time; similar in their joyous sparkle and dynamic drive.S., C.A.
Two Duettino’s for Two Performers on One Piano Forte
London: Published by composer, ca. 1796.
Very simple, largely chordal three-part pieces in colorless Classical idiom by an unidentified composer.
Level: LI
Saar, Louis Victor (1868–1937), Netherlands
Dutch-born American teacher, pianist, and composer; wrote orchestral, choral, and chamber music in lightweight Romantic style.
5 Piano Pieces, Op. 21
New York: Schubert, 1897.
Instructional music.
Level: UE–LI
Suite (Préambule; Contredanse; Scène d’amour; Dévise noble; Marche et polonaise), Op. 27
New York: Schirmer, 1899.
Salon pieces.
Level: I–UI
Sabio, Jose Miguel Moreno (b. 1956), Spain
Composer and pianist.
Come un eco lontano
Manuscript, Jose Miguel Moreno Sabio, 2001.
Sophisticated rhythms.
Level: A
Saint-Aulaire, Roland (1886–1964), France
Les contes de Grand’mère (Riquet à la houppe; Rêverie de Cendrillon; Cendrillon an bal; Le sommeil de la belle au bois dormant; Peau d’âne; Le petit poucet et ses frères)
Paris: Jobert, 1923.
Level: UE–LI
Saint-Juste, Édouard
Fête polonaise
London: A. Hammond, 1926.
Bright, rhythmical display piece in Polish style.
Level: LI
Saint-Lubin, Léon de
Grand notturno, Op. 23
Vienna: Mechetti, 1829.
Variations faciles et agréables sur un thème autrichien favorit (D), Op. 24
Vienna: J. Czerný, ca. 1829.
Five variations on a simple Austrian yodeling theme; agreeable and unpretentious without manifesting any strong musical personality.
Level: UE–LI
Saint-Saëns, Camille (1835–1921), France
French composer of operas, symphonies, tone poems, concertos, chamber music, songs, and piano compositions. His direct, tuneful, fastidious, often brilliant style was once held in high esteem, but its standing has diminished somewhat in recent years because of its superficiality.
Berceuse, Op. 105
Paris: Durand, 1896.
Ingratiating tranquil mood piece.
Level: LI
Duettino (G), Op. 11
Paris: Hamelle, ca. 1861.
Show piece, brilliant in part.
Level: I
Feuillet d’album, Op. 81
Paris: Durand, 1887.
Level: I
König Harald Harfagar (nach H. Heine), Ballade, Op. 59
Berlin: Bote & Bock, 1880.
Marche dédiée aux étudiants d’Alger (with chorus ad lib.), Op. 163
Paris: Durand, 1922.
Marche interalliée, Op. 155
Paris: Durand, 1919.
Pas redoublé, Op. 86
Paris: Durand, 1890.
Level: I
3 Rhapsodies
Paris: Publisher missing, 1880.
Salizzato, Italo (b. 1941), Libya/Italy
Composer, pianist, and arranger. Born in Libya to parents of Venetian heritage. Often published under the pseudonym Arbik-Meldorf.
“Zio Sam” (Uncle Sam)
Ancona: Berben Edizioni Musicali, 2010.
A moderate swing with syncopated rhythms. Published in score format, the parts are strangely inverted which makes it somewhat challenging to read.
Level: UI
Sallee, Mary K., United States
Pianist, teacher, and composer. Educated at the University of Oklahoma.
Getting A “round” Two It
Van Nuys, CA: Alfred Music, 2013.
Using familiar tunes such as “Old MacDonald” and “Mary Had a Little Lamb,” the melodies are blended and enhanced in this creative duet in which performers switch parts.
Level: LI
Salner, G. P.
Slow March; composed for three hands on the pianoforte, or accompaniment for the German flute
London: Edward Riley, n.d.
Salomé, Théodore César (1834–1896), France
French organist and teacher; wrote organ, orchestral, and piano pieces in traditional style.
2 Pièces (Carillon; Notre dame des flots), Op. 40
Paris: Hamelle, n.d.
Salter, Lionel (1914–2000), England
English pianist, harpsichordist, conductor, teacher, and critic. He has composed incidental music for radio plays, orchestral works, songs, and piano pieces in conventional style.
A Grey Day
London: Boosey & Hawkes, 1954.
Attractive teaching piece.
Level: UE–LI
Out in the Sun
London: Boosey & Hawkes, 1954.
Well-crafted instructional piece.
Level: UE–LI
Sammartino, Luis R. (1888–1973), Argentina
Argentine composer of orchestral and chamber music.
Gato, from De mi Patria
Buenos Aires: Ricordi, n.d.
Huella
Buenos Aires: Ricordi, n.d.
Zamba de Vargas, on popular Argentine themes
Buenos Aires: Ricordi, n.d.
2 Esquisses (Romance sans paroles; Scherzo), Op. 6
Mainz: Schott, n.d.; Scherzo is in Thirty-two Graded Pieces for Piano Duet.
Level: UI
Sonatines faciles (G, G, e)
Mainz: Schott, 1885.
Alec Rowley comments in One Piano Four Hands that these sonatinas are “three of the most remarkable works in the whole of four hand literature; in strict sonata form with amazingly clever modulations considering the fact that both primo and secondo are in five-finger positions throughout.”
Level: UE-5
Samuel-Rousseau, Marcel (1882–1955), France
French composer of operas, ballet, and incidental theater music.
Menuet; Valse
Paris: Lemoine, n.d.
Sandré, Gustave (1843–1916)
Marche caractéristique, Op. 13
Paris: Maho (Hamelle), ca. 1875.
6 Pièces, Op. 10
Paris: Hamelle, n.d.
Valses, Op. 17
Paris: Hamelle, n.d.
2 Pièces, Op. 18
Paris: Hamelle, n.d.
Sandström, Sven-David (b. 1942), Sweden
5 Duets
Stockholm: Nordiska Musikförlaget, n.d.
Santos, Manuel dos (1805–1887), Portugal
Portuguese musician.
Quinteto (pequeno) pars piano a quatro mãos, dois violinos e uma flauta, 1854 Manuscript.
Sanucci, Frank (1901–1991), Argentina
Pianist, composer, and teacher. Studied at the Eastman School of Music.
Composed over 150 musical scores for movies and worked for Universal Pictures, Pathé Pictures, and Republic Pictures.
“Viva!” Pancho
Florence, KY: Willis Music, 1977.
The dramatic, rhythmic introduction gives way to a lyrical theme. The duet modulates from F major to G major.
Level: LI
Saran, August (1836–1922), Germany
3 Polonaises (A♭, E, F), Op. 3
Leipzig: Leuckart, ca. 1861; New York: Carl Fischer, 1905.
Well-written salon pieces.
Level: I
Sárközy, Istvan (b. 1920), Hungary
Has written stage works, pieces for orchestra, choral and chamber works, and piano pieces.
Sonatina
Budapest: Editio musica, 1956.
Impressive, single-movement piece in Hungarian modal idiom; sparkling, melodious; unusually effective.
Level: LI
Sartorio, Arnoldo (1853–1936), Germany
Remarkably prolific German composer of Italian descent, with over 1,000 opuses to his credit. Also served as a choir conductor and teacher.
Pictures from Youth: Twelve Melodious Piano Pieces for Four Hands, Op. 400
Boston: A. P. Schmidt, 1900.
Twelve pedagogical duets in equal parts. High quality literature.
Level: I
Pleasures of Youth, Op. 424
Boston: B. F. Wood Music, 1901.
Ten instructional duets. The primo is set in a five-finger position for each piece. Titles: Boat Song; Friendly Greetings (Polka Mazurka); Serenade; The Wings of Song; Cradle Song; Barcarole; Polonaise; The Jolly Comrades: Funeral March; Soldier’s March.
Level: I/E–LI
Thirty Instructive and Melodious Piano Duets, Op. 432
Primo is in five-finger patterns and plays in parallel motion at the unison octave.
Level: UE–I/E
Satie, Erik (1866–1925), France
Eccentric French composer. He cultivated a cool, clear, satirical musical style, with simple melodies and harmonies, as a revolt against the lushness of the Impessionism of Debussy and Ravel. He was a significant influence on Milhaud, Sauguet, Poulenc, and “les Six.”
Aperçus désagréables (Pastorale; Chorale; Fugue) (1908–1912)
Paris: Eschig, 1913.
Three-movement work from the composer’s “Classical” period following his completion of a rigorous three-year course in composition at the Schola Cantorum. Serious, often stern, pieces in weighty chromatic style, heavily interspersed with Satie’s enigmatic and amusing performance directions.
Level: I–UI
La Belle Excentrique (The Eccentric Beauty): A Serious Fantasy
Paris: Max Eschig, 1922.
Movement titles: Grand Ritornello; I. French Moon-March; II. Waltz of “The Mysterios Kiss within the Eye”; III. High Society Cancan. Lively and quirky with mild dissonance.
Level: UI–LA
En habit de cheval (Choral; Fugue litanique, Autre choral; Fugue de papier) (1911)
Paris: Rouart, Lerolle, 1911.
Though full of odd harmonic shifts, naive melodies, and other compositional eccentricities associated with Satie, this serious, skillfully written suite, which also dates from the composer’s “Classical” period, is uncharacteristically somber in mood and idiom.
Level: I–UI
Parade
Boca Raton, FL: Masters Music Publications.
Composed for Diaghilev’s Ballets Russes and choreographed by Leonide Massine. It was premiered on 18 May 1917 in Paris and based on a scenario by Jean Cocteau where circus artists are seeking to draw a crowd to an indoor performance.
Level: UI–LA
Trois morceaux en forme de poire (Manière de commencement; Prolongation du même, I, II, III; En plus; Redite) (1903)
Paris: Rouart, LeroIle, 1911.
Satie’s earliest piano duet, typical of his clownish wit and full of harmonic and melodic naiveté. Written in response to criticism that the composer neglected form in his music, the piece sports odd and often cryptic interpretive indications, literary allusions, and unpredictable dynamic changes so closely associated with the composer’s musical rhetoric.
Level: I–UI
Satter, Gustave (1832–1879), Slovenia
Viennese pianist and teacher; lived briefly in the United States.
Sonate (f)
Hamburg: Craw, 1854.
Long, brilliant, demanding four-movement work in shallow Romantic style.
Level: UI–A
Saupe, Christian Gottlob (1763–1819), Germany
German organist and composer of piano pieces.
Sonatine (g)
Leipzig: Breitkopf & Härtel, 1792. New Edition in Kreutz, ed., Vermischte Handstücke.
Two-movement work in lean-textured Classical style; well balanced technically but with greater interest in the primo.
Level: LI
Fresque marine
Paris: Salabert, n.d.
Little Piece
Paris: Salabert, n.d.
Petites feuilles
Paris: Senart, n.d.
Level: LI
Savage, Jane (1752/3–1824), England
A Favorite Duett for Two Performers, Op. 6
London: Longman & Broderip, ca. 1790.
Savard, Augustin (1861–1942), France
Studied with Jules Massenet at the Paris Conservatoire and was the winner of the Prix de Rome.
Melodie Scandinave Nos. 1 and 2
Paris: Armand Colin, 1893.
Level: I
Savina, Carlo (1919–2002), Italy
Composer and conductor. Composed the film scores for The Godfather, Amarcord, and The Bear.
Gin Fizz
Ancona: Berben Edizioni Musicali, 1985.
A rhythmically driven showpiece that features frequently changing meters.
Effective.
Level: LA
Schäfer, Alexander (1866–1901), Russia
Russian conductor and composer of operas, ballets, symphonic and chamber music, songs, and piano pieces.
Russian Dances, Op. 46
Leipzig: Zimmerman, 1900.
Skillful arrangements of six Russian folk dances; well balanced, with rhythmic variety.
Level: LI–I
Schäfer, Rudolf
Volks- und Kinderlieder
Vienna: Doblinger, n.d.
Schäffer, Boguslaw (b. 1929), Poland
Polish; self-taught composer; has worked with Polish folk music. In recent years he has cultivated avant-garde procedures, including tape and serial techniques and graphic notation.
4H/1P, Music for Piano: four hands—one piano
Berlin: Aim & Simrock, 1968.
Commissioned by Milton and Peggy Salkind. Work in post-serial idiom employing contemporary notation symbols; elegantly printed in large oblong format. Demands experienced and sophisticated pianism.
Level: A
Schall, Claus Nielsen (1757–1835), Denmark
Sonate à quatre mains
In Nordens Apollo.
Also contains two songs and four Écossaises by Schall.
Scharfenberg, William (1819–1895), Germany
German pianist, violinist, composer, and teacher. Studied with Hummel in Weimar. Served as music editor at G. Schirmer.
Album for Piano Four Hands
New York: G. Schirmer, 1895.
Anthology of forty-seven duets for piano four hands.
Scharwenka, Philipp (1847–4917), Poland
The Scharwenka brothers, Philipp and Xaver, contributed generously to the four-hand medium. Xaver, a brilliant pianist, was the more successful of the two, but both men were competent and resourceful composers in the late Romantic tradition, turning out a quantity of first-rate, elegantly crafted duets in the smaller forms.
All’Ongarese (b♭) und Walzer (E♭), Op. 30
Leipzig: Breitkopf & Härtel, 1879.
Bright; deftly written.
Level: LI–I
Heimat, 5 Phantasietänze in polnischer Art, Op. 109
Leipzig: Breitkopf & Härtel, 1900.
Level: I
Herbstbilder, 6 Klavierstücke, Op. 6
Leipzig: Breitkopf & Härtel, 1885.
Hochzeitsmusik (Hochzeitsmarsch; Walzer; Abendmusik), Op. 23
Bremen: Praeger & Meier, 1879.
Serious pieces, skillfully set; effective.
Level: I–UI
Intermezzi, 5 Klavierstücke, Op. 48
Berlin: Bote & Bock, 1883.
Lieder und Tanzweisen, Op. 54
Berlin: Carl Simon, 1884.
Marsch, Intermezzo all’ ongarese, und Brautreigen, Op. 42
Leipzig: Rühle, 1882.
Level: I
6 Polnische Tanzweisen, Op. 38
Bremen: Praeger & Meier, 1882.
Pleasant folk song settings; brisk, with well-balanced activity.
Level: I
3 Scherzi (e, F, b♭), Op. 91
Leipzig: Breitkopf & Härtel, 1893.
Level: I
Stimmungsbilder, Op. 57
Bremen: Praeger & Meir, n.d.
Suite de dances caractéristiques (b, E♭, d, f♯, f, c♯), Op. 78
Breslau: Hainauer, 1888.
Level: I–UI
Tanz-Novelle, 5 Tanz-poeme mit einem Intermezzo und Epilog, Op. 103
Leipzig: Breitkopf & Härtel, 1898.
Level: I
Tanz-Suite (Polonaise; Mazurka; Menuett; Tarantella), Op. 21
Leipzig: Breitkopf & Härtel, 1877, 1898.
Level: UI
5 Tanzscenen (Maskentanz; Lenzreigen; Pas de deux; Brautreigen; Polnischer Tanz), Op. 75
Breslau: Hainauer, 1887.
Level: I
Scharwenka, Xaver (1850–1924), Poland
See: note under Scharwenka, Philipp.
Aus alter und neuer Zeit, vier Tänze (Gavotte; Menuetto; Mazurka; Walzer), Op. 24
Bremen: Praeger & Meier, 1875.
Level: I
Bilder aus dem Süden, Op. 39
London: Augener.
Level: I–UI
Nordisches, Op. 21
Berlin: Simon, 1875.
Two melodious tone pictures on Scandinavian subjects in fluent style.
Level: I
Suite de danses (Tani-Suite) (Alla marcia; Gavotte; Menuetto; Bolero), Op. 41
Leipzig: Peters, 1881; New York: Schirmer, 1905.
Attractive pieces; effectively written in tuneful, salon style.
Level: I
2 Walzer (D, E♭), Op. 44
London: Augener, 1879; Leipzig: Peters, 1881.
Schaum, John W. (1905–1988), United States
American teacher and composer; author of piano method and many instructional pieces for piano.
New York: Belwin, 1946.
Teaching piece in jazz style.
Level: UE–LI
The “Eggs pert” Hen
Melville, NY: Belwin, 1953.
Teaching piece with pun-filled text to help pullet off.
Level: E
Schelb, Josef (1894–1977), Germany
German composer and teacher. His works include symphonic and chamber music, an opera, and piano pieces.
Kleine Sonate
Heidelberg: Süddeutscher Musikverlag (Willy Müller), 1943.
Jovial rhythmical work with bright melodies. Neo-Classical style with linear textures predominating. Echoes of Hindemith in the structure and harmony, and hints of a cool French touch here and there. The first movement, Lebhaft, is lively and strongly rhythmical; the second, Ruhig, liedhaft, is lyrical and quietly flowing; and the work ends with the very fast and exciting Rasch, sehr straff. The sonata is carefully balanced and effectively set; excellent fare for the young advancing pianist.
Level: LI–I
Scher, William (b. 1900), United States
Composer whose prodigious output of instructional piano music includes a quantity of bright, unpretentious four-hand pieces set in a well-worn and predictable conservative style. However, the music is useful—attractive, always playable, and generates an instant, though often short-lived, appeal.
Arabian Dance
Melville, NY: Pro-Art, n.d.
Short piece employing Middle Eastern scale patterns.
Level: LE–E
At the Circus
New York: Century Music, n.d.
Bright, jolly piece.
Level: UE
Blue Candle Light
Melville, NY: Pro-Art, 1970.
Soft, lyrical piece.
Level: UE
A Chinese Fairy Tale
Melville, NY: Pro-Art, n.d.
Short work employing clichés of oriental music.
