Pablo, Luis de (b. 1930), Spain
Spanish composer and teacher.
Movil II
Paris: Musique Contemporaine, 1968.
Level: A
Pace, Massimiliano, Italy
Ondo
Ancona: Berben Edizioni Musicali, 1997.
A three-movement suite: I. Terre di mezzo; II. L’isola perduta; III. Nostalgia di una stella. Minimalistic and evocative.
Level: UI
Pace, Robert (1924–2010), United States
Distinguished American educator, pianist, composer, and author. Studied with Joef and Rosina Lhevinne at the Juilliard School of Music. Faculty and chairman of the Music Department at Teacher College, Columbia University.
Blue Mice
New York: Lee Roberts, 1976.
Drifting
New York: Lee Roberts, 1976.
Duets to Play and Play With
East Greenbush, NY: Lee Roberts Music Publications, 2007.
Nine instructional duets and arrangements: Marching; Drifting; Two Bits O’ Scotch; British Folk Song; Country Dance; French Song; I Saw Three Ships; Roll That Brown Jug; Comin’ Round the Mountain.
Level: E
The Farmer Left the Dell
New York: Lee Roberts, 1976.
Marching
New York: Lee Roberts, 1976.
Paciorkiewicz, Tadeusz (1916–1998), Poland
Polish composer, pedagogue, and organist.
Melodia; Sygnałk (Signals); Žolnierzyki (Toy Soldiers)
In Raube, ed., Drobiazgi, vol. 1 .
Level: LI
Paderewski, Ignace (1860–1941), Poland
Polish pianist and statesman. He composed an opera, a symphony, chamber music, and many piano pieces in late Romantic style.
Tatra-Album, Tänze and Lieder des polnischen Volkes aus Zakopane, Op. 12
Berlin: Ries & Erler, 1884; London: Augener, 1922.
Varied settings of Polish folk melodies arranged by the composer from the two-hand version; well-written, appealing teaching material; worth reviving.
Level: LI–I
Pain, Eva
Fancy Dress Scales
London: Curwen, 1964.
Level: UE–LI/E
Five Finger Farm
London: Curwen, n.d.
Level: LE
Paladilhe, Émile (1844–1926), France
French composer and pianist. Studied at the Paris Conservatoire. Youngest winner of the Prix de Rome. Composer of operas, a symphony, sacred music, songs, and piano pieces in traditional style.
Fete romaine
St. Petersburg: E. Mellier.
Level: UI
Marche en fête
Paris: Enoch, n.d.
Petit carillon
Paris: Pierre Lafitte, 1904.
Charming bell-like tune in F major.
Level: UI
Petite marche
Paris: Armand Colin, 1893.
Playful march in F major and 6 time.
Level: I
Petite pavane
Paris: Armand Colin, 1893.
In G minor and marked Moderato.
Level: I
Palester, Roman (1907–1981), Poland
Polish composer; often uses serial techniques. His works show the influence of Stravinsky and Szymanowsky.
Sonatina (1940)
Kraków: Polskie Wydawnictwo Muzyczne (Polish Music Publishers) (Ars Polonia), 1946.
Effective work in taut, dissonant idiom; carefully balanced.
Level: A
Palmer, Robert (1915–2010), United States
Composer and teacher; professor of Music at Cornell University; studied with Howard Hanson, Roy Harris, and Aaron Copland. Palmer’s frequently dissonant musical style, which makes free use of traditional formal structures, is characterized by rhythmic vigor and dramatic intensity, and is instantly recognizable. His compositions include orchestral, choral, and chamber music, and sonatas and shorter works for piano.
Sonata (1952; revised 1957)
New York: Southern Music, 1969.
Dedicated to Monroe Levin and Cameron McGraw, piano duettists. Strong, energetic, large-scale work in three movements with lyrical passages contrasting with sections of sombre harmonic density. Textural variety ranges from thin, transparent counterpoint to vivid, jagged polychords. Ostinato figures and the alternating scale are used extensively throughout. In the first movement, Allegro motto marcato, the principal theme is bold and driving; restless, irregular rhythmic patterns predominate except in the more tranquil, grazioso sections; and there is a dose of canonic overlapping and piling up of sonorities. The second movement, Largo e sostenuto, is weighty, solemn, intense, and slow-moving, with fugal development in the contrasting middle section. The principal theme of the finale, Allegro vivo, in a rapid 
, is introduced canonically; the second theme is flowing and tranquil; the development culminates in a section of great rhythmic and dynamic complexity with thick textures; and an exhilarating coda concludes the work. The parts are carefully balanced and masterfully engineered; an effective work, exciting to listen to and to play.
Level: A
Palschau, Johann Gottfried Wilhelm (ca. 1742–1813), Germany
German piano virtuoso; spent time in London and Copenhagen, eventually moving to St. Petersburg, where he became associated with the court.
Air varié (g), Op. 1
St. Petersburg: Sprewitz, ca. 1796.
An attractive theme is developed pianistically and with imagination in spare contrapuntal texture in this charming short set of four variations.
Level: LI–I
Panormo, F.
A Duet (F) . . . in a familiar style for juvenile performers, Op. 2
London: G. Walker, n.d. .
Very short three-movement instructional work, strongly derivative of Haydn; melodious and pianistic in spite of crudities in the setting.
Level: UE–LI
Papineau-Couture, Jean (1916–2000), Canada
Canadian composer; studied with Nadia Boulanger and at the New England Conservatory. His style is influenced by Stravinsky and the twentieth-century French school. He has written stage works, chamber and orchestral compositions, and piano pieces.
