meter with expressive B section in G minor. Features a rhythmic, alternating hand accompaniment pattern.Rachmaninov, Sergei (1873–1943), Russia
Russian composer, pianist, and conductor. His orchestral and piano music—concertos and pieces—have been popular for many years; but he also wrote songs, chamber works, and choral music. Six Pieces, Op. 11, are the composer’s major essay into four-hand writing; although not performed as frequently as the more familiar Suites for two pianos, they are solidly written in the composer’s Romantic, and thoroughly pianistic, style.
The Piano Works of Rachmaninoff, Volume VIII—Duets and Trios
Van Nuys, CA: Alfred Music.
Six Pieces (Six morceaux), Op. 11 (ca. 1893)
Moscow: Gutheil, 1894; State Music 1968; New York: Boosey & Hawkes, 1947, 1976; International Music, 1956.
1. The gently swaying Barcarolle begins quietly with thin textures and gradually builds to a powerful climax as secondo plays heavy chords against rippling sixteenth-note sextolets in primo; the original theme returns; and the piece ends quietly. 2. The dazzling Scherzo must be played prestissimo for the most effective performance. 3. A simple folk tune introduces a Russian theme; the tune is varied and developed, growing in volume and intensity with rapid accompanying figures in secondo, and gradually subsiding into a final simple statement of the theme at the end. 4. A rhythmical Waltz. 5. A melodious Romance. 6. Slava (Glory) is based on an old Russian liturgical chant and recalls the glitter and drama of Mussorgsky’s opera Boris Godunov, in which the same melody is used with very powerful effect. Here the chant is treated in free variation form, growing from a simple melody with thin accompaniment into increasingly faster rhythmic patterns. At the end the piece bursts into a brilliant pianistic display as the chant is thunderously intoned in massive choids like the resounding echoes of a chorus of church bells.
Level: I–LA
Polka (E♭) (in two versions, the second with trumpet)
Moscow: Jurgenson, n.d., Musgiz, 1950, in Rachmaninov, Works for Four Hands and Six Hands; New York: Carl Fischer, 1938.
Romance (G) (1891)
Moscow: Musgiz, 1950, in Rachmaninov, Works for Four Hands and Six Hands; in
Zeitlin and Goldberger, eds., Russian Music for Young Pianists.
Pleasant, flowing work; clear-textured, simple, direct; not written in the composer’s more familiar mature style.
Level: UI
Rack, J. G.
Grande marche, Op. 16
Vienna: Cappi, ca. 1810.
Trois marches, Op. 17
Vienna: chés [sic] l’auteur, n.d.
Radecke, Robert (1830–1911), Germany
German violinist, pianist, organist, teacher, and conductor. He composed an opera, symphonic and chamber music, piano pieces, songs, and choruses.
Allegro appassionato (f), Op. 6
Leipzig: Breitkopf & Härtel, 1852.
Serious work in strong Romantic vein; brilliant in part; effective and rewarding when performed with dash and style.
Level: UI–A
Raff, Joachim (1822–1882), Switzerland
Swiss-born disciple of Liszt; prolific composer of symphonies, piano works, chamber music, and operas, written in a technically facile, refined salon style.
Aus dem Tanzsalon, Fantasietänze (Präludium; Quadrille; Walzer; Galopp; Ländler; Polka; Ungarischer; Mazurka; Spanish [Jaleo]; Tarantella; Polonaise; Russisch), Op. 174
Leipzig: Ries & Erler, 1872.
Attractive, competently written drawing-room pieces.
Level: UI–A
Humoreske in Walzerform (D), Op. 159
Berlin: Bote & Bock, 1879.
Extended waltz with contrasting brio section.
Level: UI
Marche brillante, Op. 132
Leipzig: Hofmeister, n.d.
Level: I
Reisebilder, 10 Stücke, Op. 160
Leipzig: Kistner & Siegel, 1871, 1875.
Descriptive pieces in elegant salon style.
Level: I
12 Morceaux de salon (Nina; Les faucheurs; Les batelières de Brienz; Wanda; Promenade au bord du ruisseau; Les fileuses; Les commères; Alison; Festpracht; Autrefois; Sous le saule du levant; Fischerinnen von Procida, Tarantella), Op. 82
Leipzig: Peters, n.d.; Paris: Durand, n.d., Hamelle.
Attractive, well-balanced pieces.
Level: I
Totentanz (Danse macabre), Humoreske in Walzerform, Op. 181
Leipzig: Siegel, n.d.
Long, discursive tone poem, related to Liszt in style and in philosophical content.
Level: I
Raichev, Aleksandar (1922–2003), Bulgaria
Bulgarian conductor and pedagogue. Composed extensively for children; his music is strongly influenced by Balkan rhythms.
Theme and Variations
See: Hadjiev, Parashkev.
Raiger, Frédéric
Sonata (E♭), Op. 8
Vienna: Witzendorf, ca. 1815.
Sonata (F), Op. 14
Vienna: Witzendorf, ca. 1821.
Rakov, Nikolai Petrovich (1908–1990), Russia
Russian composer, studied with Glière. He wrote orchestral and chamber music and piano pieces.
Three Pieces (Mazurka; Melody; Russian Dance)
Moscow: State Music, n.d.
Protiazhnaia
In Ansambli v Chetyri Ruki.
Ran, Shulamit (b. 1945), Israel
Israeli American composer. Studied at the Mannes College of Music. Her symphony was awarded the Pulitzer Prize. She was also the recipient of a Guggenheim Fellowship. Serves on the music faculty at the University of Chicago.
Another Wedding March
King of Prussia, PA: Theodore Presser, 2009.
A spirited fanfare. Approximate performance duration: two minutes.
Level: UI
Randhartiger, Benedikt (1802–1893), Austria
Austrian composer; friend of Schubert. He wrote masses, motets, symphonies, songs, chamber music, and piano works.
Variations, avec accompagnement de deux cors, Op. 11
Vienna: Maisch, 1827.
Ránki, György (1907–1992), Hungary
Hungarian composer. Folk and jazz elements are important influences in his works, which include cantatas, songs, orchestral pieces, chamber music, and piano works.
Two Hungarian Folk Songs (Ludas játék; Kapuvári verbunk)
Budapest: Editio Musica, 1958.
Pleasant, rhythmical folk song settings.
Level: UE–LI
Raphael, Günter (1903–1960), Germany
German musician who cultivated a neo-Classical, contrapuntal idiom. He was principally an orchestral composer, but he also wrote choral, chamber, and piano works. Studied at the Hochschule fur Musik in Berlin. Held professorship at the Cologne Hochschule fur Musik.
Romantische Tanzbilder, 10 Walzer, Op. 10
Leipzig: Peters, 1925; Walzer (B), Op. 10/? in Leipziger Klaviermusik aus Vergangenheit und Gegenwart, Peters ed.; Walzer, Op. 10/4 in Spielbuch zeitgenössische Originalkompositionen.
10 Tanzstucke
Raphling, Sam (1910–1988), United States
American pianist and teacher; wrote orchestral and chamber music and numerous piano works.
Four Hand Sonata
New York: General Music, 1970.
Four short movements: Lively; Moderately slow; Slow-expressive; Fast and Joyful. Written in an angular, dissonant, thin-textured idiom; exploits pitch and dynamic contrasts.
Level: I–UI
Two by Two
New York: General Music, n.d.
Rausch, Frederick (1755–1823), Germany
German-born American musician and music publisher.
Sonatina
New York: G. Gilfert & Co., ca. 1794.
Short movement in rough-edged Classical style. The work is of historical interest on account of its early publication in the United States.
Level: UE–LI
Räusche, J. L. F.
Trois pièces faciles (G, A, C), Op. 3
Hamburg: Böhme, n.d.
Rauzzini, Venanzio Matteo (1746–1810), Italy
Italian castrato, settled in England; teacher and composer. He wrote stage and vocal works, cantatas, chamber music, and piano pieces. Except for occasional sections of repetitious passagework and weak thematic development, the four-hand sonatas below are attractive, skillfully fashioned pieces in Classical style, containing tuneful melodies, rhythmic vitality, and abundant antiphonal writing.
Three Grand Duets for Two Performers on One Piano-Forte or Harpsichord (F, D, C), Op. 12
London: Beardmore & Birchall, ca. 1782.
As Trois grands duo, Op. 12
Paris: De Roullede, n.d.
Three Sonatas (C, B♭, F) and a Duet (E♭) for the Harpsichord or Piano forte, Op. 15
London: Birchall & Andrews, ca. 1783.
Three Sonatas and a Duet, Op. 15
London: John Bland, n.d.
A favourite Duett for the Harpsichord or Piano-Forte, Op. 15
London: Goulding, ca. 1800.
Sonata . . . No. 34 du Journal de musique pour les dames
Offenbach: André, n.d.
Ravel, Maurice (1875–1937), France
French composer associated with the impressionistic style.
Bolero
Paris: Durand, 1929; also found in French Piano Duets, Volume 2.