Level: UE
Csardas Rhapsody
Melville, NY: Pro-Art, n.d.
Short piece featuring Hungarian folk rhythms.
Level: UE
Dancing Mosquitoes
Melville, NY: Pro-Art, 1954.
Level: UE
For Four Hands (Campus Capers; Girl with the Silver Baton; Gypsy Camp Fire; March of the Giants; Music Box Minuet; Polka of the Wooden Soldiers; Spanish Fiesta; Waltzing by Candle Light)
Melville, NY: Pro-Art, 1962.
Level: E
Happy Go Lucky
New York: Carl Fischer, 1960; also in Four Hands at the Keyboard.
Hobby Horse
Melville, NY: Pro-Art, 1970.
Rhythmical little piece.
Level: E
Hungarian Wedding Scene
Melville, NY: Belwin, 1969.
Short piece in traditional Hungarian folk style.
Level: LI
Jolly Little Chinaman
Boston: Boston Music, n.d.
The pentatonic scale provides color for this short piece.
Level: E–UE
Little Cossack
New York: Sam Fox, 1959.
Very short piece with Russian flavor.
Level: UE
March of the Green Berets
Melville, NY: Pro-Art, 1971.
Rhythmical piece on a strutting martial theme.
Level: UE
Movie Mystery
New York: Sam Fox, n.d.
Short piece using familiar haunted house sound-effect clichés.
Level: E
Peasant Dance
Melville, NY: Pro-Art, n.d.
Lively, high-stepping, rhythmical little tune.
Level: E–UE
Polka Dot Polka
Melville, NY: Pro-Art, 1970.
Lively dance.
Level: UE
Polka Time in Vienna
New York: Schroeder & Gunther, 1964.
Level: UE–LI
Rhapsody for Two
Melville, NY: Pro-Art, n.d.
Level: E
Rocking Horse Polka
New York: Sam Fox, 1957.
Level: E
Scooter Race
Melville, NY: Pro-Art, n.d.
Lively piece featuring simple melody and accompaniment.
Level: UE
6 Sketches for Two Players (Cuckoo Waltz; Gnomes; From a Hurdy-Gurdy; In the Days of the Covered Wagon; March of the Little Sergeants; Sparklets)
Boston: Boston Music, 1963.
Short pieces in various styles.
Level: E
Valse Romany
New York: Century Music, 1966.
Gypsy rhythms and melodic patterns are featured.
Level: E
Waltzing Peacock
Melville, NY: Pro-Art, n.d.
Short, stately waltz.
Level: UE
Schiavo, Gianpaolo, Italy
Consonanza
Ancona: Berben Edizioni Musicali, 1990.
Manuscript.
Somewhat challenging to read. Rhythmically sophisticated. Frequent tempo changes.
Level: LA
Schickele, Peter (b. 1935), United States
Composer, musician, author, and satirist. Graduate of Swarthmore College and the Juilliard School where he was a student of Vincent Persichetti. Compositions include works for orchestral, choral, and chamber ensembles as well as solo instrumental and vocal music. Known for his comedic works by fictional composer P.D.Q. Bach.
The Civilian Barber, overture
Philadelphia: Elkan-Vogel, 1963.
Merry, witty spoof in the style of a Rossini overture with a dash of Beethoven; cleverly set, well balanced; great entertainment.
Level: I
Elkan-Vogel / King of Prussia, PA: Theodore Presser, 1979.
A suite consisting of seven brief duets: I. Cha Cha Cha Boomdeeay; II. North Star; III. For Charlie the Parrot; IV. Dusk on the Palisades; V. Sore in the Saddle Again; VI. Greased Lightning; VII. Mink Hollow Morning. Composed as a gift for Schickele’s son’s eighth birthday, with the primo written to be performed by his young son.
Level: UE–I/E
Morning Music
King of Prussia, PA: Theodore Presser, 2010.
Evocative and hypnotic. Features minimalistic tendencies and frequent meter changes. A collection of several sections that are joined together as a “string of exotic beads.” About the work, the composer writes: “Although there is no direct reference to the music of India, this work has, to me, the feeling of a piece to be played at sunrise, in the manner of a morning raga.”
Level: UI–LA
Sonata Innamorata (S. 1+1)
King of Prussia, PA: Theodore Presser.
Composed by P.D.Q. Bach and lovingly edited by Professor Peter Schickele. A three-movement sonata: I. Allegro impetuoso; II. Andante con cozyta; III. Presto obsessto. Abounding in humor and comedic antics. Occasional and strategic dissonant interruptions in an otherwise consonant work intensify the satire. The performers twice seamlessly switch places at the keyboard in second movement. About the work, Schickele writes that the “Sonata Innamorata was written specifically for the purposes of seduction; P. D. Q. Bach boasted to a friend that he had constructed the second movement ‘in such a way as to make the desirable inevitable.’” Approximate performance duration: nine minutes.
Level: UI–LA
Toot Suite (S212°) (1967)
Bryn Mawr, PA: Theodore Presser, 1973.
Another of the composer’s good-natured and wittily arranged musical stunts. Though specifically written for steam calliope or organ, at least two of the movements, O.K. Chorale and Fuga Vulgaris, can be performed quite effectively on the piano—even without the “toot” of the calliope called for in the score to punctuate the end of each phrase of the fugal subject, the first phrase of the Song of the Volga Boatmen.
Level: I
Schillio, Émile (1909–1987)
Morning in Madrid
Philadelphia: Presser, 1949.
Salon piece in Spanish style.
Level: LI
Schiske, Karl (1916–1969), Hungary
Hungarian-born Austrian composer; wrote in contrapuntal, neo-Classicai idiom.
Sonata (1949), Op. 29
Vienna: Doblinger, 1957.
Compact, linear work; makes no excessive demands on performers.
Level: I
Schlechter, Mathias
3 Marches avec trio, Op. 4
Vienna: Mollo, 1829.
Schlegel, Leander (1844–1913), Holland
Dutch violinist, pianist, and composer
Der Kinder bunte Welt, Op. 27
Heidelberg: Süddeutcher Musikverlag.
Level: I
Schleiffarth, George (1849–1921), Germany
The Famous Cadet Two-Step
Sedalia, MO: A. W. Perry & Sons, 1912.
Level: UI
Schlesinger, S.
7 Melodious Duets
Philadelphia: Presser, 1904.
Instructional pieces.
Level: UE/E-5
Schloër, B. T.
La sympathie, divertissement, Op. 18
Rotterdam: Plattner, n.d.
Set of attractive variations in lightweight, early Romantic style.
Level: I
Schloër, François, and Ancot, Jean, fils
Fantaisie
Paris: Victor Dufaut, ca. 1825.
Set of florid variations on a simple theme; salon in style but not without a certain charm and sparkle.
Level: I
Schmid, Heinrich Kaspar (1874–1953), Germany
German pianist and teacher. His compositions are written in late Romantic style.
Mainz: Schott, 1921.
Attractive set of landler cast in a tonal idiom related to those of Richard Strauss and Reger.
Level: I
Freut euch des Lebens, 20 Volkslieder in neuem Satz, Op. 93 (1937)
Mainz: Schott, n.d.
Level: LI
Schmid, Josef (ca. 1770–1828)
6 Allemandes avec trios, Op. 9
Vienna: Cappi, ca. 1810.
Sonata, Op. 25
Vienna: Mollo, ca. 1803.
Brief, two-movement work; harmonically thin; pedagogical in intent.
Level: LI
Schmitt, Aloys (1788–1866), Germany
German pianist and teacher. He composed concertos, chamber music, and liturgical works in addition to a quantity of instructional piano music.
Grande sonate (G), No. 3, Op. 23
Berlin: Schlesinger, n.d.
Grosses Tongemälde, Op. 45
Leipzig: Probst, ca. 1824.
Level: I
Introduction et variations sur un air des matelots hollandais (B♭)
Rotterdam: L. Coenen, 1835.
Level: I
4 Marches, Op. 36
Mainz: Schott, ca. 1822.
Level: I
Marsch den zur Befreyung des Griechen helfenden Deutschen gewidmet (E♭)
Offenbach: André, n.d.
Level: I
Scherzo (E♭), Op. 42
Offenbach: André, ca. 1824; New Edition, 1871.
Level: I
Sonata No. 1, Op. 21
Sonata (A), No. 2, Op. 22
Berlin: Schlesinger, ca. 1823.
This work and Op. 21 are pedagogical sonatas, rambling and academic.
Level: I
Variations sur un thème original (A), Op. 25
Berlin: Schlesinger, n.d.
Level: I
Offenbach: André, ca. 1824.
Routine instructional work; dry, plodding, lacking in imaginative writing.
Level: I
Schmitt, Florent (1870–1958), France
French composer; student of Massenet and Fauré. He cultivated a heavy-textured style incorporating elements of French Impressionism with Classical structures and often employed unusual rhythmical devices. His compositions include ballets, choral and chamber music, orchestral works, and piano pieces.
Feuillets de voyage (Aus meinen Wanderjahren) (Sérénade; Visite; Compliments; Douceur du soir; Danse brittanique; Berceuse; Mazurka; Marche burlesque; Retour à l’endroit familier; Valse), Op. 26
Paris: Durand, 1905; Berlin: Schlesinger, 1905.
Suite of attractive character pieces describing the composer’s travels in his younger years.
Level: I–UI
8 Courtes pièces, préparatoires à la musique contemporaine (Ouverture; Menuet; Chanson; Sérénade; Virelai; Boléro; Complainte; Cortège), Op. 41
Paris: Heugel, 1909.
Melodious, dextrously written pieces, exceptionally well set for the medium; secondo somewhat demanding; very useful.
Level: I–UI/UE–LI-5
6 Humoresques (Marche militaire; Rondeau; Bucolique; Scherzetto; Valse sentimentale; Danse grotesque), Op. 43
Paris: S. Chapelier, 1912.
Delightful, imaginative, descriptive pieces.
Level: I/UE–LI
Kermesse-Valse, from the ballet L’Éventail de Jeanne (q.v.)
Paris: Heugel, 1927.
Rousing waltz in Viennese style.
Level: UI
Marche du CLXII, Op. 48b
Paris: Durand, 1918.
Level: A
Musiques foraines (Parade; Boniment des downs; La belle Fathma; Les éléphants savants; La pythonisse; Chevaux de bois), Op. 22
Paris: Hamelle, 1901.
Set of six rather long descriptive pieces in traditional harmonic idiom depicting circus subjects.
Level: UI
7 Pièces (Somnolence; Souvenir de Ribeaupierre; Scintillement; Souhaite de jeune fille; Promenade à l’étang; Fête septentrionale; Traversée heureuse) (1899), Op. 15
Paris: Leduc, 1901.
Tidy set of pieces in the composer’s characteristic flowing and lyrical style; excellent fare for student and teacher.
Level: LI–I
3 Pièces récréatives (Quadrille; Gavotte; Marche), Op. 37
Paris: Hamelle, ca. 1907.
Diverting set of pieces with ingeniously written secondo complementing the easy primo part.
Level: I/UE–LI-5
Reflets d’Allemagne; 8 valses (Heidelberg; Coblentz; Lübeck; Werder; Vienne; Dresde; Nuremberg; Munich), Op. 28
Paris: Mathot, 1906.
Bracing, rhythmical waltzes describing the composer’s impressions of various German and Austrian cities.
Level: I
Une semaine de petit elfe ferme-l’oeil, ou, les songes de Hialmar, d’après Hans Christian Andersen (La noce des souris; La cicogne lasse; Le cheval de ferme l’oeil; Le manage de la poupée Berthe; La ronde des lettres boiteuses; La promenade à travers le tableau; Le parapluie chinois), Op. 58
Paris: Durand, 1913.
Suite of imaginative and skillfully arranged pieces. The composer has succeeded in creating works of great beauty and enchantment within the limited note range of the primo part. Rich in harmonic and rhythmic variety; challenging for both parts.
Level: UI–A/UE–LI-5
Sur cinq notes, petite suite (Ronde; Barcarolle; Mazurka; Bercement; Danse pyrénéenne; Mélodie; Pastorale; Farandole), Op. 34
Paris: Max Eschig, 1907.
Charming set of eight pieces; innocent and simple melodies in the primo with sophisticated harmonic accompaniments in the secondo. French in style and character, subtle, colorful, atmospheric.
Level: I–UI/UE-5
Schmitt, Jacob (1803–1853), Germany
German pianist and teacher, brother of Aloys. He wrote a quantity of pieces, etudes, methods, and other pedagogical works for piano, a selection of which are listed below.
Cantabile et rondo (A), Op. 63
Hamburg: Cranz, n.d.
Instructional work in routine Classical style.
Level: LI
8 Instructive Sonatinen, Op. 208 (C, F, G, G); Op. 209 (F, a, a, A)
Leipzig: Schuberth, ca. 1845; Leipzig: Peters, n.d.; Boosey & Hawkes, n.d.
Level: LI
Introduction et variations (F), Op. 102
Hamburg: Schuberth, n.d.
Predictable, trite. The primo bears most of the melodic burden, often in octaves; the secondo has largely accompanying figure.
Level: LI–I
Introduction et variations (E♭), Op. 119
Hamburg: Schuberth, n.d.
Similar to preceding work in structure and musical character.
Level: LI–I
Introduction et variations faciles (A), Op. 79
Offenbach: André, ca. 1825.
Instructional work.
Level: LI
2 Märsche (E♭, E), Op. 2
Offenbach: André, ca. 1822.
Level: UE–LI
Rondeau facile et agréable (a), Op. 92
Offenbach: André, n.d.
Instructional.
Level: UE–LI
Sonate facile (D), Op. 31
Offenbach: André, New Edition, 1868.
Level: UE–LI
Sonata (G), Op. 46
Offenbach: André, ca. 1828.
Moderately long instructional work in three movements.
Level: UE–LI
2 Sonatines faciles, Op. 118
Offenbach: André, n.d.
Variationen, Op. 27 and Op. 28
Mainz: Schott, n.d.
Variations (D), Op. 30
Offenbach: Andre, ca. 1826.
Instructional work.
Level: UE–LI
Variations (thème original) (E♭), Op. 58
Brunswick: Spehr, n.d.
Schmitt, Susan
Easy Tunes for Two
Boston: Boston Music, n.d.
Schmitz, Manfred (b. 1939), Germany
Composer, arranger, pianist, educator, and clinician. Holds degrees in piano from the Franz-Liszt-Academy in Weimar, Germany. Taught at the Franz-Liszt-Academy of Music in Weimer from 1968 to 1984.
Konzert im Blumenbeet
Deutscher Verlag fur Musik/Leipzig: Breitkopf & Härtel, 2008.
A collection of eighteen brief instructional pieces for two, three, four, five, and six hands. Colorful illustrations.
Level: I
Mini-Jazz: Book 2
Deutscher Verlag fur Musik / Leipzig: Breitkopf & Härtel.
Twenty-one duets for four hands.
Mini-Tango
Deutscher Verlag fur Musik / Leipzig: Breitkopf & Härtel, 2005.
Thirty-four tangos for two and four hands. Ten of the thirty-four are for four hands. A variety of levels represented. Excellent introduction to the tango style.
Level: E-UI
Schneider, Friedrich (1786–1853), Germany
German pianist, composer, and conductor. Organist at St. Thomas Church in Leipzig.
Grande Polonaise for Piano Four Hands, Op. 79
C. Bruggemann.
Level: UI–LA
Sonata for Piano Four Hands, Op. 78
C. Bruggemann.
Level: LA
Schoberlechner, Franz (1797–1843), Austria
German pianist, conductor, and composer; pupil of Hummel. He wrote operas, liturgical and symphonic music, chamber works, and piano pieces.
Rondeau (e), Op. 5
Vienna: Pennauer, n.d.
Long, serious work in Classical style; melodically weak; repetitious.
Level: LI
Schoenberg, Arnold (1874–1951), Austria
See: Josef Rufer, The Works of Arnold Schoenberg, trans. Dika Newlin from original German edition of 1959 (London: Faber & Faber, 1962).
Chamber Symphony, Op. 9 in E Major
Pacific Palisades, CA: Belmont Music Publishers, 1973.
Arranged by the composer for one piano, four hands.
Level: A
Phantasia for Piano to [sic] Four Hands
Manuscript incomplete (1937). Rufer catalogue II. B. 7.
6 Stücke für Klavier zu vier Händen (c, C, a, E, G, c) (1896)
Los Angeles: Belmont Music Publishers, 1973; Rufer catalogue II. B. 1.; Vienna: Universal Edition; Pacific Palisades, CA: Belmont Music Publishers, n.d.
Six short, contrasting pieces in the composer’s early post-Romantic style with strong echoes of Brahms and Dvořák. Fresh and melodious, although uneven in quality.
Level: LI–UI
These two works are included in Arnold Schoenberg Sämtliche Werke, Abt. II: Klavier- und Orgelmusik, Reihe A, Bd. 5, ed. C. M. Schmidt Mainz: Schott, 1973.
Shoenfield, Paul (b. 1947), United States
Composer and pianist. Studied at Carnegie Mellon University and University of Arizona. His music blends popular and folk styles with more traditional forms. Serves on the faculty of the University of Michigan.
Five Days from the Life of a Manic Depressive
Cleveland, OH: Migdal Publishing.
A virtuosic work in five parts/movements: I. Metamorphoses on “I’m Crazy ’Bout My Baby”; II. Labyrinth; III. Elegy; IV. From a Bintel Brief; V. Boogie. Approximate performance duration: twenty-two minutes.
Level: A
Schoenmehl, Mike (b. 1957), Germany
Music educator, jazz pianist, and editor. Studied music education at the Johannes Gutenberg University in Mainz. Editor of popular music for Schott from 1984 to 1990. Served as lecturer at Frankfurter Musikwekstatt, the Frankfurt Hochschule fur Musik und Darstellende Kunst, Johannes Gutenberg University.