Rondo (1945)
New York: Peer International, 1960.
Attractive work in neo-Classical idiom; spare-textured, linear, some dissonance, changing meters; well balanced.
Level: UI
Paraphrases
Bonn: M. P. Belaieff, 1959.
Twenty-four variations and seventeen small pieces on a simple theme, dedicated to small pianists capable of executing the theme with one finger of each hand: 1. Twenty-four variations and finale (Cui, Liadov, Rimsky-Korsakov); 2. Prélude (Liszt); 3. Polka (Borodin); 4: Marche funèbre (Borodin); 5. Valse (Liadov); 6. Berceuse (Rimsky-Korsakov); 7. Galop (Liadov); 8. Gigue (Liadov); 9. Fughetta on B-A-C-H (Rimsky-Korsakov); 10. Tarantella (Rimsky-Korsakov); 11. Menuetto (Rimsky-Korsakov); 12. Valse (Cui); 13. Requiem (Borodin); 14. Carillon (Rimsky-Korsakov); 15. Mazurka (Borodin); 16. Fugue grotesque (Rimsky-Korsakov); 17. Cortège triomphale (Liadov); 18. Bigarrures, petit supplément (Sherbachëv). New Edition arranged and annotated by Alexandre Tcherepnine. The fascination of this curiosity, a communal compositional frolic by a group of prominent Russian musicians of the late nineteenth century, lies less in performing these artfully devised works than in what they reveal about the harmonic and melodic ingenuity of the various contributors. Selection of the internationally famous Chopsticks as the ostinato theme seems to have been made by Rimsky-Korsakov, the instigator of this caper. Its use, however, as the unvarying cantus firmus, always in the exposed primo part of all forty-one pieces, makes serious performance of more than a few at a time a tedious undertaking, since the nineteenth-century Russian version of “Chopsticks” is as relentlessly monotonous as its contemporary American counterpart. All the same, this is diverting material for browsing, sight-reading, or recreation—a delightful tour de force by composers at play.
Level: I–UI/LE
Parfrey, Raymond (1928–2008), England
English pianist, composer, copyist, and teacher.
Steel Band
Minneapolis: Schmitt, Hall & McCreary, 1973.
Syncopation and Caribbean flavor are featured in this pleasant teaching piece.
Level: UE–LI
Woodland Stroll
Minneapolis: Schmitt, Hall & McCreary, 1973.
Pleasant little instructional piece; flowing, appealing.
Level: UE–LI
Paribeni, Giulio Cesare (1881–1960), Italy
Italian teacher, music critic; composed orchestral and chamber music, choral works, and piano pieces.
Sei piccoli pezzi
Magenta: A. Drago, 1947.
Group of short, melodious pieces in pleasant traditional idiom.
Level: UE–LI/E-5
Parker, Henry (1842–1917), England
English voice teacher and composer of operas, choral and orchestral pieces, songs, and piano music.
Three Short Duets
London: Lamborn Cock, n.d.
Teaching pieces.
Level: LI–I
Parmentier, Théodore (1821–1910), France
French military engineer and amateur musician and composer.
7 Canons d’un genre particulier
Paris: Hamelle, 1878.
Parodi, Renato (1899–1974), Italy
Italian teacher and composer of piano, chamber, symphonic, and choral music.
Danza (in forma di fuga)
In Album, di Musica Moderna, vol. 2.
Parry, Sir C. Hubert H. (1848–1918), England
English composer and writer on music. He wrote an opera, oratorios, orchestral and liturgical works, chamber music, and piano pieces.
Sonata (f), Op. 20 (1865)
Pärt, Arvo (b. 1935), Estonia
Estonian composer. His work, inspired by Gregorian chant, represents a minimalistic style.
Pari intervallo
Vienna, Universal Edition, 1981, 2008.
Evocative and haunting. Can be performed on one piano or two. Requires artistic tonal control. Composed in 1976 and rescored in 2008. Approximate performance duration: five minutes.
Level: UI
Parusinov, Aleksei Vasilevich Russia
Soviet musician.
Desiat’ kirgizskikh melodii (Ten Kirghiz Melodies), Op. 15
Moscow: State Music, 1928.
Soviet folk melodies in imaginative arrangements.
Level: LI–I
Pasfield, William Reginald (1909–1994), England
3 Miniatures
London: Ashdown, 1962.
Passy, (Ludwig Anton) Edvard (1789–1870), Sweden
Swedish pianist and teacher; studied with John Field in St. Petersburg; wrote piano concertos, church music, piano pieces, songs, and organ works.
Sonata
Publisher and date missing.
Patachich, Iván (1922–1993), Hungary
Hungarian composer; has written film and stage music, choral and orchestral pieces, chamber works, and piano compositions.
Gay Song
Ins Szelényi, ed. Piano Duets by Hungarian composers; and Váczi, ed. Album for Piano Duet.
Bright, lively folk song setting; sparkling, rhythmical.
Level: UE–LI
Paterson, Lorna, Canada
Educated at the University of Victoria and the University of Alberta. An Associate of the Royal Conservatory of Music. Compositions largely focused on educational piano music.
Too Cool
Toronto: Frederick Harris Music, 1998.
Four brief duets: Fun and Games; On the Bay; Exotic Voyage; Too Cool. Of particular note is the mysterious and evocative Exotic Voyage.
Level: I
Patzinger, Felix
Kinderspiel, 8 leichte Stücke
Leipzig/Vienna: Schuberthaus-Verlag, 1909.
Entertaining instructional pieces.
