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A teacher’s guide to diverse piano repertoire: anannotated bibliography of intermediate levelrepertoire by historically underrepresentedcomposers through each historical period.Worsham, Heidi Astlehttps://iro.uiowa.edu/discovery/delivery/01IOWA_INST:ResearchRepository/12851233640002771?l#13851233630002771
Worsham. (2022). A teacher’s guide to diverse piano repertoire: an annotated bibliography ofintermediate level repertoire by historically underrepresented composers through each historical period[University of Iowa].https://iro.uiowa.edu/discovery/fulldisplay/alma9984270955202771/01IOWA_INST:ResearchRepository
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A Teacher’s Guide to Diverse Piano Repertoire: An Annotated Bibliography of Intermediate Level Repertoire by Historically Underrepresented Composers Through Each Historical Period
by
Heidi Astle Worsham
An essay submitted in partial fulfillment of the requirements for the Doctor of Musical Arts
degree in Music in the Graduate College of
The University of Iowa
May 2022
Essay Committee: Alan Huckleberry, Essay Supervisor Timothy Stalter Tammie Walker Elise DesChamps
Copyright by
HEIDI ASTLE WORSHAM
2022
All Rights Reserved
ii
To Irene Peery-Fox,
a continual inspiration.
iii
ACKNOWLEDGEMENTS
I would like to thank the many composers and publishing companies who offered their
support and kindly allowed me to include score examples in this essay, including: Schott Music,
Dr. Iman Habibi, Dr. Jeannie Gayle Pool at JayGayle Music, Dr. Barbara Harbach at Harbach
Music Publishing, and many others.
I would also like to thank my committee members for their attention to this project. My
sincere gratitude is felt for my piano professor, Dr. Uriel Tsachor, for his great wisdom and the
patience and gentleness with which he imparted it. Many thanks and appreciation go to my
pedagogy advisor, Dr. Alan Huckleberry, for his guidance and encouragement on this project
and throughout my degree. And to Elizabeth Oakes, your genuine support for me and my family
through the challenges of this process has been invaluable.
The support from my family throughout this journey cannot go unnoticed. To my parents
and my parents-in-law, thank you for your constant show of support through both actions and
words. The love that you feel for my children is a priceless treasure, and the time you spent with
them to assist me in this endeavor was a tremendous boon. To my sister, Sarah, thank you for
your sincere interest in this project and my well-being, and for your confidence in my ability.
To my children: Levi, Elizabeth, Jude, & Asher, thank you for your patience, forgiveness,
and love these past many months. Your entrances into this world may have delayed the
completion of this essay, but the joy and purpose you have brought to my life is beyond
description.
It is impossible to adequately express my gratitude for the constant and unconditional
love and support from my dear husband, Sam. The selfless sacrifices you make daily are a
constant inspiration for me, and I would not have arrived at this point without your
companionship. Thank you for pulling me back up and running side by side with me towards the
finish line.
iv
PUBLIC ABSTRACT
Regarding intermediate piano repertoire, many piano teachers recycle the same
repertoire year after year for their students. These frequently played works by the masters have
exceptional merit and rightly deserve such recurrent study; however, the racial and gender
makeup of this group of “master” composers is primarily white, male, and largely European. Any
other gender or race is grossly underrepresented when it comes to the umbrella of Western
Classical music.
This essay is written with the hope that someday the common pedagogical piano
literature will reflect the diversity of the world in which we live, and that all people will feel
welcome in the classical music world. It provides an annotated bibliography of intermediate level
piano repertoire by underrepresented composers in classical music that can serve as
alternatives to the standard canon. It consists of 60 pieces in total, with 15 pieces from each of
the following musical eras: Baroque/Classical, Romantic, 1900-1950, and 1951-present.
Biographical information for composers and basic details of each piece are included as well as
small excerpts from the score.
The primary purpose of this essay is to promote underrepresented composers and their
compositions. The secondary purpose is twofold: to provide an accessible, user-friendly
resource for teachers to easily find literature by underrepresented composers, and to provide
options for quality repertoire that can be alternatives to the “standard” literature. A tertiary
purpose is to create a grading system for these pieces, to further assist teachers in being able
to comfortably use them in their teaching repertoire.
v
TABLE OF CONTENTS
LIST OF FIGURES .................................................................................................................... vi
INTRODUCTION ....................................................................................................................... 1
Purpose .................................................................................................................................. 3
Methodology ........................................................................................................................... 4
CHAPTER 1: BAROQUE & CLASSICAL ................................................................................... 8
CHAPTER 2: ROMANTIC .........................................................................................................42
CHAPTER 3: 1900-1950 ...........................................................................................................78
CHAPTER 4: 1950-PRESENT DAY ........................................................................................ 113
CONCLUSION ........................................................................................................................ 149
APPENDIX: COPYRIGHT PERMISSIONS ............................................................................. 150
BIBLIOGRAPHY ..................................................................................................................... 171
vi
LIST OF FIGURES
Figure 1.1 Elisabeth Jacquet de la Guerre, Rondeau, mm. 1-6 .................................................. 9
Figure 1.2 Ignatius Sancho, Culford Health Camp, mm. 1-6......................................................11
Figure 1.3 Ignatius Sancho, Culford Health Camp, mm. 9-12 ....................................................11
Figure 1.4 Elisabetta de Gambarini, Giga, mm. 1-5 ...................................................................13
Figure 1.5 Billington, Elizabeth. II. Presto, Op. 1., No. 3. mm. 1-4 ............................................15
Figure 1.6 Billington, Elizabeth. II. Presto, Op. 1., No. 3. mm. 27-32 ........................................15
Figure 1.7 Agnesi-Pinottini, Maria Teresa. Sonata in G, I. Allegro. mm. 1-9 ..............................17
Figure 1.8 Agnesi-Pinottini, Maria Teresa. Sonata in G, I. Allegro. mm. 15-18 ..........................17
Figure 1.9 Agnesi-Pinottini, Maria Teresa. Sonata in G, I. Allegro. mm. 33-34 ..........................18
Figure 1.10 Bon, Anna. Sonata No. V in B Minor, III. Allegro, mm. 1-8 ......................................19
Figure 1.11 Bon, Anna. Sonata No. V in B Minor, III. Allegro, mm. 13-20 ..................................20
Figure 1.12 Saint-Georges, Le Chevalier. Adagio in F Minor, mm. 1-10 ....................................22
Figure 1.13 Saint-Georges, Le Chevalier. Adagio in F Minor, mm. 51-55 ..................................22
Figure 1.14 Savage, Jane. Sonata in G Major, Op. 2 no. 3, II. Rondo, mm. 1-16 ......................25
Figure 1.15 Savage, Jane. Sonata in G Major, Op. 2 no. 3, II. Rondo, mm. 25-32 ....................26
Figure 1.16 Campbell, Caroline. Sonata No. 1 in E-Flat Major, I. Allegro. mm. 1-9 ...................27
Figure 1.17 Campbell, Caroline. Sonata No. 1 in E-Flat Major, I. Allegro. mm. 34-38 ...............28
Figure 1.18 Bathélemon, Cecilia Maria. Sonata in G Major, I. Allegro vivace. mm. 1-5 .............29
Figure 1.19 Bathélemon, Cecilia Maria. Sonata in G Major, I. Allegro vivace. mm. 183-198......30
Figure 1.20 Sonata in C Major, Op. VII, I. Allegro spirito, mm. 1-3 ............................................31
Figure 1.21 Sonata in C Major, Op. VII, I. Allegro spirito, mm. 29-32 ........................................32
Figure 1.22 Martinez, Marianne. Sonata da Cimbalo, I. Allegro brillante, mm. 1-3 ....................33
Figure 1.23 Martinez, Marianne. Sonata da Cimbalo, I. Allegro brillante, mm. 63-65 ................34
Figure 1.24 Dussek, Sophia. Sonata in A Major, II. Allegretto, mm. 1-9 ....................................35
vii
Figure 1.25 Dussek, Sophia. Sonata in A Major, II. Allegretto, mm. 45-50 ................................36
Figure 1.26 Hardin, Elizabeth. Lesson V. Allegro, mm. 1-9 .......................................................38
Figure 1.27 Hardin, Elizabeth. Lesson V. Allegro, mm. 42-44 ...................................................38
Figure 1.28 Hardin, Elizabeth. Lesson V. Allegro, mm. 38-39 ...................................................39
Figure 1.29 Auenbrugger, Marianna: Sonata per Il Clavicembalo o Forte Piano, mm. 1-8 ........40
Figure 1.30 Auenbrugger, Marianna: Sonata per Il Clavicembalo o Forte Piano, mm. 35-36.....41
Figure 1.31 Auenbrugger, Marianna: Sonata per Il Clavicembalo o Forte Piano, mm. 47-49.....41
Figure 2.1 Farrenc, Louise. Op 50, no. 2, mm. 1-4 ....................................................................43
Figure 2.2 Farrenc, Louise. Op. 50, no. 2, mm. 9-12 .................................................................43
Figure 2.3 Farrenc, Louise. Op 50, no. 2, mm. 19-24 ................................................................44
Figure 2.4 Elorduy, Ernesto. Danzas Tropicales, no. 2 mm. 1-9 ................................................45
Figure 2.5 Elorduy, Ernesto. Danzas Tropicales, no. 2 mm. 10-15 ............................................46
Figure 2.6 Herzogenberg, Elizabeth von, 8 Klavierstücke, No. 6, mm. 1-11 ..............................47
Figure 2.7 Herzogenberg, Elizabeth von, 8 Klavierstücke, No. 6, mm. 20-25 ............................48
Figure 2.8 Aguirre, Julian. Aries Nacionales Argentinos, Op. 17, Triste no. 5, mm. 1-9 .............49
Figure 2.9 Aguirre, Julian. Aries Nacionales Argentinos, Op. 17, Triste no. 5, mm. 28-31 .........50
Figure 2.10 Chaminade, Cécile. Pièce romantique, Op. 9 no. 1, mm. 1-4 .................................51
Figure 2.11 Chaminade, Cécile. Pièce romantique, Op. 9 no. 1, mm. 10-14 .............................52
Figure 2.12 Chaminade, Cécile. Pièce romantique, Op. 9 no. 1, mm. 35-39 .............................52
Figure 2.13 Lang, Josephine, Op. 49, no. 2, Mazurka, mm. 1-9 ................................................54
Figure 2.14 Lang, Josephine, Op. 49, no. 2, Mazurka, mm. 33-48 ............................................54
Figure 2.15 Lang, Josephine, Op. 49, no. 2, Mazurka, mm. 33-48 ............................................55
Figure 2.16 Ponce, Manuel. Intermezzo no. 1 in E Minor, mm. 7-9 ...........................................57
Figure 2.17 Ponce, Manuel. Intermezzo no. 1 in E Minor, mm. 15-19 .......................................57
Figure 2.18 Ponce, Manuel. Intermezzo no. 1 in E Minor, mm. 30-37 .......................................58
Figure 2.19 von Schauroth, Delphine, Sechs lieder ohne Worte, Op. 18 no. 1, mm. 1-4 ...........59
viii
Figure 2.20 von Schauroth, Delphine, Sechs lieder ohne Worte, Op. 18 no. 1, mm. 5-6 ...........60
Figure 2.21 von Schauroth, Delphine, Sechs lieder ohne Worte, Op. 18 no. 1, mm. 17-19 .......60
Figure 2.22 Villanueva, Felipe. Vals Poetico, mm. 1-11 ............................................................61
Figure 2.23 Villanueva, Felipe. Vals Poetico, mm. 48-54 ..........................................................62
Figure 2.24 Hensel, Fanny Mendelssohn. Op. 8 no. 3, Lied, mm. 1-4 .......................................64
Figure 2.25 Hensel, Fanny Mendelssohn. Op. 8 no. 3, Lied, mm. 33-41 ...................................64
Figure 2.26 Backer-Grøndahl, Agathe. Fantasistykker, Op. 39, no. 9, Visnet, mm. 1-8 .............66
Figure 2.27 Backer-Grøndahl, Agathe. Fantasistykker, Op. 39, no. 9, Visnet, mm. 13-16 .........66
Figure 2.28 Castro, Ricardo. Valse Bluette, Op. 12, no. 2, mm. 1-8 ..........................................68
Figure 2.29 Castro, Ricardo. Valse Bluette, Op. 12 no. 2, mm. 17-21 .......................................68
Figure 2.30 Castro, Ricardo, Valse Bluette, Op. 12 no. 2, mm. 34-36 .......................................69
Figure 2.31 Bigot de Morogues, Marie Kiené, Suite d’etudes, no. 1 in C Minor, mm. 1-16 ........71
Figure 2.32 Bigot de Morogues, Marie Kiené, Suite d’etudes, no. 1 in C Minor, mm. 23-26 ......71
Figure 2.33 Bigot de Morogues, Marie Kiené, Suite d’etudes, no. 1 in C Minor, mm. 27-32 ......72
Figure 2.34 Gonzaga, Chiquinha. Gaúcho, mm. 1-8 .................................................................74
Figure 2.35 Gonzaga, Chiquinha. Gaúcho, mm. 32-35 .............................................................74
Figure 2.36 Wiggins, Thomas. Sewing Song, mm. 5-10 ............................................................76
Figure 2.37 Wiggins, Thomas. Sewing Song, mm. 16-19 ..........................................................77
Figure 3.1 Gnesina, Elena. Miniatures, No. 8 Etude mm. 1-6 ....................................................79
Figure 3.2 Bilbro, Mathilde. Sister Ida’s Story, mm. 1-8 .............................................................81