Jazz for Two: Fifteen Easy Jazz and Pop Pieces
Mainz: Schott, 1993.
Originally published in two volumes, this compilation was composed to “familiarize students with the rhythms, harmonies, melodies, forms and phrasing of popular music.” Styles represented include samba, ragtime, Latin groove, jazz waltz, and rock, among others. A good introduction to the rhythmic and harmonic sophistication of these idioms. A vast range of levels are represented from upper elementary to upper intermediate. Includes teachers’ notes, preparatory exercises, and practice suggestions to aid the learning process.
Level: UE–UI
Schonthal, Ruth (1924–2006), Germany/United States
Composer and pianist of German birth. She studied at the Stern Conservatory in Berlin and the Royal Academy of Music in Stockholm. She later studied composition with Rodolfo Halffter and Manuel Ponce in Mexico City and with Paul Hindemith at Yale where she graduated in 1948. She served on the composition faculty at New York University and West Chester Conservatory of Music.
Bouquets for Margaret
Kassel: Furore Edition, 2001.
Commissioned by the Third Settlement Music School for Margaret Mills. Five duets: I. Bouquets for Margaret; II. The Pretty Flower Thinks of the Days of Her Wilting; III. A Bouquet of Wild Flowers and the Butterfly; IV. Exotic Birds and Exotic Flowers; V. Daisies: She Loves Me, She Loves Me Not, She Loves Me! Frequently changing meters.
Level: UI
Schreker, Franz (1878–1934), Monaco
Austrian teacher; composed operas, chamber symphony, and a ballet, The Birthday of the Infanta, from which the following work is probably derived.
Der Geburtstag der Infantin, Tanz-Suite
Vienna: Universal Edition, 1909.
Descriptive tone pictures; skillfully set for four hands.
Level: I
Schroeder, Hermann (1904–1984), Germany
German composer, organist, teacher, and choral director. His compositions reflect his interest in polyphonic textures.
Funf deutsche Weihnachtslieder (Five German Christmas Songs), Op. 18
Mainz: Schott.
Duet settings of five German Christmas songs.
Level: I
Rondino capriccioso (a)
In Spielbuch, zeitgenössischer Originalkompositionen.
Sprightly work in mildly contemporary idiom with linear texture, scale passages, and quartal harmony.
Level: I–UI
Schröter, C.F.
Sonate facile, Op. 4
Offenbach: André, n.d.
Schubart, Christian Friedrich Daniel (1739–1791), Germany
German organist and conductor. He composed operettas, cantatas, songs, and piano pieces; also wrote the poems of several of Franz Schubert’s songs.
Sonata (C) (with three sonatas for two hands)
In Etwas für Klavier und Gesang von Schubart.
Schubert, Camille (1810–1889), France
Les dames de Seville, Op. 43
Mainz: Schott, 1852.
A work in the salon style.
Level: UI–LA
Les roses
Boston: White, Smith, 1882.
Two waltzes: Moss Rose Waltz; Wild Rose Waltz.
Level: I
Schubert, Franz (1797–1828), Austria
Not only was Schubert one of the most prolific composers for the four-hand medium, but his contributions to duet literature are, for the most part, of uniform excellence. Many of them must be counted among his finest works; a few are masterpieces. Schubert was especially sensitive to the duet medium and seemed almost more comfortable writing for it than for solo piano. Schubert’s abundant and astonishingly varied four-hand music is a treasury of melodic invention, emotional range, rhythmic excitement, and architectural strength, from the delicate and lyrical smaller compositions to the grand and intense major works.
The complete editions and supplementary collections of Schubert’s four-hand works are listed first, followed by descriptive entries by categories: Allegros, Dances, Divertissements, Fantasies, Fugue, Marches, Overtures, Polonaises, Rondos, Sonatas, and Variations. Within each category the works are listed chronologically, and publishers are given for pieces available separately. The final listing is of collections of selected works. Opus numbers are given whenever they occur, and the designation “D” refers to Otto Deutsch, Schubert: Thematic Catalogue of All His Works in Chronological Order (London: J. M. Dent, 1951).
Complete editions (with exceptions as indicated):
Franz Schubert, Complete Works, vol. 4 (T1326)
New York: Dover.
A single-volume reprint of the Breitkopf Sr Härtel Critical Edition of 1884–1897 (Franz Schubert’s Werke. Kritisch durchgesehene Gesamtausgabe), Series 9 (1885). Complete except for Deutscher Tanz und zwei Ländler, D. 618; Overture (g), D. 668; Overture to Alfonso und Estrella, D. 773; and Overture to Fierrabras, D. 798.
Franz Schubert: Werke für Klavier zu vier Händen, 3 vols.
Munich: G. Henle.
Complete except for Overture (g), D. 668; Overture to Alfonso und Estrella, D. 773; and Overture to Fierrabras, D. 798.
Franz Schubert: Original Compositions for Piano Four Hands, 5 vols.
Kalmus, ed. Melville, NY: Belwin.
Schubert: Original Compositions, piano four hands, 4 vols.
New York: Peters.
The Kalmus and Peters editions are complete except for Fantasias D. 1, D. 9, and D. 48; Deutscher Tanz und zwei Ländler, D. 618; Zwei deutsche Tänze, D. 783; and Overtures D. 592, D. 597, D. 668, D. 773, and D. 798.
Selected Piano Works for Four Hands
From Door, Anton, ed., Breitkopf & Härtel Complete Works Edition. Mineola, NY: Dover Publications, 1977.
Supplementary collections:
Franz Schubert, Complete Works, vol. 18
New York: Dover; Reprint of Breitkopf & Härtel Critical Edition, Series 21 (1897).
Contains Overtures D. 668, D. 773, and D. 798.
Kinsky, ed. Mainz: Schott.
Contains Deutscher Tanz und zwei Ländler, D. 618, and Zwei deutsche Tänze, D. 783 (both missing from Kalmus and Peters editions); Vier Ländler, D. 814; and Eleven Ländler, D. 366 (which Brahms arranged for four hands from Schubert’s original piano solo version). The order and key signatures of the Eleven Ländler, with deviations from the original Schubert numberings and keys, are as follows: 1 (A); 2 (A); 3 (a); 4 (a); 5 (a); 6 (C); 7 [orig. 8] (D); 8 [orig. 9 in B] (b); 9 [10] (b); 10 [12] (e♭); 11 [13] (b♭).
Allegros:
Allegro moderato (C) and Andante (a), also called Sonatine, D. 968 (1828, or possibly as early as 1812). Allegro moderato available separately.
Leipzig: VEB Boosey & Hawkes.
The authenticity of these two minor works has been questioned. However, they are ingratiating and quite easy to play; the structure of both is simple; and the themes are melodious.
Level: LI–I
Allegro (a) (“Lebensstürme”)
Op. posth. 144 D. 947 (1828).
Considered by some to be part of a larger composition, this extended single-movement piece in sonata form is one of Schubert’s most dramatic and exciting works, containing sharp contrasts of mood, tender lyricism, and fiery passion. The bold main theme is orchestral in character. The second subject, subdued and gently moving, is introduced and soon embellished with delicate rising and falling scale passages, triple pianissimo. The dramatic and concisely organized development section leads into a return of the two themes and to a brief, fervent coda.
Level: A
Dances:
Deutscher Tanz with Two Trios and Coda (G), and Two Ländler (E), D. 618 (1818)
The first trio (G) of the Deutscher Tanz is identical with that of No. 7 of Seventeen Ländler (also known as Deutsche Tänze) for piano solo, D. 366. The second of the Two Ländler was originally intended as a trio to the first. The manuscript of these two fresh, charming dances was first discovered by Brahms in the library of his friend Julius Stocichausen. Unpublished until 1934, they are available in Ländler for Four Hands from Schott, as well as in Schubert’s complete four-hand works published by Henle-Verlag.
Level: LI–I
Zwei deutsche Tänze (E♭, C), Op. 33, D. 783 (1824)
Delightful, short, melodious dances also occurring in a version for two hands. Published by Schott and Henle only.
Level: LI–I
Vier Ländler (E♭, A♭, c, C), D. 814 (1824)
Fresh and tuneful, these four short pieces are Schubert’s easiest four-hand works.
Level: UE–LI
Eleven Ländler, D. 366, arr. for piano four hands by Johannes Brahms
Divertissements:
Divertissement à la hongroise (g), Op. 54, D. 818 (1824)
Written after the composer had spent a vacation at the Esterházy estate in Zseliz, where he was first introduced to Hungarian music. Extended work in three sections: Andante; a short Marcia; and Allegretto. The music has a strong Hungarian flavor, modal at times, with pronounced Magyar rhythms, florid cadenzas, and imitations of cimbalom tremolos. According to one source the work also contains an actual Hungarian folk melody Schubert is said to have overheard a servant singing as she worked in the Esterházy kitchen.
Divertissement (à la française) (e), Op. 63 and Op. 84/1 and 2, D. 823/I, 2, and 3 (ca. 1825)
There seems to be no question that this brilliant, large-scale work, built on three marchlike themes, was conceived and written as one three-movement composition. However, it was divided by the publisher, apparently without Schubert’s consent, and the movements were issued singly with different titles and opus numbers:
1. Divertissement en forme d’une marche brillante et raisonnée, Op. 63
Leipzig: VEB Boosey & Hawkes.
The dazzling, technically demanding, opening movement is in sonata form with a strong, assertive main theme and a lyrical second theme. Energetic development with brilliant passage work; exciting climaxes.
2. Andantino varié, Op. 84/1
Leipzig: VEB Boosey & Hawkes.
The beguiling, tranquil, jewel-like middle movement maintains its dreamy quality throughout the three exquisite variations. Contains some of the most delicate writing in Schubert’s four-hand works.
3. Rondeau brillant sur des motifs originaux français, Op. 84/2
Leipzig: VEB Boosey & Hawkes.
Though somewhat less inspired than the other movements, it is melodious and well written. A simple rhythmical pattern, introduced as part of the first theme, develops into a repeated dactylic figure that pushes its way on with relentless drive to the end of the piece.
Level: I–LA
Fantasies:
Fantasia (G), D. l (1810)
Rambling youthful work; long, repetitious, and lacking in formal organization but offering occasional glimpses of the more mature Schubert, especially in the Allegretto section.
Level: I
Fantasia (g), D. 9 (1811)
Discursive and naive, but somewhat shorter and more compact than the preceding Fantasia. Demonstrates greater control of the thematic and formal development.
Level: I–UI
Early work; impressive for its use of chromaticism and counterpoint, although there are occasional crudities in writing and in the sequence of sections. It appeared in two versions, first as Grosse Sonate and later as Fantasia with a conducting fugue.
Level: I–UI
Fantasia (f), Op. 103, D. 940 (1828)
New York: Schirmer.
Schubert’s best-known four-hand work and one of the great masterpieces of the medium. Represents the composer at the height of his creative powers in its harmonic richness and orchestral color, its haunting melodies and rhythmic vitality, and especially in its structural inventiveness and cohesion. In formal design and organization the work reflects the influence of Mozart, notably the two Fantasies, K. 603 (f) for organ or piano four hands and K. 475 (c) for solo piano. The fantasy begins with one of Schubert’s most sublime and radiant melodies; it is developed and expanded and soon progresses into a dotted-note Largo section in French overture style, which in turns gives way to a brilliant Allegro vivace scherzo and trio. A return of the first theme leads into a fugal development of the closing theme of the first section. A fiery, sonorous coda follows, and a final quiet reiteration of the first theme concludes the work.
Level: UI–A
Fugue:
Fugue (e), for organ or piano duet, Op. posth. 152, D. 952 (1828)
Leipzig: VEB Boosey & Hawkes.
Originally written for organ, this fugue was composed as the result of a lighthearted competition between Schubert and his friend Frain Lachner to celebrate their visit to a Cistercian abbey during a summer walking tour. Following traditional contrapuntal practice, Schubert wrote the four-voice fugue on four staves instead of two, in order to extend the range of the individual voices. Under the mistaken assumption that the work was intended as a piano duet, the Fugue has traditionally been included in collections of the composer’s complete four-hand works. As an academic exercise the Fugue is irreproachably correct, but its principal interest lies in its unexpected chromaticisms.
Level: I
Marches:
Three marches héroïques (b, C, D), Op. 27, D. 602 (1818)
Spirited, melodious works. The first march, short and compact, is the most interesting. The second and third have harmonic and rhythmic variety, though they tend to be somewhat spun out.
Level: I–UI
March Heroique, Op. 27/3, D. 602/3
Ancona: Bèrben.
Begins with the familiar Marche militaire (D). Charming, lightweight marches in popular style. They have a bandlike quality but are nonetheless very Schubertian in the variety and richness of their melodic and harmonic development.
Three marches militaires (D, G, E♭), Op. 51, D. 733 (ca. 1822)
Level: I–UI
Marche militaires, Op. 51/1, D. 733/1
Mainz: Schott; New York: Schirmer; Paris: Consortium Musical; Milan: Ricordi.
Extraordinarily fine series, offering an abundance of dynamic and harmonic shifts and ever-present lyricism. Mood ranges from brilliant and exciting in the opening march through the Hungarian style of the third, the slow, introspective dirgelike solemnity of the fifth, and finally to the exuberant final work of the group with its enchanting trio.
Six grandes marches and trios (E♭, g, d, D, e♭, E), Op. 40, D. 819 (1824)
Level: UI–LA
Grande marche funèbre à l’occasion de la mort de sa majesté Alexandre I, empereur de toutes les Russies (c), Op. 55, D. 859 (1825)
Leipzig: VEB Boosey & Hawkes.
It is not known what prompted Schubert to commemorate the death of Czar Alexander I of Russia in the present work, or the coronation of Czar Nicholas I in the following one. Possibly he was hoping for some modest financial remuneration from the Russian court. In any case he honored both historical events with stirring, imaginative marches, written in his most refined style. The first is a solemn funeral march with dotted rhythms and a trio featuring drum-roll figures in the secondo part.
Grande marche héroïque composée à l’occasion du sacre de sa majesté Nicolas I, empereur de toutes les Russies (a), Op. 66, D. 885 (1826)
Leipzig: VEB Boosey & Hawkes.
Similar in character to D. 859, but longer and with a much more complex and advanced formal structure. The opening festive Maestoso is followed by a contrasting Trio (I), a well-developed Allegro giusto section, and a second Trio (II). The return of the full Allegro giusto gives way to the coda, with detailed references to Trio I and to the beginning Maestoso. A remarkable work, abounding in melodic variety; approaches the Fantasia (f), D. 940, in the grand scale of its architectural design.
Level: UI–LA
Two marches caractéristiques (C, C), Op. posth. 121, D. 886 (1826)
Hinson, Maurice, and Nelson, Allison, eds. Van Nuys, CA: Alfred Music.
Brilliantly exciting, energetic marches in time; similar in their joyous sparkle and dynamic drive.
Level: UI–LA
Children’s March (Kindermarsch) (G), D. 928
New York: Schirmer.
Schubert’s only essay into writing for children, this is one of his easiest and, at the same time, most perfunctory works. It was written for the birthday of a friend’s young son.
Level: UE–LI
With the exception of Overture (F), D. 675, and possibly Overture (g), D. 668, the overtures below are four-hand arrangements made by the composer from his original orchestral versions; they are especially noteworthy for the sensitivity and creative skill Schubert used in transferring his own symphonic works to small, chamber-music proportions.
Overture “im italienischen Stile” (D), D. 592 (1817), arr. from D. 594
Kassel: Barenreiter, 1984; Litschauer, Walburga, ed. Urtext of the New Schubert Edition.
Level: UI
Overture “im italienischen Stile” (C), D. 597 (1817), arr. from D. 591
Kassel: Barenreiter, 1984; Litschauer, Walburga, ed. Urtext of the New Schubert Edition.
Because of its orchestral character and layout, this is most likely a four-hand sketch of a lost or never-completed symphonic work. It is nonetheless charming, melodious, and effective in its duet version.
Level: UI
Overture (g), D. 668 (1819)
Originally written for four hands. Long, diffuse, undistinguished work with engaging moments, but overall it fails to generate very much musical interest.
Level: UI
Overture (F), Op. 34, D. 675 (1819)
Level: UI
Overture to Alfonso and Estrella, Op. 69, D. 773 (1822), arr. for four hands (1823)
Level: UI
Overture to Fierrabras, D. 798 (ca. 1824)
Level: UI
Polonaises:
Four Polonaises (d, B♭, E, F), Op. 75, D. 599 (1818)
Six Polonaises (d, F, B♭, D, A, E), Op. 61, D. 824 (1825)
Both sets of these delightful short pieces, similar in form to the marches, are fresh and rich in inventiveness, containing some of Schubert’s most lyrical and engaging music; several of the trios are especially felicitous in their grace and delicacy.
Level: I–UI
Polonaise (d), Op. 61/1, D. 599/1
Ancona: Berber.
Ten Polonaises, Op. 61, D. 824, and Op. 75, D. 599
Leipzig: VEB Peters.
Polonaise (B♭), D. 618A, completed for practical use by Fr. Reinhard van Hoorickx
Provisory Edition (pro manuscripto), n.d.
Competent reconstruction in Schubertian style from a manuscript in the Houghton Library of Harvard University; a curiosity.
Level: I–UI
Rondo (D) (“Notre amitié est invariable”), Op. posth. 138, D. 608 (1818)
A work in the composer’s lighter vein, this gem charmingly combines a lilting melody in the nature of a polonaise, elusive harmonic shifts, florid passages, and frequent contrasts in instrumental color. The crossed hands at the end provide an amusing diversion, perhaps a whimsical commentary on the subtitle (“Our Friendship Is Invariable”).