Level: I/E
von Pauer, Max (1866–1945), Austria
Austrian pianist and teacher; composed a number of piano pieces in salon style.
London: Augener, 1896.
Level: I
Presto à la tarantelle, Op. 2
Mainz: Schott, 1912.
Level: UI
Walzer, Op. 12
Mainz: Schott, n.d.
Level: I–UI
Payer, Jérôme (Hieronymus) (1787–1845), Austria
Austrian organist and conductor; composed operas, liturgical and chamber music, organ works, and piano pieces.
Deutsches Rondo, Thema aus “Barbier de Sevilla,” Op. 40
Vienna: Mollo, 1820.
12 Walzer saint Coda, Op 47
Vienna: Maisch, ca. 1820.
Pearce, Elvina, United States
Pianist, teacher, lecturer, author, composer. Degree from the University of Tulsa. Later studied with Isabelle Vengerova. Served on the faculties of Westminster Choir College, the New School for Music Study, and Northwestern University.
Let’s Duet
Van Nuys, CA: Belwin-Mills / Warner Bros. Publications, 1989, 2002.
Eight elementary duets: Rise and Shine; Stargazing; Lazy Day; Festive Dance; Easy Does It; Bigfoot Stomp; Singin’ the Blues; Cradle Song. Pattern-oriented pieces that sound more difficult than they are.
Level: E
Peck, Russell (1945–2009), United States
Studied at the Eastman School of Music and the University of Michigan.
The Cat’s Meow
Bright, rhythmical, bustling work in jazz idiom featuring tone dusters, dissonance, and changing meters; effective.
Level: UI
Pelemans, Willem (1901–1991), Belgium
Flemish music critic; his musical works are written in late Romantic idiom.
Sonate (1961)
Brussels: Maurer, n.d.
Pelz, William
Bells, Bells, Bells (Chimes in the Tower; The Little Music Box; Sleigh Bells)
New York: Century Music, 1963.
Short descriptive instructional pieces.
Level: UE
Pensel, Johann
4 Marches, Op. 10
Vienna: Cappi, ca. 1821.
6 Walses (D), No. 4
Vienna: Cappi, 1818.
Suite of Viennese waltzes in Schubertian style.
Level: LI
Pentland, Barbara (1912–2000), Canada
Canadian composer; studied with Wagenaar, Jacobi, and Copland. Her works include symphonic and chamber music, choral pieces, and piano compositions. She uses serial techniques for the most part.
Two Canadian Folk-Songs (Je le mène bien, mon dévidoir; A la Claire fontaine)
Manuscript.
Four-voice arrangements of French Canadian melodies in modal, often dissonant, tonal idiom. The strongly linear texture of both pieces leans heavily on contrapuntal techniques, including imitation, inversion, and canonic writing.
Level: LI
Three Piano Duets on Pictures by Paul Klee
Manuscript.
Short serial works; thin-textured, linear. I. Small fool in trance, after Klee’s “Kleiner Nam in Trance”; II. Surfaces in tension, after Klee’s “Verspannte Flächen”; III. Fish magic, after Klee’s “Fischzauber” (1958)
Level: UI–LA
Puppet Show
Toronto: BMI Canada, 1965.
Remarkable little piece; single-line melody; spare texture; fascinating introduction to serial techniques.
Level: UE–LI
Percheron, Suzanne
Diorama, six pièces faciles (Pardon en Bretagne; Carbon; Berceuse scandinave; Fête provençale; Valse viennoise; Valse orientale)
Paris: Gallet, n.d.
Level: UE
Six estampes anglaises (Perdu dans le brouillard jaune; Les fifres du roi; Dans le sentier des fées; Danse de la petite Greenaway; Le chant du ruisselet; Carillon de Westminster)
Paris: Gallet, 1920.
Perdew, Ruth (b. 1912), United States
American teacher and composer. The following works are an exceptionally fine group of instructional pieces.
Boulder, CO: Myklas Music, 1973.
Amusing, attractive piece with contemporary sounds; chromatic melody, tone clusters; well balanced.
Level: E–UE
Dorian Dance
Boulder, CO: Myklas Music, 1972.
Melody in dorian mode in primo supported by rhythmic accompaniment in secondo; unusual tonal combinations; effective.
Level: E
Gala Dance
Van Nuys, CA: Alfred Music, 1994; published in Contest Winners for Two, Book 2.
Lively dance in 
and F major.
Level: UE
Penguin Chatter
Boulder, CO: Myklas Music, 1972.
Short piece featuring polytonality; unconventional sonorities.
Level: E
Whistle Tune
Boulder, CO: Myklas Music, 1977.
Jolly, good-humored piece; mainly pentatonic.
Level: E
Perrachio, Luigi (1883–1996), Italy
Italian lawyer, pianist, teacher, and composer of orchestral, chamber, choral, liturgical, and piano music.
Scherzetto
In Album di Musica Moderna, vol. 2.
Perry, Phil. B. (1859–1953), United States
First Regiment Grand March
Sedalia, MO: A. W. Perry & Son, 1883.
Level: UI
Persichetti, Vincent (1915–1987), United States
Composer and teacher; has written orchestral and chamber music, choral and organ works, and many piano compositions. His style, often eclectic, is tightly organized, melodic, freely dissonant, and occasionally polytonal. His idiomatic writing is noteworthy in his piano works, which have especially felicitous settings.
Appalachian Christmas Carols (after John Jacob Niles) (Down in Yon Forests; The Cherry Tree; The Seven Joys of Mary; Jesus, Jesus, Rest Your Head; Jesus Born in Beth’ny; Lulle Lullay; Jesus, the Christ is Born)
Bryn Mawr, PA: Elkan-Vogel, 1975.