Researched and compiled by Gerald Hugon. Transcribed by the composer.
Fanfare
Paris: Heugel, 1927.
Opening movement of the ballet L’Éventail de Jeanne (q.v.). Bright, humorous. Bitonality adds a restless, astringent character. To indicate mock pomposity, one section of the piece is marked “Wagneramente.”
Level: UI
Frontispice, pour S. P. 503 Le Poème du Vardar de R. Canudo (1918)
Paris: Salabert, 1975.
Very short (fifteen measures) Impressionistic mood piece using exotic scales, ostinati, and coloristic effects to evoke images found in Canudo’s poem on which the work is based; a fifth hand is required in parts of the piece.
Level: A
Ma mère l’oye (Mother Goose Suite) (1908)
Paris: Durand, 1910; Weekley, Dallas, and Arganbright, Nancy, eds. San Diego: Neil A. Kjos Music, 1985.
Well known in its orchestral version, this is one of the choicest works of the piano four-hand repertoire. The five pieces of this enchanting suite are based on French nursery tales and set in the composer’s refined and elegant style. They were originally written by Ravel for two talented children of his acquaintance who later performed them, but they are hardly children’s pieces, requiring sophisticated and subtle pianism, great dynamic control and sensitivity, and considerable dexterity for effective performance.
1. Pavane de la Belle au bois dormant: slow and thin-textured; describes the calm, unearthly quiet of Beauty lying asleep in the enchanted forest. (LI)
2. Petit Poucet: the composer has prefaced the piece with the story of the French Torn Thumb or Hop-o’-my-thumb: lost in the forest he discovers that the birds have eaten the crumbs he had left behind so that he could find his way out. As the music describes the slow, halting progress of Petit Poucet, groping his way through the deep, dark woods, it moves steadily up and down in parallel thirds, with imitations of chirping birds in the trees overhead. A sunny, pianissimo C-major chord, high on the keyboard, ends the perilous journey successfully. (I)
3. Laideronnette, Impératrice des Pagodas: introduces an oriental atmosphere as it describes the story of the Empress of the Pagodas (in this case, tiny people, not buildings) stepping into her bath to the accompaniment of all the pagodas playing an assortment of little instruments fashioned from nut shells. The music is entirely set in the black-note pentatonic scale, with Chinese bell and gong effects, and is technically demanding. (UI–LA)
4. Les entretiens de la Belle et de la Bête: moderately paced waltz tells the familiar story of Beauty and the Beast. The music closely follows the French text above the score as it describes the conversations between Beauty and the Beast in a most ingratiating and poignant way. The Beast, in a deep though muted roar in secondo, pleads with Beauty for her hand; in a graceful primo melody Beauty responds sweetly, but negatively; the Beast, in misery, pursues, and Beauty, finally overcome by pity, accepts his proposal, whereupon a sudden glissando in the primo ends the magic spell. The Beast is turned into a handsome prince, and all ends happily. (I–UI)
5. Le jardin féerique: brief finale; a musical portrait of the enchanted garden. Beginning with a slow, serious theme elegantly set in smoothly flowing four-part harmony, the music gradually leads into a section of glittering, arpeggiated chords high on the keyboard; the first theme returns, grows with increasing volume and intensity until it explodes in a flash of brilliant pianistic color, with glissandi high in the primo part and suggestions of trumpet flourishes and ringing bells in the secondo. (UI)
Rhapsodie Espagnole
Paris: A. Ruand & Fils, 1908.
A one-piano, four-hand arrangement of the orchestral rhapsody by the composer.
Level: A
Ravina, Jean Henri (1818–1906), France
French composer and pianist. Studied at the Paris Conservatory with Pierre-Joseph-Guillaume Zimmermann.
Douze Etudes: Pieces intimes, Op. 78
Montrouge: A. Leduc, 1878.
Twelve delightful intermediate character pieces: Murmure; Saltarelle; Villageoise; Basquaise; Legende; Caquetage; Romance; Le Papillon; Recueillement; En Chasse; Hymn religieux; Vendetta.
Level: I–UI
Ravizé, Angele (1887–1980), France
French composer.
Choix de vieilles chansons (harmonisées)
Paris: Durand, n.d.
Level: UE
Rawsthorne, Alan (1905–1971), England
English pianist and composer; wrote mainly instrumental music in contrapuntal neo-Classical idiom, influenced by Hindemith.
The Creel, suite for piano duet, after Izaak Walton (1940)
London: Oxford University Press, 1941.
Strong, vivid, often witty set of four single-page descriptive pieces based on quotations from Izaak Walton’s The Compleat Angler. Dissonant, with some atonality. The mighty pike is the tyrant of the fresh water: regal, majestic, in broad French-overture style. The sprat, a fish that is ever in motion: a nimble, dashing, roguish canon between the two partners. The carp is the queen of rivers; a stately, good, and very subtle fish: quiet, lyrical, restrained. The leap or summersault of the salmon: sparkling, dotted-note rhythms.
Level: I–UI
Raymond, Joseph
Having Fun
Melville, NY: BeIwin, n.d.
Read, Edward M., United States
Organist, composer, and teacher. Born in Vermont.
Cinderella Waltz
London: Novella, n.d.
Wild Rose Waltz
Florence, KY: Willis Music, 1914.
Lyrical waltz. Primo plays parallel melody at the octave.
Level: UE–LI
Read, Gardner (1913–2005), United States
American musician, teacher, writer on music, and composer of symphonic, piano, and organ music. His eclectic musical style shows Romantic, neo-Classical, Impressionistic, and folk influences; also uses polyharmonies, polytonality, and dissonance.
The Little Soldiers, Op. 95a
Glen Rock, NJ: J. Fischer, 1964.
The Toy Parade
Glen Rock, NJ: J. Fischer, 1964.
These two pieces are bright, attractive works in colorful, contemporary harmonic idiom.
Level: UE–LI
Rebe, Louise Christine (d. 1979), United States
American pianist, teacher, and composer of instructional piano music.
Salute to America
Florence, KY: Willis Music, 1944.
Level: LI
Reber, Napoleon Henri (1807–1880), France
French composer of mostly chamber music. Professor of harmony and composition at the Paris Conservatory.
Souvenirs d’Alsace, Op. 28
Paris: Colombier, 1866.
Six brief waltzes, the sixth of which is for one piano, four hands in B-flat major.
Level: I
Rebikov, Vladimir (1866–1920), Russia
Russian composer of operas, ballets, orchestral suites, and piano pieces. He used the whole-tone scale, unresolved dissonances, and other advanced techniques in a basically Tchaikowskian harmonic idiom.
Petite suite (Valse; Danse des myosotis; Tarantelle; Danse orientale; Mazurka), Op. 30
Moscow: Jorgenson, 1905.
Pleasant suite of moderately long pieces in late Romantic style.
Level: I
Reda, Siegfried (1916–1968), Germany
German church musician and composer.
12 Minnelieder (four for piano four hands)
Kassel: Bärenreiter, n.d.
Level: UE
Reger, Max (1873–1916), Germany
German composer, conductor, pianist, organist, and teacher. Reger’s four-hand works, like the rest of his music, are, for the most part, Classical in inspiration and form, strongly influenced by Brahms, and written in a post-Wagnerian, at times highly complex, harmonic idiom. The composer brings to his duets a fertile musical imagination and enormous contrapuntal skill, along with a predilection for thick, opulent textures, which become intensified through his use of constantly shifting modulations and fussy convoluted chromaticism. While some of the early works, such as Opp. 10 and 22, have a graceful open-air charm about them, reminiscent of the Liebeslieder Waltzes, Op. 9 already suggests, in its solid writing for both parts, the direction toward the dense, often murky, style of Opp. 58 and 94.
Werke für Klavier vierhändig, vol. 13 of Max Reger Sämtlige Werke
Bonn: Max-Reger-Institut (Elas Reger Stiftung), 1954–71.
Complete four-hand works.
Max Reger: Walzer-Capricen, Deutsche Tänze und andere Stücke
Fricker, W., ed. Leipzig: Peters, n.d.
6 Burlesken, Op. 58 (1901)
Berlin: Simrocic, 1902; Leipzig: Peters, 1928.
Chromatic, thick-textured, technically demanding; the playfulness of these pieces tends toward the ponderous and heavy-footed.
Level: A
20 Deutsche Tänze, Op. 10 (1893)
London: Augener, 1894; Mainz: Schott, 1910.
5 Pièces pittoresques, Op. 34 (1899)
Leipzig: Aibl, 1899; Vienna: Universal Edition, 1904, 1912, 1913.
Long descriptive pieces, varying in mood from lighthearted and sportive to intense and serious.
Level: A
Introduction and Passacaglia
Leipzig: Breitkopf & Härtel, n.d.
Large-scale baroque works, originally for organ, but transcribed by the composer for four hands.
Level: I–UI
6 Stücke, Op. 94 (1906)
Leipzig: Peters, 1906; New Edition, 1943.