Level: UI–LA
Rondo (Grand rondeau) (A), Op. 107, D. 951 (1828)
One of the most direct and accessible of Schubert’s four-hand pieces. This extended work is instantly appealing with its haunting lyrical melodies, harmonic subtlety, and effective writing for both parts.
Level: UI–A
Sonatas:
Sonata (Grande sonate) (B♭), Op. 30, D. 617 (1818)
Ancona: Bèrben, 1876.
An early work, this three-movement sonata is set in a broad structural framework and shows a mastery of form and skill in the manipulation of thematic materials. It is full of melodic warmth, orchestral color, and harmonic variety. The opening movement, Allegro moderato, is prefaced by a short cadenza; the graceful first theme and its companion second theme in triplets are richly developed in melodious passages with unexpected modulations. The lyrical Andante con moto second movement is one of the composer’s most beautiful creations. The finale is a flowing Allegretto.
Level: UI–LA
Sonata (Grand duo) (C), Op. posth. 140, D. 812 (1824)
This monumental four-movement work is filled with soaring lyricism and emotional intensity; at times it is brilliant, at others delicate and tender. Although it is symphonic in scope and frequently emphasizes orchestral textures, it remains thoroughly pianistic in feeling and setting. The extraordinary structure of the sonata and the demands it makes on the performers often seem to exceed the expressive and technical powers of the piano, an impression that suggests the work may be an arrangement of a projected or lost symphony. Robert Schumann was the first to voice this opinion and was supported by a number of critics; more recently, however, the theory has been disputed. Joseph Müller-Blattau, the German musicologist, offered a reasonable compromise in “Zur Geschichte and Stilistik des vierhändigen Klaviersatzes,” Jahrbuch der Musikbibliothek Peters für 1940 47(Leipzig, 1941). He describes the work as the “first four hand symphony,” pointing to its specific pianistic effects, which are used in conjunction with other features more characteristic of symphonic style. The first movement of the Sonata, Allegro moderato, opens simply with a gentle theme in octaves; passage work in triplets and orchestral-sounding bass tremolos lead into the songlike second theme introduced in the secondo. Free modulation and thematic imitation are effectively used throughout the movement. The tranquil and graceful Andante follows, with moments of unusual harmonic color and suggestions of Beethoven second movements. The brilliant Scherzo, a driving Allegro vivace with some dramatic biting dissonances, contrasts with the veiled quality of the enigmatic and unearthly Trio. The work concludes with an energetic Finale, exciting and forceful. One of the towering achievements of Schubert’s creative life, the Sonata is a nobly inspired and prodigious masterpiece, and one of the most challenging works of the four-hand repertoire.
Level: A
Sonatine, D. 968
Leipzig: Breitkopf & Härtel.
A two-movement work: I. Allegro moderato; II. Andante.
Variations:
Introduction and Variations on an Original Theme (B♭), Op. posth. 82/2, D. 603 (1818)
This amiable, flowing set of four variations is an early work that alternates between tranquil and brilliant passages, concluding with a jovial Vivace finale filled with echoes of Ländler and German dances. Nottebohm placed this work among Schubert’s “spurious and doubtful” compositions when it first appeared in 1860, but subsequent scholarship has confirmed its authenticity.
Level: UI–LA
Eight Variations on a French Song (E), Op. 10, D. 624 (1818)
Schubert’s first published duet (1822). This set of genial variations was dedicated to Beethoven, who critiqued the score and encouraged the young composer. The variations are set in artful Schubertian style, and while not as fully developed as later works, they are alive, interesting, and full of melodic and harmonic invention.
Level: UI–LA
Eight Variations on an Original Theme (A♭), Op. 35, D. 813 (1825)
The longest and most diversified of the composer’s works in this form. Here Schubert is particularly inspired and imaginative as he subjects his theme—broad, stately, and eloquent—to the most ingenious and versatile kind of development, submerging it in florid passages, refining it into a solemn and plaintive chorale, or permitting it to burst into brilliant flashes of color and rhythmic excitement. It is a work rich in variety and invention.
Level: UI–LA
Eight Variations on a Theme from Hérold’s Opera Marie (C), Op. 82/1, D. 908 (1827)
Leipzig: VEB Boosey & Hawkes.
Difficult set of variations written in the last year of the composer’s life and based on a theme from a successful French opera. Although the work is not as absorbing or ingratiating as the other sets of variations, the writing is sure-handed and effective throughout.
Level: UI–A
Collections of selected works:
Children’s March, D. 928; Four Ländler, D. 814
Mainz: Schott, n.d.
Children’s March, D. 928; Four Ländler, D. 814; Marche militaire (D), Op. 61/1, D. 733/1
Ancona: Bèrben, n.d.
Ländler und Stücke, leichte Originalkompositionen
Leipzig: VEB Peters.
Marches
Copenhagen/London: Hansen (Chester), n.d.
Two marches caractéristiques, Op. posth. 121, D. 886
Leipzig: VEB Peters.
Six Marches, Op. 40, D. 819
Leipzig: VEB Peters, n.d.
Eighteen Marches
New York: Peters, n.d.
Three marches héroïques, Op. 27, D. 602; Six grand marches, Op. 40, D. 819; Three marches militaires, Op. 51, D. 733; Marcia from Divertissement à la hongroise, Op. 54, D. 818; Grande marche funèbre, Op. 55, D. 859; Grande marche héroïque, Op. 66, D. 885; Two marches caractéristiques, Op. posth. 121, D. 886; Children’s march, D. 928.
Trois marches militaires, Op. 51, D. 733
Paris: Consortium Musical, n.d.
Original Compositions. International. Divertissement à la hongroise, Op. 54, D. 818; Introduction et variations (B♭), Op. 82/2, D. 603; Andantino varié, Op. 84/1, D. 823/2; Rondeau brillant, Op. 84/2, D. 823/3; Fantasia (f), Op. 103, D. 940
Original-Kompositionen, Wöss, ed. Universal Edition. Divertissement à la hongroise, Op. 54, D. 818; Variations on a French Song, Op. 10, D. 624; Polonaise (d), Op. 61/1, D. 824/1; Fantasia (f), Op. 103, D. 940; Rondo (Grand rondeau) (A), Op. 107, D. 951; Sonata (B♭), Op. 30, D. 617
Three Overtures, D. 592, D. 597, D. 668
Leipzig: VEB Peters.
Six Polonaises, Op. 61, D. 824
Leipzig: VEB Peters.
Selected Original Compositions
New York: Schirmer.
Vol. 1: Allegro moderato and Andante, D. 968; Children’s March, D. 928; Four Ländler, D. 814; Marche militaire (D), Op. 51/1, D. 733/1; Marches héroïques (b, D), Op. 27/1, 3, D. 602/1, 3; Marche caractéristique (C), Op. 121/1, D. 886/1; Four polonaises, Op. 75, D. 599; Polonaise (D), Op. 61/1, D. 824/1; Rondo (D), Op. 138, D. 608; Grosse Sonate (Fantasia [c], D. 48, without concluding fugue); Grande Sonate (B♭), Op. 30, D. 617; Andantino varié, Op. 84/1, D. 823/2. Vol. 2: Grand Rondeau, Op. 107, D. 951; Allegro (Lebensstürme), Op. 144, D. 947; Fantasie (f), Op. 103, D. 940); Divertissement à la hongroise, Op. 54, D. 818; Grand duo, Op. 140, D. 812.
Neue Schubert-Ausgabe
Landon, Christa, ed. Kassel: Bärenreiter, 1972–. Vol. 7/1/2: Sonata (C) (Grand duo), Op. posth. 140, D. 812; Variations sur un thème original, Op. 35, D. 813; Divertissement à la hongroise, Op. 54, D. 818; Divertissement sur des motifs original français, Op. 63 and 84, D. 823. Vol. 7/1/4, Märsche und Tänze. Three marches héroïques, Op. 27, D. 602; Three marches militaires, Op. 51, D. 733; Six grandes marches, Op. 40, D. 819; Grande marche funèbre, Op. 55, D. 859; Grande marche héroïque, Op. 66, D. 885; Trois marches caractéristiques, Op. post. 121, D. 886; Children’s March, D. 928; Four polonaises, Op. 75, D. 599; Six polonaises, Op. 61, D. 824; Deutscher Tanz mit zwei Trios, D. 618; Zwei Ländler, D. 618; Vier Ländler, D. 814.
Selected Piano Works for Four Hands, reprint of selections from Breitkopf & Härtel Critical Edition, 1879–1887
New York: Dover, 1977.
Three Military Marches, Op. 51, D. 733; Two Characteristic Marches, Op. 121, D. 886; Children’s March, D. 928; Overture (F), Op. 34, D. 675; Sonata (B♭), Op. 30, D. 617; Sonata (Grand duo) (C), Op. 140, D. 812; Rondo (A), Op. 107, D. 951; Variations (A♭), Op. 35, D. 813; Variations (C), Op. 82/1, D. 908; Andantino varié (b), Op. 84/1, D. 828/2; Allegro (Lebensstürme) (a), Op. 144, D. 947; Fantasia (f), Op. 103, D. 940; Four Polonaises, Op. 75, D. 599; Four Ländler, D. 814; Fugue (e), Op. 152, D. 952.
Schulhoff, Erwin (1894–1942), Czechoslovakia
Czech composer and pianist. Studied with Claude Debussy, Max Reger, and Willi Thern. Work inspired by jazz as well as the avant-garde influence of Dadaism.
Ironien (Ironies), Op. 34
Bek, Josef, ed. Mainz: Schott, 1993.
Six movements. Influenced by Schulhoff’s background in Dadaism. Mildly dissonant harmony with use of fourths and diminished fifths and the pentatonic scale. The final movement is a foxtrot. Approximately duration: thirteen minutes. Premiered in 1920 in Dresden.
Level: LA
Schulhoff, Julius (1825–1898), Czechoslovakia
Czech-born German pianist and teacher; toured widely as concert pianist. He wrote prolifically for piano in Romantic style.
Valse brillante (D♭), No. 2
Paris: Salabert, n.d.
Schultz, Edwin (1827–1907), Poland
Six Easy Piano Pieces, Op. 202
Boston: B. F. Wood; Magdeburg: Wernthal, 1897.
Instructional pieces.
Level: E
Schultze, Max (1874–1900), Germany
Erholungsstunden im vierhandigen Clavierspel (Recreations for Two Beginners)
Braunschweig: Litolff, 1890.
Level: I
Schulz-Beuthen, Heinrich (1838–1915), Poland
German composer; adherent of the Wagner-Liszt school. Studied with Ignaz Moscheles and Carl Reinecke at the Leipzig Conservatory. Composed five operas.
Characteristische Clavierstücke, Op. 10
Leipzig: Rieter-Biedermann, 1874.
Salon pieces, effectively written.
Level: I
Walzer, Op. 3
Leipzig: J. Rieter-Biedermann, 1873.
Five waltzes with introduction. Sophisticated writing.
Level: UI–LA
Schumann, Clara (1819–1896), Germany
German pianist and composer. Wife of Robert Schumann.
March in E♭ Major
Leipzig: Breitkopf & Härtel, 1996.
Composed in honor of a friend’s anniversary. Among her last compositions. Charming salon music.
Level: UI–LA
Schumann, Georg (1866–1952), Germany
German choral director and composer of chamber music, orchestral and choral works and piano pieces in Romantic style.
4 Stücke (Scherzo; Menuetto; Intermezzo; Marsch), Op. 37
Berlin: Simrock, 1904.
Serious, likable pieces in Romantic style.
Level: LI–I
Schumann, Robert (1810–1856), Germany
Schumann’s four-hand music is full of the same vitality, charm, and warmth found in his other works. Compared with his total musical output, however, his contributions to the four-hand repertoire are minor, consisting of five collections of short pieces. Though few in number, these works reflect in style and character three phases of the composer’s life: the early experimental days of his youth when he wrote the fresh, imaginative Polonaises, Op. III; the active middle period, which produced Pictures from the East, Op. 66, and Album for the Young, Op. 85, at the peak of his creative powers; and the tragic, final years of waning mental strength when he composed the Ball Scenes, Op. 109, and the Children’s Ball, Op. 130.
Robert Schumanns Werke, Clara Schumann, ed.
Leipzig: Breitkopf & Härtel, 1885; reprint, Farnborough, Hants, England: Gregg International, 1968.
Complete four-hand works except for Polonaises, Op. III.
Robert Schumann: Original Compositions for Four Hands, 2 vols.
Kalmus ed. Melville, NY: Belwin.
Robert Schumann: Original Compositions for Piano Four Hands
New York: International Music.
Schumann: Original Compositions for Piano Four Hands
New York: Peters.
The Kalmus, Peters, and International editions are complete except for Polonaises, Op. III, and Spanish Love-Songs, Op. posth. 138.
Album for the Young, Twelve Four Hand Pieces for Big and Little Children, Op. 85 (1849)
New York: Schirmer.
Four-hand counterpart of the composer’s successful solo piano Album for the Young, Op. 68. This charming set of pieces is in Schumann’s most inspired and captivating style: graceful, lively, inventive, and exuberant 1. Birthday March (Geburtstagsmarsch) (C), direct, unaffected, rather routine (LI); 2. Bear Dance (Bärentanz) (a), heavy-footed primo plays over drone bass accompaniment (I–UI); 3. Garden Melody (Gartenmelodie) (A), tender, gentle theme with accompaniment (LI); 4. Garland Wreathing (Beim Kränzwinden) (F), charming, simple, songlike (I); 5. March of the Croats (Kroatenmarsch) (a), brisk military march with trumpet fanfares, drum rolls; easier secondo (LI/I–UI); 6. Mourning (Trauer) (F), expressive, mostly single-line melody in primo against flowing secondo accompanying figure (LI); 7. Tournament March (Tourniermarsch) (C), robust, vigorous, rhythmical, with delicate trio (I); 8. Round Dance (Reigen) (G), happy melody with imitation, amiable accompaniment (UE–LI/I); 9. At the Spring (Am Springbrunnen) (D), to be played as fast as possible, both parts active and constantly moving (I–UI); 10. Hide and Seek (Verstecken’s) (F), brilliant, playful; light staccato, presto (I–UI); 11. Ghost Story (Gespenstermärchen) (d), sudden dynamic changes (I–UI); 12. Evening Song (Abendlied) (D♭), tender, meditative; written for three hands, with primo playing single line throughout; most famous piece in the suite (I/LI–I). Available individually: Op. 85/1, Schott; Op. 85/1, 3, 8, 9, Bèrben; Op. 85/12, Durand. Op. 85/1, 12 with Waltz, Op. 130/2, Bèrben.
Ball Scenes (Ballszenen), Op. 109 (1851)
1. Préambule (G), festive, spirited, bright; 2. Polonaise (D), bold, forthright; 3. Walzer (G), bright, lilting; 4. Ungarisch (D), lively piece in Hungarian style; 5. Française (e), fast dance in 
time, like a tarantella or gigue; 6. Mazurka (g), primo more difficult; 7. Écossaise (D), pulsating beats, driving, with sixteenth-note passages; 8. Walzer (G); 9. Promenade (D), serious, jubilant.
Level: I–UI
Children’s Ball (Kinderball), six easy dance pieces, Op. 130 (1853)
1. Polonaise (C), brisk, majestic; 2. Waltz (G), light, happy; 3. Menuett (D), slow, serious; 4. Écossaise (F), animated with fast sixteenth notes; 5. Française (a), flowing, gigue-like; 6. Ringelreihe (Round dance) (C), rhythmical, full of vitality.
The two late works, Opp. 109 and 130, written just before Schumann’s final breakdown, reflect the tragic decline of his creative powers and energy. Although they contain many moments of great melodic beauty, they lack the artful and fastidious development of his earlier works.
Klavierstuck zu vier Handen in C-Dur Op. 85, Anh
Vienna: Universal Edition, 2007.
Short, one page piece.
Pictures from the East, six impromptus, Op. 66 (1848)
Available separately: Op. 66/1 (as Impression d’oriente), Bèrben.
In the introduction Schumann attributes his inspiration for these pieces to a reading of a free translation by the German poet Friedrich Rückert of excerpts from the Maqamat. This eleventh-century Arabic chronicle by Al-Hariri recounts the adventures of a precursor of Til Eulenspiegel, the rascal Abu Zayd, and his friend Hareth. The composer admits he had no specific situations in mind as he wrote the work but suggests that the final, solemn piece, marked “Reuig, andächtig,” might be an echo of the last Maqama, in which we see the hero penitent and contrite as his life draws to a close. The inspiration for these delightful lyrical character pieces may be Middle Eastern, but they are written in Schumann’s solid German Romantic style, with few, if any, traces of exotic musical color. The textures tend to be somewhat thicker than in the composer’s other four-hand works, though No. 4, “Nicht schnell,” is more spare and open—one of the loveliest of all Schumann’s duets. I. Lebhaft vivace (b♭), bright, lively; II. Nicht schnell and sehr gesangvoll zu spielen (Moderato e molto espressivo) (D♭), charming, romantic; III. Im Volkston (In popular style) (D♭), strong, bright, stirring, songlike; IV. Nicht schnell (Moderato) (b♭), expressive melody with simple bass accompaniment; V. Lebhaft (vivace) (f), strong, chordal first section, almost orchestral in the fullness of its texture; lyrical middle section with thinner texture; VI. Reuig, andächtig (Repentant, devout) (b♭), solemn, religious in feeling.
Level: I–UI
Eight Polonaises, Op. 3 (1828)
Geiringer, ed. Vienna: Universal Edition, 1933.