Figure 3.3 Castillo, Ricardo. Tres Nocturnos, no. 3, mm. 1-8 ....................................................83
Figure 3.4 Castillo, Ricardo. Tres Nocturnos, no. 3, mm. 29-37 ................................................84
Figure 3.5 Burleigh, Harry T. Through Moanin’ Pines, mm. 1-4. ................................................85
Figure 3.6 Burleigh, Harry T. Through Moanin’ Pines, mm. 21-30 .............................................86
Figure 3.7 Pinto, Octavio. Run! Run! mm. 1-10 .........................................................................87
Figure 3.8 Pinto, Octavio. Run! Run! mm. 36-41 .......................................................................88
ix
Figure 3.9 Nazareth, Ernesto. Odeon, mm. 1-8. ........................................................................90
Figure 3.10 Howe, Mary. Nocturne, mm. 1-5. ............................................................................91
Figure 3.11 Howe, Mary. Nocturne, mm. 9-14 ...........................................................................92
Figure 3.12 Howe, Mary. Nocturne, mm. 20-23 .........................................................................93
Figure 3.13 Dett, Robert Nathaniel. In the Bottoms, Juba mm. 1-8............................................95
Figure 3.14 Dett, Robert Nathaniel. In the Bottoms, Juba mm. 17-22 ........................................96
Figure 3.15 Bonis, Mel. Une flûte soupire, mm. 1-6 ...................................................................98
Figure 3.16 Bonis, Mel. Une flûte soupire, mm. 24-27 ...............................................................98
Figure 3.17 Tailleferre, Germaine. Impromptu, mm. 1-11 ........................................................ 100
Figure 3.18 Coleridge-Taylor, Samuel. Scenes from an Imaginary Ballet, No. 1, mm. 1-12 .... 102
Figure 3.19 Coleridge-Taylor, Samuel. Scenes from an Imaginary Ballet, No.1, mm. 33-40 ... 102
Figure 3.20 Coleridge-Taylor, Samuel. Scenes from an Imaginary Ballet, No. 1, mm. 73-80... 103
Figure 3.21 Boulanger, Lili. D’un Jardin Clair, mm. 1-9 ........................................................... 104
Figure 3.22 Boulanger, Lili. D’un Jardin Clair, mm. 50-58 ....................................................... 105
Figure 3.23 Glanville-Hicks, Peggy. Prelude for a Pensive Pupil, mm. 1-7. ............................. 107
Figure 3.24 Glanville-Hicks, Peggy. Prelude for a Pensive Pupil, mm. 28-35 .......................... 108
Figure 3.25 Plaza, Juan Bautista. Sonatina Venezolana, mm. 1-5 .......................................... 109
Figure 3.26 Plaza, Juan Bautista. Sonatina Venezolana, mm. 53-58 ...................................... 110
Figure 3.27 Bauer, Marion. Six Preludes for the Pianoforte, No. 2, mm. 1-9 ........................... 111
Figure 4.1 Bankole, Ayo. Nigerian Suite, No. 5 Warriors March mm. 1-6 ................................ 114
Figure 4.2 Bankole, Ayo. Nigerian Suite, No. 5 Warriors March mm. 7-12 .............................. 114
Figure 4.3 Price, Florence. The Goblin and the Mosquito, mm. 1-12 ....................................... 116
Figure 4.4 Price, Florence. The Goblin and the Mosquito, mm. 13-18 ..................................... 117
Figure 4.5 Tanaka, Karen, Swan, mm. 1-6 .............................................................................. 119
Figure 4.6 Tanaka, Karen, Swan, mm. 7-9 .............................................................................. 119
Figure 4.7 Tanaka, Karen, Swan, mm. 25-30 .......................................................................... 120
x
Figure 4.8 Perry, Zenobia Powell. Piano Potpourri, Teeta mm. 1-6 ......................................... 122
Figure 4.9 Perry, Zenobia Powell. Piano Potpourri, Teeta mm. 41-43 ..................................... 122
Figure 4.10 Perry, Zenobia Powell. Piano Potpourri, Teeta mm. 41-43 ................................... 123
Figure 4.11 Takemitsu, Toru. Clouds, mm. 1-7 ....................................................................... 125
Figure 4.12 Takemitsu, Toru. Clouds, mm. 16-23 ................................................................... 126
Figure 4.13 Gubaidulina, Sofia. Magic Roundabout, mm. 1-5 ................................................. 127
Figure 4.14 Gubaidulina, Sofia. Magic Roundabout, mm. 14-17 ............................................. 128
Figure 4.15 Larsen, Libby. Pentametrics, No. 3, mm. 1-8 ........................................................ 129
Figure 4.16 Yi, Chen. Yu Diao, mm. 1-3 .................................................................................. 132
Figure 4.17 Yi, Chen. Yu Diao, mm. 19-22 .............................................................................. 132
Figure 4.18 Capers, Valerie. Portraits in Jazz, No. 5, Mr. Satchmo mm. 1-4 ........................... 134
Figure 4.19 Capers, Valerie. Portraits in Jazz, No. 5, Mr. Satchmo mm. 23-25 ....................... 134
Figure 4.20 Ding, Shande. Catching Butterflies, mm. 13-16 .................................................... 136
Figure 4.21 Ding, Shande. Catching Butterflies, mm. 25-32 .................................................... 136
Figure 4.22 King, Betty Jackson. Spring Intermezzo, mm. 1-6 ................................................ 138
Figure 4.23 King, Betty Jackson. Spring Intermezzo, mm. 16-21 ............................................ 139
Figure 4.24 Tan Dun, Staccato Beans, mm. 1-8 ...................................................................... 141
Figure 4.25 Tan Dun, Staccato Beans, mm. 13-16 .................................................................. 141
Figure 4.26 Herrarte, Manuel. Tres Danzas, no. 2 mm. 1-8 .................................................... 143
Figure 4.27 Herrarte, Manuel. Tres Danzas, no. 2 mm. 31-34 ................................................. 143
Figure 4.28 Zaimont, Judith Lang. Jazz Waltz, mm. 8-15 ........................................................ 145
Figure 4.29 Zaimont, Judith Lang. Jazz Waltz, mm. 28-30 ...................................................... 145
Figure 4.30 Habibi, Iman. Prelude No. 2, mm. 1-4 .................................................................. 147
Figure 4.31 Habibi, Iman. Prelude No. 2, mm. 25-28 .............................................................. 148
1
INTRODUCTION
When you hear the words “intermediate piano repertoire,” which composers come to
mind? Bach, Haydn, Clementi, Burgmüller, Schumann, Kabalevsky. These are a few names of
composers whose works are plentiful and widespread among intermediate pianists. At recitals
and competitions, many of the same works are recycled year after year. True, these frequently
played, canonic works by the masters have exceptional merit and rightly deserve such recurrent
study; however, as the solo piano repertoire is more voluminous than that of any other solo
instrument, so many composers and their creations get lost in the great expanse. We piano
teachers simply want to stick with what we know and continue to pull pieces from the same
books. It makes our job easier and it ensures that students are learning quality repertoire.
However, the racial and gender makeup of this group of well-used, master composers is
primarily white, male, and largely European. Any other gender or race is grossly
underrepresented when it comes to the umbrella of Western Classical music. It has been that
way for years, so one might wonder why or if that matters? Here are a few reasons why it does
matter.
First, diversifying the classical intermediate repertoire can open musical minds that
otherwise may have stayed closed. If students in these underrepresented groups are only
exposed to male, white composers throughout their piano study it becomes substantially more
difficult for these students to ever entertain the thought that success in classical music is
something they could attain. Contrastingly, exposure to underrepresented composers allows
students that identify with these racial/gender/ethnic groups to have thoughts such as, “if _____
could do it, maybe I can too.” It affirms that no matter your gender or race, there absolutely is a
place for you in this musical world.
2
Diversifying the intermediate repertoire also leads to discussions about cultural history
and allows for a broader teaching of large-scale issues. These added life perspectives of
underrepresented composers with different heritages and experiences add richness and variety
to the repertory. While our title is “piano teacher,” our students learn so much more from us than
just how to play the piano.
Classical music is considered by many to be a dying art. It is often seen as a very white
artistic discipline, and often seen as only for the rich and old in that category. With current
technology and globalization, we are now so well equipped to expand and diversify the
participation base of classical music. By consciously creating opportunities for all interested
people to participate, we can change the tide and keep the classical music scene alive and
thriving.
Finally, intermediate repertoire hits students at an especially important age, usually
between 11 and 15, give or take. This is an age where kids are starting to understand their role
in society, and desire validation or belonging outside the home. They also start looking to other
adult figures in their lives other than their parents for guidance and mentorship. They want to
feel their place in the world.1 An 8-year-old will likely care very little about who wrote the piece
they are playing, but a 13-year-old will think more of it. This time of intermediate repertoire is the
gateway to advanced repertoire, and students’ experiences in this level shape how they
evaluate music going forward. Lack of exposure to composers in these underrepresented
groups at this stage in students’ piano development can lead to a quick dismissal of these
composers in the future, automatically assuming them to be second-rate.
1 For further reading on this stage of development, see: Piaget, J. “Intellectual Evolution from Adolescence to Adulthood.” Human Development, vol. 15, pp. 1-12. 1972.
3
It takes extra time, effort, and desire to incorporate unfamiliar composers and pieces into
our teaching repertoire, but diversifying the intermediate piano repertoire is a worthwhile
endeavor for everyone involved.
Purpose
As classical music has been dominated by white, male, and largely European
composers for most of its history, the term underrepresented in this essay is applied in relation
to the culture of Western Classical music composers. Within this context, these terms include all
women as well as any groups of people by race or ethnicity that receive significantly smaller
representation in the mainstream piano repertoire. All of the composers featured in this essay
can be identified within one or more of these underrepresented groups and have individually
worked within their underprivileged position to attain the success they had. The belief that these
composers would have achieved greater renown or, in some cases, even become familiar
household names if they had been of the socially dominant race or gender, or in the dominant
geographic location, is nearly incontrovertible.
This essay is written with the hope that someday the common pedagogical piano
literature will reflect the diversity of the world in which we live, and that all people will feel
welcome in the Classical Music world. There are many teachers who seek to diversify the
repertoire they use with their students, but there are very few resources to help them in this
cause.2 This essay provides an annotated bibliography of intermediate level piano repertoire by
underrepresented minorities in Classical music that can serve as alternatives to the “standard
canon.” It consists of 60 pieces in total, with 15 pieces from each of the following musical eras:
Baroque/Classical, Romantic, 1900-1950, and 1951-present.3 Biographical information for
2 Some of the available resources can be found in the Bibliography. 3 The 1950 demarcation was chosen somewhat arbitrarily, as the many various styles and compositional techniques present in the 20th and 21st centuries make a categorization by style impractical.
4
composers and basic details of each piece are included (such as key signature, tempo,
duration, etc.) as well as small score examples. Additionally, pedagogical aspects or difficulties
(i.e. requires an octave reach, etc.) are mentioned, but, due to the individuality of each student
and teacher, teaching tips and practice suggestions are not included in this overview of
literature.
The primary purpose of this essay is to promote underrepresented composers and their
compositions. The secondary purpose is twofold: to provide an accessible, user-friendly
resource for teachers to easily find literature by women and underrepresented composers, and
to provide options for quality repertoire that can be alternatives to the “standard” literature. A
tertiary purpose is to create a grading system for these pieces, to further assist teachers in
being able to comfortably use them in their teaching repertoire. My hope is that this project will
expand the repertoire base and welcome the long-hidden diversity into everyday piano teaching.
It should be noted that when discussing the lives of underrepresented composers one
will address the societal impacts which negatively affected them and not others. For instance,
the impact of marriage on women, particularly prior to the 20th century, had a hugely dampening
effect, whereas for men it did not, and often contributed to their success. The same principle
holds true for African Americans due to slavery, etc., and many other groups. By shining light on
these issues, it is my hope that we continue to strive for equality and equity for all.