Sensitive, elegantly arranged group of folk songs.
Level: LI–I
Concerto for Piano, Four Hands, Op. 56 (1952)
Philadelphia: Ellcan-Vogel, 1954.
Commissioned by the Pittsburgh International Contemporary Music Festival and performed there by the composer and his wife, Dorothea, on 29 November 1952. This large-scale, single-movement work in five thematically related sections—Lento, Andante, Presto, Larghissimo, Coda—ingeniously exploits the full resources of the keyboard through the development of a single motive. In the first two sections, the theme is slowly expanded with the addition of new material with hints of faster tempi; here and in other sections of the work, inventive use of harmonics and sostenuto pedal provide coloristic effects. With the third section, Presto, the theme erupts into exuberant sixteenth-note passages, with rhythmic excitement and flashes of orchestral brilliance. The slowly accelerating Coda ends the work at a breathtaking tempo in a series of luminous sonorities. The work is technically demanding for both performers.
Level: A
Serenade No. 8, Op. 62
Philadelphia: Elkan-Vogel, 1956.
Amiable, melodious work in four short movements, gracefully written in polished contemporary idiom.
Level: LI
Peskanov, Alexander, Russia
Russian American pianist and composer. Holds degrees from the Stoliarsky School of Music in Odessa, Ukraine, and a master’s degree from the Julliard School in New York. Has appeared with the London Symphony Orchestra, the English Chamber Orchestra, the Hong Kong Philharmonic, the National Symphony Orchestra, and the symphony orchestras of Baltimore, St. Louis, Houston, and Utah.
Joyride
Florence, KY: Willis Music, 1999.
A lighthearted and carefree dance in . A study in articulation.
Level: LI
Little Concertino in C
Florence, KY: Willis Music, 2002.
Charming simplicity. Contrasting B section in A minor. Can be played as a duet or with soloist on one piano and accompanist on a separate instrument.
Level: E
Pesse, Maurice (1881–1943), France
French composer.
C’est une petite sérénade
Paris: Consortium musical, n.d.
Level: UE
Concerto enfantin
Paris: Consortium musical, n.d.
Level: LI
Paris: Consortium musical, n.d.
Level: LI
12 Petites pièces, classées progressivemcnt
Paris: Durand, n.d.
Level: UE–LI/E-5
Sur un rythme berceur: Petite valse tres facile
Paris: Durand & Cie.
Teacher-student waltz. Primo plays in parallel motion at the octave in a five-finger position.
Level: I/UE
Un tout petit rien
Paris: Consortium musical, n.d.
Level: LI
Peterson-Berger, Olof Wilhelm (1867–1942), Sweden
Swedish critic and composer; his works are largely based on Swedish folk song.
Vikingsbalk (Viking law), marsch (1893)
Stockholm: Elkan Schildknecht, Emil Carelius, n.d.
Petit, P.
6 Petites pièces
Paris: Gérard Billaudot, n.d.
Petrassi, Goffredo (1904–2003), Italy
Italian composer of operas, ballets, film scores, orchestral, choral, and chamber music, and piano compositions. He wrote in a clear harmonic and formal style with later influences of serial techniques.
Sicilians and Marcia
In Album di Musica Moderna, vol. 2.
Petrová Elena (1929–2002), Czechoslovakia
Czech musician and composer. Taught music theory at the Charles University in Prague.
Inspiration (1973)
Publisher missing.
Pfeffinger, Philipp Jacob (1765–1821), Germany
German musician and teacher; lived in London and Paris. He wrote orchestral and chamber works and many piano pieces.
Sonate concertante (c), Op. 16
Paris: Richault, n.d.
Scale passages and Alberti bass figures in alternating solos between the two partners characterize the antiphonal substance of this somewhat weak and repetitious work in Classical style.
Level: I–UI
Pfeiffer, Georges-Jean (1835–1908), France
French pianist; composed orchestral works, operas, chamber music, and piano pieces.
Suite, Op. 89
Paris: Hamelle, ca. 1870.
Pfeiffer, Jean-Michel (fl. late eighteenth century)
Obscure composer, possibly of German origin, who appears to have been active in Venice. In addition to his four-hand works he published sonatas for two violins and a keyboard method.
Il maestro e lo scolare, o sonata (C)
Mannheim: Heckel, n.d.; Munich: Falter, ca. 1789. New Edition, Amsterdam: A. J. Heuwekemeijer, 1960.
Short, three-movement work in light Classical style.
Level: E
Sonata, Op. 1
London: J. Bland, ca. 1795.
No. 10 of a series A Duett for Two Performers on One Harpsichord or Pianoforte composed by the following emminent [sic] composers . . .”
Philip, Achille (1878–1959), France
French organist and teacher; his compositions include orchestral and choral music, songs, chamber works, and piano pieces.
10 Leichte Klavierstücke
Cologne: Gerig, 1956.
Philipp, Franz (1890–1972), Germany
German church musician and composer. Studied in Freiberg.
Sonate, Op. 50
Heidelberg: Süddeutscher Musikverlag (W. Müller), 1945.
Philipp, Isidore (1863–1958), Hungary/France
Hungarian-born French pianist and teacher; composed piano exercises, studies, and pieces. Studied at the Conservatoire de Paris.
Trois bluettes (Valse mignonne; Berceuse; Danse hongroise)
Paris: Hamelle, n.d.
