vecchi tempi; 6 pezzi facilissimi da antiche musiche per it liuto (Paesana; Canzone triste; Balletto; La caccia; Villanella; Cortesia)
Milan: Carisch, n.d.
Level: E–UE
Marcetta
In Album di Musica Moderna, vol. 1.
Mortelmans, Lodewik (1868–1952), Belgium
Belgian composer, famous for his Flemish songs. He also wrote orchestral and choral works, children’s cantatas, and piano pieces.
In de kindertuin; bloemkransendans (Jardin d’enfants)
Antwerp: Metropolis, 1954.
Short teaching piece in traditional idiom.
Level: LI
Moscheles, Ignaz (1794–1870), Bohemia
The Bohemian-born Moscheles, friend of Beethoven and lifelong promoter of his music, was himself a talented and skilled composer. But except for a series of technical exercises for the piano, his music is rarely heard today. Although it is carefully written and often engaging, it lacks the kind of musical substance that ensures survival. Moscheles’s works for four hands are skillfully written. They tend to be hollow and banal, but they are not without a certain amiable charm and occasional dashes of musical interest.
La bélle union, rondo brillant (E♭), Op. 76
Leipzig: Kistner, ca. 1828.
Three Characteristic Duets (The Little Prattler; Evening Thoughts; The Boy’s Travels on His Rocking Horse), Op. 142
London: Novello, n.d.; Hamburg: Cranz, 1868; Leipzig: Kistner, ca. 1866.
Level: UE–LI
Un conte d’enfant
Paris: Armand Colin, 1893.
Marked “Allegro grazioso” in E♭ major.
Level: I
Les contrastes, grand duo, Op. 115
Leipzig: Kistner, ca. 1847.
Transcribed by the composer from the original version for two pianos eight hands.
Domestic Life (Familienleben), twelve progressive characteristic duets, dedicated to Moscheles’s grandchildren (Brother and Sister; Affection; Altercation; Grandfather’s Dance; Elegy; A Fugal Waltz; The Harper’s Ballad; Grandmother at Her Spinning Wheel; Soldier’s Life; Serenade; Quickstep; Canon alla tarantella), Op. 140
London: Novello, n.d.; Leipzig: Kistner, 1867.
Level: I
Grande sonate (E♭), Op. 47
Vienna: Artaria, 1819; Hamburg: Cranz, 1847, 1853.
Large-scale work in practiced but lightweight idiom. It was popular in its day and met with enormous success when it was performed by the composer with Mendelssohn, Chopin, and others.
Level: UI–A
Grande sonate symphonique (b) (1845), Op. 112
Berlin: Lienau, 1846; Leipzig: Kistner, 1846.
Hommage à Haendel, grand duet, Op. 92
London: Publisher and date missing.
Hommage à Weber, Op. 102
Leipzig: Fr. Kistner, 1842.
Level: A
Humoristische Variationen, Scherzo and Festmarsch, Op. 128
Leipzig: Kistner & Siegel, 1858.
Level: UI–LA
Lied im Volkston, Original-Thema mit Variationen, Op. 139
Leipzig: Gebauer, 1864.
Two Little Duets for Pianoforte Students (March; Scherzo), Op. 141
London: Novello, n.d.
Level: UE–LI/E-5
Trois marches héroiques (C, a, A), Op. 31
Vienna: Spina (Mechetti), 1815.
Level: LI–I
Polonaise brillante (F)
Hamburg: Böhme, n.d.
Level: I
Romante et tarantella brillante, composée pour sa file Émile, Op. 101
Leipzig: Hofmeister, 1842.
Fiery work in virtuoso style.
Level: UI–A
Rondo brillant (A), Op. 30
Offenbach: André, ca. 1825; Vienna: Spina, n.d.
Brioso piece with abundant passagework.
Level: I–UI
Sonata (E), No. 3 (1850–1851), Op. 121
Leipzig: Kistner, 1853.
Also published for piano two hands with violin or cello.
Level: UI–LA
59 Täglische Studien über die harmonisierten Scalen, Op. 107
Leipzig: Kistner, n.d.; London: Cramer, as Daily Studies on Harmonised Scales; New Edition, ten selected studies (six in C; one in G; one in A minor; two in D), in collection Lubin, ed., Teacher and Student.
Scales in various rhythms accompanied by more difficult harmonized part; pleasant music for enlivening the study of scales.
Level: E/LI
Triumphmarsch (D), Op. 10
Vienna: Spina (Mechetti), 1815.