Methodology
Piano reference books such as those by Maurice Hinson (Guide to the Pianist’s
Repertoire), Jane Magrath (The Pianist’s Guide to Standard Teaching and Literature), and Reid
Alexander and Cathy Albergo (Intermediate Piano Repertoire: A Guide for Teaching) are
invaluable for any piano teacher. While books such as these contain incredibly useful
information regarding the standard repertoire, there is often a lack of diversity in the composers
5
included. For example, Maurice Hinson’s extensive Guide to the Pianist’s Repertoire (Third
Edition) contains information on nearly 2,000 composers. 127 of these are women composers
(~6%) and 23 are Black composers (~1%). In contrast, Pamela Youngdahl Dees has published
two volumes of A Guide to Piano Music by Women Composers that includes over 1,000 women
composers. This is one of many examples that shows that there are many more composers
from these diverse groups than are represented in the mainstream resources.
To collect information and prepare for this essay I searched through dissertations, music
journals, score publications, personal composer websites, and piano reference books. There
are multiple score anthologies and text resources available that are dedicated to one subset of
the underrepresented composer population (i.e. women composers, Black composers, Latin
American composers, etc.), but the number of resources that incorporate a wider umbrella of
underrepresentation is miniscule. Two website databases, “Institute for Composer Diversity” and
“A Seat at the Piano,” both deserve mention here for their significant contributions to this cause.
However, though similar in subject material, this essay provides a uniquely streamlined,
teacher-friendly format to exploring diverse repertoire.
With such a large scope, this essay makes no claim at presenting an exhaustive listing
of intermediate piano repertoire by underrepresented composers. Rather, it highlights only 60
pieces to provide teachers with a closer look, increasing the likelihood these pieces will be
incorporated into more teaching studios. This essay hopes to serve as a gateway to further
exploration by teachers, and at the very least will be a “one stop shopping” experience for those
seeking more diverse repertoire.
Selection of these pieces has been based on pedagogical value and ease of obtaining
scores for piano teachers. An effort to represent various underrepresented groups equally was
made, though the difficulty associated with obtaining scores, along with other various factors,
6
made this impossible.4 Pieces that can be found in anthologies targeted on a specific
underrepresented category were avoided, in an effort to bring attention to additional music by
underrepresented composers. Each composer is only featured once in the essay, regardless of
their cumulative output. Pieces included have been written for piano or harpsichord only, with no
inclusion of transcriptions or arrangements. Of course, aside from these parameters, some
personal preference has inevitably played a role in the piece selection as well.
Grading of the pieces has been split into three categories and is based on the leveling
set up by Pamela Youngdahl Dees in her assimilation of the two leading repertoire reference
books. Her examples of difficulty levels are as follows:
Early Intermediate Magrath Levels 3, 4, 5: Kabalevsky Pieces for Young People, A.M.B. Notebook Hinson “Easy”: Schumann Album for the Young Close hand shifts, ample time to move. Frequent repetition, range of octave or less, dynamics p to f. No parallel intervals by one hand, figures change direction infrequently. Hand extensions no greater than an octave, hand contractions and finger substitutions rare. Consistent texture, key, articulation, pedaling, and tempo throughout. Chordal textures distributed between hands; one hand rarely plays both melody and harmony. Slow harmonic rhythm, mostly diatonic triads and seventh chords. Simple, symmetric structures, short pieces. Limited pedal, infrequent simple ornaments.
Mid-Intermediate Magrath Levels 6, 7: Clementi Sonatinas Op. 36, Bach Little Preludes Hinson “Int.”: Beethoven Ecossaises, Bartok Rumanian Folk Dances Quicker, more frequent hand shifts but rarely greater than an octave. Melody, figuration may span 2-3 octaves, more frequent, faster changes in direction, skips of an octave, more non-harmonic tones. Parallel intervals in one hand, octave hand extensions, hand contractions, and finger substitutions. Contrasting textures and articulations, accompaniment and melody in same hand. Modulation, greater range of tempos, faster harmonic rhythm, larger harmonic vocabulary. Cross-rhythms and syncopations, wider range of dynamics. Longer structures, more damper pedal, occasional una corda, more frequent ornamentation.
4 All of the score examples featured in this essay are either public domain or included with permission from the publisher (see Appendix). Where permission was not granted, the images have been blurred.
7
Late Intermediate Magrath Levels 8, 9: Bach Two-Part Inventions, Field Nocturnes, Mendelssohn Songs Without Words, some Chopin Mazurkas Hinson “M-D”: Bach French and English Suites, Mozart Sonatas Rapid, frequent hand shifts 1-2 octaves, four-octave range of melody and figuration, frequent changes of direction and figuration. Melodies of skips and steps, with longer passages of parallel intervals, extensive elaboration. Hand extensions greater than an octave, frequent hand contractions and finger substitutions. Frequent use of contrasting textures, longer works; harmony and melody parts in one hand. Independent inner voices, frequent diverse articulation in one hand. Fast harmonic rhythm, frequent secondary, borrowed, altered and embellishing chords, modulation to distant keys. Changing rhythm patterns, more cross-rhythms and syncopations; mixed or changing meters and hemiolas. Wide tempo ranges, many fluctuations. Different pedaling styles required; dynamics range ppp to fff. Frequent sudden contrasts, accents. Longer extended forms, frequently asymmetric. Frequent, longer, more difficult ornamentation.5
The process of exploring so much unfamiliar repertoire and compiling this collection has
been even more educational, enriching, and rewarding than I had expected. While my previous
knowledge of piano repertoire by underrepresented composers was limited, I am now well
aware that the pieces featured in this essay are only a minute sampling of the broad, untapped
pool of repertoire by underrepresented composers. It is my hope that the following material will
be helpful to piano teachers and inspire further study.
5 Dees, Pamela Youngdahl. A Guide to Piano Music by Women Composers. Westport, Connecticut: Greenwood Press, 2002. Vol. 1, p. xii-xiii.
8
CHAPTER 1: BAROQUE & CLASSICAL
Elisabeth-Claude Jacquet de La Guerre (1665-1729), Rondeau, Suite No. 2 in G Major, Pièces de Clavecin, Livre 1
2/4, G Minor, Mid-intermediate, 1 p., 1 ½ min.
Can be found: IMSLP, Schott, Mel Bay
Elisabeth Jacquet de La Guerre was born into a family of musicians and instrument
makers in Paris in 1665 and was the most distinguished musician of her siblings. Her father was
an accomplished organ builder and church organist, and her uncle and great uncle were both
highly skilled harpsichord makers.6 After being introduced to King Louis XIV in his court as a
child prodigy, she was noticed by his chief mistress and held a position as a musician in her
entourage for three years.7 In 1684 she left the royal court and married the organist and music
teacher Marin de La Guerre. She is highly unusual for women at the time, in that she continued
to perform, teach lessons, and compose even after her marriage. In fact, her first published
work was a set of harpsichord suites in 1687, three years after her marriage. These can be
found online on IMSLP and are wonderful compositions. Her output includes theatrical genres
as well, as she is known as the first woman in France to compose an opera. The French
magazine, the Mercure Galant, described Jacquet de La Guerre as, “the wonder of our century
who plays the harpsichord.”8
This Rondeau is the final piece in her harpsichord Suite in G Major, published in her
second set of harpsichord pieces in 1707. It is structured in an ABACA form, with each section
being eight measures in length. The A section consists of a constantly winding pattern of a skip
6 For more information on the Jacquet family: lotz, Hans, and Catherine Cessac. "Jacquet." Grove Music Online. Oxford University Press. 7 Cessac, C. “Jacquet de La Guerre, Elisabeth.” Grove Music Online. 2001. 8 Proppe, Jean R. The Cultural Significance of the Heroines in Elisabeth-Claude Jacquet De La Guerre's Sacred Cantatas, California State University, Fullerton, Ann Arbor, 2007. p. 24.
9
down/step up pattern descending down the G minor scale (Fig. 1.1).9 Because this section is
played three times, it offers a nice opportunity for students to explore ornamentation. The nearly
identical repetition makes it easier to manage adding embellishments, and it might be a good
opportunity for students to help in this process.
Figure 1.1 Elisabeth Jacquet de La Guerre, Rondeau, mm. 1-6
This piece also provides equal movement in both hands. Some of the early intermediate
Baroque repertoire favors one hand, creating either a melody/accompaniment type style or just
hands taking turns. Though the left and right hands are not rhythmically independent, it is still
useful in preparation for more challenging Baroque pieces. The skips are small and fit well in
small hands, aside from the occasional octave jump. The articulation needed is mostly
detached, with the possibility of occasional legato passages in the moving eighth notes or
elsewhere. Though many of her pieces are at an advanced level, this charming piece is an
interesting addition to the intermediate Baroque repertoire.
9 Score example from: Jacquet de la Guerre, Elisabeth, Pièces de clavecin, Livre 1, ed. Steve West. Due West Editions, 2007, available at https://imslp.org/wiki/Pi%C3%A8ces_de_clavecin%2C_Livre_1_(Jacquet_de_La_Guerre%2C_Elisabeth) under a Creative Commons Attribution Share Alike 3.0. Full terms at https://creativecommons.org/licenses/by-sa/3.0/
10
Ignatius Sancho (1729- 1780) Culford Health Camp, Twelve Country Dances
6/8, F Major, Early Intermediate, 1 p., 1 ½ min.
Can be found: IMSLP, Silent Home Records
Born on a slave ship traveling from his native Guinea to Cartenaga, Colombia, Ignatius
Sancho overcame many obstacles in his life. His mother died when he was young, and his
father committed suicide, considering it a better alternative than slavery. At the age of two he
traveled to England and became a servant in Greenwich. He taught himself to read and
eventually ran away and worked for the Duke of Montagu, who had previously noticed his
intellect and encouraged his education. In 1773 he became a shopkeeper, opening a grocery
store and then an oil supply business. Being a financially independent male property owner,
Sancho became the first person of African descent to vote in a British election, voting in 1774
and 1780.10 He was an active abolitionist and was considered a “man of letters.” In addition to
these achievements, Sancho was a skilled composer. His compositions include a collection of 6
songs, and other collections of country dances for various instruments.
Culford Health Camp is the second dance in the collection of pieces entitled Twelve
Country Dances. It is made up of three sections, 8 measures each, that are repeated. Though
no tempo is indicated, a sprightly tempo would be appropriate for this cheerful dance.
The piece is largely triadic. As is shown in the example below (Fig. 1.2),11 the first
measure is made up entirely of the tonic chord, and the following measures only slightly deviate
10 “Record of Ignatius Sancho's vote in the general election, October 1774.” The British Library. 11 All score examples from: Sancho, Ignatius. 12 Country Dances, ed. Steven Naylor. Steven Naylor Editions, 2020. Available at https://imslp.org/wiki/12_Country_Dances_(Sancho%2C_Ignatius) under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 license. Full terms at https://creativecommons.org/licenses/by-nc-sa/4.0/ No changes made.
11
from the harmonic structure. However, it has just enough departure from the chordal layout to
keep it from sounding like a dull technical exercise.
Figure 1.2 Ignatius Sancho, Culford Health Camp, mm. 1-6
The middle section melody contains a repeated note motif that affords plenty or practice
in shaping the notes and giving direction to what could be an uninteresting, repetitive passage
(Fig. 1.3).
Figure 1.3 Ignatius Sancho, Culford Health Camp, mm. 9-12
Broken chord arpeggios abound in this short piece, but always within an octave range.
Both hands stay busy and active, often bouncing around to create that dance-like buoyancy.
Occasionally, the hands travel in opposite directions. Teaching students what it feels like to
have both hands moving outward, and vice versa, is an important technique for more advanced
literature in the future.
12
Elisabetta de Gambarini (1731-1765), Giga, Sonata No. 1, Op. 1, Six Sonatas for Harpsichord or Piano
12/8, G Major, Mid-intermediate, Allegro, 2 pp., 2 min.
Publishers: Vivace Press, Hildegard, G. K. Hall, IMSLP Italian soprano, composer, keyboardist, and conductor, Elisabetta de Gambarini, was
born in London. Her family upheld a high reputation due to her father’s large collection of
paintings representing the years 1400-1700, which fell into her possession after his death. She
sang prominent roles in many of Haydn’s oratorios, including Judas Maccabeus, Samson,
Occasional Oratorio, Messiah, and Joseph and His Brethren. Skilled in orchestral composition,
a London program from 1764 shows that she conducted a concert that included six of her own
compositions. She married a Mr. Chazal within the last year of her life, which was unfortunately
rather short. Her extant compositions include sets of lessons for the harpsichord (one of which
is dedicated to the Prince of Wales) as well as Italian and English songs.
This playful gigue is charming and pleasant piece representing the late Baroque/early
Classical style. Though the RH in the first measure plays arpeggios, the rest of the piece is
mostly made up of a meandering scalar melody with occasional skips or arpeggiated triads
(Figure 1.4).12 The two-voice texture is present throughout the piece, with the left hand providing
the harmonic and rhythmic stability.