Level: A
3 Walzer, Op. 22 (1898)
Leipzig: Aibl, 1899; Vienna: Universal Edition, 1899, 1904, 1913.
Set of charming waltzes in Brahmsian style, but more chromatic; thinner-textured, and less complex contrapuntally than Opp. 9, 10, 34, and 58.
12 Walzer-Capricen, Op. 9 (1892)
London: Augener, 1894; Mainz: Schott, 1910.
Level: A
Weihnachtstraum: Fantasie on “Stille Nacht, heilege Nacht,” Op. 17, No. 9
Mainz: Schott, 1926.
Set for piano four hands by R. Bender.
Level: I/UI
Regner, Hermann (1928–2008), Germany
German composer.
Klangspiele; miniature concert for piano four hands and seven melodic percussion instruments
Wolfenbüttel: Möseler, n.d. (Belwin-Mills).
Rein, Walter (1893–1955), Germany
German composer; made a speciality of writing choral music for children; also composed chamber music and piano pieces.
Spielbuch
Zürich: Pelikan, 1953.
Level: I
Reinecke, Carl (1824–1910), Germany
German composer of orchestral pieces, concertos, chamber music, operas, and piano music in Romantic style showing the influence of Mendelssohn and Schumann.
Drei Kleine Fantasien, Op. 9
Kimbell, Michael A., ed. Erzhausen: Robert Lienau Musikverlag, 1848, 1999; published previously by Hansen in Copenhagen (1848), Simrock (1860), and by Rober Lienau (1999).
Richly textured and colorful writing. Received favorable attention from Mendelssohn, Schumann, and Liszt.
Level: UI–LA
Ein Marchen ohne Worte, Op. 165
Berlin: Ries and Erler, 1900.
Ten duets.
Level: UI
Geistliche Hausmusik; Die schönsten Choräle, Op. 186
Leipzig: Forberg, n.d.
Series of chorales and chorale-preludes in the style of Bach.
Level: LI–I
Improvisata über eine Gavotte von Gluck, Op. 125
Leipzig: Peters, 1873.
Tasteful, artfully constructed set of free variations on the well-known Gluck melody; written in refined and effective Romantic idiom, also in two piano transcription by the composer.
Level: I–UI
10 Kleine Phantasien über deutsche Kinderlieder, Op. 181
Leipzig: Boosey & Hakes, 1886.
Short, easy pieces in Mendelssohnian style used on German folk songs.
Level: UE–LI
Musik zu Andersen’s Märchen von Schweinehirten, Op. 286
Leipzig: Breitkopf & Härtel, ca. 1910.
Tuneful, cleanly written pieces in effective salon style.
Level: I
Musik zum Märchen vom Nussknacker und Mausekönig, Op. 46
Leipzig: Boosey & Hakes, 1866; New York: Schirmer, n.d.
Descriptive music after an E. T. A. Hoffmann fairy tale; imaginative tone painting.
Level: I–UI
Pastoral-Sonatine in C Major, Op. 206
Budapest: Konemann, 1900.
Sonate Miniature in B Minor
Erzhausen: Robert Lienau Musikverlag, 2000.
Level: I
Sonate (a), Op. 35
Brunswick: Litolff, 1854.
Long, three-movement work; abundant passagework; rather lacking in solid thematic and harmonic material.
Level: I–A
3 Sonates miniatures (A, G, b), Op. 213
London: Augener, ca. 1901.
Tuneful pieces in instructional style; lies well for both parts.
Level: LI
12 Studien in canonischer Weise, Op. 130
Leipzig: Eulenberg, 1874.
Duet settings of various types of canons; written in a Mendelssohnian idiom.
Level: UE–LI
Variationen über eine Sarabande von J. S. Bach (a), Op. 24
Hamburg: Schuberth, 1852; New Edition, 1874.
Dextrously fashioned set of variations in refined salon style.
Level: I
Variations on the C Major Scale, Op. 122b, No. 5
Appears in Masterwork Classics Duets, Level 5.
A brief ten-measure theme with three variations.
Level: LI
12 Clavierstücke, Op. 54
Bonn: Simrock, 1857; London: Augener, 1875; Paris: Hamelle, n.d.
Instructional pieces.
Level: UE–LI/E-5
Von der Wiege bis zum Grabe, eine Zykus von 16 Fantasiestücken, Op. 202
Leipzig: Zimmerman, 1888.
Suite of descriptive pieces in salon style.
Level: UI
Zu Klein’s Zenobia, dramatische Fantasiestücke, Op. 194
Leipzig: Breitkopf & Härtel, 1887.
Salon pieces.
Level: I–LA
Reinhard, August (1831–1912), Germany
German composer. His works include a sonata, a trio, and other compositions for the harmonium as well as organ and piano pieces.
Phantasie über den Namen BACH, Op. 78
Leipzig: Kahnt, 1904; London: Novello, n.d.
Extended work in traditional harmonic idiom on the theme B♭, A, C, B; frequently chromatic.
Level: I
Reisden, J.
6 Walzer, Op. 2
Linz: Akademische Kunst- und Buchhandlung, n.d.
Reisenauer, Alfred (1863–1907), Germany
German composer; student of Liszt. In addition to over 100 songs, he wrote many piano pieces.
Reisebilder, 5 Stücke, Op. 14
Hamburg: Sikorski, 1905.
Descriptive pieces in traditional harmonic idiom.
Level: I
Reissiger, Friedrich August (1809–1883), Germany/Norway
Conductor, organist, and composer who settled in Norway. He wrote male quartets, chamber music, and piano pieces.
Norske national og folkmelodier (Norwegian National and Folk Melodies)
Kristiana (Oslo): Warmuth, ca. 1875.
Reissiger, Karl Gottlieb (1798–1859), Germany
German teacher and conductor; successor to Weber as court musician at Dresden; prolific composer of works in facile, popular idiom.
Introduction et polonaise (G), Op. 32
Bonn: Simrock, ca. 1824.
3 Marches brillantes, Op. 11
Publisher and date missing.
Salon pieces.
Level: I
Relfe, John (1763–1837), England
English composer and teacher. He wrote theory textbooks, a cantata, songs, and piano pieces.
Two Duetts for the Harpsichord, Op. 3
London: Published by composer, 1786.
The Favorite Glee of Care Thou Canker
London: Preston, n.d.
Adapted as a duett, with accompanyments for two performers on one harpsichord or piano.
A Set of Grand Lessons (E♭, D, A, C, B♭, D) for the Harpsichord or Piano-Forte, for two performers on one instrument in different stiles of composition
London: Longman & Broderip, ca. 1790.
Rene, Charles (1863–1935), France
French pianist, composer, and educator. Studied with Delibes at the Paris Conservatory.
Valses-Caprices
Paris: A. Quinzard & Cie.
Three waltzes: Dans la plaine; Dans les boi; Dans l’espace.
Level: UI–LA
Sarabanda de la Duchesse de Bourgogne, Op. 26
Paris: F. Durdilly; Ch. Hayet, 1920.
Dance piece in eighteenth-century style.
Level: UI
Rentsch, Ernst (1844–1886), Germany
Sonata for Piano Four Hands, Op. 24
Leipzig: Breitkopf & Härtel, 1881.
In B minor. Three movements: I. Sturmisch bewegt; II. Langsam, doch nicht schleppedn; III. Schnell und lebendig.
Level: A
Respighi, Ottorino (1879–1936), Italy
Italian composer, conductor, teacher, and editor; pupil of Rimsky-Korsakov and Max Bruch. He is best known for his vividly pictorial orchestral works. He cultivated a neo-modal style with Romantic and Impressionistic harmonic language and Classical form.
6 Little Pieces (1926)
Hamburg/London: D. Rahter, 1926.
Although these pieces do not have the familiar harmonic and stylistic imprint of Respighi the orchestrator, they are remarkable in their structure and pianistic color. As artful settings of piano duet music for young people, they are some of the finest and most sensitive pieces in the literature. They are masterfully constructed for one relatively easy and one more difficult part and use a variety of key signatures, meters, and technical devices. The first three pieces, the lyrical Romanza; the energetic, boisterous Sicilian Hunting Song, with its tarantella-like rhythmical drive; and the flowing, gentle Armenian Song all require the primo to play mostly single-line melodies or with hands an octave apart. Merry Christmas Everywhere, the gem of the suite, is a bright, joyful piece containing some extraordinarily effective writing of bell sonorities. Two Scottish folk melodies, strongly pentatonic, are used consecutively in the winsome Scottish Airs. The work ends in mini-virtuoso style with a brisk march. The Little Highlanders, which adds dotted notes, including the Scotch Snap, and sixteenth-note passages, before concluding with a brilliant accelerando.
Level: LI–I/UE–LI
Merry Christmas Everywhere! (Noel, Noel) from Six Little Pieces
In Weekley, Dallas, and Arganbright, Nancy, eds., Christmas Liszt for Two. San Diego: Neil A. Kjos Music, 1991.