Level: I–UI
Six valses avec trios, Op. 33
Vienna: Artaria, n.d.; Hamburg: Cram, n.d.; London: Falkner’s Opera Music Warehouse, n.d.
Pleasant, melodious teaching pieces.
Level: UE–LI
Moscheles, Ignaz, and Mendelssohn, Felix
Variations brillantes sur une marche bohémienne tirée de l’opéra Preciosa de Weber
Paris: M. Schlesinger, 1834; Leipzig: Kistner, 1833.
This delightful curiosity, one of the small number of collaborative efforts in the annals of musical composition, was put together by two important musicians of the early Romantic period: the lesser-known Moscheles, highly regarded in his day as a pianist and composer, and his student, the famous Felix Mendelssohn. This brilliant display piece, in the genre of the “thèmes variés” of the period, was scored first for two pianos and orchestra and assigned opus number 87b. It was successfully recast into a virtually new and independent composition—a fresh, absorbing, and effective setting for piano duet. In addition to its four variations, the work has a long introduction and dazzling finale. Moscheles’s contributions (Variations 3 and 4) may not be up to Mendelssohn’s in ingenuity and luster, but the music overall is still charming, and, considering its dual authorship, it is surprisingly consistent and well balanced.
Level: UI–A
Moser, Jurgen (b. 1949), Germany
Music educator and composer. His work reflects his interest in popular music idioms.
Just for Fun: Groove Piano Duets, Volumes I and II
Mainz: Schott Music, 1997.
An attractive two volume set that explores a variety of popular styles. The primo, largely comprising unison writing, is intentionally easier than the secondo in order to facilitate performer combinations of slightly varying levels. The syncopated rhythms and sophisticated harmonic progressions are musically satisfying. These brief, often single-page pieces, lend themselves well to addition of a rhythm section (e.g., guitar, electric bass, drums) in performance.
Level: I
Moss, Lawrence (b. 1927), United States
American teacher and composer. His works include orchestral and chamber music, two operas, songs, and piano compositions.
Omaggio
Philadelphia: Elkan-Vogel, 1967.
The four-hand medium has historically been a vehicle for the performance of a literature that has been predominantly chamberlike. While exceptions abound, duet music is generally more intimate, and, partly because of the strictures of the keyboard and sitting space, more scaled down than its sister art, two-piano literature. In the present short work the composer offers an unexpected and entertaining departure from usual duet writing: he builds into it a visual dimension as well. Although not rivaling the spectacular, extroverted display of two-piano playing, it does afford each performer the unusual opportunity to play both the primo and secondo parts, at different times, without interrupting the continuity of the music. Shortly after the music is under way the primo partner abandons his place at the keyboard and goes to the rear of the piano (a free-standing grand, of course) in order to pluck the bass strings. The secondo partner continues playing and moves into the primo’s place. Primo then takes the secondo position and continues to play while secondo goes to the rear of the piano to pluck the strings. Finally, primo slides back into his original position, as secondo, returning from the rear, resumes his place, each partner having made a complete circuit of the instrument. As for the music itself, the composer uses an unconventional “spatial notation,” substituting a series of large dots below the staff in place of bar lines to represent time intervals. The piece has a delicate, Impressionistic quality and is cast in an avant-garde idiom characterized by flashes of tone color—provided by cascades of thirty-second-note passages in wide leaps—and sudden contrasts of pitch and dynamics. In addition to calling for the resonating of strings both with fingers and with a metal object, the score also features free improvisation, harmonics, and unusual pedalings. A clue to the object of the composer’s homage can be found in two short quotations from Mozart: the key signatures of his six string quartets dedicated to Haydn (g, d, E♭, B♭, a, c) and, later, the first theme of the Sonata (B♭) for piano four hands, K. 358. Appealing concert fare for two advanced pianists.
Level: A
Moszkowski, Moritz (1854–1925), Poland
Polish pianist, teacher, and composer. Some of his four-hand works are well known, others are relatively obscure, but all deserve to be studied. Though many of them tend toward the salon style, they represent solid craftsmanship and are interesting for their fresh melodic invention and for their gratifying use of the piano duet medium.
Album espagnol (G, D, f♯, D), Op. 21
Breslau: Hainauer, 1878.
Level: I
Deutsche Reigen (Rondes allemandes), 5 Stücke, Op. 25
Breslau: Hainauer, 1880.