12 All score examples from: Gambarini, Elisabetta de. Six Sets of Lessons for the Harpsichord, Op. 1, ed. Pierre Gouin. Montréal: Les Éditions Outremontaises, 2018. Available at https://imslp.org/wiki/Six_Sets_of_Lessons_for_the_Harpsichord%2C_Op.1_(Gambarini%2C_Elisabetta_de) under a Creative Commons Attribution-NonCommercial 4.0. Full terms at https://creativecommons.org/licenses/by-nc/4.0/ No changes made.
13
Figure 1.4 Elisabetta de Gambarini, Giga, mm. 1-5
The piece is in binary form, with the opening material appearing in the dominant key
after the repeat. There is a brief minor section before returning to the tonic key. Minimal
ornamentation is found in this piece, which can make it more accessible for students who
struggle with embellishments. It also could allow students to add ornamentation, if desired. The
tunefulness of the melody cleverly disguises the great pedagogical value of the RH
passagework. It is a very refined, enjoyable piece, as are many of her compositions.
Elizabeth Weichsell Billington (1768-1818), II. Presto, Sonata in A Major, Op. 1, No. 3
2/4, A Major, Presto, Mid-Intermediate, 2 pp., 2 min.
Can be found: Vivace Press13
Elizabeth Billington was born into a musical family in England: her father was an oboist
and clarinet player, and her mother was a renowned singer. She, herself, would later be known
13 Vivace Press has since morphed into Harbach Music Publishing (HMP), which carries the same editions/compositions as Vivace Press.
14
as one of England’s greatest singers and was described by Haydn as, “a great genius.”14 Her
voice studies were with J.C. Bach, and, after his death, transferred to James Billington, whom
she married in 1783. She had highly successful tours throughout England and Italy and was
praised for her, “inexhaustible fund of ornaments, always elegant, always varying, always
extemporaneous: not even a pencil memorandum of what she meant to do was ever in her
singing copy.”15 After the death of her husband, she later married a second time, but after his ill-
treatment of her she left him and returned to England. The two were later reunited in Italy,
where he is speculated to have been responsible for her suspicious death.16
Her keyboard output consists of nine sonatas across two opuses, all composed before
the age of 12. Billington composed the three sonatas of Op. 1 when she was only eight years
old, which can be very inspiring for younger students. This energetic second movement of
Sonata No. 3 in A Major is written in an ABACA five-part rondo form, with the middle A section
abridged.
The A section consists of an Alberti bass in the LH with the RH playing the spirited
melody. The RH melody employs mostly stepwise motion, and while there are also some
arpeggiated passages these are always contained within an octave. Simple ornamentation is
found through the notated grace notes. In the last measure of each phrase the LH breaks the
Alberti bass and jumps down more than an octave to a single note bass foundation, which could
be a difficult transition for students (Fig. 1.5).17
14 Billington, Elizabeth. Three Sonatas for the Harpsichord or Piano, Op. 1. 1995. Pullman, WA: Vivace Press, 1995. Print. 15 Baldwin, O., & Wilson, T. “Billington [née Weichsel], Elizabeth.” Grove Music Online. 16 Though I have not been able to find any specific details about her death, it is frequently referred to as a
“suspicious death,” with suspected involvement from her husband. 17 All examples from this score are reproduced with generous permission by Barbara Harbach at Harbach Music Publishing (formerly Vivace Press). Three Sonatas for the Harpsichord or Piano, Elizabeth Billington. © 1995 Vivace Press. All Rights Reserved. International Copyright Secured.
15
Figure 1.5 Billington, Elizabeth. II. Presto, Op. 1., No. 3. mm. 1-4
The B section also poses a challenge for students as the RH texture contains an
abundance of thirds, mostly in eighth notes with one sixteenth note passages. The LH provides
the harmonic stability through a triadic eighth note accompaniment. The thirds are mostly within
one hand position and don’t require many finger crossings, so even those students who haven’t
played many thirds will find it manageable. However, finding a workable RH fingering is
important in this dancelike section (Fig. 1.6).
Figure 1.6 Billington, Elizabeth. II. Presto, Op. 1., No. 3. mm. 27-32
After the brief return of the A section the C section arrives with a key change to the
relative A minor. Arpeggios, Alberti bass, and hinted variants of the A section are found. The
remaining A section is repeated verbatim.
The liveliness of this piece makes it an engaging study for young pianists, and the
figurations all fit well within the hand. It is a well written, delightful piece that will be comfortable
enough for a mid-intermediate pianist while also providing some challenges.
16
Maria Teresa Agnesi-Pinottini (1720-1795), I. Allegro, Sonata in G
⅜, Allegro, Mid-intermediate, 4 pp. 4 min.
Can be found: Hildegard Publishing, Harbach Music Publishing
Maria Teresa Agnesi, as she was known prior to her marriage, was the only Italian
woman of her day to composer opera seria.18 She was the second of 21 children and her older
sister, Maria Gaetana Agnesi, achieved even more fame as a prodigious mathematician.
Though not much is known about her musical education, her earliest compositions date in the
1740s. Her works were performed in Italy as well as in Dresden and Vienna, and her portrait
can be found in the Theatrical Museum of La Scala in Milan, Italy. She was also known to have
met with the young Wolfgang Amadeus Mozart in 1770, which Leopold Mozart recorded as one
of the famous people his son met. Unfortunately, her great success did not preclude her from
financial struggle. At the end of her life, she and her husband, Pietro Pinottini, resorted to selling
their furniture and clothing in an attempt to relieve their massive debts.
Her output consists of opera and theatrical works, vocal works, concerti, harp sonatas,
and keyboard sonatas and fantasias. In addition to composing, she was also known as a
vocalist, harpsichordist, and librettist.
Typical of Italian sonata movements, the Sonata in G is written in binary form with a two-
voice texture. The thirty-second note turns in the opening melody create an articulated
buoyancy, without creating too much difficulty in the ornamentation. These figures are
immediately repeated, allowing students to use their practiced ornamentation again (Fig. 1.7).19
18 Opera seria, the inverse of the comedic opera buffa, refers to the more noble and serious style of Italian opera prevalent in the mid-1700s. 19 All examples from this score are reproduced with permission of Carl Fischer Music/Theodore Presser Company. © Hildegard Publishing Company. All Rights Reserved.
17
Figure 1.7 Agnesi-Pinottini, Maria Teresa. Sonata in G, I. Allegro. mm. 1-9
For the most part, the LH contains single eighth notes, though there are passages of
sixteenths, sparse Alberti bass, and two measures of octave eighth notes at the conclusion of
both the A and B sections.
This piece does contain some varied compositional elements as well. The middle of
each section contains passages of repeated note arpeggios in sixteenth notes, with every other
note alternating between the RH and LH (Fig. 1.8). With just four measures in each section, it
gives the student enough of an opportunity to practice this less common technique without
being overwhelming.
Figure 1.8 Agnesi-Pinottini, Maria Teresa. Sonata in G, I. Allegro. mm. 15-18
18
Another aurally interesting feature is the “gallop” found in mm. 33-39, with the LH playing
straight eighth notes and the RH following behind with two thirty-second notes in the second half
of the beat (Fig 1.9).
Figure 1.9 Agnesi-Pinottini, Maria Teresa. Sonata in G, I. Allegro. mm. 33-34
This is a very cheerful sonata that is skillfully constructed in the galant style. It has very
few large leaps, only a few measures where an octave reach is necessary (which could be
adapted if necessary), and contains passagework within an octave. The range does not exceed
four octaves, with the majority being within two to three octaves.
Anna Bon (ca. 1740- after 1767), III. Allegro, Sonata No. V in B Minor
2/4, B Minor, Allegro, Mid-intermediate, 4 pp. 5 min.
Can be found: Hildegard Publishing Company
Though surprisingly little is known about her specifically, the life of Anna Bon can be
largely traced by the activities of her artistic Italian parents. Her mother, Rosa Ruvinetti Bon was
an exceptional comic opera singer from Bologne, and her father, Girolamo Bon, was a stage
designer and painter who dabbled in composing opera and writing librettos. After their marriage
in Venice, they were employed by the Russian court in St. Petersburg from 1735-1746, making
it highly likely that Anna was born in Russia. After appointments in Dresden, Potsdam, and
Bayreuth, the family was eventually noticed by Prince Nicolaus Esterházy, who hired the Bon
19
family to come to Eisenstadt in 1762. Their time in Eisenstadt overlapped with Haydn’s early
years there, suggesting that the Bon family had frequent association with Haydn and his works.
The last known information for Anna was that she resided in Hildburghausen, Germany in 1767,
around the time of her marriage to Mongeri, an Italian tenor. The publication of her works
during her lifetime and the inclusion of her name in several 18th century reference books are
highly unusual for women of her time and serve as evidence of her notability. Her known
compositions include six flute sonatas, six harpsichord sonatas, and six divertimenti for flute.
The third movement of Bon’s Sonata in B Minor is a two-voice piece written in the late
Baroque style. The opening material displays some of the compositional techniques prevalent
throughout the piece, such as imitation and sequence. In the first four measures the RH and LH
go back and forth, repeating the same motif. Following this, in mm. 5-8, the use of sequence is
apparent between both hands (Fig 1.10).20
Figure 1.10 Bon, Anna. Sonata No. V in B Minor, III. Allegro, mm. 1-8
20 All examples from this score are reproduced with permission of Carl Fischer Music/Theodore Presser Company. © 1997 Hildegard Publishing Company. All Rights Reserved.
20
This polyphonic piece contains a single line in each hand. Though sixteenth notes are
present in almost every measure, the rhythmic interest usually alternates between the hands.
with only four measures of the piece containing simultaneous sixteenth notes in both hands.
Because of the constant two-voice texture, there are no chords or large hand stretches
in this piece. The largest leap required is found in the LH stretch of a ninth in the following
sequential passage, but the rest of the piece requires much less (see Fig 1.11).
Figure 1.11 Bon, Anna. Sonata No. V in B Minor, III. Allegro, mm. 13-20
The motifs used are developed throughout the piece, traveling to the parallel major and
returning again to the opening material at the end. The range on the keyboard extends about
four and a half octaves, typical of the Baroque repertoire, and the thin texture and constant
sixteenth notes require an even finger technique and a reliable fingering. It is a well-crafted
piece that is reminiscent of a Bach Invention. It is suitable for a mid-intermediate pianist and is a
wonderful addition to the repertory.
21
Le Chevalier de Saint-Georges [Joseph Bologne], (1745-1799) Adagio in F Minor
6/8, F Minor, Adagio, Mid-Intermediate, 4 pp., 3 ½ min.
Can be found: Theodore Presser Company
On Christmas day in 1745, Le Chevalier de Saint-Georges (or Joseph Bologne) was
born into slavery on the French island of Guadeloupe. His father, George Bologne, was a
wealthy plantation owner and his mother was a slave. He first traveled to France with his father
at only two years old, as his father was fleeing a murder charge. The charge was later found to
be spurious, his father received a royal pardon, and they returned to Guadeloupe two years
later. Not much is known about his early musical training, but in 1753 he permanently moved
with his father to France. There he became an expert in fencing, as well as a member of the
finest cavalry in the French Army, and was given the title of chevalier (a title of French nobility or
knighthood). His life was not free of troubles; he was denied the position of director of the Paris
Opera because of his race, and he suffered an 18-month imprisonment during the Reign of
Terror. He was a virtuoso violinist and was the music director for a prestigious orchestra at the
time. His works consist of operas, symphonies, violin concerti, chamber works, and this
wonderful piano piece.
Adagio in F Minor has a very melancholy feel and its minor key signature makes it an
interesting alternative to the many major key classical pieces for young pianists. The left-hand
(LH) accompaniment spends much of the piece in broken triads, but the constant movement of
the harmony provides a steppingstone to more advanced broken chord accompaniment (Fig.
1.12).21
21 All examples from this score are reproduced with permission of Carl Fischer Music/Theodore Presser Company. © 1981 by Merion Music, Inc. Theodore Presser Co., All Rights Reserved. International Copyright Secured.
22
Figure 1.12 Saint-Georges, Le Chevalier. Adagio in F Minor, mm. 1-10
This example also showcases the other predominant left hand accompaniment style:
octaves, with mostly stepwise movement.
The character of this piece requires a legato touch, and one of the artistic challenges of
this piece for an early intermediate pianist will be the repetition of notes in the melody. These
measures provide a wonderful opportunity to teach the forward motion of these repeated notes
and the effect of maintaining the same pitch but altering other aspects of the music such as the
tempo or volume (Fig. 1.13).