Inventive, fanciful set of teaching pieces set with skill and taste for young pianists.
Level: LI–I
Phillips, Burrell (1907–1988), United States
Composer and teacher; wrote in neo-Classical style.
Serenade
New York: Southern Music, 1963.
Suite of four pieces skillfully written for four hands in free-flowing, ingratiating style; dedicated to Dorothea and Vincent Persichetti.
Level: UI–A
Siesta
New York: Galaxy Music, 1964.
Dreamy mood piece in languid 
; Spanish flavor.
Level: LI–I
Piccioli, Giuseppe (1905–1961), Italy
Italian pianist and teacher; author of books on piano literature. He composed a piano concerto, a ballet, symphonic and chamber music, and piano pieces in traditional style.
Due miniature (Petite valse; Storiella)
Bologna: Bongiovanni, 1935.
Level: I
Pavana et minuetto
Bologna: Bongiovanni, 1939.
Pick, Karl-Heinz (b. 1929), Germany
Trained at the Felix Mendelssohn Bartholdy College of Music in Leipzig where he was Professor of Pianoforte until retirement. Works include chamber music, song cycles, and solo literature.
In jenen fernen verflossenen Tagen—In Days of Yore
Wilhelmshaven: Heinrichshofen, 2001.
Short character pieces that convey contrasting moods. Relatively equal level of difficulty in both parts. Straightforward rhythms. I. Alina; II. Standchen; III. In der Taverne; IV. Abschied.
Level: I
Pierce, Alexandra (b. 1934), United States
Composer, pianist, author, and educator.
Antares (1974)
Manuscript.
Atmospheric tone picture in spare pointillistic style; effective and not too difficult.
Pierne, Gabriel (1863–1937), France
Studied at the Paris Conservatory with Marmontel (piano), Franck (organ), and Massenet (composition). Conducted the premiere of Stravinsky’s Firebird at the Paris Opera. Composed in a variety of genres.
Serenade, Op. 7
Weekley, Dallas, and Arganbright, Nancy, eds. San Diego: Neil A. Kjos Music, 2009.
Originally composed for string orchestra in 1883 and published for one piano, four hands in 1905. The composer also arranged the work for band, clarinet and piano, oboe and harp, and saxophone.
Level: I
Paris: Armand Colier, 1893.
Level: LA
Pieroni, Leopoldo (1847–1920), Italy
Italian composer and flutist.
Album of Little Pieces
Florence: Forlivesi, n.d.
Pijper, Willem (1894–1947), Netherlands
Dutch critic, educator, and one of the dominant figures in twentieth-century Dutch music. In his works he used polytonality, linear counterpoint, and polyrhythms.
Op den Weefstoel, for four-part chorus, wind instruments, and piano four hands (1918)
Amsterdam: Donemus, 1950.
Pike, Eleanor Franklin, England
English pianist, composer, and teacher.
Country Dance, Op. 34
London: Ashdown., n.d.
Early Days Suite, Op. 39
London: Ashdown, n.d.
Five Pianoforte Duets, Op. 33
London: Ashdown, 1962.
Original pieces and folk song arrangements, competently set in conservative idiom.
Level: UE–LI
The Princess Dances, Op. 8/2
London: Ashdown, 1954.
Bright, happy little waltz.
Level: UE
The Spinning Wheel
London: Ashdown, n.d.
Springtime in the Woods, Op. 14
London: Ashdown, n.d.
Level: UE
Valse mazurka
London: Ashdown, n.d.
Level: UE
Pilling, Dorothy (1910–1998), England
English composer, pianist, flutist, and teacher. Taught at the Royal Northern College of Music.
Pageantry Pieces
London: Forsyth, n.d.
Level: UE–LI
Rural Rhythms (Hornpipe; Folk-song; Pastorale; Bourrée)
London: Forsyth, 1936.
Agreeable, flowing, melodic pieces in traditional idiom; well balanced.
Level: LI–I
Pillney, Karl Hermann (1896–1980), Austria
Austrian pianist and composer. Studied at the Conservatory Koln. Teaching appointments at Rheinische Musikschule Koln and the Stattlichen Hochschule fur Musik in Koln.
Alt-Wien, Walzer nach Lanner frei bearbeitet
Vienna: Böhm, 1926; Doblinger, 1967.
Eskapaden eines Gassenhauers
Leipzig: Breitkopf & Härtel.
Weihnachtliche Hausmusik
Wiesbaden: Boosey & Hawkes, 1952.
Appealing arrangements of five German Christmas songs.
Level: UE–LI
Pilz, Eduard
6 Klavierstücke, Op. 11
Leipzig: Pabst, 1913.
Salon music.
Level: LI
Piovano, Antonio, Italy
Italian pianist and composer.
Il Valzer Delle Campanule (The Waltz of Bluebells)
Ancona: Berben Edizioni Musicali, 1982.
Teacher-student duet. Instructional piece. Primo plays in parallel motion at the octave in mostly dotted-half note values.
Level: UE/E
Invenzioni, su motivi popolari abruzzesi (Ninna nanna; Invito alla danza; L’addio; Serenata; Contadino stanco; Danza sull’aia)
Ancona: Berben Edizioni Musicali, 1975.
A similarity in format binds these six pieces together. Ostinato figures and repeated patterns are used extensively; there are small rhythmical complexities; and a web of dissonance encloses the tonal Italian folk melodies on which the pieces are based. A fascinating group of pieces offering some new and refreshing sounds.
Level: I–UI
Piozzi, Gabriele Mario (1740–1809), Italy
Italian tenor, composer, and harpsichordist.