Level: I–LA
From Foreign Parts (Aus aller Herren Ländern), six characteristic pieces (Russia [a]; Germany [F]; Spain [A]; Poland [E]; Italy [A]; Hungary [D]), Op. 23
London: Augener, 1880; Breslau: Hainauer, 1879; New York: Schirmer, n.d.
Level: UI
Kaleidoskop, 7 Miniaturbilder, Op. 74
Leipzig: Peters, 1905.
An especially attractive suite.
Level: UI
Le maître et l’élève, 8 morceaux (Prologue; Moment musical; Mélodie; Air de ballet; Arabesque; Berceuse; Valse; Tarantelle)
Paris: Enoch, n.d.
Level: E-5/UE–LI
Deux morceaux (Cortège; Gavotte), Op. 43
Leipzig: Peters, 1887.
Level: I–UI
New Spanish Dances (E♭, a, F [Habañera])
Leipzig: Peters, 1900. New Edition, 1954.
Level: I–UI
Polish Folk Dances (Polnische Tänze) (Krakowiak; Mazurkas [E, G]; Polonaise), Op. 55
Leipzig: Peters, 1895; New Edition, 1953.
Level: I–UI
Spanish Dances (C, g, A, B♭, D), Op. 12
Berlin: Simon; Leipzig: Peters, 1976, New Edition, 1953; Milan: Ricordi, n.d.; New York: Schirmer, n.d.; Peters, issued separately, Op. 12/1, 2, 3, 5; Hinson and Nelson, eds. Van Nuys, CA: Alfred Music, 2013.
Level: I–UI
3 Stücke (Polonaise; Walzer; Ungarischer Tanz), Op. 11
Breslau: Hainauer, 1876.
Level: UI
4 Vierhändige Klavierstücke (Kindermarsch; Humoreske; Tarantelle; Spinnerlied), Op. 33
Breslau: Hainauer, 1887.
Level: I–UI
5 Walzer (A, a, E, G, D), Op. 8
Berlin: Simon, n.d.; Leipzig: Peters, 1876; New York: Schirmer, 1895; London: Augener, n.d.
Level: I
Mottl, Felix (1856–1911), Austria
Austrian conductor and opera producer; wrote operas, chamber music, songs, and piano music.
Österreichische Tänze
Leipzig: Peters, 1899.
Level: LI
Moy, Edgar, England
English composer of instructional piano music.
Berceuse
In Moy, ed., The Royal Road, Bk. 1. London: Lengnick, n.d.
Bucolique
In Thirty-two Graded Pieces for Piano Duet.
Carillon
In Moy, ed., The Royal Road, Bk. 1. London: Lengnick, n.d.
Chanson
In Thirty-two Graded Pieces for Piano Duet and Rowley, ed. Path of Progress, Bk. 1.
Marche miniature
In Thirty-two Graded Pieces for Piano Duet.
Roundelay
In Rowley, ed., Path of Progress, Bk. 2.
Level: E
Four Scenes (Ondine; By a Lakeside; Marionettes; On the March)
London: Oxford University Press, 1927.
Engaging short pieces in pleasant lyrical style.
Level: LI
Valse
In Rowley, ed., Path of Progress, Bk. 1.
Level: E
In Thirty-two Graded Pieces for Piano Duet.
Level: UE
Moyer, Ebbie
The Angelus (C)
Cincinnati: Willis Music, 1933.
Short teaching piece; exceptionally saccharine.
Level: UE
Mozart, Wolfgang Amadeus (1756–1791), Austria
Mozart had a special fondness for the duet medium, which no doubt derived from his many childhood concert appearances with his sister, Nannerl. His remarkable mastery of the techniques of four-hand writing reflects the same kind of comprehensive genius that made him equally at home in all musical forms. From his very first piano duet works, so full of youthful buoyancy and promise, to the refinement and profundity of the great Sonata (F), K. 497, one of the major masterpieces of the four-hand repertoire, his abundant harmonic variety, melodic grace, and matchless inspiration are always present.
Mozart’s four-hand works are complete in editions by Wiener-Urtext and Henle-Verlag. The Augener, International, Kalmus, Peters, and Schirmer editions of the collected works are missing Sonata (C), K. 19d, and Sonata (G), K. 357. The Neue Mozart Ausgabe (Bärenreiter, IX/24/2) is complete except for Fantasies, K. 594 and K. 608, and Fugue K. 401.
Andante and Variations (G), K. 501 (1786)
Also in Style and Interpretation, vol. 5; and in single edition by Ricordi.