Figure 1.13 Saint-Georges, Le Chevalier. Adagio in F Minor, mm. 51-55
Another useful teaching point with this piece is the frequent use of thirds in the right
hand. The repetitive pitches allow the student to focus on the voicing in these passages. A
23
similar texture is found throughout the piece, so mastering the technique of the first section
allows the student to play a longer piece than they may have previously.
The piece contains a contrasting middle section in the relative major key, which is
followed by a development which then returns to the opening material. The triadic left hand in
this piece also creates an easier opportunity for a student to complete their own harmonic
analysis.
Though the notes of this Adagio in F minor look simple, the artistry needed to create a
beautiful phrase demands patience and self-restraint. The musical maturity required exceeds
the technical proficiency required, which can also make it a good fit for the older intermediate
level student, either older kids or adults.
Jane Savage (ca. 1760-ca. 1830) II. Rondo, Sonata in G Major, Op. 2 no. 3
2/4, G Major, Mid-intermediate, 2 pp. 1 min.
Can be found: Vivace Press
There is little biographical information known about English composer Jane Savage. Her
father, William Savage, was a professional musician and sang in many operas and oratorios
composed and conducted by Handel. It is likely that her musical education came from her
father. She most likely composed and performed mainly in the Savage home or other private
settings, and her compositional output consists of keyboard works, songs, and a cantata.
Savage published her pieces at her own expense, and her compositions all date prior to her
marriage to Robert Rolleston in 1793, suggesting that she ceased these more professional
activities upon marriage.
The second and last movement of Savage’s Sonata No. 3 in G Major is a brief, three-
part rondo (ABA). The opening material consists of a cheerful RH melody over an active 8th
24
note LH accompaniment. It illustrates the graceful refinement of galant style through its clarity
and pleasant simplicity.
Immediately following the first eight measures, Savage loosely repeats the same
material, but with artful variation. Though the harmonic scheme remains the same, both the RH
and the LH parts have been slightly altered, creating a cleverly disguised antecedent-
consequent (or question-answer) pairing of phrases.
The parallel thirds in mm. 3-4 are repeated in mm. 11-12, but this time are offset through
syncopation. Additionally, the thirds found in m. 5-6 are varied in m. 13-14 by using a single
note texture, only this time it includes the harmonic note (A in mm. 5,11 and B in mm. 6,12) by
extending up a sixth. There are many clever compositional techniques used in this piece that
may be an opportunity bring out students' music theory knowledge in an exciting and practical
way (Fig. 1.14).22
22 All examples from this score are reproduced with generous permission from Barbara Harbach at Harbach Music Publishing (formerly Vivace Press). © 1996 Vivace Press. All Rights Reserved, International Copyright Secured.
25
Figure 1.14 Savage, Jane. Sonata in G Major, Op. 2 no. 3, II. Rondo, mm. 1-16
The middle section of the rondo contrasts the delightful innocence of the outer sections
and is set in the parallel G minor. The first eight measures of this section are again skillfully
derived from the opening material, now within the minor modality. The LH Alberti bass adds the
rhythmic intensity to this somewhat “savage” section. In the following eight measures the RH
melody is made entirely of parallel thirds, while the LH plays one octave arpeggios in sixteenth
notes. This could be a potential musical pitfall for young students, since the repetitive nature of
the notes combined with the storminess of this middle section may cause some students to play
this section unnecessarily loud with little nuance of phrasing (Fig 1.15).
26
Figure 1.15 Savage, Jane. Sonata in G Major, Op. 2 no. 3, II. Rondo, mm. 25-32
The return of the A section is identical to the opening A section. Though this piece is
brief and not overly complicated, the abundance of parallel thirds, use of syncopation, and other
techniques make it appropriate for a mid-intermediate pianist. It contains many technical and
theoretical elements that are valuable to any intermediate pianist and is a pleasure to listen to.
Caroline Campbell (active in 1780s), I. Allegro, Sonata No. 1 in E-Flat Major, Two Sonatas
for Harpsichord or Harp (1787)
2/4, E-flat Major, Allegro, Late Intermediate, 6 pp. 4 ½ min
Can be found: Vivace Press (1999)
Unfortunately, nothing is known about the life of English composer Caroline Campbell
except for her compositions. Her surviving works are Two Sonatas and Three English Airs with
Variations for harp or harpsichord and Two Sonatas and Six Songs and Some English Airs with
Variations, Op. 11, for harp and accompaniment.
27
The first movement of Sonata No. 1 in E-flat Major is marked Allegro and begins with a
brilliant chordal declaration of the tonic triad marked forte. The drama continues with a sudden
shift to piano as the RH melody ascends the octave over a broken octave tonic pedal in the LH
(Fig. 1.16).23
Figure 1.16 Campbell, Caroline. Sonata No. 1 in E-Flat Major, I. Allegro. mm. 1-9
The texture of this piece is constantly changing. Campbell employs various techniques
throughout the piece, including parallel thirds and sixths in one hand, sextuplets, melody
crossing between hands, sequence, larger leaps, and hand crossings. The occasional irregular
phrase lengths create an excitedly spasmodic feel to the piece without becoming disorganized.
The secondary theme begins in the LH, with the RH playing an Alberti bass
accompaniment in the treble. After a seamless handoff of the melody to the RH at the end of the
phrase, the RH repeats the material in a higher register (Fig. 1.17).
23 All examples from this score are reproduced with generous permission by Barbara Harbach at Harbach Music Publishing (formerly Vivace Press). Two Sonatas for Harpsichord or Harp, Elizabeth Billington. © 1999 Vivace Press. All Rights Reserved. International Copyright Secured.
28
Figure 1.17 Campbell, Caroline. Sonata No. 1 in E-Flat Major, I. Allegro. mm. 34-38
The development section introduces more compositional elements with some
syncopation and thirty-second note flourishes. A brief cadenza precedes the recapitulation,
which skips over the primary theme and begins with the secondary theme in the tonic key and
continues to the end.
The keyboard range of this piece, the amount of various performance techniques
needed, and the more complex structure make this piece a better fit for a late intermediate
student.
Cecilia Maria Barthélemon (b. between 1767-1770, d. 1859), I. Allegro vivace, Sonata in G
Major, Op. 3 (1795)
2/4, G Major, Allegro vivace, Late Intermediate, 5 ½ pp., 6 min.
Can be found: Vivace Press, Edition Tonger, IMSLP (1794 edition, not suitable for performance
study)
English composer and singer Cecilia Maria Barthélemon was the daughter of two
distinguished musicians in London. Her musical experiences started very early, as she
accompanied her parents on their musical tour in Dublin in 1771-72. Her parents, along with
Johann Samuel Schröter were her teachers, and she learned to sing and play the piano, organ,
29
harp, harpsichord. On tour with her parents again in 1776-77, she sang for the King of Naples
as well as Marie-Antoinette. Her formal professional debut as a vocalist was in 1779 at the
Haymarket Theatre where she sang a duet with her mother between parts of the Messiah.
Joseph Haydn was a close friend of the Barthélemon family and is the dedicatee of her Op. 3
Piano Sonata. Her output consists of three sonatas for harpsichord or piano, four sonatas for
violin and harpsichord/piano, and one vocal work. There is no evidence of any compositions
after her marriage to Captain E.P. Henslowe in 1796, with whom she had one daughter, Fanny.
This piece is full of Haydn-esque wit, humor, and surprises which makes the dedication
to him so appropriate. The playful primary theme begins with the tonic triad, though it is cleverly
disguised behind a chromatic outline (Fig. 1.18).24
Figure 1.18 Bathélemon, Cecilia Maria. Sonata in G Major, I. Allegro vivace. mm. 1-5
The transition unexpectedly travels through B minor with an Alberti bass passage before
it arrives at the contrasting simplicity of the secondary theme with a sustained bass. It has an
adventurous development section with a seamless transition into the return of the opening
material. The recapitulation is extended through a broader transition as well as many deceptive
endings. The final page is a continual joke through the brilliant use of rests and hints of
harmonic deviation (Fig. 1.19).
24 All examples from this score are reproduced with friendly permission of www.edition49.de. © 2003 by P.J. Tonger Musikverlag, Köln. All Rights Reserved.
30
Figure 1.19 Bathélemon, Cecilia Maria. Sonata in G Major, I. Allegro vivace. mm. 183-198
This piece is masterfully crafted and deserves to be part of the standard repertoire. The
texture is constantly varied throughout the piece, with a mixture of passages including Alberti
bass, hands in unison, sixteenths v. longer note values, repeated note triplets, etc. The
harmonic and rhythmic aspects are also quite varied, making it a very engaging and amusing
piece. The range of this piece is nearly five octaves, with frequent, quick hand shifts and
changes of direction throughout. Students must be comfortable playing multi-octave scales and
arpeggios at a fast tempo, along with frequently changing articulation. All of these aspects
combined with the length and complexity of the composition make it appropriate for a late
intermediate student.
Maria Hester Reynolds or Maria Hester Park (1760-1813), I. Allegro spirito, Sonata in C
Major, Op. VII
4/4, Allegro spirito, Late intermediate, 8 pp., 7 min.
Can be found: Vivace Press
31
Maria Hester Park, known as Maria Hester Reynolds prior to her marriage, was an
English composer, pianist, singer, and teacher. She performed publicly and taught some of the
English nobility, including the Duchess of Devonshire and her children. Though many of her
compositions have been lost, her opus numbers extend to 13, suggesting a rather large output
for a woman of her time. She was happily married to the poet and scholar Thomas Park, who
authored many sweet poems for her. Together they had five children. Her compositions include
keyboard sonatas, violin sonatas, choral pieces, and a concerto. Her works are characterized by
liveliness, vitality, excitement, and are an appreciable sample of the Classical style.
The opening movement of the Sonata in C Major, Op. VII is full of vibrancy, energy, and
variety. The texture and techniques used are constantly changing, which make it such an
exciting piece to both play and listen to. The primary theme starts right away with a three-octave
scale and then breaks into a broken octave LH accompaniment over a more sustained RH
melody in thirds (Fig. 1.20).25
Figure 1.20 Sonata in C Major, Op. VII, I. Allegro spirito, mm. 1-3
In order to properly execute this piece, students need to be able to shift between rapid
arpeggios, scales, and character changes. Other compositional techniques used are broken
octaves, sixteenth-note sequences, alternating hand arpeggios, RH passagework in triplets,
ornamentation, and Alberti bass. Though the energy persists throughout the piece, there are
moments of calm, as can be seen here (Fig. 1.21).
25 All examples from this score are reproduced with generous permission by Barbara Harbach at Harbach Music Publishing (formerly Vivace Press). © 1992 Vivace Press. All Rights Reserved. International Copyright Secured.
32
Figure 1.21 Sonata in C Major, Op. VII, I. Allegro spirito, mm. 29-32
These lyrical moments are often brief though, as the sixteenth notes begin again after
just four measures.
This piece is full of rhythmic variety and will be enjoyable for any student to study. The
wide variety and level of techniques used lend itself to a late intermediate pianist. This sonata is
published in the anthology Eighteenth Century Women Composers for the Harpsichord or
Piano, Volume II by Vivace Press. Her other keyboard sonatas are also published by Vivace
Press and would all make a worthwhile study.
Marianne Martinez (1744-1812), I. Allegro brillante, Sonata da Cimbalo in G Major
4/4, G Major, Allegro brillante, Late Intermediate, 6 ½ p., 4 min.
Can be found: Hildegard Publishing Company (1994)
Marianne Martinez was born in Vienna to a Spanish-Neapolitan aristocrat family. She
received a first-rate education, including keyboard and composition studies with Haydn, who
lived in the upstairs attic apartment of the building where her family lived. Haydn was then only
22 years old, and for three years received free rent in exchange for teaching Martinez.26
Martinez quickly excelled at singing, harpsichord playing, and composition. As early as 1761
one of her composed masses was performed at the court church.27 She received many awards
26 Martinez, Marianna, edited by Shirley Bean. Three Sonatas for Keyboard / Marianna Martines. Bryn
Mawr, PA: Hildegard Pub., 1994. Print. 27 Wessely, H., & Godt, I. “Martínez, Marianne [Anna Katharina] von.” Grove Music Online.
33
and honors for her musical prowess and later in her life held weekly soirees in her home. Haydn
and Mozart were frequent visitors at these events, and there are records of her playing four-
hand sonatas with Mozart. She was a prolific composer, producing over 200 works. With 69
surviving compositions, she is the author of the “largest extant collection of music by a woman
in the classical period.”28 These works include 35 secular vocal works, 27 sacred vocal works, a
sinfonia for chamber orchestra, three keyboard concertos, and three keyboard sonatas.
The effective Sonata da Cimbalo29 in G Major was written in 1769, the latest of the three
sonatas currently available. It is written in sonata-allegro form and is representative of the early
Classical style. The Allegro brillante marking declares itself from the start, with a strong tonic
chord marked forte, followed by a rush of sixteenth notes up the G Major scale (Fig. 1.22).30
This energetic introduction gives way to a contrasting triplet rhythm, which permeates the whole
movement. The unique triplet motif in this piece makes it an exciting recital or competition piece.