Published posthumously, these early pieces were obviously influenced by Schubert’s polonaises. They abound in youthful freshness and energy and are of special interest for musical materials the composer was to develop and reshape the following year into his Op. 1, Papillons, for piano solo.
Level: U-UI
Spanish Love-Songs (Spanische Liebes-Lieder) (1849), Op. posth. 138, song cycle for soprano, alto, tenor, and bass, with an accompaniment for piano four hands In Robert Schumann: Various Choral Works. Melville, NY: Belwin.
Kalmus miniature score 1139. Vorspiel (piano four-hand solo); Lied (soprano); Lied (tenor); Duett (alto and soprano); Romanze (bass-baritone); Intermezzo (piano four-hand solo); Lied (tenor); Lied (alto); Duett (tenor and bass); Quartet (SATB). Also includes Three Songs, Op. 114, and Deutsche Rhein.
Schuster, Giora (1915–2006), Germany
Composer and instrument builder. Composed choral, orchestral, chamber, and piano works.
Tel Aviv: Israel Music Institute, 1970.
Three brief movements that are “airy arabesques.” The middle movement is slower and more introspective surrounded by two faster movements. Rhythmically sophisticated; marked with humor.
Level: LA
Schuster, Joseph (1748–1812), Germany
German church and opera conductor; composed operas, oratorios, symphonic and chamber music, songs, and piano pieces.
Recueil de petites pièces (L’assemblée; La savoyarde; Pluton et Proserpine)
Dresden: Hilscher, ca. 1790. New Edition, La Savoyarde only, in Kreutz, ed., Vermischte Handstücke.
Short descriptive pieces in Classical style; pleasant, intriguing little curiosities, crudely set at times but with unusual harmonies and appealing melodic lines.
Level: LI–I
Schütt, Eduard (1856–1933), Russia
Russian-born pianist and conductor. He wrote two piano concertos, chamber music, and piano pieces in light Romantic idiom.
Scènes champêtres, 4 morceaux caractéristiques, Op. 46
Berlin: Simrock, 1895.
Salon pieces.
Level: I
Souvenir-valses, 5 morceaux, Op. 64
Berlin: Simrock, 1901.
Salon pieces.
Level: I
Walzer-Märchen, Op. 54a
Berlin: Simrock, 1897.
Salon pieces.
Level: I
Schutte, John
Skating
Florence, KY: Willis Music, 1994.
This duet features a gliding melody set with an arpeggiated accompaniment. It provides a good study for legato parallel motion scales.
Level: LI
Schwaab, Maurice
Avec maman
Paris: Durand, n.d.
Instructional.
Level: E
Paris: Durand, n.d.
Instructional.
Level: E
Ronde
Paris: Durand, n.d.
Instructional.
Level: UE–LI/UE
Schwalm, Oscar (1856–1936)
Young Musicians, the very easiest pieces
New York: Schirmer, 1900; New Edition, Kalmus reprint.
Instructional; collection of original melodies and easy folk song arrangements.
Level: E–UE
Schwanenberg, Joseph Franz (late eighteenth century)
Die versprochenen rothen und blauen Krebsen, eine Belohnung durch Verwandlung, dem Talente soldier Zöglinge zum Andenken
Vienna: Publisher and date missing.
Musical curiosity by obscure composer; music is printed in red and blue.
Schwarz, Maximilian
6 Kleine Stücke (Erweiterte Tonalität; Triolen; Taktwechsel; Moll; Im Walzertakt; Fröhlicher Ausklang)
Leipzig: VEB Peters, 1961.
Charming collection of short, attractive pieces in refined, tonal, mildly contemporary style; folklike melodies; linear texture; changing meters. Very worthwhile.
Level: UE–LI
Schwencke, Karl (1797–1870), Germany
German cellist and pianist; lived in Sweden for many years. He composed chamber works and piano pieces, many of which anticipate later Romantic trends.
Adagio (D♭)
Hamburg: Böhme, ca. 1851.
Trois amusemens (Tempo di marcia; Vivace; Andantino), Op. 14
Leipzig: Breitkopf & Härtel, ca. 1828.
Delightful three-part pieces, inventively set in Schwencke’s individual idiom. Classical in feeling with harmonic and melodic twists relating the music to a later period.
Level: LI–I
Divertissement (F), Op. 12, liv. 2
Leipzig: Breitkopf & Härtel, ca. 1826.
Light work of moderate length in the form of a long polonaise; set in Classical harmonic idiom with occasional mid-Romantic stylistic features.
Level: LI
Divertissement (A) (1821)
Manuscript.
Grande sonate (E♭), Op. 5 (1816)
Leipzig: Breitkopf & Härtel, ca. 1820.
Large-scale work in forceful, strongly individual Classical idiom; should be republished.
Level: I
5 Pièces faciles (E♭, G, a, F, A), Op. 12
Leipzig: Hofmeister, ca. 1825.
Suite of short pieces; fresh, inventive, original.
Level: LI–I
Schytte, Ludwig (1848–1909), Denmark
Danish pianist and teacher; composed works in melodious, tasteful salon style.
Album
London: Augener & Company.
Suite of six pieces: I. Barcarolle; II. Airs et danses suedoises; III. Airs et danses suedoises: IV. Humoreque; V. Romance; VI. Scherzino.
Conte oriental
Leipzig: Hofmeister, ca. 1907.
Level: I
Kinder-Symphonie, Op. 81
Leipzig: N. Simrock, 1895.
Three-movement work for one piano four hands and for chamber orchestra.
Level: UI
Masked Garden Festival, suite
Philadelphia: Presser, 1910.
Level: LI–I
Musikaliche Wandelbilder, Kaleidoscope, 12 Stücke, Op. 112
Breslau: Hainauer, 1899.
Level: LI–I
Nordischer Carneval
Leipzig: Hofmeister, 1907.
Pantomimes, Op. 30
Copenhagen: Kgl. Hofmusikhandels Forlag.
A seven-movement suite: I. Introduction; II. Pierrot; III. Cassander; IV. Polichinel; V. Columbine; VI. Harlequin; VII. Gelsomino.
Level: UI–LA
Spanische Nächte, Op. 114
Berlin: Schlesinger, 1899.
Level: I–UI
Zu zweien am Klavier, 5 Stücke
Münster: Bisping, 1908.
Level: I
Scott, Cyril (1879–1970), England
English composer of operas, concertos, choral works, songs, chamber music, and piano pieces. He wrote in a strikingly individual idiom using bold, often Impressionistic harmonic devices and unconventional structures.
3 Dances
Philadelphia: Presser, 1926.
Attractive instructional pieces, frequently modal, with colorful harmony.
Level: I
Nursery Rhymes, 6 pieces
London: Augener, n.d.
Level: UE
Scott, John Prindle (1877–1932), United States
At the Donnybrook Fair
Philadelphia: Presser, n.d.
Level: LI
Scott, Sebastian (pseud. of Shena Eleanor Fraser) (1910–1993), Scotland
Studied piano performance with Henry Wilson, Maurice Sons, and Herbert Howells at the Royal College of Music.
Two Together: Six Piano Duets
Fraser-Enoch Publications / Vienna: Universal Edition, 1984; “Foggy Day” appears in Fraser, Shena, and Enoch, Yvonne, selectors and eds., Studio 21 Piano Duets.
Level: LI
Sculthorpe, Peter (1929–2014), Australia
First came to international attention with this Sonatina for Piano, which was premiered at the 1955 ISCM Festival in Baden-Baden. Much of his music evokes the character of the Australian landscape. His output includes string quartets and operas.
Four Little Pieces
London: Faber Music, 1989.
Charming miniatures. Arrangements of original pieces by the composer for the occasion of his fiftieth birthday celebration concert at the Sydney Opera House. I. Morning Song; II. Sea Chang; III. Little Serenade; IV Left Bank Waltz. Morning Song was originally a choral work; Sea Chant was for unison voices and piano; Little Serenade was an encore piece for string quartet; and Left Bank Waltz a theme from the score of a Tasmanian film, They Found a Cave (1962).
Level: I–UI
Sleepy Head
Boston: Boston Music, n.d.
Level: UE
Sechter, Simon (1788–1867), Austrian
Viennese teacher, author of music texts, and one of the foremost contrapuntists of his period. Schubert, just before his death, had planned to study with Sechter. His piano compositions consist mainly of contrapuntal dances, preludes, fugues, and other intricate polyphonic pieces.
24 Fugen, Op. 53
Hamburg: Cranz, n.d.
Four books of twenty-four fugues based on original themes, motives from operas, Beethoven’s Septet, Haydn’s Seven Last Words, Mozart’s Requiem, and others.
Sedlak, Adolf
Klavierfibel
Kassel: Bärenreiter, n.d.
Folklike melodies with some cautious polyphony.
Level: UE–LI
Vierhändiges Musizieren am Klavier (Vol. 1: Kinder- und Volkslieder; Vol. 2: Volkslieder and Volkstänze)
Vienna: Doblinger, n.d.
Seiber, Matyas (1905–1960), Hungary
Student of Zoltan Kodaly, he became director of the jazz department of the Hoch Conservatory in Frankfurt. Later taught at Morley College in London. Music reflects influences of jazz and the music of Bartok and Schoenberg.
Leichte Tanze (Easy Dances)
Mainz: Schott.
Explores a variety of styles including the tango, fox trot, blues, habanera, ragtime, Charleston, waltz, rumba, and paso doble.
Level: LE-I/LE-I
Sekles, Bernhard (1872–1934), Germany
German conductor and teacher; composer of operas, symphonic and chamber music, and piano works.
Lullaby; River-Song; Even-Song
In Thirty-two Graded Pieces for Piano Duet. Mainz: Schott, n.d.
Level: UE
Musikalisches Skizzenbuch für Jung und Alt, Op. 4
Frankfurt: Oehler, 1909.
Instructional pieces in pleasant style.
Level: UE–LI
Senft, Luigi (fl. late eighteenth century)
Concerto (D), for piano four hands, two violins, viola, and bass
Leipzig: Breitkopf, ca. 1770.
Serov, Aleksandr Nikolaevich (1820–1871), Russia
Russian critic and musician; opposed nationalist musical styles, later espoused Wagnerian principles in his own music, which includes operas, orchestral works, incidental music, and small instrumental pieces.
Fugue (E♭) (1849)
In Pedagogicheskii Repertuar. Moscow: State Music, 1958.
Effective contrapuntal work; well set for piano four hands.
Level: LI
Seshita, Kenji
Piano Duets for Children (March “Chum”; Dolly’s Lullaby; A Dream of Fallen Leaves; Spring Waltz; Menuet “Birds”)
Tokyo: Zen-on Music Publishers, n.d.
Level: I
Šesták, Zdenek (b. 1925), Czech Republic
Czech music educator and editor. He has written orchestral and chamber music, songs, and cantatas in traditional style colored by Czech folk song.
Studentská knížka, pro klavír na čtyři ruce (The Student’s Book, for piano four hands) (1963)
Prague: Panton, 1968.
Seven pieces of different character—happy, sombre, atmospheric, descriptive—exploiting the resources of the keyboard in a mildly contemporary idiom; effective; useful.
Level: I/UE–LI
Setliff, Carolyn C., United States
Pianist, composer, teacher. Holds a degree in business from Centenary College and a bachelor of arts degree in music from the University of Arkansas, Little Rock.
Wisteria
Florence, KY: Willis Music, 2002.
A lyrical and lilting waltz in G major. A study in two-note slurs as well as legato phrasing. The secondo is slightly more difficult than the primo.
Level: E
Séverac, Déodat de (1872–1921), France
French composer, student of d’Indy. His colorful works, with many allusions to life and events in his native region of southern France, are cast in a striking personal idiom.
Dance des treilles
Paris: Salabert, n.d.
Le soldat de plomb (Sérénade interrompue; Quat’jours de boite; Défilé nuptial)
Paris: Rouart, 1906.
Witty tone pictures in Satie idiom.
Level: I
Seybold, S. Philip
Two Duets for the Harp or Pianoforte, Op. 16 (second set, Duetto III and IV)
London: L. Lavenu, ca. 1799.
Seydelmann, Franz (1748–1806), Germany
German conductor; Kapellmeister at Dresden. He composed masses, operas, cantatas, and instrumental music.
6 Sonaten für zwo Personen auf einem Clavier (C, F, G, E♭, D, g)
Leipzig: Breitkopf & Härtel, 1781.
Series of short, two-movement sonatas in highly refined, compact, Classical idiom, masterfully set for the medium. Expressive and imaginative, they represent some of the finest four-hand sonata writing of the period.
Level: LI–I
Seydl, L.W.
2 Menuetti (B♭, C) pour clavier ou pianoforte
Vienna: Joseph Eder, ca. 1798.
Attractive, melodious pieces in Classical idiom by a little-known Viennese composer, identified as “a pupil of P. Struck.”
Level: UE–LI
Seyler (Sailer, or Sailler), Joseph Anton
Deutsche samt Coda
Vienna: Mechetti, ca. 1818.
Shapero, Harold (1920–2013), United States
Student of Slonimsky, Krenek, Piston, Hindemith, and Boulanger; teacher at Brandeis University. He wrote a symphony, an overture, and piano pieces.
Sonata for Piano Four Hands (1941)
Los Angeles: Affiliated Musicians, 1953.
Fresh, three-movement work (Very slowly—moderately fast; Slowly; Fast) in fastidious, tightly knit, neo-Classical idiom, characterized by rhythmical complexity and textural contrast. Clean; well written for the medium. The musing toccata finale, with its samba rhythm, is a brilliant, driving conclusion. Very effective concert fare; should be reprinted.
Level: A
Shapey, Ralph (1921–2002), United States
American conductor, teacher, and composer; studied with Stefan Wolpe. He has written for orchestra, chorus, chamber ensembles, voice, and piano; employs serial and electronic techniques.
Publisher and date missing.
Commissioned by Milton and Peggy Salkind.
Shaw, Clifford (1911–1976)
Third Street Rumba
Bryn Mawr, PA: Oliver Ditson, 1951.
Rhythmical, often flashy piece; effectively distributed for both partners.
Level: I
Shaw, Geoffrey (1879–1943), England
English music pedagogue and organist. He wrote church music, organ and orchestral works, choruses, and piano pieces.
6 Black Key Duets
London: Novello, 1938.
Pleasant instructional pieces, carefully set, graceful to play.
Level: LI/E
Traditional Melodies
London: Novello, 1923.
Level: I
Shawn, Allen (b. 1948), United States
Studied at Harvard University and Columbia University and with Nadia Boulanger in Paris. Serves on the music faculty of Bennington College.
Fantasy for Piano Four Hands
Manuscript, 2011.
Approximate performance duration: fourteen minutes.
Four Studies
Manuscript, 1989.
Approximate performance duration: seven minutes.
Suite Pariesienne
Boston: Galaxy Music, 1994, 2013.
Two versions are available. The 1994 version presents an easier primo part and is approximately eight minutes to perform. The 2013 version is an expanded version and lasts approximately fifteen minutes.
Three Dance Portraits
www.scorestreet.net, 1994.
Approximate performance duration: eight minutes.
Shchedrin, P., and Filiarkovskii, A.
Two Polyphonic Arrangements of Children’s Popular Songs (It’s Raining in the Street; As on the Grey Ocean)
In Ansambli v Chetyre Ruki.
Shchedrin, Rodion Konstantinovich (b. 1932), Russia
Russian composer and pianist. Winner of several prizes including USSR State Prize, the Lenin Prize, and the State Prize of the Russian Federation.
Romantic Duets: Seven Pieces for Piano Four Hand
Mainz: Schott, 2007.
I. Andante cantabile; II. Allegro sotto voce; III. Maestoso con moto; IV. Allegretto moderato, a la gipsy; V. Allegro, ma non troppo; VI. Andante recitando; VII. (Coda) Prestissimo. Commissioned by and premiered at the 2007 Verbier Festival. Technically and musically demanding. Approximate duration: fifteen minutes.
Level: A
Shelley, Harry Rowe (1858–1947), United States
American organist and teacher; student of Dvořák. He wrote symphonic, sacred music, organ, and piano music.
3 American Dances (In B Major; Creole Days; Plantation Echoes)
New York: Schirmer, 1905.
Large-scale work with nineteenth-century American dance flavor in well-crafted salon style.
Level: I–UI
Sherbachëv, V.
Bigarrures, petit supplément.
See: Paraphrases under Papineau-Couture, Jean.
Derevenskaia Kartinka (Landscape)
In Agafonnikov, N., ed., Sbornik fortepiannikh.
Level: I
Shifrin, Seymour (1926–1979), United States
Studied with William Schuman, Otto Luening, and Darius Milhaud. His works include songs, piano pieces, and orchestral, choral, and chamber music.
The Modern Temper, a dance (1959)
New York, Frankfurt: Litolff, 1961.
Commissioned by Milton and Peggy Salkind. Single-movement, avant-garde work in serial idiom. Compact, strongly rhythmical with jazz influence; textural interest.
Level: A
Shostakovich, Dmitri (1906–1975), Russia
Waltz
In Agafonnikov, N., ed., Sbornik Fortepiannikh.
Level: UE–LI
Shott, Michael, United States
Give and Take (Vol. 1: Bakers Kneading Bread; Black Key Serenade; Fanfare; Friendly Spooks; Saturday Night Blues; Singin’ in the Saddle; Tidbits. Vol. 2: Alone; An Argument; March of the Escalator; Mushroom Dance; Parade of the Imps; Rainy Day; Tag)
Boulder, CO: Myklas Music, 1976; Mushroom Dance from vol. 2 issued separately, Myklas Music, 1978.
Short, compact, imaginative, descriptive teaching pieces; effectively written for four hands.