Flowing, delicate, amiable set of five variations that Alfred Einstein suggested may be the final movement of the unfinished Sonata (G), K. 357. The partners alternate as soloists as the simple theme is developed and elaborated. A thoroughly ingratiating work.
Fantasy I (f) (Ein Stück für ein Orgelwerk in ether Uhr), K. 594 (1790)
Originally written on commission for a musical instrument called “an organ in a clock,” this work and the following one have long been part of the four-hand repertoire, possibly because they were first scored on four staves and were therefore taken by publishers to be duets. Little seems to be known about the mechanical clock-organ or the owner (or possibly inventor) of it, but in a letter to his wife, Mozart revealed his distaste at having to write for a mechanical contrivance of such limited musical capabilities, noting, however, that he would be glad when the work for his “watchmaker” was completed, because he would then be able to “slip a few ducats into the hands of my dear little wife.” But he must have quickly overcome his initial reluctance, for these two pieces represent some of his most inspired writing. Fantasy I consists of a stately, placid Adagio; a rapid, contrapuntal Allegro; and a return to the Adagio.
Level: UI–LA
Fantasy II (f) (Ein Orgelstück für eine Uhr), K. 608 (1791)
Brilliant and imaginative work showing Mozart at the height of his musical genius. Opens with a bright, affirmative Allegro in dotted notes that leads into a brilliant fugue concluding with echoes of the opening theme. The lovely sustained Andante middle section leads back into a more complex version of the first fugue. The work ends with further references to the introductory dotted-note theme. The influence on Schubert is especially noticeable in the latter’s Fantasy (f), Op. 103, D. 940. Fantasy II has been transcribed for other instruments, but is perhaps best known in its version as an organ piece.
It should be noted that the arrangement of the two Fantasies, K. 594 and K. 608, in the Henle-Verlag and Wiener-Urtext editions, are close to the original scoring: thinner in texture, with fewer doublings, but at the same time somewhat more awkward to play than the smoother, more opulently pianistic arrangements of the other editions. A version of Fantasy II, K. 608, arranged for both one and two piano four hands by Paul Badura-Skoda, and published by Schirmer in 1974 under the title Fantasy for Mechanical Organ, differs substantially from the other editions. In an effort to approach the textural contrasts so characteristic of Mozart’s four-hand writing, Badura-Skoda has in effect reorchestrated many portions of the work by rearranging the parts and by adding or eliminating doublings. He has enhanced the practical value of the edition by supplying fingers and copious suggestions for dynamics and phrasing, along with many useful editorial observations.
Fugue (g), K. 401 (1782)
Available separately from Ricordi.
Although this solidly fashioned work is unmistakably scored for four hands, it is not known whether it was intended as a duet piece, a movement of a string quartet, or a contrapuntal exercise. It remained unfinished until the last eight bars were completed by Abbé Maximilian Stadler, composer, musical scholar, and friend of Mozart.
Sonata (B♭), K. 358 (186c) (1774)
Joyful, lively work, often coupled in collections with the slightly more difficult Sonata (D), K. 381. Bright Allegro, with an unusually long coda and truncated development section; lyrical Adagio; Molto Presto, dashing finale, with some tricky antiphonal solo sections in parallel tenths.
Level: I
Sonata (C), K. 19d (1765)
In Zeitlin and Goldberger, eds., Eleven Piano Duets by the masters; also available separately in Ferguson, Howard, ed., Oxford University Press; Schott.
One of Mozart’s earliest four-hand compositions, written during a visit to London in 1765. The manuscript was lost and did not reappear until 1921, when a copy was found in the archives of the Bibliothèque Nationale in Paris; later an English edition came to light and was published by Oxford University Press in 1952. The sonata is in three movements—Allegro, Menuetto and Trio, and Rondo allegretto—and shows great skill in duet writing. Occasional hand collisions and other awkward passages suggest that Mozart may have had the two-manual harpsichord in mind when he composed the work. It is fresh, fluent, and imaginative—a significant achievement for a nine-year-old.
Level: LI–I
Sonata (C), K. 521 (1787)
The last duet by the composer; a mature work, rather lighter in character than Sonata (F), K. 497, while at the same time more demanding pianistically. In its brilliant passage work and strong suggestions of tutti versus solo sections, the entire sonata comes close to Mozart’s concerto style. The first movement is a bold, assertive Allegro; the second is a melodious Andante with an agitated middle section; and the Allegretto finale is a placid, amiable rondo.
Level: A
Sonata (D), K. 381 (123a) (1772)
Available separately from Prague: Schott; Artia.