However, the back and forth between triplets and sixteenth notes requires an unfailing
steadiness of pulse. Without the constant stability of the quarter note beat, this piece has the
potential to become an unpleasant string of wobbling tempos.
Figure 1.22 Martinez, Marianne. Sonata da Cimbalo, I. Allegro brillante, mm. 1-3
Scales and arpeggios abound in this piece, which, combined with the rhythmic element
just discussed, necessitate clear and even finger technique. It is written in a primarily two-voice
28 Martinez, Marianna, edited by Shirley Bean. Three Sonatas for Keyboard / Marianna Martines. Bryn Mawr, PA: Hildegard Pub., 1994. Print. 29 harpsichord 30 All examples from this score are reproduced with permission from Carl Fischer Music/Theodore Presser Company. © 1994 Hildegard Publishing Company. All Rights Reserved.
34
texture, and often intertwines the hands with the strategic use of rests, as seen below (Fig.
1.23).
Figure 1.23 Martinez, Marianne. Sonata da Cimbalo, I. Allegro brillante, mm. 63-65
The LH frequently is written in the treble clef, as seen in the opening material, and
changes register throughout the piece. The frequently changing material keeps this piece very
interesting and engaging. Aside from the first beat, there are no large chords, and though it is a
complex composition, it still falls within the late intermediate level.
Sophia Dussek (1775-1847), II. Allegretto, Sonata in A Major for Piano or Harpsichord
¾, A Major, Allegretto, Late Intermediate, 6 pp., 4 min.
Publisher: Vivace Press (1995)
Sophia Giustina Corri was born in Edinburgh, Scotland, where her family had immigrated
after leaving their native Italy. Her father, Domenico Corri, was himself a musician and music
publisher, and was her first teacher. After moving to London in 1788, her professional success
began at a very young age. At only 16 years old, she made her debut singing in the Salmon-
Haydn concert series, and shortly thereafter performed as a soloist in the London premiere of
Haydn’s The Storm and Mozart’s Requiem. In 1792, only 17 years old, she married the Czech
composer/pianist Jan Ladislav Dussek, who was 15 years her senior. Their marriage was not
blissful; in addition to her infidelity, Jan’s business venture with Sophia’s father failed. As Jan
fled the country to escape legal retribution, his father-in-law was left with a prison sentence.
35
After Jan’s death Sophia married John Alvis Moralt, a composer and violist. Three Favorite Airs
and Sonata for the Piano Forte are her only published works, but records show she was a
prolific composer, with most of her works written for harp or piano. Recent research has
determined that some of J.L. Dussek’s works, including the six Sonatinas for harp/piano, were
actually composed by Sophia.31
This lovely second movement is in seven parts, ABACABA, rondo form. The lyrical A
theme is marked dolce and beautifully weaves the RH and LH together (Fig. 1.24).32 It is a nice
contrast to the equally worthwhile and well-crafted first movement (also highly recommended).
Eighth notes are the predominant note value in both hands in this section, and the LH switches
between treble and bass clef to create a poetic duet.
Figure 1.24 Dussek, Sophia. Sonata in A Major, II. Allegretto, mm. 1-9
The B section continues the lyricism at first, but with increased rhythmic movement
through running sixteenths in the RH. Here, the duet has stopped, and the LH takes on an
accompanimental role. Long scalar passages are found, along with arpeggiated passages, both
31 Craw, Howard Allen, Matjaž Barbo, Barbara Garvey Jackson, and Bonnie Shaljean. “Dussek family.” Grove Music Online. Oxford University Press. 32 All examples from this score are reproduced with generous permission from Barbara Harbach at Harbach Music Publishing. © 1998 Vivace Press. All Rights Reserved. International Copyright Secured.
36
of which need to be elegantly phrased. The end of the B section gets a little more aggressive,
but gracefully returns to the A section.
The C section is the longest and is quite virtuosic. LH octaves and RH sixteenths are
combined with rapid dynamic changes and key changes to create this fiery middle section (Fig.
1.25).
Figure 1.25 Dussek, Sophia. Sonata in A Major, II. Allegretto, mm. 45-50
This piece requires a high level of skill from the intermediate pianist. It employs rapid
hand shifts, dynamic contrast, a large range of the keyboard, parallel intervals, various
articulation, and many contrasting sections. It is a larger scale work that deserves a place in the
standard repertoire.
Elizabeth Hardin (ca. 1750-1790), I. Allegro, Lesson V, Six Lessons for Harpsichord or
Piano (1770)
4/4, G Major, Allegro, Late Intermediate, 4 pp. 4 min.
Can be found: Vivace Press (1994)
There is little known about the English composer Elizabeth Hardin. It is supposed that
her father was Joseph Hardin, a clockmaker in London. Records show that she was appointed
37
as organist at St. Peter-le-Poor in 1764, and it is presumed that she held this position until her
death in 1780. Her extant compositions include a vocal work titled, Would Kind Fate Bestow a
Lover and Six Sets of Lessons for the Harpsichord. With the exception of Lesson IV, each
lesson contains two movements- a fast, rhythmic first movement, and a minuet for the second
movement.
The first movement of Lesson V in G Major is full of energy and vitality. The first eight
measures give a glimpse into the brilliant assortment of sounds and textures found within the
rest of the piece. These eight measures can be grouped into four, two-measure sub-sections,
which work together seamlessly and each contribute to the delightful variety found in this piece.
The first two measures open dramatically with tonic-dominant-tonic arpeggios in both hands.
The next section contrasts the bold unison opening with a more lyrical, contrapuntal sound. The
following two measures are a clear melody and accompaniment style, and then the following
two measures introduce offset sixteenth note arpeggios with alternating hands (seen in Fig.
1.26)33
33 All examples from this score are reproduced with generous permission from Barbara Harbach at Harbach Music Publishing. © 1994 Vivace Press. All Rights Reserved. International Copyright Secured.
38
Figure 1.26 Hardin, Elizabeth. Lesson V. Allegro, mm. 1-9
There are two difficult technical elements in this piece that should be noted. The
aforementioned alternating hand arpeggios are challenging, especially if students have never
played that technique before. There are also quick hand crossings executed by the LH (Fig. 1.
27).
An octave reach would be helpful in some of the LH accompaniment, but through good
wrist rotation it would still be playable (Fig. 1.28). Alberti bass is prevalent in this piece in both
Figure 1.27 Hardin, Elizabeth. Lesson V. Allegro, mm. 42-44
39
hands, but the quick harmonic rhythm causes the chord to change with almost every beat.
There are no dynamic markings in this piece (or any of the lessons).
Figure 1.28 Hardin, Elizabeth. Lesson V. Allegro, mm. 38-39
Marianna d’Auenbrugg/Marianna von Auenbrugger (b. ?- 1781/82 or 1786), I. Moderato,
Sonata per Il Clavicembalo o Forte Piano (1787)
4/4, E-flat Major, Moderato, Late Intermediate, 6 pp., 4 ½ min.
Can be found: Hildegard Publishing Company (1990)
Marianna von Auenbrugger was a Viennese composer and pianist and has little
biographical information available today. Her father, Leopold, was a well-known physician and
wrote the libretto to Antonio Salieri’s comic opera, Der Rauchfangkehrer. Salieri was her
composition teacher, and though her keyboard teacher is unknown, her keyboard skills (as well
as her sister, Katharina’s) were well known and respected. Haydn and Leopold Mozart both
wrote of her great proficiency at the keyboard. Speaking of both Marianna and her sister, Haydn
wrote, “the approval of the Demoiselles von Auenbrugger … is most important to me, for their
way of playing and genuine insight into music equal those of the greatest masters. Both deserve
to be known throughout Europe through the public newspapers.34” Haydn’s high regard for the
sisters is again shown in his dedication of six piano sonatas to the sisters, Hob. XVI:35-39 and
34 Glickman, S. “Auenbrugger [D’Auenbrugg],” Marianna von. Grove Music Online.
40
20. Despite her high reputation, Auenbrugger’s only surviving work is the Sonata per Il
Clavicembalo o Forte Piano, published posthumously.
The first movement of the Sonata per Il Clavicembalo o Forte Piano begins with a bold
introduction, but then gives way to its warm, affable nature. The RH melody meanders about,
creating great variation within the first two phrases that would otherwise be identical (Fig. 1.29,
specifically mm. 3-6).35
Figure 1.29 Auenbrugger, Marianna: Sonata per Il Clavicembalo o Forte Piano, mm. 1-8
A distinguishing aspect of this Classical sonata-allegro movement is that it is void of any
Alberti bass. Instead, the LH often employs a murmuring tenor voice with a bass pedal to create
the accompaniment, as seen in the figure above. At times this presents a large stretch in the
LH, which could be adapted if needed.
The secondary theme showcases some of the playfulness in Auenbrugger’s sonata,
seen in the accented non-chord tone in m. 35. Though the A natural is necessary for the
35 All examples from this score are reproduced with permission from Carl Fischer Music/Theodore Presser Company. © 1990 Hildegard Publishing Company. All Rights Reserved.
41
dominant seventh chord harmony, the E natural on beat three is a lighthearted tease before
arriving at the functional E-flat in beat four (Fig. 1.30).
Figure 1.30 Auenbrugger, Marianna: Sonata per Il Clavicembalo o Forte Piano, mm. 35-36
The syncopation found in the closing material also contributes to the friendly playfulness
of the piece (see Fig. 1.31).
Figure 1.31 Auenbrugger, Marianna: Sonata per Il Clavicembalo o Forte Piano, mm. 47-49
Sixteenth-note scales and arpeggios abound in this piece, often stretching across two
octaves. There are also occasional rapid, large leaps as well as rhythmic challenges of triplets
v. duplets. Preparing and sticking to a good fingering is vital to a successful performance of this
piece. It is a well-crafted piece with engaging melodies and variety that would be enjoyable for
any late intermediate student.
42
CHAPTER 2: ROMANTIC
Louise Farrenc (1804-1875), No. 2 in A minor, 25 études faciles, Op. 50
6/8, A minor, Andantino, Early Intermediate, 2 pp., 2 min.
Can be found: Mel Bay, Florian Noetzel Verlag, Heinrichshofen Verlag, IMSLP (facsimile only)
French composer Louise (Dumont) Farrenc was born to a family with a long line of royal
sculptors and painters. Her early musical studies included instruction from Ignaz Moscheles and
Johann Nepomuk Hummel, and at 15 years old she began studying at the Paris Conservatoire.
Though she married fellow musician Aristide Farrenc when she was only 17 years old, her
musical career continued to flourish after that point, unlike many of her contemporaries. Aristide
eventually created a publishing firm and became a highly esteemed editor and publisher across
Europe. He was an ardent supporter of Louise’s musical abilities, continually encouraging her to
compose and perform, and was the first publisher of her compositions. Thanks to the prodding
of her husband, her great skills were widely acknowledged and in 1842 she was appointed as a
full professor of piano at the Paris Conservatoire. She held this position for 30 years and was
the only woman in the 19th century to hold such a high-ranking permanent position. In 1860
Aristide proposed a mammoth undertaking of creating Trésor des pianistes, an edited,
annotated collection of keyboard music from the previous 300 years. Together, Louise and
Aristide worked on the project, creating what Maurice Hinson described as “the most complete
collection of keyboard music ever assembled.”36
The preface of the Op. 50, No. 2 étude in A minor states that the objective of this study
is to achieve precision in 6/8 meter. The melancholy melody found in the RH contains a lilting
rhythmic motif against the chordal LH. Balance between hands is imperative in this etude, as a
36 Hinson, Maurice. Guide to the Pianist’s Repertoire, Third Edition. Bloomington, IN: Indiana University Press, 2000. p. 858.
43
young intermediate student will likely play the three note LH chords louder than the single note
melody (Fig. 2.1).37
Figure 2.1 Farrenc, Louise. Op 50, no. 2, mm. 1-4
The second section presents another challenge. This time the RH contains a duet of
parallel thirds. Now the student will have the opportunity to master voicing within one hand as
well. In addition to the voicing, more ornamentation is added in this section, which may add
extra difficulty for a less experienced pianist (Fig. 2.2).
Figure 2.2 Farrenc, Louise. Op. 50, no. 2, mm. 9-12
When the opening material returns, the LH now contains an arpeggiated
accompaniment, which fosters forearm rotation. This is a helpful introduction to this technique
and serves as a steppingstone to the more difficult arpeggiated accompaniment found later in
more advanced Romantic literature. All of these LH figurations fall within an octave, making it
perfect for an early intermediate student trying to balance the demands of technique with
musicality.
37 All examples from this score are reproduced with permission of Mel Bay Publications. © 2002 Mel Bay Publications, Inc. All Rights Reserved. International Copyright Secured.