Martellato, Op. 11, No. 3
Myklas Music / Van Nuys, CA: Alfred Music, 1978; published in Contest Winners for Two, Book 4.
Exotic sounds created by chromatic movement over an ostinato with meter changes from 
to 
.
Level: I
Ostinato, Op. 11, No. 8
Myklas Music / Van Nuys, CA: Alfred Music, 1979; published in Contest Winners for Two, Book 5.
Rhythmically conceived and driven. Frequent meter changes, modal harmony, and accents are hallmarks of this primitive, savage sounding work. The secondo renders the ostinato.
Level: UI
Passacaglia
Van Nuys, CA: Alfred Music.
Expressive and haunting. Marked Adagio.
Level: UI
Romance
Boulder, CO: Myklas Music, 1978.
Level: LI–I
Shulgin, L.
Two Russian Songs
Moscow: State Music, n.d.
Siciliani, José (b. 1910), Argentina
Senderos de la juventud, 10 piezas fáciles y originales (Pathways of Youth; 10 easy original pieces)
Buenos Aires: Ricordi Americana, 1953.
Short, attractive, descriptive teaching pieces in conventional idiom.
Level: UE–LI/E
Sideris, Nikolas (b. 1977), Greece
Composer and pianist. Educated at Royal Holloway, University of London.
Fairyland in Treble
Gerakas, Greece: Editions Musica Ferrum, 2014.
Eleven teacher-student duets that present a fresh, contemporary harmonic language. Includes eleven, two-page fairytales. Recordings of the secondo (teacher) part with metronome are available.
Level: Intermediate/E–LI
Piano Stories
Gerakas, Greece: Editions Musica Ferrum, 2013.
Creative collection of seven works for piano duet. Score features illustrations by artist Piero Pierini. First prize winner in the Second International Composition Competition “Artistes en Herbe” in Luxembourg (2013). Approximate performance duration: fifteen minutes.
Level: I–UI
Siebmann, Fr.
12 Pieces, Op. 83
Cincinnati: John Church, 1892.
Instructional works.
Level: UE–LI
Soirées musicales, Op. 79
New York: Schuberth, 1895.
Instructional pieces.
Level: UE–LI
Siegl, Otto (1896–1978), Austria
Austrian violinist, conductor, and composer. His contemporary musical idiom has its roots in medieval and baroque forms.
3 Polyphone Klavierstücke (1963)
Vienna: Doblinger, 1964.
Attractive works employing various contrapuntal devices with great effect; in mildly contemporary style.
Level: I
Sierra, Roberto (b. 1953), Puerto Rico / United States
Studied composition with Gyorgy Ligeti at the Hochschule fur Musik in Hamburg, Germany. Professor of Composition at Cornell University. His work has been performed by many of the leading orchestras worldwide. Served as composer-in-residence for the Milwaukee Symphony, Philadelphia Orchestra, Puerto Rico Symphony, and New Mexico Symphony.
Treinta y Tres Formas de Observar un Mismo Objeto (Thirty-three Ways to Look at the Same Object)
Verona, NJ: Subito Music Publishing, 2009.
Set of thirty-three short pieces. Approximate performance duration: twenty-five minutes. Rhythmically driven, highly sophisticated, and at times evocative writing. Explicit dynamic and articulation indications throughout.
Level: A
Sigtenhorst Meyer, Bernhard van den (1888–1953), Netherlands
Dutch pianist, teacher, musicologist, and composer. He adopted a national style in his piano, choral, and chamber music.
De zeven intervallen, Op. 51
Amsterdam: Alsbach, n.d.
Attractive set of eight studies featuring various uses of seven different intervals and employing eight different time signatures.
Level: UE
Wals, Op. 50
Amsterdam: Alsbach, 1952.
Sigurbjörnsson, Thorkell (b. 1938), Iceland
Icelandic composer; studied at Reykjavík School of Music, Hamline University, and University of Illinois. He founded the group Musica Nova in Reykjavik, and is currently director of the Icelandic Music Information Centre. He has written works in all forms; in addition to conventional instruments he uses tape, synthesizer, and other electronic devices.
Dedication (1967)
Manuscript.
Commissioned by Milton and Peggy Salkind.
Simpson, Daniel Leo (b. 1959), United States
Fugue in F-Sharp Minor for Four Hands
Daniel Leo Simpson, 1995.
Level: UI
March Militaire for Four Hands
Daniel Leo Simpson, 2001.
In C major with trio in A-flat major.
Level: UI
Polonaise No. 1 for Piano Four Hands
Daniel Leo Simpson, 2007.
In E major and 
time. Marked “Moderato Grazioso.” Joyful and rhythmic.
Level: UI
Polonaise No. 2 for Piano Four Hands
Daniel Leo Simpson, 2007.
In D minor and time. Marked “Moderato.” Spirited.
Level: UI
Šin, Otakar (1881–1943), Czech Republic
Czech teacher, author of theory textbooks, and composer. His musical style is influenced by Czech folk music.
Five Dances, easy children’s pieces
Prague: Hudebni Matice, 1925.
Zpěvem a tancem; osm nejsnadnějšich skladbiček pro kiavír na čtyře ruce oba party v rozsahu pěti tónû (With Singing and Dancing; eight very easy pieces for piano four hands, each part in a span of five notes)
Prague: Státní nakladatelství krásné literatury, hudby a umění (Artia), 1954. The eight short folk songs are tastefully set for two beginning pianists, pretty melodies, and stirring rhythms. Czech words are furnished, unfortunately without translations.
Level: UE-5
Sinding, Christian (1856–1941), Norway
Norwegian pianist; composed symphonies, concertos, and piano pieces in Romantic style.
Épisodes chevaleresques, suite (F) (Tempo di marcia; Andante funèbre; Allegretto; Finale), Op. 35
Leipzig: Peters, 1896.
Serious work carefully fashioned for the medium.
Level: UI–LA
Nordische Tänze und Weisen, Op. 98
Leipzig: Breitkopf & Härtel, 1909.
Effective settings of Norwegian dances, strongly influenced by Grieg in style and idiom. Full resources of the keyboard are used; solid technical facility required.
Level: UI–LA
8 Stücke (Caprice; Ständchen; Humoreske; Altes Lied; Ländliches Fest; Nocturne; Waldesdunkel; Sonnenaufgang), Op. 71
Leipzig: Peters, n.d.
Large-scale, competently drafted genre pieces. The often heavy-textured harmonic style skirts the salon level. Brilliant, demanding.
Level: UI–LA
7 VaIses, Op. 59
Copenhagen/Leipzig: Hansen, 1903.
Suite of pleasant, flowing, tuneful waltzes.
Level: UI–LA
Singer, Otto Jr. (1863–1931), Germany
German composer of chamber music, choral pieces, and piano works in salon style.
7 Musikalische Plaudereien, Op. 7
Leipzig: Leuckart, 1895.
Genre pieces.
Level: LI
Wenn meine Kinder tanzen, aferlei Zwei- und dreivierteltakt, Op. 11
Berlin: Bote & Bock, 1911.
Melodious instructional pieces.
Level: LI
Sjögren, Emil (1853–1918), Sweden
Swedish organist; his compositions are in the Scandinavian Romantic tradition with both French and German influences.
Festpolonäs, Op. 5 (1881)
Stockholm: Abraham Lundquist, n.d.
Skelton, Logan, United States
American pianist, teacher, and composer. Educated at Loyola University, Eastman School of Music, and Manhattan School of Music.
American Sketches: Seven American Folk Song Settings for Piano Duets
Manuscript; Logan Skelton.
A handsomely crafted set of seven folk song duets that skillfully captures the essence of each folk tune. Characters range from hauntingly simplistic to rollicking and virtuosic.
Level: LA
Skjelbred, Bjorn Bolstad (b. 1970), Norway
Norwegian composer, arranger, improviser, and teacher. Earned degree in composition from the Norwegian State Academy of Music with Asbjorn Schaathun and Bjorn Howard Kruse. Additional studies with Italian composer Luca Francesconi.
Bolger/Stille (Waves/Calm)
Oslo: MIC (Music Information Centre) Norsk, 2000.
For two pianos or one piano, four hands. Commissioned by the Community School of Music in Oslo with funds from the Norwegian Cultural Committee. Evocative and stirring. Pattern-oriented and some minimalistic tendencies. Approximate performance duration: ten minutes.
Level: A
Sköld, Yngve (1899–1992), Sweden
Swedish pianist and composer of symphonic, choral, chamber, and piano works.
Dansfantasi (1960)
Manuscript.
Gavott och musett (1944)
Manuscript.
Menuett (1930)
Manuscript
Tarantella (1953)
Manuscript.
Exceptionally long, serious work in highly chromatic, traditional harmonic style; makes extensive use of ostinato figures.
Två dansstycken (Two Dance Pieces) (1953)
Manuscript.
Long, rhythmically strong work rooted in traditional harmony; chromatic, linear.
Level: UI–A
Slavický, Klement (1910–1999), Czech Republic
Czech composer of film scores, symphonic works, and chamber music.
Suite (Ballad; Gaines; Sad Lullaby; Brigands’ Dance) (1968)
Prague: Panton, 1971.
Bright, dextrously written set of contrasting pieces in contemporary tonal idiom with strong Czech flavor.
Level: I–UI
Smallwood, William (1831–1897), England
Thoughts of Springtime
London: Patey & Willis, 1891.
12 instructional pieces in light style.
Level: LI
Smit, Leo (1900–1943), Netherlands
Dutch composer of symphonic works, chamber music, and piano compositions in neo-Classical idiom; victim of Nazi persecution.
Divertimento
Amsterdam: Donemus, 1940.
Energetic, light, three-movement work with well-distributed activity between the parts; linear sections. Idiom is twentieth-century French with strong jazz influence.
Level: UI–LA
Smith, Eric (1906–1984)
Alla gavotta; Alla tarantella
London: Elkin, 1957.
Instructional pieces in eighteenth-century style.
Level: UE–LI
Four Dances (Valse; Spanish Dance; Gavotte; Graceful Dance)
London: Oxford University Press, 1935; New Edition, 1970, as Three Dances, with Graceful Dance omitted.
Useful teaching pieces in conventional idiom.
Level: LI
Instructional pieces.
Nocturne
London: Joseph Williams, 1955.
Level: UE–LI
Three Studies in Contrast
London: Elkin, 1943.
Teaching pieces.
Level: UE–LI
Smith, Gregg (b. 1931), United States
Songs of Innocence, for treble choir and piano four hands (from Beware of the Soldier)
New York: Schirmer, 1975.
Level: LI–I
Smith, Hannah (1894–1939)
Teacher and composer of didactic works. Known for her book, Music: How It Came to Be What It Is (Cambridge: Cambridge University Press).
Four Little Hands: Three Easy Pianoforte Duets without Octaves, Op. 20
New York: G. Schirmer, 1906.
Three instructional duets: Cradle Song; German Waltz; Boat Song.
Level: UE–LI
On Parade, Op. 50, No. 2
Florence, KY: Willis Music, 1926.
Instructional piece. Primo melody is largely unison at the octave with a boom-chick accompaniment in the secondo.
Level: UE
New York: G. Schirmer, 1905.
Six instructional duets: In the Wood; Berceuse (Lullaby); Alla Minuetto; Hungarian Dance; Dancing Wavelets; Festival March.
Level: UE–LI
Five Plantation Dances, Op. 22
Cincinnati: John Church, 1907.
Amiable pieces in Black southern folk style; liberal use of pentatonic scale and syncopated rhythms.
Level: UE–LI
Smith, Sydney (1839–1889), England
English pianist, cellist, and composer of popular drawing-room piano pieces.
Maypole Dance
Boston: Oliver Ditson, n.d.
Level: UE–LI
Sleigh Bells (Canadian Reminiscence)
London: Ashdown & Parry.
A festive work in E major. Blocked and broken octaves appear in the primo.
Level: LA
Smith, Theodore (ca. 1740–ca. 1810), Germany
A relatively obscure figure from the early days of duet writing, Theodore Smith was a composer of popular teaching materials, especially four-hand sonatas for harpsichord or piano. Few details of Smith’s life have survived, but he appears to have been of German origin (Theodor Schmidt, perhaps) and flourished in London as a teacher and composer during the last quarter of the eighteenth century. His duet sonatas are light, flowing, melodious, compact works in Classical style, easy to play, useful for study, but often thin and lacking in musical substance. They were issued in sets of three, each sonata consisting of two, sometimes three, very short contrasting movements.
Three Favorite Duets for Two Performers on One Harpsichord or Pianoforte, Sonatas (G, C, A), Op. 1, Book 1
London: Longman & Broderip, ca. 1779. Other editions: As Trois sonates en duo, Op. 1. Berlin: J. J. Hummel, ca. 1775.
Level: UE–LI
A Second Set of Three Favorite Duets for Two Performers on One Harpsichord or Pianoforte, Sonatas (D, B♭, F), Op. 1, Book 2
London: Longman & Broderip, ca. 1780. As Trois sonates en duo, ca. 1775.
Level: UE–LI
A Third Set of Three Favorite Duets for Two Performers on One Harpsichord or Piano-forte, Sonatas (B♭, C, F), Op. 3
London: Longman & Broderip, ca. 1780.
Level: UE–LI
Trois sonates en duo qui peuvent être exécutées par deux personnes sur un clavecin ou pianoforte, Sonatas (F, G, C), Op. 4
Berlin: Hummel, ca. 1775.
Level: UE–LI
A Sixth Sett of Three Favorite Duetts on One Harpsichord or Piano Forte, Sonatas (D, C, F), Op. 6
London: Henry Holland, ca. 1788.
Level: UE–LI
Collections of sonatas:
Three Duetts for Two Performers on One Harpsichord or Pianoforte
Philadelphia: Moller, ca. 1793; MoIler’s imprint effaced by that of G. Willig, ca. 1800.
Contains Op. 1, Book 1/1 and 2, and Op. 3/2.
A Second and Fourth Sett of Three Favorite Duéts for Two Performers on One Harpsichord or Pianoforte
Longman & Broderip, ca. 1795.
Contains Op. 4 and Op. 1, Book 2.
Three Sonatinas Composed for Two Performers on the Pianoforte
Baltimore: John Cole, n.d.
Contains Op. 1, Book 1/1 and 2, and Op. 3/2.
Unidentified works:
Duetto, [by] Smith, No. 24 in Bland’s Collection of Duets for Two Performers on One Harpsichord or Pianoforte by Eminent Composers
London: J. Bland, 1794.
Three Duetts for Two Performers on One Harpsichord or Pianoforte
Philadelphia: Willig, ca. 1800.
Favourite Duets for Two Performers on One Harpsichord or Pianoforte
London: Longman & Broderip, n.d.
Contains two collections of three pieces and a third suite.
Smith, Warren Storey (1885–1971), United States
American teacher, critic, and composer; taught at New England Conservatory.
Festal Suite (F), Op. 21
Boston: A. P. Schmidt, 1915.
Salon pieces.
Level: I–UI
Smolanoff, Michael, United States
Composer and teacher; on the faculty of Rutgers University. His works include a one-act opera and piano compositions.
Concerto for Piano Four Hands, Strings and Percussion
New York: E. B. Marks, n.d.
Snížková, Jitka (1924–1989)
Czech musician; has written orchestral, chamber, and piano works.
Start (1960)
Prague: Supraphone, n.d.
Söderman, August (1832–1876), Sweden
Swedish conductor; composed operettas, songs, chamber music, choral works, and piano pieces.
Swedish Wedding March
Chicago: National Music.
Sohet-Boulnois, Suzanne (twentieth century), France
Pour nous les petites mains (Ronde; Ding-ding-dong; Valse du furet; Carillon; Mélodie; Guitares)
Paris: Lemoine, n.d.
Level: E
Sokolov, Nikolai Alexandrovich (1859–1922), Russia
Russian composer of orchestral and chamber music, songs, and piano pieces.
Trenis
See: Badinage under Bacon, Ernst.
Soliva, Carlo Evasio (1792–1853), Italy
Sonate et variations (G)
Vienna: Artaria, ca. 1820.
Sommer, Friedrich Anton (early nineteenth century)
Grosse Sonate (E♭)
Vienna: Cappi & Diabelli, ca. 1820.
Large-scale, four-movement work in Classical style; pleasant melodies, interesting harmonic twists; some effective climaxes. Allegro vivace; melodious Andante Fantasia; dashing Scherzo Presto; Rondo Allegretto. The formal structure strongly suggests the pervasive influence of Beethoven, especially in the shape and dramatic drive of the Scherzo. Despite these noble auspices, the Sonata cannot be rescued from its basic defects: weak thematic development, lack of textural contrast, and a general absence of skillful and imaginative writing.
Level: I–UI
Soproni, Jószef (b. 1930), Hungary
Hungarian teacher; his compositions include orchestral, chamber, and choral works; organ compositions; and piano pieces.
Öt kis negyezes zongaradarab (Five Small Pieces for Piano Duet) (Capriccioso; Codaletta; Marcia; Barcarola: Giocoso)
Budapest: Editio Musica, 1973; Capriccioso and Barcarole in Váczi, ed., Album for Piano Duet.
These short, neatly crafted pieces are contemporary in sound: chromatic, dissonant for the most part, and set in a thin, open texture.
Level: I
Sor, Ferran (Fernando) (1778–1839), Spain
Spanish Classical guitarist and composer. Composed for a wide range of genres.
27 Valso
Roger, Josep M., ed. Barcelona: Trito, 2007.
Composed during the composer’s stay in London from 1815 to 1823 and inspired by his interest in ballroom dancing. Each waltz is dedicated to female acquaintances and is said to have been written with their pianistic skills in mind.
Level: UI
Sonata
Barcelona: Trito, 2009.