Level: I
Suite della tabacchiera
Musical joke for wind instruments and piano four hands on decorated themes on a snuffbox belonging to Count Chigi-Saracini (30 November 1930, Siena, Sala “micat in vertice”).
Reubart, Dale (1926–2012), Canada
Pianist, educator, and educational composer. Taught at the University of British Columbia, the University of Southern California, and Western Washington University.
2 X 2: Etudes for Piano Duet
Toronto: Frederick Harris Music, 1997.
Six etude-like duets: Hoe-Down; Rag-a-Muffin; Drums and Bugles; Galop; A Quiet Place; Polka. Each duet addresses common challenges encountered in the duet literature, including choreography and hand-crossing, syncronization, and textural balance. Rhythmically and harmonically sophisticated.
Level: I
Reuther, Carl
At Close of Day
Boston: A. P. Schmidt, 1916.
Six short instructional pieces.
Level: LI
Nacht-klänge (Canzonetta; Valse mignonne; Barcarole; Tarantelle)
Breslau: Hainauer, 1911.
Instructional pieces.
Level: LI
Reynolds, Verne (1926–2011), United States
American horn player and composer. His works include a violin concerto, a quintet for woodwind quintet and piano, a sonata for horn and piano, and numerous chamber works using brass, woodwinds, and percussion.
Graphics, for trombone and piano four hands (1976)
New York: Carl Fischer, 1977.
Xenoliths, for flute and piano four hands (1977)
Rhabee, Dianne Goolkasian (b. 1938), United States
Distinguished American composer, pianist, and teacher. Studied at the Juilliard School of Music and the Mozarteum in Salzburg.
Tarantelle, Op. 2
Twin Brother, Op. 220
Rheinberger, Joseph Gabriel (1839–1901), Germany
German organist, pianist, conductor, teacher, and composer. His works include organ pieces, operas, church music, orchestral and chamber music, songs, and piano pieces written in a highly contrapuntal Romantic style derived from Beethoven, Schumann, and Brahms. Studied at the Munich Conservatory where he later became professor of piano and composition.
Aus der Ferientagen (En vacances) (Allegro moderato; Allegretto; Tempo di marcia; Adagio marcato e moderato [Fugue]), Op. 72
Bremen: Praeger & Meier, ca. 1875; Paris: Hamelle, n.d.
Attractive, descriptive works in late Romantic harmonic idiom.
Level: UI
Fantasie in E Minor, Op. 79
Offenbach: Johann Andre, 1874.
Three-section work: I. Preludium; II. Intermezzo; III. Fugue.
Level: LA
Grosse Sonate (c), Op. 122
Leipzig: Forberg, 1881.
Resourcefully fashioned four-movement work, well scored for piano four hands and cast in broadly conceived lines; contrapuntally active with harmonic and melodic interest; worth reviving.
Level: UI–A
Tarantelle, Op. 13
Leipzig: Kistner & Siegel, 1867; London: Augeneri 1886; Paris: Hamelle, n.d.
Brilliant work with vigorous rhythmical energy and harmonic variety.
Level: UI
Rheineck, Christoph (1748–1797), Germany
German composer.
3 Kleine Sonaten
Publisher and date missing.
Rhené-Baton (pseud. of René Baton) (1879–1940), France
French composer of songs, orchestral music, an opera, and piano music.
En vacances, 6 pièces (Dans le bois; Au village; Légende; Au trot des mules; Promenade; Danse paysanne), Op. 38
Paris: Durand, 1925.
Level: UE
Richardson, Alan (1904–1978), Scotland
Scottish pianist and composer of piano pieces in post-Romantic style.
Improvisation on a Nursery Tune (1930)
London: Winthrop Rogers, 1937.
Delightful, rhapsodic variations on a children’s folk song in up-to-date, frequently chromatic, idiom; well laid out for both parts.
Level: I
Richter, Carl
Chop Sticks
New York: Bourne, 1957.
Arrangement of familiar melody.
Level: UE–LI
Richter, Ernst Friedrich (1808–1879), Germany
German theorist, teacher, and composer. In. addition to textbooks on harmony, counterpoint, and fugue, he wrote oratorios, choral and chamber music, organ pieces, and piano works.
Variationen über ein Original-Thema (D), Op. 34
Leipzig: Kistner & Siegel, 1867.
Trim, well-fashioned series of variations in Mendelssohnian style.
Level: I
Richter, Georg Friedrich (1759–1789)
2 Sonates (B♭, E♭) et un duo (F) à quatre mains pour le clavecin ou le forte piano, Op. 6
Paris: Publisher and date missing.
Ricordi, Giulio (1840–1912), Italy
Italian music publisher, skilled draftsman, and composer of elegant salon music.
Le livre des histoires, suite de 9 contes musicaux, par J. Burgmein (pseud.); poésie de Paul Solanges
Milan: Ricordi, 1888.
Le livre des sérénades; 15 morceaux caractéristiques, par J. Burgmein (pseud.)
Milan: Ricordi, ca. 1888.
Elegantly bound and illustrated little book of salon pieces with accompanying poems by Paul Solanges and fine color illustrations by A. Edel.
Level: UI–A
Le roman de Pierrot et de Pierrette; historiettes musicales par J. Burgmein (pseud.)
Milan: Ricordi, 1892.
Rosette (Roosje), légende hollandaise (d’après Bellamy); suite dramatique de J. Burgmein (pseud.)
Milan: Ricordi, ca. 1892.
Ridley, S. C.
5 Petits morceaux
Melbourne: Allans Music, n.d.
Rieder, Hélène
6 Pièces, pour un bon pianiste et un autre qui le deviendra
Lausanne: Foetisch, 1957.
Level: I/E
Rieff, Georg Joseph von (1771–1842)
Sonata, Op. 3
Offenbach: André, 1796.
Rieger, Gottfried (1764–1855), Czechoslovakia
3 Sonatines très-faciles (C, F, G), Op. 19
Vienna: Witzendorf, 1822.
Rieger, J. N. (1787–1828)
Grande sonate, Op. 2
Paris: Sieber, n.d.
Berlin: Paez, ca. 1824.
Riegger, Wallingford (1885–1961), United States
American conductor and composer. He wrote music for the dance, chamber music, choral and orchestral works, and piano pieces. His style, derived from modified serial techniques, is lyrical, austere, and dissonant.
The Cry, dance for Hanya Holm (1935)
New York: Peer International, 1953; Associated Music Publishers.
Evocation, dance for Martha Graham (1933)
New York: Peer International, 1953; Associated Music Publishers.
New Dance for Piano Four Hands and Percussion, for Doris Humphrey (1936)
New York: Peer International, 1953; Associated Music Publishers.
These three works, written as accompaniments to modern dances, are set in a free, occasionally dissonant idiom, with great rhythmic vitality and dramatic contrasts.
Level: UI–A
Riem, Wilhelm Friedrich (1779–1857), Germany
German pianist and organist. His works include an oratorio, chamber music, and organ and piano pieces written in early Romantic style.
Rondeau (A), Op. 36
Leipzig: Peters; Hamburg: Cranz, ca. 1822.
Piece in early salon style.
Level: I
Deux rondeaux (A♭, A), Op. 24
Leipzig: Peters (Kühnel), ca. 1809.
Level: I
Sonate facile (G), Op. 23
Leipzig: Peters (Kühnel), ca. 1808.
Short, two-movement work; flowing; tightly constructed.
Level: I
Ries, Carole Bush, United States
Nana Nannee Boogie
Florence, KY: Willis Music, 2003.
Cleverly using the childhood taunt “Nana nana boo boo,” this duet is full of fun and energy. The primo part carries the taunt theme against a boogie-style accompaniment in the secondo.
Level: I
Scaling the Blues
Florence, KY: Willis Music, 2005.
The blues scale is exercised in this duet on swung eighth and triplet rhythms.
The secondo part must negotiate some hand crossing.
Level: I
Ries, Ferdinand (1784–1838), Germany
German composer and pianist. Friend, student, and close associate of Beethoven; prolific and exceedingly popular composer whose music demonstrates many traits linking him with the Romantic movement. His craftsmanship and sure-handed, sympathetic writing for the piano are reflected in his four-hand works, but in his effort to please the public taste, the quality of his duets is weakened by an abundance of empty passage work and mediocre musical materials.
Deux airs favaris nationaux de Moore variés (Air portugais [E♭]; Air national [F]), Op. 108
Paris: Richault, ca. 1809.
Grande marche triomphale
Paris: Richault, n.d.; Leipzig: Peters, ca. 1814.
Trois grandes marches (D, a, c). Op. 12
Leipzig: Peters, ca. 1814.
3 Grandes marches (E♭, c, B♭), Liv. 2, Op. 22
Bonn: Simrock, ca. 1818; Hamburg: Cranz; Vienna: Mollo.
Introduction et (cinquième) polonaise, Op. 176
Leipzig: Schuberth, n.d.