Often paired in anthologies with the somewhat easier Sonata (B♭), K. 358, this is a sparkling, cheerful three-movement work: brilliant Allegro, tranquil Andante, and breathless finale Allegro molto. Clear, idiomatic writing.
Level: I–UI
Sonata (F), K. 497 (1786)
Majestic, noble; mature Mozart, ranking with his greatest orchestral and chamber compositions in structural mastery and musical depth. The first movement begins with a slow Adagio introduction of twenty-nine bars, containing some exquisite modulations and sonorities, and then progresses into an Allegro di molto, featuring a six-bar principal theme that alternates between the registers of the two pianists, a technique the composer uses in other portions of the sonata. The Andante is serious and tranquil, with some intricate passages of imitative writing. The Allegro finale, with its strong eleven-bar theme and haunting chromatic transitional melody of various guises, is an expansive and handsomely worked out rondo.
Level: A
Sonata (G), K. 357 (497a) (1786)
Unfinished two-movement work completed from sketches in 1853 by Julius André, son of Johann André, the music publisher, who had purchased the manuscripts together with other autographs from Mozart’s widow in 1799. André’s tasteful and imaginative reconstruction has added very little new music, except for an eighteen-bar extension of the first movement development section and an eight-bar coda at the end of the Andante, both of which make ingenious use of Mozart’s thematic material. André also completed the first movement, which was broken off at the beginning of the development, by repeating as a recapitulation the exposition section with a few minor alterations. The bold, energetic themes, surprise modulations, and tight construction of the Allegro are on a par with the best of Mozart’s four-hand writing. The Andante is thinner in quality, but the placid, antiphonal theme and variations, treated with a light touch, and its agitato middle section have moments of great charm.
Level: UI
Mozart, in the style of
See: A Favorite Grand Duett for Two Performers under Anon.
Muczynski, Robert (1929–2010), United States
Works include orchestral, chamber, and piano compositions.
American Songs, 2 vols.
New York: Associated Music Publishers, 1960.
Fastidious, exceptionally inventive arrangements of American folk songs; solid, well balanced, with considerable linear interest.
Level: I
Mühling, Heinrich Leberecht August (1786–1847), Germany
German organist, composer, and conductor.
Grande nocturne (E♭) (Marche; Rondoletto; Larghetto; Menuetto; Variation et coda), Op. 29
Leipzig: Kistner, n.d.
The movements are well worked out and carefully balanced, but shallow in content.
Level: I
Mul, Jan (1911–1971), Netherlands
Dutch organist, critic, and composer; wrote in a personal idiom influenced by the French school.
Concert voor piano vierhandig (1962)
Amsterdam: Donemus, 1962.
Attractive three-movement work for piano four hands and orchestra in mildly dissonant idiom.
Level: UI–A
Mulder, Herman (1894–1989), Netherlands
Dutch theorist; composed orchestral, sacred, and instrumental works with strong contrapuntal textures.
Fantasie, Op. 61
Amsterdam: Donemus, 1945.
Vier stukken (Four pieces), Op. 158
Amsterdam: Donemus, 1968.
Mullen, Frederick
2ème Duo de concert
London: Ashdown, 1911.
Hispania, duo
London: Ashdown, 1913.
Level: I
In the Cotton Fields
London: Ashdown, 1913.
Instructional.
Level: I
A Madrid Festival
Cincinnati: John Church, 1906.
Instructional.
Level: I
Marche des vainqueurs
London: Ashdown, 1902.
Instructional.
Level: I
Müller, Christian Heinrich (1734–1782), Germany
German organist; composed church music and a few piano works.
Dreg Sonaten fürs Clavier, als Doppelstücke für zwo Personen mit vier Händen (D, G, B♭)
Berlin: Friedrich Wilhelm Bernstiel, 1782.
The three sonatas in this group are among the earliest published works for four hands, and are the only compositions published during the composer’s lifetime. They are attractive three-movement pieces in early Classical style, sensitively arranged for the medium in spare, thin-textured idiom.
Level: UE–LI
Müller, Karl Friedrich (1797–1873), Germany
À la Pologne, divertissement gentils, Op. 48
Berlin: Published by composer, ca. 1837.
Salon music.
Level: I
Grand rondeau brillant, Op. 50
Berlin: Published by composer, n.d.
Salon piece.
Level: I
Rondeau turc original, avec accompagnement d’un tambourin et triangle ad lib., Op. 64
Berlin: Published by composer.