44
Rapid hand shifts are employed in the next section, with the RH traveling up and down.
The common pitfall will be to pause between each shift, so students must think ahead and
prepare for where their hand needs to be (Fig 2.3).
Figure 2.3 Farrenc, Louise. Op 50, no. 2, mm. 19-24
This etude is much more than just a technical exercise. It is a beautifully sensitive
sampling of the Romantic style at the early intermediate level. The technical challenges are just
enough to make it substantial and enjoyable for all, but are still accessible enough for a student
entering the intermediate level.
Ernesto Elorduy (1853-1913) Danzas Tropicales no. 2
2/4, G Minor, Vivo, Mid Intermediate, 1 pp. 1 min.
Can be found: IMSLP
Ernesto Elorduy was a Mexican pianist and composer who traveled across the globe in
his musical life. He left Mexico on a European tour in 1871 and did not return for twenty years.
He first lived in Hamburg where he received lessons from Clara Schumann and Anton
45
Rubinstein, to whom he dedicated his first composition. He additionally spent time in the
Balkans, Turkey, Paris, and Spain. After his return to Mexico in 1901 he served as the director
of the Conservatory of Music until 1906. His compositions were nearly all published and consist
of around 100 piano pieces, including dances, songs without words, mazurkas, and other forms.
His works show the influences of Chopin and Schumann as well as the Mexican dance rhythms
of his country.
Danzas Tropicales no. 2 is a short piece made of two very contrasting moods. A bit like
a young toddler, the piece first energetically busies itself about at full speed, and then, after all
the energy has been spent, it is gently rocked to sleep.
The opening material is a technical exercise for the RH. These challenges consist of two
octave arpeggios (in inversions) and two octave harmonic minor scales. The LH plays the
supportive accompaniment which contains manageable leaps (see Fig 2.4).
Figure 2.4 Elorduy, Ernesto. Danzas Tropicales, no. 2 mm. 1-9
The contrasting section features a RH melody played primarily in octaves. The dotted LH
figuration creates a gentle sway of an undercurrent, all contributing to the relaxed mood that is
so opposite of the opening (Fig. 2.5)
46
Figure 2.5 Elorduy, Ernesto. Danzas Tropicales, no. 2 mm. 10-15
This piece is brilliant and flashy, and, though it does require an octave reach, it does not
require an advanced level of proficiency. The contrast of characters is a useful teaching point for
larger works that quickly change character, and the brevity of length makes a successful
performance more feasible.
Herzogenberg, Elizabeth von (1847-1892), 8 Klavierstücke, No. VI
¾, F-sharp Minor, Andante, Mid-intermediate, 3 pp., 5 min.
Can be found: Carus-Verlag, IMSLP
Not much is known of the early life of Elizabeth von Herzogenberg, but her inner circle of
musical friends includes many familiar names. She made plans to study with Johannes Brahms
in Vienna, but “Brahms felt so dangerously attracted to the beautiful blond aristocrat that he
cancelled the lessons.”38 Eventually this barrier of passion must have become unnecessary,
because Brahms later became a great friend of the Herzogenbergs. Being wealthy and
childless, Elizabeth and her husband hosted many musicians of the time, including Brahms and
Clara Schumann. Elizabeth was the recipient of many manuscript copies of Brahms’ music,
looking them over and providing insights. As Brahms had helped her husband Heinrich with the
publishing of his own works, Heinrich published Elizabeth’s 8 Klavierstücke shortly after her
38 Dees, Vol. 1, p. 108.
47
early death. Though too difficult for this discussion, the last piece in the set closely resembles
that of Brahms and is dedicated to Clara Schumann.
The sixth piece in Herzogenberg’s set begins with a sorrowful melody that ascends up
the scale and then returns to the starting point. A beautiful tenor line follows the melody and is
the first example of the skillful use of counterpoint found throughout the piece. At the end of the
opening section the sun peeks through the gloominess by way of the cadence to a C-sharp
Major chord. Though the grey clouds return with the repeat, the second time through continues
the major tonality in the Brahmsian passage that follows (Fig. 2.6).
Figure 2.6 Herzogenberg, Elizabeth von, 8 Klavierstücke, No. 6, mm. 1-11
One challenge for the intermediate pianist playing this piece is to keep up with the less
conspicuous, but busy LH part. The occasional large chords are often rolled, making it feasible
for all hand sizes.
48
The middle section of this ternary piece is a lively contrast. Set in the relative A Major, it
is full of staccato markings and is written in its own ABA form. The dancelike character creates a
reprieve from the solemn F-sharp minor sections surrounding it (Fig 2.7).
Figure 2.7 Herzogenberg, Elizabeth von, 8 Klavierstücke, No. 6, mm. 20-25
This piece provides both a thick, German Romantic texture and a contrasting dancelike
section. Parallel intervals, varied articulation, quick hand shifts, dynamic contrast, voicing, and
pedaling are some of the techniques needed for a successful performance of this rewarding
piece.
Julian Aguirre (1868-1924) Triste no. 5, Aires Nacionales Argentinos, Op. 17
6/8, C Minor, Andante moderato, Mid-Intermediate, 2 pp., 2 ½ min.
Can be found: Ricordi, IMSLP
Julian Aguirre was born in Buenos Aires, Argentina, but spent some of his youth in
Spain. He studied at the Madrid Conservatory from 1882-86 where he won first prize in
harmony, counterpoint, and piano and impressed the Spanish virtuoso Isaac Albéniz. Upon his
return to Argentina in 1886, he performed many concerts and increased his compositional
output by drawing on Argentine folk tunes. He later became a professor at the National
Conservatory of Music in Buenos Aires. Aguirre was one of the first composers to write in a
nationalist style and was one of his country’s most respected composers in his lifetime. His
compositions include choral works, songs, and solo works for both violin and piano.
49
Aguirre’s five Tristes for piano are based on Argentine folk melodies and rhythms. As the
Spanish word “triste” translates to “sad” in English, it is no surprise that Triste no. 5 portrays
feelings of sadness and sorrow. The piece begins with a mournful seven measure introduction,
played only by the LH. The difficulty in this introduction for young pianists is that it is very
exposed. The quick hand shifts combined with the large chords necessitate good control and
evenness in playing the notes of the chords, especially in the pianissimo dynamic. With four-
note chords spanning an octave, it is essential for students playing this piece to have a
comfortable octave reach in the LH, at the very least (Fig 2.8).
Figure 2.8 Aguirre, Julian. Aries Nacionales Argentinos, Op. 17, Triste no. 5, mm. 1-9
This sets up the pattern for the rest of the piece, as the LH continues this figuration as
the RH melody enters above it. The RH does not pose many technical challenges. It most often
plays a single voice but does include some parallel intervals and chords (Fig. 2.9).
50
Figure 2.9 Aguirre, Julian. Aries Nacionales Argentinos, Op. 17, Triste no. 5, mm. 28-31
The material of the first page is repeated almost identically on the second page, with
new material in the closing six bars. The slow, grieving mood of the piece does not create any
virtuosic technical displays; rather, the difficulty of this piece lies in a more nuanced and subtle
approach. It may look like a simple piece at first glance, but the depth of emotion conveyed
through the music requires more from an intermediate pianist than they may be used to.
Cécile Chaminade (1857-1944), Pièce romantique, Op. 9 no. 1
2/4, G Major, Mid-intermediate, Andante, 2 pp., 2 ½ min.
Can be found: Editions Durand, IMSLP
As a young girl in France, Cécile Chaminade began her piano studies with her mother
and began composing by age eight. Hector Berlioz encouraged her parents to provide their
precocious daughter with the finest musical education, but because her father opposed her
enrolling in the Paris Conservatoire, she instead studied with many of the faculty privately.
Despite the attitude toward women composing in her time, her hugely successful career
included concert tours in England, France, and the United States. French composer Ambroise
Thomas remarked of Chaminade that, “This is not a woman who composes, but a composer
51
who is a woman.”39 Her popularity was great and extended far, as “Chaminade clubs” were
formed across the United States where amateur musicians would gather to play her music. Her
output of over 400 compositions sets her apart from other women composers of her time, but
even more impressive is that most of her works were published within her lifetime. Of these
many compositions, over 200 are piano pieces representing French Late-Romanticism.
Pièce romantique is as beautiful and amorous as one would expect from a piece with
that title. In addition to its enchanting sound, the piece is also a study in voicing. The
enchanting, legato tenor melody is played by the LH, with the RH providing an off-beat chordal
accompaniment (Fig. 2.10).
Figure 2.10 Chaminade, Cécile. Pièce romantique, Op. 9 no. 1, mm. 1-4
The RH enters in m. 11, creating a duet of lovers. The beautiful sound is created on top
of the beginning texture, requiring the RH to balance voicing a melody part while continuing the
off-beat chordal backdrop (Fig. 2.11). Many of these passages do require a larger hand span,
so students with small hands will have much more difficulty properly executing the voicing and
timing of the RH parts.
39 Dees, Pamela Youngdahl. A Guide to Piano Music by Women Composers. Vol. 1. Westport, Connecticut: Greenwood Press, 2002. p. 59.
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Figure 2.11 Chaminade, Cécile. Pièce romantique, Op. 9 no. 1, mm. 10-14
The first sixteen measures are repeated immediately after, allowing students to focus
more on the intimate musicality of the piece. Following this, it enters a slightly restless transition,
but then temporarily lands in a calming B-flat Major iteration of the opening motif. Through
heart-aching chromaticism, dynamic, and tempo fluctuations, the duet returns back to the
original key (Fig. 2.12) and then closes with gently arpeggiated chords.
Figure 2.12 Chaminade, Cécile. Pièce romantique, Op. 9 no. 1, mm. 35-39
Piece Romantique contains opportunities to work on voicing, phrasing, and the Romantic
style. The technical challenges presented fall within the range of mid-intermediate repertoire,
but the beauty and Romantic qualities can be enjoyed by any pianist.
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Josephine Caroline Lang (1815-1880), Mazurka, Op. 49, no. 2
¾, F Minor, Allegretto, Mid-intermediate, 4 pp.,
Can be found: Hildegard, IMSLP
German composer Josephine Caroline Lang was born into a family of professional
singers and instrumentalists. As her own musical career began, she met Felix Mendelssohn
when she was fifteen. He was so impressed with her skills and personality that he “gave her
free daily lessons in fugue, counterpoint, and theory, and encouraged her to compose.”40
Mendelssohn expressed great praise and admiration for the young composer, and his opinions
of Lang as a composer were shared by Robert and Clara Schumann, Ferdinand Hiller, and
Stephen Heller. Primarily a composer of vocal works, Lang produced a large number of lieder
during the summer of her courtship with poet Christian Reinhold Köstlin, whom she later
married. She produced only a few works in the years of her marriage, but after the death of her
husband began composing again in earnest. Her compositions consist of over 150 vocal works,
and her only surviving piano works are found in the two mazurkas of Op. 49.
Mazurka No. 2 in F Minor is accurately representative of the mazurka genre in the
Romantic period. Its dancelike rhythms include dotted eighths and artful rests, and forzando
markings are characteristically often found on beats two and three. The frequent mordents and
grace notes also contribute to the character of this stylized dance (Fig. 2.13).
40 Dees, Vol. 1, p. 129.
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Figure 2.13 Lang, Josephine, Op. 49, no. 2, Mazurka, mm. 1-9
An octave reach is necessary in this piece, as the LH accompaniment includes frequent
octaves. These are often followed by quick leaps to the middle register, presenting another
challenge. Another important technique required is parallel intervals. The RH melody contains
parallel thirds in some sections which necessitates appropriate voicing (Fig 2.14).
Figure 2.14 Lang, Josephine, Op. 49, no. 2, Mazurka, mm. 33-48
Though the opening material is repeated several times throughout the piece, the varying
sections in between call for changes of articulation, dynamic range, and style. The Trio section
provides a perfect example of this. It begins with a petite melody, now in a major key. Before too
long though, the refinement is lost, and it becomes more visceral through the diminished
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seventh chord and a cadence in g minor. Immediately following though, is a sweet and playful
legato passage marked dolce and written in a hemiola (Fig. 2.15).
Figure 2.15 Lang, Josephine, Op. 49, no. 2, Mazurka, mm. 33-48
These quick shifts of character make this stylized dance interesting and provide a wealth
of opportunities for varying musical techniques. Though it contains quick hand shifts, octaves,
and refined articulation, this captivating mazurka would still be appropriate for a mid-
intermediate student.
Manuel Ponce (1882-1948), Intermezzo No. 1 in E Minor
2/4, E Minor, Moderato melancolico, Late Intermediate, 2 pp., 3 min.