Introduction et variations (Allemande à trois) (F), Op. 155/1
Frankfurt: Durst; Leipzig: Hofmeister, n.d.; Paris: Richault, n.d.
Introduction et variations sur l’air allemand “Gute Nacht” (B♭), Op. 155/2
Bonn: Simrock, ca. 1833.
Première polonaise (C), Op. 41
Leipzig: Peters, ca. 1812; Offenbach: Andre, ca. 1812; Vienna: Diabelli, ca. 1812.
Level: I
Seconde polonaise (B♭), Op. 93
Vienna: Diabelli, ca. 1826.
Level: I–UI
Troisième polonaise (E♭), Op. 138
Hamburg: Cranz, ca. 1825.
Quatrième polonaise (D), Op. 140
Leipzig: Peters, n.d.
Work of grand proportions but meager contents.
Level: I
Rhinish Carnival Air with Variations, Op. 148
London: Goulding & D’Almaine, 1828.
Features fast, thirty-second note scalar passagework. A sizeable concert piece.
Level: LA
Sonata (B♭), Op. 47
Leipzig: Peters, 1818; Vienna: Moll, 1818.
Solidly constructed work in Beethoven idiom; structurally imposing, but lacking in thematic development and harmonic resourcefulness; appealing nonetheless for its directness and pleasant melodies.
Level: I
Variations sur un air russe (E♭), Op. 14
Leipzig: Peters, n.d., Vienna: Mollo, 1818.
Rihm, Wolfgang (b. 1952), Germany
Head of the Institute of Modern Music at the Karlsruhe Conservatory of Music and has served as composer-in-residence at the Lucerne Festival and the Salzburg Festival. A prolific composer with works for opera, orchestra, solo and chamber music. Early studies with Karlheinz Stockhausen and Klaus Huber.
Mehrere kurze Walzer (Several Short Waltzes)
Vienna: Universal Edition, 1981, 1988.
Twenty brief yet charming waltzes ranging from elementary level to upper intermediate. Excellent introduction to the waltz style. Performance time of complete set is approximately twenty minutes.
Level: E-UI
Říhofský, Adalbert (1871–1950), Czechoslovakia
Czech organist and choirmaster. He wrote orchestral and choral music, chamber works, and pieces for organ and piano.
Album pro mladež (Album for the Young), Vol. 1 (Mazurka; Melodie; Tänzchen; Elegie; Marsch; Ein Märchen; Am Abend), Op. 22, 1906; Vo1. 2 (Lied; Polka; Romanza; Serenade; Walzer; Erinnerung), Op. 28 (1909)
Prague: Moimír Urbánek.
Riley, Terry (b. 1935), United States
Composer and musician. His music is influenced by jazz and Indian classical music and reflects a minimalistic style.
The Heaven Ladder, Book 5
About each of the five works, the composer writes: I. Cinco de Mayo (“a work in one movement with infectious swirling Latin melodies and rhythms”); II. Jaztine (“I tried to get some childlike joy into this one, interrupted at one point by a heavily trodding march of elephants ceremoniously dressed in Thai rainments”); III. Waltz for Christmas (“Memories of my early life playing Arnold Shoenberg’s piano music got me started here with waltzes that dance in not only three beats, but sometimes seven and nine”); IV. Tango Doble Ladiado (“This is a short rewrite of the little tango originally written for the Cantos Desiertos part of Book of Abbeyozzud”); V. Etude from the Old Country (“A four handed braid from Terry’s made up songs from an imaginary old country . . . or not”).
Rimsky-Korsakov, Nicolai (1844–1908), Russia
Member of Russian nationalist group of composers; one-time naval officer. He composed operas, symphonies, and overtures—all distinguished by brilliant orchestration—as well as chamber music, songs, and piano pieces. His students include Glazunov, Prokofiev, Respighi, and Stravinsky.
Berceuse; Carillon; Fughetta; Fugue on B-A-C-H; Minuet; Tarantelle; 24 Variations and Finale (with Cui and Liadov)
See: Paraphrases under Papineau-Couture, Jean.
Rinck, Johann Christian Heinrich (1770–1846), Germany
German organist, teacher, and composer. He wrote organ pieces, sacred choral works, chamber music, and many pedagogical piano compositions.
3 Divertissements, Op. 35, cah. l
Offenbach: André, ca. 1816.
3 Divertissements, Op. 36, cah. 2
Offenbach: André, ca. 1816.
3 Divertissements, Op. 41, cah. 3
Mainz: Schott, n.d.
Opp. 35, 36, and 41 are short, pleasing instructional pieces.
Level: LI–I
Sonate (F), Op. 50
Offenbach: André, ca. 1817.
Trois Sonates a quatre mains, Op. 26
Koln: Dohr, 2002.
Level: UI
Deux Sonates a quatre mains
Koln: Dohr, 2003.
F major, Op. 50; B Major, Op. 86.
Level: UI
Uebungsstücke für die ersten Anfänger im Klavierspielen, Op. 60 (for both two hands and four hands)
Linz: Friedrich Emmanuel Eurich, ca. 1821.
12 Valses, Opp. 27 and 28
Offenbach: André, ca. 1809.
Charming set of graceful waltzes.
Level: UE
Riotte, Philipp Jakob (1776–1856), Germany
German conductor and composer of a large number of stage works—operas, pantomimes, ballets, incidental music, operettas—as well as a symphony, chamber music, and piano compositions. He wrote in a fluent, early Romantic style.
Polonaise (G), Op. 43
Vienna: Mechetti, ca. 1810.
Bright, rather long, and repetitious work in traditional idiom; melody largely confined to the primo, with the secondo providing the chordal accompaniment.
Level: I
Theme (canon) avec variations (E♭), Op. 23
Leipzig: Breitkopf & Härtel, n.d.
Set of carefully worked out variations in practiced, though dry and academic contrapuntal style. The theme is fast introduced canonically, then treated in various nonlinear ways; the work terminates in a weighty fugue using the canon theme as subject.
Level: I–UI
Ristad, Eloise (1925–1985), United States
American pianist, composer, and teacher.
Leprechauns at Play
Boulder, CO: Myklas Music, 1975.
Unexpected harmonies, fragmentary melodic patterns, and irregular phrase lengths characterize this short piece. It also comes with a well-constructed, catchy part for rhythm instruments.
Level: UE
Robertson, Frances C.
Five Melodious and Instructive Pieces (Happy Thoughts; Always Merry; Valentine Waltz; Moonlight Dance; Ethiopian Dance), Op. 45
Philadelphia: Presser, 1903.
Instructional pieces.
Level: UE–LI
Robinson, Anne
Six Little Duets (Little March; Waltzing; Lullaby; Polka Petite; Minuet; Little Clog Dance)
Cincinnati: Willis Music, 1952 (issued in single copies only).
Instructional pieces.
Level: UE/E-5
Robinson, William E.
Oompah Polka
Melville, NY: Belwin-Mills, 1960.
Bright lively dance in traditional idiom.
Level: UE
Rondo
Cincinnati: Willis Music, 1952.
Short piece in eighteenth-century Classical style.
Level: UE
Rochberg, George (1918–2005), United States
Professor of composition at the University of Pennsylvania. He composed orchestral, chamber, and piano music in a highly organized serial idiom. Later in his career he cultivated a neo-Romantic style.
Book of Contrapuntal Pieces for Keyboard Instruments
Bryn Mawr, PA: Theodore Presser, 1981.
No. 11, 4-part canon (1946); No. 12, 7 chorales treated canonically (Ach wie nuchtig, ach wie flüchtig; Jesus Christus, unser Heiland; Straf mich nicht in deinem Zorn; Wie bist du, Seele?; Nun sich der Tag [with contrary motion canon]; Kommt Seelen dieser Tag; In duke Jubilo) (1946); No. 20, Fugue for four hands one piano, transcribed by the composer from his String Quartet No. 4 (1977). Impressive collection of forty-nine contrapuntal exercises including inventions, fugues, preludes, fughettas, and canons, nine of which were written for one piano four hands, the remainder for solo piano, two pianos four hands, and two pianos eight hands. In his preface the composer writes: “The reason for gathering these studies in the art of counterpoint embracing the canon, invertible counterpoint, and the fugue is not complicated: I wanted to make available in one volume the bulk of my early efforts in this ancient and demanding craft so that 1) they could be performed by amateur or professional musicians for their own delectation (whether in private or in public); and 2) they could be used as stimulation and encouragement to my own students and other young, aspiring composers.” These pieces are as delightful to play as they are rewarding to study for their contrapuntal brilliance and ingenuity.
Level: I–UI
Rocherolle, Eugenie, United States
Composer, pianist, and teacher. In addition to her large catalogue of works for piano, she has also composed for choir, orchestra, band, music theater, and chamber music. Born in New Orleans, she is a graduate of Newcomb College of Tulane University. She also studied briefly with Nadia Boulanger in Paris.
Headin’ South . . .
San Diego: Neil A. Kjos Music, 1981.