Three Duets and Three Canzonets, Op. 6
London: Published by composer, n.d.
Pitfield, Thomas Baron (1903–1999), England
English poet, artist, designer, and prolific composer of choral and instrumental works.
Minors, dance suite (Gaillard; Sarabande; Sinister Dance; Rigaudon)
London: J. B. Cramer, 1965.
Chromaticism, irregular rhythmic groupings, and unusual meters characterize this group of pieces. The setting is effective, but not always graceful for the performers.
Level: I
Two-Way Tunes
London: Elkin, n.d.
Level: E
Pitt, Percy (1869/1870–1932), England
Organist, conductor, and composer. Studied in Leipzig.
Cinderella, Op. 26
Berlin: G. Ricordi, 1900.
Six-movement incidental music suite. Colorful illustrations.
Level: I–LA
Pixis, Johann Peter (1788–1874), Germany
German pianist and composer of operas and works for piano, including a concerto, sonatas, and salon pieces.
Amusement pour le carnaval, valses élégantes (E♭)
Vienna: J. Cappi, ca. 1824.
Suite of connected waltzes in tuneful Schubertian style.
Level: U-LI
Impromptu, Op. 127
Vienna: Hoffmeister, 1833.
Level: LA
Trois marches, Op. 6
Vienna: J. Cappi, ca. 1813.
Trois marches (F, D, b♭), Op. 22
Vienna: Mechetti, ca. 1816.
Attractive melodic ideas and unexpected chromaticism, but lackluster on the whole.
Level: UE–LI
Soirées des muses, 2 quadrilles de contredanses
Leipzig: Kistner, n.d.
Variations sur “La Fiancée suisse,” Op. 114
Paris: Schlesinger, n.d.
Salon music.
Level: I
Variations brillantes, Op. 112
1830.
Level: A
6 Walzer mit Trios (E♭, G, C, F, d, B♭)
Vienna: Cappi, ca. 1818.
Charming set of Viennese waltzes; brief and effective.
Level: LI
Pizzini, Carlo Alberto (1905–1981), Italy
Italian composer, student of Respighi; has written works for orchestra, chamber ensembles, voice, and piano.
C’era un re que aveva tre figlie
Milan: Ricordi, 1944.
Serafino
Milan: Ricordi, 1935.
Plachý, Wenzel (1785–1858)
Three Characteristic Marches (E♭, C, e♭), Op. 9
Vienna: Haslinger, n.d.; London: T. Boosey & Co., n.d.
Routine works in thin Classical style. Perhaps it is only a coincidence that the first march is strikingly similar to Beethoven’s March, Op. 45/1, in rhythmic pattern, melody, and formal design.
Level: I
Erholungen auf dem Wege zu Parnass, Op. 44/1–6
Vienna: Joseph Czerný, ca. 1827.
Notturno (C), Op. 20
Brunswick: Spehr, n.d.
Salon piece.
Level: I
Pleskow, Raoul (b. 1931), Austria
Viennese-born American composer; teaches at C. W. Post College. He has written orchestral and chamber music, songs, and piano pieces.
Three Pieces (ca. 1968)
American Composers Alliance photocopy.
Works of moderate length in advanced serial idiom.
Level: A
Pleyel, Ignace (1757–1831), Austria
Austrian; student of Haydn. A successful piano manufacturer and a prolific composer, Pleyel was one of the most popular and frequently published musicians of his time. He wrote a quantity of unpretentious, moderately difficult (LI–I), melodious four-hand works in Classical style, most of which are out of print. Rita Benton, Pleyel scholar and cataloguer, has demonstrated that they are all arrangements of Pleyel’s own chamber music. The justification for listing them here is that they have long been regarded as original piano duets because of the skill and sensitivity with which the composer set them for the four-band medium.
The source of the following condensed list of editions are Benton, Ignate Pleyel: A Thematic Catalogue of His Compositions (New York: Pendragon Press, 1977). The works are listed in the order of their appearance in the Benton catalogue, which includes a comprehensive inventory of editions of Pleyel’s four-hand pieces, their sources, and their library locations. They are arranged in six groups, according to the original form of the pieces from which the four-hand versions were derived. A three-digit number identifies the original composition (e.g., Ben 272 is a string quintet, Ben 301 a string quartet). The four-digit number in parentheses preceding the Ben number refers to the particular edition of the four-hand version. Thus the complete catalogue number Ben (2541) 272 designates the Dresden edition of the four-hand arrangement of the string quintet that was the source of Sonate à quatre mains.
Originally string quintets:
Deux sonates à quatre mains, Ben (2541) 271 (E♭), 272 (g)
Dresden, ca. 1790.
Originally string quartets:
Three Duetts for the Piano or Harpsichord, Ben (6402) 301/i, iii (C), 304 (B♭), 310/i, iii, iv (B♭), adapted by F. Tomich
London: Longman & Broderip, 1789.
Two Duets for Two Performers on One Piano forte, Ben (6401) 332/ii (G), 137/iv (originally a symphony)
London: Lavenu, ca. 1800.
Quatuor de Mr. Pleyel arrangé en sonate, Ben (3373) 340 (G), Étrennes pour les dames, livre 8ième
Offenbach: André, 1789.
Quatuor arrangé en sonate . . . , par F. Frackman, Ben (3582) 355 (e)
St. Petersburg: Gerstenberg, 1793–95.
Originally trios for keyboard, flute or violin, and cello:
A Favorite Duet for the Pianoforte Selected from the Six Sonatas, Ben (4426) 431 (C), 432 (G), 433 (B♭), 434 (A), 435 (e), 436 (D)
London: Clementi, Banger, Hyde, Collard and Davis, 1801–1806.