Salon music
Level: LI–I
Müller, Sigfrid Walther (1905–1946), Germany
German teacher and composer of symphonic and chamber works, music for organ, and piano pieces; died in Soviet prison camp.
Festmusik (Passacaglia and Fugue) (C), Op. 25
Leipzig: Breitkopf & Härtel, 1929.
Large-scale work in refined neo-Classical idiom.
Level: I
Müller-Reuter, Theodor (1858–1919), Germany
German conductor, teacher, and composer of operas, choruses, and piano pieces.
Im Ballsaal (Polonaise; Menuett; Promenade; Walzer; Intermezzo; Polka), Op. 25
Krefeld: Schuckert, 1903.
Salon music.
Level: I–UI
Müller von Kulm, Walther (1899–1967), Switzlerand
Swiss composer of stage works, orchestral and chamber music, choral pieces, and piano compositions.
Praeludium and Fuge, Op. 51 (1944)
Published by composer.
Drei Stücke, Op. 16 (1927; revised 1961)
Brisk Allegro; chorale-like Adagio in 
meter with quartal harmony; dashing Allegro giocoso with sections of imitation. The idiom is tonal, chromatic, and frequently linear.
Level: UI
Mumma, Gordon (b. 1935), United States
Employs electronic and aleatory procedures. He has written music for and performed with the Merce Cunningham Dance Company.
Medium Size Mograph 1963 for Cybersonically Modified Piano with Two Pianists
Don Mills, ON: BMI Canada, 1969.
Avant-garde work involving electronically altered piano and tape; advanced notation.
Level: A
Small Size Mograph (1964)
Don Mills, ON: BMI Canada, 1967.
Short, highly refined and concentrated work in advanced style, featuring slowly shifting sonorities made up of adjacent chromatic tones arranged in widely spaced chords. Conventional staff notation is used with special indications for appoggiaturas and held notes; the composer suggests “moderate tempo and dynamics throughout.” Not difficult once the system is made clear. Performance duration: between one and a half and two minutes.
Level: UI
Münchhausen, Adolph, Baron von (1755–1811), Germany
German diplomat and gifted musical amateur.
Sonate (C), Op. 3
Paris: Chez Cesar, ca. 1793.
Paris: Chez. Cesar, ca. 1793.
Elegant, tuneful, flowing; skillfully written for the medium despite thinness of material.
Level: I
Munn, William (b. 1902)
March of the Tiny Soldiers
Cincinnati: Willis Music, n.d.
Murray, Mila (b. 1929)
Theme and Variations
New York: Lee Roberts, 1972.
Seven colorful variations on a theme. Changing meters. Resourcefully set for the medium.
Level: UE–LI
Musgrave, Thea (b. 1928), Scotland
Scottish composer; taught at the University of California, Santa Barbara and Queen’s College. Her works include choral and orchestral pieces, ballets, operas, chamber music, and piano compositions.
Excursions, eight duets: Driving in the Highlands; The Road Hog; Learner-driver; The Drunken Driver; The Sunday Driver; Roadside Repairs; Fog on the Motorway; Backseat Driver
London: Chester, 1966.
Exceptionally fine and entertaining suite of piece; in contemporary idiom, centered around the events, problems, and crises encountered in an auto tour of Great Britain. The work is so arranged that the easier part has an opportunity to play half the pieces in the primo position (Nos. 5–8) and half in the secondo (Nos. 1–4), as the music explores assorted pianistic tricks with humor and great effectiveness.
Level: UI/UE
Mussorgsky, Modest (1839–1881), Russia
Well-known Russian composer of the operas Boris Godunov, Khovanchina, and Fair at Sorochinsk; orchestral and choral works; songs; and piano pieces.
Allegro and Scherzo, from Sonata (C) (1860)
In Balogh, ed., Eighteen Original Piano Duets, and Lamm, ed., Modest Petrovich Musorgsky Sämtliche Werke, vol. 8, p. 9. Vienna: Universal Edition, 1928–1939.
The only extant movements of a projected four-hand sonata, the melodious if somewhat rambling Allegro and the blight, rhythmical Scherzo show many of the inventive qualities of the more mature Mussorgsky.
Level: I
Myklegård, Åge (1904–1990), Norway
Norwegian organist and composer.
Little Dances (Spring Dance; Tempo di valse; Intermezzo; Norwegian; Finale)
Leipzig: Hofmeister, 1928.
Suite in dextrous salon style with strong Norwegian folk flavor and influence of Grieg.
Level: UI