Includes: Plantation; Rockin’ Chair; Cotton Pickin’; Spanish Moss; Gone Fishin’. Rich in southern style, this set of five pieces abounds in colorful harmonies and syncopated rhythms.
Level: I
Let’s Duet
San Diego: Neil A. Kjos Music, 1997.
Includes: A French Waltz; Scotch Plaid; Squaring Off. Highly sophisticated compositional style. The colorful harmonic and rhythmic language makes this set of duets a joy to perform.
Level: I
Prime Time
Milwaukee: Hal Leonard Corporation, 2008.
Syncopated and lively.
Level: I
The Way We Danced: 1949–1999
Belwin-Mills / Van Nuys, CA: Alfred Music, 2000.
Four danced-inspired duets: Jitterbug!; Slow Dancin’; A Winsome Waltz; Tango for Two; “Classic” Rock.
Level: EA
Tierra del Sol
San Diego: Neil A. Kjos Music, 1984.
Level: I
San Diego: Neil A. Kjos Music, 1989.
Includes: Nina’s Waltz; A March for Joel. Dedicated to Rocherolle’s grandchildren, these pieces feature unexpected harmonic twists and turns. Colorful modulations generate interest.
Level: I
Two’s Company
Milwaukee: Hal Leonard, 2009.
Five intermediate duets: Island Holiday; La Danza; Mood in Blue; Postscript; Whimsical Waltz. Includes a compact disc recording of each duet as well as each part independently so the performers can practice with the other part.
Level: I
Rodgers, Irene
A First Duet Book for Little Jacks and Jills
New York: Schirmer, 1951.
Useful, pleasant teaching pieces in traditional idiom.
Level: E
A Second Duet Book for Little Jacks and Jills
New York: Schirmer, 1957.
Slightly more advanced continuation of the preceding book.
Level: UE
Rodrigo, Joaquín (1901–1999), Spain
Spanish composer. His style, though shaped by study in Paris with Dukas, is strongly Spanish in character.
Atardecer
Mainz: Schott, 2003.
Level: A
Gran marcha de los subsecretarios (ca. 1941)
Madrid: Unión Musical Española, 1962.
Imposing, energetic, somewhat pompous march with Spanish flavor.
Roesgen-Champion, Mme Marguerite (1894–1976), Switzerland
Swiss harpsichordist. Her compositions include symphonic works, concertos for various instruments, and piano pieces.
Conte bleu et or; 5 pièces (Marche royale; Le prince amoureux; La belle fileuse; Le maître à danser; Le mariage)
Paris: Lemoine, 1936.
Descriptive pieces in salon style.
Level: I
Rogalski, Theodor (1901–1954), Romania
Romanian composer, conductor, and pianist.
Two Dances for Winds, Percussion and Piano Four Hands (1925)
Bucharest: Editura Muzicală a Uniunii Compozitorilor din R.P.R.
Roger-Ducasse, Jean (1873–1954), France
French composer whose orchestral works, motets, chamber music, and piano pieces are written in an elegant French style in the tradition of Fauré with a tendency toward polyphonic writing.
Etudes pour un commençant (1916–1917)
Paris: Durand, 1918.
Three-volume collection of engaging pieces arranged in progressive order of difficulty, with increasing harmonic and rhythmic complexity.
Level: E-I
Petite suite (Souvenance; Berceuse; Claironnerie) (1899)
Paris: Enoch, 1904; Durand, 1911.
Polished, charming set of pieces in light style.
Level: I–UI
Rogers, Elizabeth E.
The Adventures of Primo and Secondo
New York: Heritage Music Publishing (Century), 1953.
One Plus One
New York: Heritage Music Publishing (Century), 1958.
Ten little teaching pieces, charmingly set, featuring dialogues between the parts.
Level: LE
Rogers, James (1857–1940), United States
American organist, critic, and composer of sacred music, organ pieces, and piano works.
Alpine Song, Op. 36, No. 3
Florence, KY: Willis Music.
Instructional piece in bland harmonic style with yodeling repartee.
Level: UE–LI
Rohde, Wilhelm (1856–1928), Germany
German pianist, violinist, and teacher; lived in Chicago and Boston for many years. He wrote orchestral, chamber, and piano pieces.
Aus jungen Tagen, 6 Stücke, Op. 19
Berlin: Vieweg, 1908.
Instructional pieces.
Level: I
Rohm, Johann Huldreich (1755–1788)
Sonate (1788)
Manuscript.
Short, three-movement composition in pallid Classical style; early work for the medium in a primitive setting.
Level: LI
Rohwer, Jens (1914–1994), Germany
German teacher and composer of music for children. He has also written works for orchestra, oratorios, and instrumental compositions.
Kleine Serenade
Wilhelmshaven: Heinrichshofen, ca. 1954.
Gently moving piece in tranquil mood; mildly contemporary idiom with frequent rhythmic changes.
Level: UE–LI
Rolfe, Walter (1880–1944), United States
Composer, organist, music publisher.
America First
Philadelphia: Presser, n.d.
Rollin, Catherine (b. 1952), United States
Pianist, composer, clinician, and teacher. Prolific composer of educational music for piano. Holds degrees from the University of Michigan and Oakland University School of Performing Arts.
Dances for Two, Book 1
Van Nuys, CA: Alfred Music, 2001.
Five early intermediate to intermediate duets: Baroque Dance; Irish Jig; Parisian Waltz; Tap Extravaganza; Tarantella Brillante. Tap Extravaganza cleverly calls for the primo to occasionally tap on the piano. A highly effective and colorful collection of dance styles from various countries. Ranging from elegant to rollicking, these fresh duets capture the essence of each dance represented.
Level: LI–I
Dances for Two, Book 2
Van Nuys, CA: Alfred Music, 2001.
Five intermediate duets: 1920s Charleston; Good, Old-Fashioned Rock and Roll; Polka Party; Russian Waltz; Square Dance U.S.A.!
Level: I
Fiesta for Two
Van Nuys, CA: Alfred Music, 2007.
A spirited dance in G major and in meter with expressive B section in G minor. Features a rhythmic, alternating hand accompaniment pattern.
Level: I
Great Beginnings
Van Nuys, CA: Alfred Music, 2011.
Exuding much rhythmic energy, this patterned, syncopated duet features both blocked and broken chords. A dazzling ending.
Level: I
The Grand Finale
Van Nuys, CA: Alfred Music, 2000; published in Contest Winners for Two, Book 5.
In a heroic, grand style. Sweeping gestures. Blocked and broken chordal accompaniment figures. Commissioned by the Midland Michigan Music Teachers Association for its Keyboardfest 2001.
Level: UI
Valse Sentimentale a Deux
Van Nuys, CA: Alfred Music, 1999; published in Contest Winners for Two, Book 4.
Plaintive and nostalgic. In A minor. Features broken chordal accopmaniment. Melodic conversation between parts. Commissioned for the 1999 Goshen College Piano Workshop.
Level: I
Winter Story
Van Nuys, CA: Alfred Music, 1993.
An expressive duet in A minor. The primo begins with a descending five-finger alternating scale pattern between the hands above a richly textured melody in the secondo. The primo retains the melody in the D minor B section while the secondo plays a repetitive blocked chord accompaniment.
Level: LI
Rollino, Joseph, and Sheftel, Paul
Festivities, for four hands (or two people)
New York: Carl Fischer, 1973.
Ten short merry tunes introducing various technical devices in a witty and artful way.
Level: E
Further Festivities
New York: Carl Fischer, 1976.
A continuation of the preceding; exploits more complex rhythmical and technical devices while still retaining the same attractive format.
Level: UE–LI
Roloff, Alex
Russian Dances
London: Augener, 1916.
Teaching pieces.
Level: LI–I
Valses mignonnes
London: Augener, 1916.
Teaching pieces.
Level: UE–LI
Romili, Alessandro
Tarantella
Boston: Oliver Ditson, 1897.
Salon etude.
Level: I
Piccolo zoo, 5 pezzi (only the fifth piece, I gattini vanno a nanna, is for four hands)
Milan: Carisch, n.d.
Level: E
Röntgen, Johannes (1898–1969)
Feestelijke ouverture
Amsterdam: Donemus, 1956.
Passacaglia en gigue
Amsterdam: Donemus, 1952.
Röntgen, Julius (1855–1932), Germany
German Dutch composer. Studied piano with Carl Reinecke.
Aus der Jugendzeit, Op. 4
Leipzig: Breitkopf & Härtel, 1873.
Twenty duets in three volumes.
Level: UI–LA
Introduction, Scherzo, Intermezzo and Finale, Op. 16
Leipzig: Breitkopf & Härtel, 1878.
Level: A
Thema mit Variationen, Op. 17
Leipzig: Breitkopf & Härtel.
Theme and eleven variations.
Level: A
Ropartz, Joseph Guy (1864–1955), France
Breton-French conductor and composer. He wrote symphonies, liturgical works, chamber music, and piano pieces.