A mature work in three movements in G major: I. Andante largo, Allegro Moderato; II. Andante largo; III. Allegro moderato.
Level: LA
Sorge, Erich Robert (1933–2002)
7 Miniaturen
Berlin: Sirius-Verlag, 1966.
Charming, short, epigrammatical works in mildly contemporary, predominantly linear, tonal idiom. Ingenious in the harmonic and rhythmical variety; effective.
Level: UE-5
8 Veränderungen über Der Winter ist vergangen
Cologne: Gerig, 1960.
Sorokin, K.
Valse
In P’ecy dlia fortepiano v chetyre ruki—starshie klassy DMSh. Moscow: State Music, 1969.
Soubeyran, E.
Le livre bleu; petites pièces et Noëls variés dans le style facile, Op. 18
Paris: Rouart, Lerolle, 1923.
Twelve pleasant settings of Christmas pieces.
Level: UE–LI
Pour deux petits amis, recueil de pièces faciles (avec préface de Vincent d’Indy)
Paris: Rouart, Lerolle, 1923.
Sowerby, Leo (1895–1968), United States
American organist and composer of symphonic and choral works, concertos, chamber music, and piano pieces.
Suite
Publisher and date missing.
Spagnoli, Giuseppe (b. 1959), Italy
Jazz pianist and composer.
Dieci Piccoli Baby Blues
Ancona: Berben Edizioni Musicali, 1995.
Ten miniature (often no more than eight measures in length) blues-influenced duets for teacher and student or students of different levels. Vibrant jazz harmonic language. Finger numbers are very small and difficult to read.
Level: I/E
Spahn, C.
New Edition, 12 Pièces progressives, Op. 24
Offenbach: André, ca. 1871.
Charming and inventive instructional pieces.
Level: UE–LI
Der Schmetterling, 10 Stücke, Op. 21
Offenbach: André, ca. 1838.
Instructional pieces.
Level: UE–LI
Späth, Andreas (1792–1876), Germany
German conductor, organist, and composer of music in traditional style.
Divertissemens, Op. 92
Mainz: Schott, ca. 1825.
Six marches, waltzes, and polonaises in tasteful and appealing settings.
Level: LI–I
Marche, antipode et valsc avec trio et coda, Op. 122, liv. 2
Mainz: Schott, ca. 1828.
Instructional.
Level: I
Récréations musicales, ou six walses progressives, Op. 116
Mainz: Schott, ca. 1828.
Suite of diverting waltzes.
Level: I
Rondeau varié (A), Op. 80
Mainz: Schott, ca. 1827.
Instructional piece.
Level: LI–I
Rondino, polonaise et siciliano, Op. 122, liv. 1
Mainz: Schott, ca. 1828.
Instructional work.
Level: LI–I
Six variations (air allemand), Op. 123
Mainz: Schott, ca. 1828.
Instructional.
Level: I
12 Walses, Op. 73
Offenbach: André, ca. 1836.
Level: I
Six walses de moyenne difficulté, Op. 108
Mainz: Schott, ca. 1826.
Instructional pieces.
Level: I
Spaulding, George L. (1864–1921), United States
Just We Two, twenty-three pieces
Bryn Mawr, PA: Presser, 1917.
Instructional.
Level: E–UE
You and I, seventeen pieces
Bryn Mawr, PA: Presser, 1916.
Instructional.
Level: E–UE
Spech, János (1767–1836), Hungary
3 Fugues (c, D, F), Op. 39
Vienna: Diabelli, ca. 1830.
2 Rhapsodische Allegri im freien und gebundenen Style, Op. 43
Vienna: Diabelli, n.d.
Spencer, Ruth
Fireflies Frolic
Cincinnati: Willis Music, n.d.
Level: LI
Speranza, Alfredo (b. 1930), Uruguay
Pianist, composer, and teacher. Became an Italian citizen in 1983.
En La Noche (Gypsy Poem)
Ancona: Berben Edizioni Musicali, 1996.
A five-movement suite: I. Lento; II. Moderato; III. Allegro con brio; IV. Lento; V. Allegro con brio. Composed in memory of the Spanish dancer Carmen Amaya.
Level: LA
Fiesta en el Cortil (Spanish Dance)
Ancona: Berben Edizioni Musicali, 2001.
A Spanish-style dance filled idiomatic ornamentation. Can be played on one piano four hands or on two pianos.
Level: LA
Spiegelman, Joel (b. 1933), United States
American harpsichordist and composer; teaches at Sarah Lawrence College. He has written music for piano, chamber ensembles, chorus, and symphony orchestra, and has worked with electronic techniques.
New York: MCA Music, 1967.
Commissioned by Jean and Kenneth Wentworth. Three-movement serial work featuring a variety of bell sonorities, inspired by the twelfth-century monastery bells the composer heard on a trip to the Soviet Union. Widespread use of dusters, string plucking, aleatory procedures, and improvisation. Advanced pianism essential.
Level: A
Spindler, Fritz (1817–1905), Germany
German pianist and composer of pedagogical works and salon music.
Immortelles, Op. 90
Magdeburg: Heinrichshofen, 1857; Paris: Hamelle, n.d.
Short instructional pieces.
Level: UE–LI
Ländliches Fest, Op. 393
Boston: A. P. Schmidt, 1897.
Instructional piece.
Level: LI
Scènes de bal, 6 morceaux, Op. 246
Paris: HanleIle, n.d.
6 Sonatines (C, F, D, a, G, e), Op. 136
Paris: Hamelle, 1863.
Level: UE/E-5
Sonatina in A Minor, Op. 136, No. 4
Weekley, Dallas, and Arganbright, Nancy, comp. and eds. San Diego: Neil A. Kjos Music, 1992. Appears in Weber, Czerny, and Spindler, Three Sonatinas for One Piano Four Hands.
I. Bewegt; II. Innig, nicht schnell; III. Moglichst schnell. The piece is the fourth in a set of six sonatinas.
Level: I
Träumende Knospen (Fleurs de printemps), Op. 130
Paris: HameIle, n.d.
La vie du soldat, 5 morceaux caractéristiques, Op. 140
Paris: Hamelle. No. 3 as “Husarenritt.” Cologne: Kistner & Siegel, n.d.
Spinelli, Nicola (1865–1909), Italy
Italian composer of operas and piano music.
Tempo di minuetto
Berlin: Bote & Bock, 1909.
Instructional piece.
Level: I
Spivak, Sam
Boogie Woogie Nocturne
New York: Belwin, 1944.
Level: LI
Springer, Mike, United States
Pianist, teacher, composer, and arranger. Holds bachelors and masters degrees from the University of North Texas.
Carnival Ride!
Van Nuys, CA: Alfred Music, 2013.
A quickly paced duet in C major. Dovetailing melody creates the illusion of a roller coaster.
Level: UE
Midnight Sea
Van Nuys, CA: Alfred Music, 2009.
A dramatic duet in A minor and time. Declamatory chordal passages are juxtaposed with lyrical, flowing textures imitating the nature of the sea.
Level: I
Staempfli, Edward (b. 1908), Switzerland
Swiss composer of symphonic and chamber music, ballets, an opera, songs, and piano pieces. His early works are in neo-Classical style; after 1949 he began to use serial techniques.
Dialogue (1965)
Manuscript.
Sonatina (1941)
Manuscript.
Attractive, serious work in three movements. The idiom is strongly linear, occasionally dissonant, and reminiscent of Hindemith. Worth investigating.
Level: I
Stamaty, Camille-Marie (1811–1870), Italy
Greek French pianist and teacher; wrote etudes and other instructional material for piano, sonatas, and a piano concerto.
The Curfew Bell
In Thirty-two Graded Pieces for Piano Duet.
Level: UE–LI
Stamitz, Carl (1745–1801), Germany
German violinist virtuoso. He wrote operas, symphonies, concertos, chamber music, and piano pieces in early Classical style.
Duetts, Nos. 1 and 2 from Bland’s Collection of Duetts for Two Performers on One Harpsichord or Piano-forte
London: J. Bland, ca. 1790.
Sonate (F), No. 3
Amsterdam: J. Schmitt, 1780–85.
Stanzen, Johann Ludwig (fl. late eighteenth century)
Sonate (C), Op. 2
Offenbach: André, 1793.
Though it contains pleasant melodies, antiphonal sections, and some textural variety, this three-movement work remains generally thin and colorless.
Level: I
Staray, Michel, comte de (late eighteenth century)
3 Polonaises, Op. 2
Vienna: Kozeluch, ca. 1789.
6 Polonaises, Op. 4
Vienna: Kozeluch, ca. 1793.
Starer, Robert (1924–2001), Austria
Austrian-born American composer. Studied at the Vienna State Academy, Jerusalem Conservatory, and the Juilliard School. Studied composition with Aaron Copland. Served on the faculties of the Juilliard School, Brooklyn College, and the Graduate Center of the City University of New York. Composed orchestral and chamber music, choral works, songs, and piano pieces. His style is tonal with frequent use of modified serial techniques.
Fantasia-Concertante (1959)
New York: MCA, 1966.
Commissioned by Lillian and Irwin Freundlich. Large-scale single movement in brilliant style. The bold, dotted-note introduction is followed by a bright, rhythmically exciting scherzando section. The first section reappears and leads to a strong, dramatic, driving finale. Symphonic in scope, the work is technically demanding.
Level: A
Five Duets for Young Pianists (Fanfare in Five; Drizzle; Evens and Odds; Two Can Be Lonely Too; Lines, Dots and Dashes)
New York: MCA Music, 1967.
Dedicated to Jean and Kenneth Wentworth. A variety of meters, structural devices, technical puzzles, and musical styles are the features of this most appealing group of pieces. The language is contemporary and frequently dissonant, and the writing idiomatic for the medium.
Level: UE–LI
Suite of Piano Duets
Van Nuys, CA: Alfred Music, 1997.
A suite of four, brief duets in a mildly contemporary style. Each piece is rhythmically driven save the nostalgic Andante movement. I. Allegro; II. Andante; III. Allegretto; IV. Presto.
Level: I
Starke, Friedrich (1774–1835), Germany
German musician to whom Beethoven entrusted his nephew Carl’s music education. He wrote sacred pieces, chamber music, and piano works.
Pas de deux mit Variationen, aus dem beliebten Ballet Die Tanzsucht, Op. 23
Vienna: Artaria, ca. 1807.
Pleasant, unpretentious set of variations carefully distributed for both parts.
Level: UE–LI
Pièces faciles
Vienna: Eder, ca. 1816.
Collection of short pieces in Classical idiom; fluent and charming.
Level: UE–LI
Staub, Victor
Trois pièces (En trottinant, marche, Op. 19; En dansant, wise, Op. 20; En chantant, sérénade, Op. 21)
Paris: Durand, 1909.
Instructional pieces.
Level: LI
Stecher, Marian (b. ca. 1760)
Grosse Sonate (B♭)
Leipzig: Breitkopf & Härtel, ca. 1795.
Stecher, Melvin, Horowitz, Norman, and Gordon, Claire
The Pleasure of Your Company (Book 1: The Bell Tower; The Setting Sun; Me Too; Fine Feathered Friend; Two for a See-Saw; Crocodile Creep; Tommy Hawk. Book 2: Pony Tales; Rice Paddies; Swiss Music Box; Ticker Locker; Dutch Treat. Book 3: Wheels of Chance; Pastorale; Ruck-a-Chuck. Book 4: A Summer to Remember; Fandango; Westward Ho! Book 5: Rippling River; Superstars and Stripes; Dmitri’s Dream)
Minneapolis: Schmitt, Hall, and McCreary, 1974.
Instructional pieces in traditional idiom, from mood pieces to dances and marches. Conventional harmony and rhythm. Excellent fare for sight-reading.
Level, Book 1: LE–E
Level, Book 2: E
Level, Book 3: UE
Level, Book 4: LI
Level, Book 5: LI–I
Steele, James Aloysius, Australia
Australian composer and teacher.
Six Nursery Tunes
Melbourne: Allans Music, 1955.
Tasteful arrangements of folk tunes.
Level: UE
Steenhuis, Hendrik Pieter (1850–1934), Netherlands
3 Sonatinas, Op. 2
Brussels: Ad. Mahillon.
Level: I–UI
Steffen, Wolfgang (1923–1993)
Notturno, Op. 34
Berlin: Ries and Erler.
Stehman, Jacques (1912–1975)
Pastorale (1941)
Brussels: Hulpiau, n.d.
Steibelt, Daniel (1765–1823), Germany
German pianist; composed operas, orchestral works, chamber music, and piano pieces in Classical style with pre-Romantic touches.
Six Sonatas, Op. 1
Paris: B. Viguerie, 1798, Sonata (F), No. 6. Leipzig: Breitkopf & Härtel, ca. 1809, Sonatas (D, G), Nos. 1 and 2.
Two-movement works in Classical style with appealing melodic ideas, rhythmic interest, and resourceful thematic development. Texture generally spare; parts carefully balanced.
Level: LI–I
Steiger, Charles
Chemin fleuri, 24 récréations
Paris: Lemoine, n.d.
25 Pièces faciles sous forme de leçons progressives
Paris: Durand, n.d.
Level: E
Le vagaband
Paris: Durand, 1909.
Instructional piece.
Level: UE
Stein, Carl
3 Marches, Op. 46
Vienna: Maisch, ca. 1823.
Pièces détachées, Op. 20
Vienna: Maisch, ca. 1820.
Six polonaises suivies d’une marche, Op. 30
Vienna: Maisch, ca. 1821.
Steinacker, Charles
8 Walses avec intraduction et coda suivis de quelques [4] menuets et [4] écossaises
Leipzig: Hofmeister, ca. 1812.
Bright, lively suite of waltzes in Schubertian form and style. The idiom is Classical and lightweight.
Level: LI–I
Steiner, Eric (1911–1987), Austria
Four in a Rowboat
Melville, NY: Belwin-Mills, n.d.
Instructional.
Level: UE–LI
Hike on the Pike
Melville, NY: Belwin-Mills, 1963.
Instructional piece using canon.
Level: E-5
Starting Together
Melville, NY: Belwin-Mills, 1963.
Collection of fifteen pieces, mostly arrangements of folk songs, spirituals, and popular tunes.
Level: UE-5
Two Happy Farmers
Melville, NY: Belwin-Mills, n.d.
Level: E
Steinfeld, Albert (ca. 1757–ca. 1824)
12 Lieder von Herrn Röding nebst einem Andante für vier Hände mit Veränderungen
Hamburg: Meyn, 1797.
Stephens, Charles Edward (1821–1892), England
English pianist, organist, and teacher. His works include orchestral, chamber, and liturgical music, and piano and organ pieces.
Duo brillant (G), Op. 19
Mainz: Schott, 1875.
Sterkel, Johann Franz Xaver (1750–1817), Germany
German priest and amateur musician; prolific composer of symphonies, choral and chamber music, piano works, and songs.
Petites pièces
Berlin: Hummel, n.d.
6 Stücke
Munich: Falter, n.d.
6 Pièces faciles
Offenbach: André, ca. 1809.
A variety of ingratiating, light pieces in Classical style.
Level: LI
Recueil de petites pièces
Mainz: Zulehner, ca. 1805.
Sonata, Op. 15
London: Longman & Broderip, ca. 1785.
Attractive, melodious work in Classical style; comfortably balanced with activity and interest in both parts.
Level: I
Mainz: Schott, ca. 1780.
Sonata (F), Op. 23
Mainz: Schott; Berlin: Concha, n.d.
Sonata for Keyboard Four Hands in F Major, Op. 27
Level: UI
4 Sonates pour les commençans, Op. 28
Offenbach: André, ca. 1787.
Sternberg, Constantin (1852–1924), Russia
Russian pianist, conductor, and composer. He wrote a quantity of salon pieces for piano.
Sonst und jetzt, 2 Tänze (Menuett; Polka), Op. 18
Leipzig: Breitkopf & Härtel, ca. 1880.
Salon pieces.
Level: I
Walzer, Op. 16
Bremen: Praeger and Meier, 1877.
Salon waltzes.
Level: I
Steup, H. C. (b. 1775)
Sonata (G)
Bonn: Simrock, ca. 1807.
Stevens, Bernard (1916–1983), England
English composer of orchestral, choral, chamber, and film music as well as piano works. He tends toward a lyrical personal contemporary style.
A Birthday Song (for Mary and Geraldine Pippin)
London: Gaillard, 1969.
Enchanting, gentle little piece. The recurrent theme is based on the letters of the names of the two girls to whom the work is dedicated.
Level: LI
Fantasia on “The Irish Ho-Hoane,” Op. 13 (1950)
London: Lengnick, 1953.
Attractive work in free style; rhythmically varied; carefully written. The contemporary idiom is musically demanding at times.
Level: I–UI
Stevens, Everett
Sugarloaf Mountain
Philadelphia: Elkan-Vogel, 1959.
Imaginative teaching piece with modal melody and unusual harmonies.
Level: E
Stevens, Halsey (1908–1989), United States
Composer and teacher; author of The Life and Music of Béla Bartók. He has written symphonic and chamber music, concertos, and piano pieces. His music is characterized by solid craftsmanship, expert contrapuntal and harmonic manipulation, rhythmic variety, and flowing lyricism.
Sonatina (1975)
Champaign, IL: Editio Helios, 1977.
Thin textures, modality, and linear writing predominate in this attractive three-movement, neo-Classical work, commissioned by the Music Teachers National Association for its Centennial Convention, 1976. Andante con moto: tranquil; begins with a graceful Dorian mode melody in 
, strongly reminiscent of Gregorian chant in outline and character. Alla barcarolla: slow-moving melody in the primo part is accompanied by gently swaying figures in the secondo; a contrasting theme, developed fugally, is followed by a return of the first melody. Allegro: bright and rhythmical, with brilliant ending. The work is solidly tonal, with free dissonance, and is engagingly written for the medium.