Originally violin duos:
Trois sonates à quatre mains, Ben (5109–11) 513 (B♭), 514 (D), 515 (A). Nos. 35–36 Journal de musique pour les dames
Offenbach: André, 1789.
Trois senates à quatre nom, Ben (5111. 3) 516 (F), 517 (c), 518 (e). 4ème livre de sonates
Offenbach: André, 1791.
Sonata, Ben (5220) 520 (g)
Zeitlin and Goldberger, eds. New York: Peters, 1961.
Trois sonates à quatre mains, Ben (5185) 519 (C), 520 (g), 521 (A), 2ème livre de sonates
Offenbach: André, 1790.
Trois sonates à quatre mains, Ben (5187) 522 (B♭), 523 (G), 524 (d), 3ème livre
Offenbach: André, 1791.
Originally violin duos or violin and viola duos:
Sonate à quatre mains, Op. 71, Ben (5268) 528 (E♭)
Offenbach: André, 1805.
Sonate à quatre mains . . . XXX . . . oeuvre 47ème, Ben (5306) 530 (B♭)
Offenbach: André, 1797.
Poe, John Robert (1926–2004), United States
Composer, arranger, teacher, and church musician. Graduate of Auburn University. Taught piano and theory at Muscogee Music Conservatory.
Just We Two
San Diego: Neil A. Kjos Music, 2004.
Six tuneful and carefully balanced duets: Swaying; German Folk Song; Brother Johann; Just We Two; Parade; Trotting Pony.
Level: E
Noah’s Ark
San Diego: Neil A. Kjos Music.
Level: EI
Summertime Reverie
Florence, KY: Willis Music, 2001.
This restful duet provides both parts with a chance to play the melody and accompaniment. The accompaniment is a rippling eighth note broken chord pattern reminiscent of flowing water.
Level: UE–LI
Thinking of You
Van Nuys, CA: Alfred Music, 1990; published in Contest Winners for Two, Book 1.
Instructional work in C major and 
time. Some hand crossing involved.
Level: E
Poisot, Charles-Émile (1822–1904), France
French pianist and composer of operas, a cantata, church music, and piano pieces.
Fantaisie sur le Déserteur de Monsigny
Paris: Hamelle, n.d.
Poldini, Ede (Eduard) (1869–1957), Hungary
Hungarian composer of operas and piano pieces of light character.
Au lac
Breslau: Hainauer; New York: Schirmer, 1896.
Level: I
En bohémien
Breslau: Hainauer; New York: Schirmer, 1896.
Level: I
Festandacht und Jubelwalzer, Op. 50
Breslau: Hainauer, n.d.
Level: I/E-5-UE
5 Genrestücke, Op. 12
Breslau: Hainauer, 1896.
Level: I
Breslau: Hainauer, 1913.
Instructional pieces.
Level: LI
6 Morceaux pittoresques, Op. 7
Budapest: Editio Musica, 1956.
Sparkling set of attractive teaching pieces.
Level: UE–LI
Musikalische Bilder für die Jugend, Clavierstücke in leichter Spielart, Op. 16
Breslau: Hainauer, 1896.
Instructional pieces.
Level: UE–LI
5 Vortragsstucke, Op. 13
Breslau: J. Hainauer, 1896.
Five duets: I. Pagenlied; II. Adalusierin; III. Kirgisischer Waffentanz; IV. Die Spatzen auf dem Dache; V. Spinnlied.
Level: I–UI
Polignac, Edmond Jean Marie (1834–1901), France
Composer who was among the French aristocracy.
Bagatelle
Salon piece in D minor.
Level: UI
Poole, Clifford (1916–2003), England/Canada
Canadian pianist, composer, and teacher.
Clapping Song
Cincinnati: Willis Music, 1965.
Melodic fragments alternate with rhythmical hand-clapping in this effective little piece.
Level: E
Conga
Cincinnati: Willis Music, n.d.
Bright, rhythmical teaching piece.
Level: E
Waltz
Cincinnati: Willis Music, 1965.
Tchaikovsky-style waltz; conventional harmonies; balanced parts.
Level: UE
Portnoff, Mischa (1901–1979), United States
Composer and teacher of Russian background; studied in Berlin and Stockholm. He has written a piano concerto and music for piano solo and two pianos.
Singing Duets
Evanston, IL: Summy-Birchard, 1966.
Attractive settings of eleven folk songs; well balanced.
Level: UE
Poser, Hans (1917–1970), Germany
German teacher and composer; composed choral and stage works, a televison opera, chamber music, and piano pieces.
Kleine Suite, Op. 13/1
Hamburg: Hans Sikorski, 1951.
Short work in polished neo-Classical idiom.
Level: U1
Sonate, Op. 17 (1954)
Hamburg: Sikorski, 1962.
Conventional sonata form is the structural framework of this attractive, predominantly linear work; quartal harmony is also featured.
Level: I
Poulenc, Francis (1899–1963), France
French pianist and composer; member of “les Six.” He composed operas, ballets, concertos, sacred and choral works, chamber music, song cycles, and piano pieces.
Sonate (1918)
London: Chester, 1919; Weekley, Dallas, and Arganbright, Nancy, eds. San Diego: Neil A. Kjos Music, 1999; Hinson and Nelson, eds. Van Nuys, CA: Alfred Music, 2012.