Dix petites pièces
Paris: Rouart, n.d.
Roques, Léon (1839–1923), France
French transcriber known for his transcriptions of Debussy and Ravel.
Marche des Mousquetaires
Paris: Durand, n.d.
Charming march in bold style.
Level: LI
Rose, Alfred (1902–1975), Austria
Austrian composer and conductor.
12 Aquarellen, Op. 22
Magdeburg: Heinrichshofen, 1908.
Short, instructional pieces.
Level: UE–LI/E-5
Rosegger, Sepp (1874–1948), Austria
Austrian composer and physician.
Aus der Waldheimat, steirische Ländlersuite
Vienna: S. Stanberg (Doblinger), ca. 1944.
Tasteful settings of Austrian ländler.
Level: I
Rosellen, Henri (1811–1876), France
French pianist and composer of pedagogical music for piano.
L’aérienne, valse brillante, Op. 54
Paris: M. Schlesinger, 1843.
Rosenauer, Alois (1797–1870), Germany
Militärisches Tonbild, Charakterstück, Op. 27
Berlin: Simrock, ca. 1906.
Instructional piece.
Level: LI/E-5
Zigeunerleben, charakteristische Tonstücke, Op. 20
Berlin: Simrock, ca. 1908.
Instructional pieces.
Level: LI/E-5
Rosenecker, Johann
Menuett und 6 deutsche Tänze nebst Trios und Coda
Vienna: Cappi, ca. 1826.
Polonaise und 6 deutsche Tänze saint Trios und Coda
Vienna: Cappi, ca. 1827.
Rosenhain, Jakob (1813–1894), Germany
German pianist and composer; his music was influenced by Schumann and Mendelssohn.
Fantasia appassionata, grand duo (g), Op. 40
Leipzig: Hofmeister, 1844.
Large-scale work in Romantic idiom, tending toward salon music in style and content.
Level: I
3 Petits duos, Op. 38
Paris: M. Schlesinger, ca. 1841; Mainz: Schott, n.d.
Rosenstengel, Albrecht Arthur J. (1912–1995), Germany
German composer.
Schlichte Weisen; Klaviermusik über deutsche Volkslieder
Cologne: Gerig, 1953.
Six felicitously arranged German folk songs; interest in both parts.
Level: LI
6 Polonoises à quatre mains pour le clavecin ou forte piano
Leipzig: C. F. Lehmann, n.d.
Ross, W. B.
Tarantella
London: Augener, 1928.
Bright, lively, rhythmical piece in traditional style.
Level: LI–I
Rossi, Wynn Anne (b. 1956), United States
Pianist, educator, and composer whose works often combine Impressionistic sounds with a jazz influence. She was educated at the University of Colorado in theory and composition and received further training in choral conducting at Harvard University and jazz pedagogy at the University of Illinois.
Transylvania Trainride
Fort Lauderdale, FL: FJH Music, 1997; available as a solo sheet and is also included in Spotlight on Duets, Book 2.
With cries of the train’s whistle, this piece is set into motion. The intermediate student may have some difficulty with the initial reading of this piece due to the number of accidentals.
Level: I
Rossini, Gioacchino (1792–1868), Italy
Celebrated Italian opera composer. He also wrote liturgical works, songs, and piano pieces.
Marches, from Péchés de Vieillesse
2 Pas redoublés et une marche militaire
Leipzig: Breitkopf & Härtel, n.d.
Charming light joyful works.
Level: I
Rott, Clemence
Side by Side Series, Book 6 (Reverie; Valsette; The Gypsies; Boat Song; March; Merrymakers)
London: Ashdown, n.d.
Level: E
Rotter, Ludwig (1810–1895), Austria
Austrian choral director, music teacher, composer, and organist.
Divertissement (A), Op. 1
Vienna: J. Czerný, ca. 1829.
Rougnon, Paul (1846–1934), France
French piano virtuoso. He composed songs, operas, and educational piano works.
Paris: Salabert, n.d.
Dansez, fillettes
Paris: Salabert, n.d.
En promenade
Paris: Salabert, n.d.
7 Pièces faciles et brillantes (Dance bretonne; Rondo-valse; Ballade; Galop; Carillon; Menuet gracieux; Pastorale), Op. 120
Paris: Hamelle, n.d. Also sold separately.
Roubos, Valerie Roth, United States
Composer, teacher, flutist, and pianist. Holds degrees in music theory, composition, and flute performance from the University of Wyoming.
Carnivale
Fort Lauderdale, FL: FJH Music, 2008; published in Duet Treasures, Volume 2 and In Recital Duets, Volume 1, Book 5.
A festive, Latin-style dance.
Level: I
Circuspalooza
Fort Lauderdale, FL: FJH Music, 2010; published in In Recital for the Advancing Pianist Duets.
Lighthearted and witty.
Level: LA
Mourning Doves
Fort Lauderdale, FL: FJH Music, 2006; published in In Recital Duets, Volume 1, Book 4.
A plaintive melody befitting the title.
Level: LI
Rousseau, Jean-Jacques (1712–1778), France
French philosopher; self-taught composer. He wrote operas, instrumental and vocal works, a Dictionnaire de musique, and articles on musical subjects.
Duo, arrangé à quatre mains pour pianoforte par Desormerie et Piccini
Paris: LeDuc, ca. 1792.
Rousseau, Samuel Alexandre (1853–1904), France
Composer, organist, and musicologist.
Andante
Paris: Armand Colin, 1893.
Level: UI
Cortege, Op. 96
Paris: Armand Colin, 1893.
Level: UI–LA
Roussel, Albert (1869–1937), France
French composer; naval officer until 1894; studied with d’Indy. He wrote operas, ballets, symphonic and chamber music, songs, and piano works.
Sarabande, from the ballet L’Éventail de Jeanne (q.v.)
Paris: Heugel, 1927.
Sombre, heavy-textured work of considerable musical interest; probably intended for orchestra since the four-hand setting tends to be awkward in places.
Level: I–UI
Rowland, Edith
Old English Dance Tunes
London: Joseph Williams, 1920.
Pleasant settings of British folk melodies.
Level: I
Rowley, Alec (1892–1958), England
English pianist, composer, and author of one of the first English-language guides to piano four-hand literature: One Piano Four Hands (London: Oxford University Press, 1940). Rowley was also an active and respected contributor to the repertoire itself. His compositions for piano duet, which reflect his experience as a distinguished music educator, range from elementary teaching pieces to serious works of moderate difficulty, all of them solid, attractive, and skillfully cast for the four-hand medium in a refined traditional harmonic idiom.
Badinage
London: Elkin, 1952; Novello, n.d.
Barcarolle (f)
London: Curwen, 1947.
Level: I
Bergerettes, four pieces based on French folk tunes (Berceuse; Pipers; Pastourelle; Burlesque)
London: Curwen, 1957.
Level: I
6 Cameos
London: Oxford University Press, 1928; Ashdown, 1956.
Level: LI/E
Canzonetta
London: Curwen, n.d.
Level: E–UE
Carillon
In Thirty-two Graded Pieces for Piano Duet.
Level: I
Three Centuries, suite (Through the Centuries)
London: Lengnick, 1933.
Level: I
Dignity and Impudence
London: Oxford University Press, 1928; Ashdown, 1956.
Level: LI–I/E
5 Divergencies (Russian Dance; Hawaiian Lullaby; From France; March; Valse)
London: Ashdown, 1926.
Level: UE–LI/E-5
4 Duets after Old Nursery Tunes
London: Novello, 1935.
Level: LI
Graceful Dance
London: Lengnick, 1951.
Level: UE–LI
Four Impressions (Robin Goodfellow; The Sleepbringer; The Witch; The Leprechaun)
London: Curwen, 1955.
Level: UE–LI
7 Little Marches (Sieben kleine Märsche) (Parade March; Scottish Pipe March; English Festive March; Solemn March; Irish Regimental March; Oriental March; Quick March), Op. 47
Leipzig: Peters, 1936; New Edition, 1954.
Level: I
Morris Dance
London: Curwen, 1944.
Level: LI
Nautical Toccata
London: Curwen, 1947.
Level: I–UI
3 Noëls
London: Elkin, 1958.
Level: LI
Pastorale
London: Boosey & Hawkes, 1932, 1968.
Level: LI
Pipe and Tabor/Hare and Tortoise
London: Curwen, n.d.
Level: LE
Polka
London: Curwen, n.d.
Level: UE–LI
Roving Jack
London: Curwen, n.d.
Level: I
6 Short Dance Impressions (Sechs karze Tanzstücke), Op. 41
Leipzig: Peters, 1932; New Edition, 1952.
Level: I
Side by Side Series, Book 1 (Flanagan Keeps a-dancin’; Highland March; Jazz Band; Colin Clout’s Come Home Again; Jack Tar)
London: Ashdown, n.d.
Level: LI
Side by Side Series, Book 5 (The Organ Grinder; Toy Band; Dance of the Moths; Peep O’day; Wooden Soldier)
London: Ashdown, n.d.