Level: I–UI
Stevens, Wendy, United States
Composer, pianist, and teacher. Received a bachelor of music degree in piano pedagogy and a master of music degree in music theory and composition from Wichita State University.
The Knights’ Quest
Florence, KY: Willis Music, 2014.
A heroic sounding duet in middle C position. The secondo is slightly more involved than the primo.
Level: LE
Strategier, Herman (1912–1988), Netherlands
Dutch organist; has written orchestral, chamber, and liturgical music, organ and piano pieces, and songs.
Suite (1945)
Amsterdam: Donemus, 1946.
Handsomely written set of seven, short, light, inviting movements. The idiom is tonal, frequently chromatic, with considerable French harmonic influence. I. Lively, bright; II. Bold, waltzlike; III. Quiet larghefto with rippling scalewise accompanying passages; IV. Strong rhythmical Allegro ma non troppo; V. Stately gavotte; occasional changing meters; VI. Light syncopated melody in popular style; VII. Rousing march.
Level: I
Straus, Oscar (1870–1954), Austria
Viennese operetta composer; also wrote orchestral, chamber, and piano music.
Bilderbuch ohne Bilder; pittoreske Szenen nach Andersen, Op. 38
Mainz: Schott, 1899.
Level: UI
Strauss, Johann (1804–1849), Austria
Beliebte Tanze fur Pianoforte zu vier Handen
Glendale, NY: C. F. Peters, n.d.
Collection of twelve dances from various opuses.
Level: UI–LA
Leaflet Waltzes (Flugschriften Walzer), Op. 300
In Mannes, L., ed., Duet album.
Strauss, Johann Jr. (1825–1899), Austria
Composer of light music such as operettas and dance music. Composed over 400 waltzes, polkas, and other dance music.
An der schoenen blauen Donau, Op. 314
Mainz: Schott, 1930, 1958.
Level: I
Strauss, Richard (1864–1949), Germany
Important German composer of operas and prominent conductor.
Intermezzo in F Major, TrV 138
Wolf, Christian, ed. Mainz: Schott, 2012.
Strauss’s only known original work for piano duet. Completed a few weeks after the completion of his Piano Quartet in C minor, Op. 13. Premiered in 2009. Marked Andantino, grazioso and in ABA form.
Level: UI
Stravinsky, Igor (1882–1971), Russia
When Stravinsky and his family were living in Switzerland during World War I, the composer took time from his other creative efforts to enrich the four-hand repertoire with two sets of delightful pieces for piano duet. Both suites are written in the tradition of educational music with one easy and one more difficult part: Five Easy Pieces, as instructional material for his children, and Three Easy Pieces, for the entertainment of his artistic associates. Despite the careful distribution of parts, very little of the music from these two suites is really practical as instructional material for children. The notes may lie well under the hands but the problems of ensemble are intricate and subtle, even for mature musicians. Needless to say, the teacher’s part is often very demanding.
Five Easy Pieces (1917)
Andante: the easiest of the suite, slow, deliberate, serious; Russian folk influence, in Aeolian mode. Española: in zarzuela style, difficult secondo, thorny ensemble problems. Balalaika: rhythmical imitation of Russian folk instrument Napolitana: joyful tarantella. Galop: high-spirited, jubilant.
Level: I–UI/E–LI
Three Easy Pieces (1915)
The secondo part is almost absurdly simple, consisting of single two- or three-note patterns repeated from beginning to end of each piece. The March is dedicated to Alfred Casella, the Valse to Erik Satie, and the Polka to Sergei Diaghilev. Dry, satirical, with changing meters, wide leaps in primo, and “wrong note” dissonances.
Level: E/I–UI
Both groups of pieces are charming, witty, and elegantly written, and are worth investigating. They are available in Chester, International, and Omega (Sam Fox) editions, and also appear in numerous collections.
Rite of Spring
Mineola, NY: Dover Publications, 2005; London: Boosey & Hawkes.
An arrangement by the composer for one piano four hands of this pivotal work in music history. It was in this form that the work was first published in 1913, while the fully orchestrated version was not available in print until 1921. Rhythmically and harmonically sophisticated.
Level: A
Stravinsky, Soulima (1910–1994), Switzerland
Swiss-born pianist and composer; appeared frequently with his father, Igor, in two piano concerts. Taught at the University of Illinois.
Music Alphabet
New York: Peters, 1973.
The elegantly turned music in this unusual collection is ingeniously arranged so that each of the twenty-five pieces is cast in a particular musical form, develops a technical device, or represents a musical instrument beginning with a different letter of the alphabet The writing is polished, up-to-date, pianistic, and embraces a variety of styles, textures, rhythmic problems, meters, and key signatures. The results are refreshing and effective. Volume I: A. Arietta, languid melody in primo against dronelike secondo accompaniment; B. Barcarole; gently rocking ostinato in secondo supports plaintive cantando theme in Dorian mode in primo; C. Canon, succinct, ingeniously worked out; D. Danza, lively, with Spanish flavor; exploits () rhythmic patterns; E. Etude, delightful, amusing little piece with motives derived from finger exercises; F. Fughetta, neat, carefully balanced; G. Gavotte, bright, with elegant grace; H. Hymne, solemn, with vertical harmonies and two-against-three rhythms; I. Intermezzo (Hommage à Johannes Brahms), short piece in Brahmsian style, using harmonic, melodic, and notational devices of the composer in a charming and tender way; J. Jota, animated Spanish dance; K. Keys (Black and white), bitonal waltz; L. Lullaby, quiet, songlike. Volume II: M. Menuet, fluent, graceful; N. Notturno, misty, restless, shadowy atmospheric piece; O. Ode, changing meters, moderately paced; P. Polka, lively, joyful dance; Q. Quodlibet, good-humored, bantering, happy piece; R. Rondo, rhythmical, fast; S. Scherzo, carefree, energetic; T. Twelve-tone, short serial piece; U. Unison, consists entirely of single-line melody in octaves between the parts; V. Valse, very short easy waltz; W. Western song, pentatonic melody in primo, simple harmonic accompaniment in secondo; “Primo may be divided between two players”; X-Y. Xylophone: ingenious piece imitating the xylophone; primo plays very high and secondo very low; Z. Zarzuela: piece in Spanish style, florid opening with contrasting rhythmical section.
Level: LI–I
Street, Eric, United States
Professor of Music and Coordinator of Keyboard Studies at the University of Dayton. A student of Menahem Pressler at Indiana University with additional study in Vienna with Paul Badura-Skoda.
Rascally Rags Duet Suite
Dayton, OH: Heritage Music Press, 2000.
A two-movement suite: I. Rascally Raccoon Rag; II. You Lucky Ducks Rag. Charming instructional works.
Level: E
Strelezki, Antoine (pseud. of Anton Bransby Burnand) (1858–1906), England
English pianist and composer of light piano music.
Dances valaques
New York: Schirmer, 1886.
Settings of Wallachian folk songs in agreeable salon idiom.
Level: I
7 Idylles
Breslau: Hainauer, ca. 1891.
5 Norwegian Dances
Boston: Oliver Ditson, 1901.
Salon pieces.
Level: LI
6 Piano Pieces
Boston: Oliver Ditson, 1903.
Salon pieces.
Level: I
Russian Military March
Leipzig: Kiesler, 1898.
Salon piece.
Level: I
Strickland, Judith R., United States
Composer, pianist, organist, and teacher. Holds degrees from Mary Baldwin College and Union Theological Seminary.
Three Scottish Jigs
Fort Lauderdale, FL: FJH Music, 2008.
A collection of three cheerful jigs.
Level: E
Two for the Show
Fort Lauderdale, FL: FJH Music, 2010.
A lyrical, equal part duet. Melody shifts between primo and secondo.
Level: E
Strimer, Joseph (1881–1962), Russia
Russian-born American teacher; made folk song arrangements and wrote piano pieces.
The Country Holiday, ten short pieces
London: Augener. As Claire journée, dix pièces. Paris: Heugel, n.d.
Strohbach, Siegfried (b. 1929), Germany
Composer and conductor.
Beim Kasper
Siegfried Strohbach, 2005.
A seven-movement suite.
Level: I–LA
Stromenger, Karol (1885–1975), Poland
Polish music critic, pedagogue, radio music commentator and author. Arranger of folk songs and composer of incidental theater music and piano pieces.
Chodzi baj po świecie (The Story Teller)
In Raube, ed., Drobiazgi, vol. 1.
Level: UE–LI
Etiuda we dwoje (Study for Two Players)
In Raube, ed., Drobiazgi, vol. 2.
Level: I
Strong, George Templeton (1856–1948), United States
American, German-trained resident of Switzerland; follower of Liszt. He wrote cantatas, a symphonic poem, chamber music, and piano pieces in Romantic style.
3 Bagatellen (G, E♭, d), Op. 21
Leipzig: Kistner, ca. 1884.
Level: E–LI
Klänge aus dem Harzegebirge, Charakterstücke, Op. 17
Leipzig: Kistner, 1885.
Deftly written pieces in salon style.
Level: I
2 Marches, Op. 39
Leipzig: A. P. Schmidt, ca. 1892.
Salon pieces.
Level: I
3 Pièces (Petite danse américaine; Le rève de Cendrillon; Jack, le tueur de géants) (1926)
Geneva: Heim, 1926.
Occasional unexpected modulations and unusual turns of phrase add color to these three moderately long pieces written in a strongly individual musical style and rooted in traditional harmonic practice.
Level: I–UI
Struck, Paul Friedrich (1776–1820)
Rondeau, Op. 9
Vienna: Cappi, ca. 1808.
Stucky, Steven (b. 1949), United States
Pulitzer Prize–winning American composer. Studied at Baylor University and Cornell University. Principal composition teachers include Richard Willis, Robert Palmer, and Karel Husa. Given Foundation Professor of Composition at Cornell University.
Allegretto quasi Andantino (Schubert Dream)
Steven Stucky, 2010.
Commissioned by the Chamber Music Society of Lincoln Center. Inspired by Schubert’s music for one piano four hands. Triplet eighths and sixteenths permeate this expressive dreamscape. Highly-effective writing.
Level: A
Studer, Hans (1911–1984), Switzerland
Swiss teacher and composer; works include choral, orchestral, chamber, organ, and piano music.
Kleines Konzert, for string orchestra, piano four hands and flute ad lib
Kassel: Bärenreiter, 1952.
Subotnick, Morton (b. 1933), United States
Student of Milhaud and Kirchner. He uses avant-garde techniques including pointillism and aleatory and electronic procedures.
Sonata (1959)
Manuscript available from composer, California Institute of the Arts, Valencia, CA 91355.
Suffert, J. G. (end of eighteenth century)
Sonate
Brunswick: Publisher missing, 1796.
Sugar, Rezső (1919–1988), Hungary
Hungarian composer of orchestral works, chamber music, songs, and piano pieces.
Hungarian Children’s Songs
Budapest: Editio Musica, n.d.
Suk, Vaša (Václav) (1861–1933), Czech Republic
Czech violinist and conductor; student of Fibich. He composed an opera, piano music, and symphonic works.
5 Morceaux, Op. 20
Leipzig: Zimmerman, 1911.
Descriptive pieces with Czech flavor.
Level: I
Summaria, Davide (b. 1943), Italy
Divertimento
Ancona: Berben Edizioni Musicali, 1996.
Following an introductory, somewhat dissonant, and at times pungent movement, the piece proceeds to a blues tune and ends with a mambo. Rhythmically and harmonically intriguing.
Level: UI–LA
Supino, —
Tic Tac
Bologna: Bongiovanni, n.d.
Suter, Robert (b. 1919), Switzerland
Swiss composer.
Petite Suite (1950)
Manuscript.
Suzin, A.
čika Pera jaši konja bela
Sarajevo, Jugoslavia: J. Studnička i drug, 1938.
Setting of Jugoslav folk song in conventional style.
Level: UE
Sveinbjornsson, Sveinbjorn (1847–1927), Norway
Composer of the Icelandic national anthem, “Lofsongur.”
Six Descriptive Duets for the Young
Glasgow: Bayley & Ferguson, 1895.
Titles: The Dickiebird; Dolly’s Cradlesong; By the Seaside; The Buglecall; Scherzando; Wedding Chorus.
Level: UE–I
Swift, Richard (1927–2003), United States
Composer and teacher; used serial techniques.
Capriccio (1955)
Commissioned by Milton and Peggy Salkind.
Swinstead, Felix (1880–1959), England
English pianist and teacher; composed mainly instructional piano music in traditional idiom.
Light Heart
London: Boosey & Hawkes, n.d.
Pleasant little teaching piece; carefully balanced.
Level: UE
Side by Side Series, Book 2 (The Soldiers Are Coming; Valse; Marionettes; Toe Dance)
London: Ashdown, n.d.
Sydeman, William (b. 1928), United States
Studied at Mannes College of Music and with Roger Sessions. He has written for a wide variety of instrumental combinations, including electronic devices. Among his commissions are In Memoriam, for President Kennedy, by the Boston Symphony, and Texture Studies for Orchestra, by the Koussevitsky Foundation.
Concerto for Piano Four Hands and Chamber Orchestra (1967)
Manuscript available from composer, Box 1176, Running Springs, CA 92382. Commissioned by Jean and Kenneth Wentworth. The composer is quoted as follows on the jacket of the Wentworths’ recording of the Concerto (Desto DC-7131): “The Concerto is conceived as a huge arch form in two large divisions. The climax of the work is the end of the first movement. The second movement, which is divided in two parts, functions as a return to serenity after the cataclysms of the first. . . . Part one sustains a sonority throughout, in which fragmented events by piano and percussion occur—part two superimposes orchestral fragments over a consistent terribly high, terribly quiet, terribly omnipresent flow of piano notes. The piece sort of floats away at the end.” A version of the Concerto for four hands and tape (1969) also exists.
Szabó, Ferenc (1902–1969), Hungary
Hungarian composer; lived for a time in Russia; director of Franz Liszt Academy in Budapest. His compositions are lyrical, with open textures and fluency of expression in a traditional framework.
Recruiting
Budapest: Editio musica, n.d.
Szávai, Magda, and Lill Veszprémi, eds.
Let Us Play Together
Budapest: Editio musica, n.d.
Nemzetek táncai és dalai; négykezes zongoradarabok kezdők számára (National Dances and Songs; four-hand pieces for beginners)
Budapest: Zeneműkiadó (Editio musica), 1969.
Thirty-eight folk songs and national dances, attractively arranged in a variety of meters, keys, and styles; excellent teaching material.
Level: E–UE
Szelényi, István (1904–1972), Slovakia
Hungarian editor, teacher, and writer on musical subjects. He composed stage and orchestral works, cantatas, chamber music, and piano pieces.
Colorit, suite (1932)
Copenhagen: Hansen, 1932.
Piano Duets by Hungarian Composers
Budapest: Editio musica, n.d.
Mainz: Schott, 1999.
Composed in 1970, the sonata is set in fast-slow-fast order. The middle movement is entitled “Nocturne.” The final movement, “Toccata,” is marked Vivacissimo. This rhythmically driven movement features rapidly alternating octave passagework and is a thrilling conclusion to this exciting work.
Level: A
Twenty Easy Piano Duets, 2 vols.
Budapest: Editio musica, 1970.
The primo part of these attractive pieces advances from simple tunes with one, two, and three fingers in Book 1 to more complex melodies and rhythms in Book 2. The secondo remains at the same level of difficulty throughout. Contemporary harmonic idiom. Both books are of exceptional musical and pedagogical interest.
Level: I/E–LI
Szeligowski, Tadeusz (1896–1963), Ukraine
Polish composer; his operas, ballets, choral and orchestral music, songs, piano pieces, and chamber works combine nationalist elements with the influence of Stravinsky and Szymanowski.
Mr. Li-Si-Tsoa (LI), and Grymasy (Funny Faces)
In Drobiazgi, vol. 1, ed. Raube.
Level: UE–LI
W cyrku (At the Circus)
In Raube, ed., Drobiazgi, vol. 2.
Level: LI
Szervánszky, Endre (1911–1977), Hungary
Hungarian teacher and composer. He has written choral, orchestral, and chamber music; scores for films and stage productions; and educational music.
Folk Song Suite I (Melt’ a Tiszának a széle) (1935)
Budapest: Magyar Moms, 1938. Also in Váczi, ed., Album for Piano Duet.
Attractive, modal setting of Hungarian folk song.
Level: UE–LI
Sonatina (1950)
Budapest: Editio musica, 1950.
Absorbing, tuneful work in three contrasting movements. Modal idiom with strong Hungarian flavor. Effectively laid out for both parts.
Level: LI–I
Szöllősy, András (1921–2007), Hungary
Hungarian teacher and writer; has written music for stage, orchestra, and chorus as well as songs and piano compositions.
Old Hungarian Dance
Budapest: Editio musica, 1957.
Szőnyi, Erzsébet (b. 1924), Hungary
Hungarian teacher, choral conductor, and author; has written stage works, choral and orchestral pieces, chamber and vocal music, and piano and organ compositions.
Playing
Budapest: Editio musica, 1946.
Small Chamber Music
Budapest: Editio musica, 1964.
Fastidiously shaped group of ten delightful pieces consisting of folk or folklike melodies in a variety of styles: linear, chordal, occasional Bartókian dissonance, irregular meters.
Level: UE–LI
Szymanowska, Maria Agata (1789–1831), Poland
Polish composer and piano virtuoso.
Grande valse
Leipzig: Breitkopf & Härtel, 1819.
Marked Allegretto moderatissimo. In F major and 
time.
Level: UI–LA