Sparkling, witty, clear-textured work in three short movements with contrasting moods of mock bombast, saucy dissonance, and melodious naïveté. Modéré: fast, martellato chords contrast with slower lyrical section. Rustique: a gently moving pandiatonic pastorale. Final: begins with a fast scalar melody, introduces thematic materials from the first and second movements in a long accelerando-crescendo, and ends with the first theme. Delightfully fresh, rewarding fare.
Level: I–UI
Powell, Laurence (1899–1990), England/United States
English-born American teacher, conductor, and music critic. He has written choral and orchestral works, chamber music, and piano pieces.
Fourteen American Folk Tunes
Boston: Boston Music, 1961.
Graceful arrangements of some lesser-known folk songs.
Level: I
Pozzoli, Ettore (1873–1957), Italy
Italian pianist, teacher, and author of pedagogical works and theory textbooks. His compositions include choral, chamber, orchestral, and piano works.
10 Piccoli pezzi caratteristici
Milan: Ricordi, 1959.
Charming descriptive pieces; tuneful with rhythmic variety.
Level: UE–LI/E-5
Smiles of Childhood (Sorrisi infantili), twenty-three little pieces
Milan: Ricordi, 1948; 1968.
Short, melodious pieces appealingly set for the medium in compact traditional idiom.
Level: LI/E-5
Preobrajenska, Vera (b. 1926)
Polinchinelle (1976)
Manuscript.
Short, dissonant, two-voice piece with dynamic variety and drive; the constantly fluctuating secondo rhythmic ostinato supports a contrasting single-line melody in the primo.
Level: UI
Prinz, Leonhard
Pantomime, five duets: Overture; Elf and Dwarf; Dream of the Good Fairy; Sorcerer; Finale
London: Augener, 1936.
Instructional pieces.
Level: UE–LI
Procházka, Ludevít (1837–1888), Czechoslovakia
Czech jurist and municipal officer, champion of Smetana. He composed Czech songs, arrangements of folk songs, and piano pieces.
Slavische Reigen
Berlin: Ries & Erler, 1887.
Prochazka, Rudolf, Freiherr von (1864–1936), Czechoslovakia
German Czech lawyer, musician, and writer on music; studied with Fibich. His works include symphonic, choral, and chamber music; songs; and piano pieces.
Deutsch-böhmische Reigen, Op. 26
Publisher and date missing.
Procter, Alice McElroy (1915–1987), United States
American pianist and composer; studied at Smith College and the Eastman School of Music. She has written a number of excellent teaching pieces for piano.
Fun for Two, six pieces
Philadelphia: Elkan-Vogel, 1954.
Exceptionally fine pieces for young pianists (four original and two folk song arrangements), attractively set for piano four hands.
Level: E–UE
London: Oxford University Press, n.d.
Level: UE
Holiday Bells
Philadelphia: Elkan-Vogel, 1954.
Short teaching piece with interesting sonorities written in a refreshing style.
Level: UE–LI
Lullaby
Philadelphia: Elkan-Vogel, 1951.
Gentle piece in well-balanced, graceful idiom.
Level: UE–LI
March of the Moon Men
Philadelphia: Elkan-Vogel, 1965.
On the Road
Philadelphia: Elkan-Vogel, 1965.
This piece and the preceding one are excellent teaching material; short and to the point, they are sensitively written, tuneful, and have abundant rhythmic and harmonic interest.
Level: UE–LI
Song for Kathleen
Philadelphia: Elkan-Vogel, 1955.
Level: UE
Two Dance Pieces (Squares Tonight; Swing Tune)
Philadelphia: Elkan-Vogel, 1957.
Level: UE
Village Dance
Philadelphia: Elkan-Vogel, 1955.
Level: UE
Proksch, Michael, Germany
German composer and pianist. Studied in Dresden. Known for his works for film, stage, and television.
A Spaniard for Elise: 12 Refined Pieces for Piano, Four Hands for Children, Adolescents and Adults
Leipzig: Breitkopf & Härtel, 2004.
Highly effective, colorful writing style including an arrangement of Beethoven’s “Für Elise” with a twist.
Level: I
Prószyński, Stanislaw (1926–1997), Poland
Polish composer.
Pacynki (Glove Puppets)
In Raube, ed., Drobiazgi, vol. 1.
Level: LI
Puccini, Giacomo (1858–1924), Italy
Italian composer of operas.
Minuets
Publisher and date missing.
Level: I/LI
Pugno, Raoul (1852–1914), France
French composer, organist, pianist and teacher. Studied at the Paris Conservatoire.
Aubade
Paris: Armand Colin, 1893.
Level: UI
Chanson de berceau
Paris: Armand Colin, 1893.
Level: UI
Reverie Orientale
Paris: Armand Colin, 1893.
Level: UI
Pütz, Eduard (1911–2000), Germany
German composer and teacher. Studied music education and mathematics at the Musikhochschule and the University of Cologne. Studied composition with Heinrich Lemacher and Kaspar Roessling. Served as a public school teacher in Rheinbach and was lecturer in music theory and composition at the Rheinische Musikschule in Cologne.
Frohes Musizieren, 6 kleine Stücke fur Klavier
Hanover: Moeck, 1947.
Let’s Play Together: Ten Jazzy Pieces for Piano Duet
Hempel, Karl, and Hoyer, Wolfgang, eds. Mainz: Schott, 1996.
Short, one-page works with descriptive titles such as “Shopping Trip” and “Passing Train.” Includes stylistic rhythms such as cha-cha and swung eighths.
Level: I
Three Jazz Waltzes
Mainz: Schott, 1991.
Level: I