Level: LI
Side by Side Series, Book 9 (Russian Dance; English Dance; Scandinavian Dance; French Dance)
London: Ashdown, n.d.
Level: UE–LI
Tit-for-Tat
In Thirty-two Graded Pieces for Piano Duet.
Level: E
Toccatina
London: Curwen, n.d.
Level: I
Valse arabesque
In Thirty-two Graded Pieces for Piano Duet.
Level: I
Rozin, Albert (1906–1987)
Two Together
New York: Schroeder & Gunther, 1962.
Eleven tuneful pieces comfortably set for both parts.
Level: UE–LI
Rubertis, Victor de (1893–1961), Italy/Argentina
Argentine teacher, music critic, and composer of Italian origin.
Minué
Buenos Aires: Ricordi, 1953.
Effective teaching piece in Classical style.
Level: LI
Rubinstein, Anton Gregorievich (1829–1894), Russia
Russian pianist of great distinction and composer of operas, symphonies, piano concertos, and piano pieces. Most of his works, written in a facile, conservative German Romantic idiom, have long since faded.
Bal costumé, suite de 20 morceaux caractéristiques, Op. 103
Berlin: Bote & Bock, ca. 1880.
Tone pictures describing various historical characters at a costume ball, each character representing a different national group and historical period. Requires advanced pianism.
Level: UI–A
Character-Bilder, 6 Clavierstücke (Nocturne; Scherzo; Barcarole; Capriccio; Berceuse; Marche), Op. 50
Leipzig: Kahnt, 1859; Paris: Hamelle, n.d.
Elegantly turned-out piece in salon style with interest and activity in both parts.
Level: I–UI
3 Mélodies caractéristiques (Chanson russe; Nocturne sur l’eau; La cataracte), Op. 9
Vienna: Haslinger, n.d.; Paris: Hamelle, n.d.
Descriptive pieces in light salon style.
Level: I
Sonata (D), Op. 89
Berlin: Simrock, 1871; Paris: Hamelle, 1871.
Sweeping, large-scale bravura work in three movements: Allegro; brilliant Scherzo; slow movement with well-developed fugal section. In spite of its rigorously conservative, often saccharine harmonic idiom and its general lightweight character, the entire work is structurally imposing with skillful thematic manipulation. Excitingly pianistic throughout.
Level: A
Rubinstein, Nikolai Gregorievich (1835–1881), Russia
Russian pianist, brother of Anton; founder of Moscow Conservatory. He composed many piano pieces in light Romantic style.
Tarantella; Op. 14
London: Augener, n.d.; New Edition, Paris: Hamelle, n.d. New Edition, revised, G. Rosati, Ancona: Bèrben, 1974.
Brilliant display piece.
Level: UI
Rübner, Cornelius (1855–1929)
Marche triomphale, Op. 17
Leipzig: Schuberth, ca. 1889.
Instructional piece.
Level: I
Rudorff, Ernst (1840–1916), Germany
Composer and teacher. Studied piano with Woldemar Bargiel and at the Leipzig Conservatory with Ignaz Moscheles, Louis Plaidy, and Juilius Rietz. Taught at the Cologne Conservatory and later at the Berlin Hochschule.
6 Vierhandige Klavierstucke, Op. 4
Leipzig: Breitkopf & Härtel, 1864.
Six pieces: Nachklang; Stimmen im Winde; Primula veris; Spanisch; Elf; Fern hallt es am Schlosse. Charming style.
Level: I–UI
Rüfer, Philippe (1844–1919), Beglium
Belgian-born German composer, teacher, and pianist. He wrote operas, chamber and orchestral works, piano duets, and songs.
Offenbach: André, 1876.
Rummel, Christian (1787–1849), Germany
German pianist, violinist, clarinettist, and conductor. He wrote operas and vocal and instrumental music in light early Romantic style.
Amusement de société, walse (E♭)
Mainz: Schott, ca. 1823.
Salon piece.
Level: I
Le délivré, valse (E♭), Op. 54
Mainz: Schott, n.d.
Fantaisie sur un air écossais (E♭), Op. 60
Mainz: Schott, 1826.
Salon piece.
Level: LI
Theme varie sur la Cavatine de l’Opera l’oculist de Gyrowetz, Op. 45
Mainz: Schott.
Rummel, Joseph (1818–1880), Germany
German clarinettist and pianist; prolific arranger of operatic music for piano; also wrote piano duets.
Boléro
Paris: Consortium Musical, n.d.
Level: I
Caprice sur des motifs de “Paul et Virginie”
Paris: Théodore Michaelis, 1877.
Level: UI–LA
Ruppe, Christian Friedrich (1753–1826), Netherlands/Germany
Dutch composer and musician of German origin.
Premières leçons pour apprendre le piano forte consistant en 6 sonatines très faciles et progressives, dont le sixème est à quatre mains à l’usage des commençans, oeuvre XIII
Leiden: by composer, n.d.
3 Sonates (F, D, E♭), oeuvre V
The Hague–Amsterdam: Burchard, Hummel et fils, ca. 1785.
3 Sonates (c, F, D), oeuvre 16
Rotterdam: Plattner, n.d.
Russell, Olive Nelson
Fantasy on “In Dulce Jubilo”
Boston: Boston Music, 1966.
Well-balanced teaching piece, with chime effects.
Level: LI
Turnabout Duets (A Pleasant Walk; Caravan; At the Ball; Country Fair; The Clang of the Anvil; Country Dance; On the March; Royal Procession)
Melville, NY: Pro-Art (Belwin), 1965.
Tunes from the classics; rhythmic bass patterns in secondo, melodies in primo; excellent fare for the early pianist.
Level: E-5
Russell, Robert
Composer of chamber music, including a trumpet sonata and a woodwind quintet.
Places, suite (1964), Op. 9
New York: General Music Publishing, 1968.
Unusual set of refreshing descriptive pieces in contemporary dissonant, tonal idiom. Various areas of New York and environs are depicted colorfully and with great effect. New York, N.Y.: fast and busy; uses jazz elements and quotes from the popular song “The Sidewalks of New York” concealed in a “wrong-note” hurdy-gurdy accompaniment. Brooklyn Bridge: eerie, misty effect is achieved by the primo strumming fingernails over strings inside piano while chords soundlessly pressed down on the keyboard by the secondo are sustained by the middle (sostenuto) pedal. Orchard Street: unusual key signature of two sharps and two flats (resulting in a scale containing two augmented seconds) and a bright, whirling 
lend an exotic Middle Eastern flavor. The Cloisters: represented first by somber chords in resonant bell-like sonorities: then when the chant “Dies Irae” is softly introduced, the tolling bells fade into silence. Central Park Green: children frolicking. The Bay at Dusk: an Impressionistic tone picture. Perambulation: has a pleasant jazzy, sauntering nonchalance.
Ruthardt, Adolf (1849–1934), Germany
German pianist and music editor; author of piano bandbook; composed chamber music and piano studies.
Teacher and Pupil (Lehrer und Schuler)
Leipzig: Peters, ca. 1893; Kalmus.
Arrangements of folk songs, operatic arias, movements of Haydn chamber music, Handel oratorios, etc.
Level: UE–LI/E-5, UE
Syncopated Waltz, Op. 27, No. 5
San Diego: Neil A. Kjos Music, 1996; appears in Weekley, Dallas, and Arganbright, Nancy, eds., Twelve Classic Duets.
Primo in five-finger pattern.
Level: LI/E
Rutini, Giovanni Marco Placido (1723–1797), Italy
Italian composer of operas, cantatas, and keyboard music in early Classical style.
12 Divertimenti facili e brevi per cimbalo a quattro mani o arpe e cimbalo (C, G, F, C, F, C, C, F, D, A, a, D), Op. 18
Publisher and date missing.
Series of short, thin-textured pieces in various forms (including menuet and rondo), set in an early, often primitive, four-hand idiom with extensive use of parallel sixths and tenths. The work is undated but it is worth mentioning that in his introduction the composer alludes to the fact that four-hand music is “a style recently introduced from England.” This suggests that the Divertimenti could have conceivably been written as early as 1777 or 1778, the date of the publication of Dr. Charles Burney’s four-hand sonatas, to which Rutini was doubtless referring.
Level: LI
Rzewski, Frederic (b. 1938) United States
American composer and pianist. Holds degrees from Princeton University and Harvard University. Studied with Randall Thompson, Roger Sessions, Walter Piston, and Milton Babbitt.
Four Hands (2012)
A fiercely difficult four-movement work: 1. Quarter note = 96–104; 2. Senza misura (ca. 30′ per line); 3. Quarter note = 72; 4. Quarter note = 96. Commissioned by pianists Ursula Oppens and Jerome Lowenthal. This demanding work employs a thorny harmonic language and features pointillistic effects, rhythmic complexities, choreographic challenges, as well as a jazz-influenced finale fugue. Approximate performance duration: fifteen minutes.
Level: A