Can be found: IMSLP
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Manuel Ponce was born in Mexico in 1882 and was the leading Mexican musician of his
time. He studied piano and harmony in Mexico City at the National Conservatory of Music, but
was encouraged by his teachers to go abroad and continue his studies in Europe. After studying
in Italy and Germany for a few years, he returned to Mexico in 1907. There he took a position
teaching at the conservatory where he was previously a student. After the premiere of his first
Piano Concerto in 1912, he gave a lecture entitled, “Music and the Mexican Song” which
“formed the catalyst for the Mexican nationalist school.”41
Ponce was an extremely versatile musician. He was a composer, a performer, a
conductor, and an editor. He published magazines and wrote numerous articles on a wide
variety of musical topics. His work as a composer encompasses a wide range of styles. Some
works are Romantic in style, others are atonal. He wrote Preludes and Fugues modeled after
Bach, while also writing works influenced by Impressionism. Similar to Bartok, he collected
Mexican folk songs and worked to blend these into the concert scene. He was the leader of a
Mexican nationalist style and is very highly regarded in Latin America.
This intermezzo is a very beautiful and expressive piece marked “moderately
melancholy.” Composed in 1909, it represents Ponce’s earlier style of Romanticism. In addition
to its aural appeal, it provides some great teaching points for students. The texture of the right
hand consists almost entirely of thirds, which allows for more practice in finding the right voicing
(Fig 2.16).42
41 Pérez, Ricardo Miranda. “Ponce (Cuéllar), Manuel.” Grove Music Online. 42 All examples from this score are taken from: Intermezzo No. 1, ed. Jarvi Fuentes. Editio Fontana, 2019. Available at https://imslp.org/wiki/Intermezzo_No.1_(Ponce%2C_Manuel) under a Creative Commons Attribution 4.0 License. Full terms at https://creativecommons.org/licenses/by/4.0/
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Figure 2.16 Ponce, Manuel. Intermezzo no. 1 in E Minor, mm. 7-9
A left-hand melody enters the backdrop, which provides further voicing practice (Fig
2.17).
Figure 2.17 Ponce, Manuel. Intermezzo no. 1 in E Minor, mm. 15-19
The phrases in the RH not only have thirds, but they also are in sets of two, as seen
above. The textural and rhythmic elements of this piece are actually quite repetitive, making a
use of rubato necessary to a successful performance. Without it, the piece is in danger of
sounding monotonous and mechanical. This piece provides a good exercise in finding a
balanced, tasteful rubato, for the overuse of rubato will make the piece sound overly
sentimental, or schmaltzy.
Lastly, the piece offers a fiery Cadenza with descending passagework before it returns
to the main theme (Fig. 2.18).
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Figure 2.18 Ponce, Manuel. Intermezzo no. 1 in E Minor, mm. 30-37
Intermezzo in E Minor is a wonderful sampling of Romanticism with a Mexican flare. Its
haunting melody is sure to captivate intermediate pianists while providing them with
opportunities for growth.
Delphine von Schauroth (1814-1887), Sechs Lieder ohne Worte, Op. 18, No. 1
4/4, E Major, Mässig und gefühlvoll (moderate and soulful), Late Intermediate, 3 pp., 2 ½ min.
Can be found: Stretta Music, IMSLP
Delphine von Schauroth was a German composer born in 1814. Much of what is known
about her comes through the biographical information of Felix Mendelssohn, as the two were
closely linked and her music certainly shows his influence. A student of Kalkbrenner, she was a
highly skilled musician who first met Mendelssohn in Paris in 1825. A few years later, at sixteen
years old, she and Mendelssohn enjoyed meeting again. About their time together, Felix
Mendelssohn, “wrote to his sister Fanny of flirtation and duet-playing” and even dedicated his
Piano Concerto in G Minor to her. The two became so close that Fanny Mendelssohn even
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“considered her a potential sister-in-law.”43 Though their relationship never ended in matrimony,
their friendship and association was of great value to her throughout her life. She even gave a
recital in his honor in 1870, twenty-three years after Felix’s death.
Mendelssohn’s influence (perhaps that of both Felix and Fanny) is obvious in the title of
Schauroth’s set, Sechs Lieder ohne Worte. Similar to his sets, Schauroth also wrote her songs
without words in a set of six pieces. Though similar in beauty and fine construction, Schauroth is
deserving of her own compliments for her works. This piece in particular is very engaging, and
could be given to a student in place of one of Mendelssohn’s Songs without Words.
The first piece in Schauroth’s collection is set in E Major and begins with a peacefully
reminiscent introduction. The sequential melody in the RH top voice is supported by the
arpeggiated middle voice, and both are weaved together beautifully with a descending
chromatic line in the LH (Fig. 2.19).
Figure 2.19 von Schauroth, Delphine, Sechs lieder ohne Worte, Op. 18 no. 1, mm. 1-4
43 Hopkins, Nicholas. Women at the Piano: Solo works by Female Composers of the Nineteenth Century. New York: Carl Fischer, 2019. p. 24.
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This sensitive introduction sets the stage for the intimate melody played in the top voice
of the RH (Fig. 2.20). The texture remains the same throughout most of the piece, with both the
melody and moving sixteenths played with the RH, and an often single-note harmonic
foundation coming from the LH. Solid fingering is necessary for the RH inner voice, and a large
hand span will be helpful in connecting the top melody voice with the inner sixteenths.
Figure 2.20 von Schauroth, Delphine, Sechs lieder ohne Worte, Op. 18 no. 1, mm. 5-6
The texture breaks near the end of the piece, and gives way to a delicate, Chopin-esque
chordal passage (Fig. 2.21).
Figure 2.21 von Schauroth, Delphine, Sechs lieder ohne Worte, Op. 18 no. 1, mm. 17-19
Pedaling is another important aspect of this piece, as the sound needs to be a smooth
legato without sounding too blurry. Finding the right tone and dynamic range is also important.
Though forte markings do appear in this piece, they are usually brief and never harsh. The
technical and musical challenges presented place this lovely song without words in the Late
Intermediate category.
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Felipe Gutiérrez Villanueva (1862-1893), Vals Poetico
¾, G-flat Major, Movimento moderato, Late Intermediate, 4 pp., 4 min.
Can be found: IMSLP
Mexican composer Felipe Villanueva was born in Santa Cruz, Tecamac, Mexico on
February 5, 1862. His musical studies began with violin instruction from his brother, Luis, and
piano instruction from his cousin, Carmen Villanueva. His formal musical education took place
at the National Conservatory of Music in Mexico City. With his primary focus at the conservatory
being piano, his composition skills were self-taught. Together with other prominent Mexican
musicians, he founded The Musical Institute in 1887. Although his life was ended early at age
31, Villanueva produced a comic opera as well as numerous vocal and keyboard works.
Vals poetico is a charming and romantic piece written in the salon style. The LH plays
the lead role in this piece, as the yearning melody sings underneath the RH waltz
accompaniment. The melody ascends more than an octave up the keyboard in the first two
measures, instantly creating a nostalgic feel to this poetic waltz (Fig. 2.22).
Figure 2.22 Villanueva, Felipe. Vals Poetico, mm. 1-11
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Villanueva showcases his choice of instrument for this singing melody, as the LH voice
travels in a far wider range than would be comfortable for a singer. This LH melody provides
students with a chance to focus on creating smooth, well-phrased melodic lines with the LH,
which usually is accompanimental. There are many grace notes that extend more than an
octave, but even those with small hands should be able to make it work with sensitive timing
and proper technique. Throughout these passages, the RH primarily plays a chordal
accompaniment on beats two and three.
In the middle section the RH takes the melody in an inner voice. This melody enters as a
calm, reminiscent theme, but becomes much more passionate when repeated later, this time in
octaves (Fig. 2.23).
Figure 2.23 Villanueva, Felipe. Vals Poetico, mm. 48-54
This emotional twelve-measure section does contain octaves in both hands, but with it
being so short in length and containing minimal inner voices it is manageable for the
intermediate pianist.
When the opening material returns, the RH accompaniment is embellished with dainty,
pianissimo chords. The romanticism continues as the piece very gradually disappears with
markings of da lontano (far away) and quasi niente (almost nothing). Without being too difficult,
this piece provides students with a taste of passionate Romanticism and a chance to explore a
LH melody.
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Fanny Cäcilie Mendelssohn Hensel (1805-1847), “Lied (Lenau)”
Vier Lieder ohne Worte, Op. 8, no. 3
4/4, D-flat Major, Larghetto, Late Intermediate, 2 pp., 3 ½ min.
Can be found: Furore (1989), IMSLP
The early life of Fanny Hensel closely resembles that of her brother, Felix. Brought up in
a highly educated and musical Jewish home in Berlin, Germany, Fanny quickly excelled in her
academic and musical studies. However, because of the social expectations for women at that
time, the ambitions she and her brother shared for a musical career could be realized only by
Felix. Although she regularly composed and performed at the family’s Sunday concerts in their
home, the overwhelming attitude from both her father and later her brother was that an upper-
class woman who published her compositions and performed publicly would be unfeminine and
degrading to their family reputation. Instead, she was expected to watch Felix’s success grow,
enjoy music as a well-trained amateur, and comply with her pre-decided role as a wife, mother,
and high-class woman. This ever-present contrast of the siblings’ opportunities remained a life-
long struggle for Fanny. Nonetheless, she produced over 400 compositions, with 130 of them
written for piano. Finally, at 41 years old and one year before her early death, she decided to
publish some of her pieces. Fourteen piano works were published in her lifetime, with seven
more shortly after her death. Due to growing antisemitism and a general distaste for women
composers, her published works quickly went out of print and were not published again until
1982.
Hensel’s song without words, Op. 8 no. 3, contains a yearning, romantic melody over an
accompaniment of repeated triads. The RH contains the melody in the top voice, the LH
provides a strong bass, and the inner chordal voice is shared between the two hands (Fig 2.24).
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Figure 2.24 Hensel, Fanny Mendelssohn. Op. 8 no. 3, “Lied,” mm. 1-4
Students may be intimidated by the D-flat Major key signature, but will soon gain
confidence as they learn the convenience of including all the black notes. However, the many
accidentals and one key signature change do add an extra degree of difficulty in the note
reading aspect of learning this piece. Careful attention must be paid to the score to accurately
navigate through the many harmonic deviations.
Another challenge of this piece is the reach within hands. There are many stretches of a
ninth or tenth found throughout both hands. While these could be gracefully rolled, a student
with particularly small hands for their proficiency level may want to choose a different piece.
The ending is full of deep emotion, as the longing melody extends to the upper register
and creates a passionate climax to the song. After the top voice reaches the highest note of the
piece, the music gradually diminishes until it gracefully rests to a close (Fig. 2.25)
Figure 2.25 Hensel, Fanny Mendelssohn. Op. 8 no. 3, Lied, mm. 33-41
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This exquisite piece by Fanny Hensel is a wonderful representation of the tradition of
German lieder. While its achingly beautiful melody makes it very satisfying, it also requires a
high level of competency from a late intermediate pianist.
Agathe Backer-Grøndahl [Ursula] (1847-1907), Visnet, Fantasistykker, Op. 39, no. 9
4/4, A Minor, Allegretto, Late Intermediate, 1 p., 45 seconds
Can be found: IMSLP
Norwegian composer Agathe Backer-Grøndahl began her musical studies in her nation’s
capital, Christiania (now Oslo). After exhausting all the musical opportunities available there,
she later traveled far to study with Theodor Kullak, Hans van Bülow, and Franz Liszt. Though
she was a gifted musician from the beginning, her parents and teachers did not support her
aspirations of becoming a professional musician. In response to a letter from her Norwegian
piano teacher, discouraging her ambition, she wrote, “I do not understand what both you and my
parents could have against my becoming what is called an artist… I love this Art so deeply that
the desire to master it is indescribable.”44 Her career soon flourished, and in 1868 she
performed the Beethoven E-flat Major concerto with Edvard Grieg conducting. Grieg and his
wife, Nina, admired and supported her, and Nina was one of the first to sing Agathe’s vocal
works. In addition to concert tours throughout Germany, England, and Scandinavia, she spent a
considerable amount of time teaching, and composed over 400 works. Though she is best
known for her collection of 260 songs, she also produced a considerable output of 138 piano
works that demonstrate a variety of styles.
44 Myers, Margaret Helen. ”Agathe Backer-Grøndahl“ in Glickman, Sylvia & Schleifer, Martha Furman (Eds.), Women Composers: Music Through the Ages. New York: G.K. Hall & Co., 1999. p. 206.
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Visnet (Withered) is the second to last piece in Backer-Grøndahl’s collection of 10
Fantasy Pieces. At only 25 measures in length, its duration is approximately a brief 45 seconds.
It provides an unusual contrast to the common lush, Romantic melodies, since nearly every note
in this anxious piece is played staccato, with most of them also being pianissimo (Fig. 2.26).
Figure 2.26 Backer-Grøndahl, Agathe. Fantasistykker, Op. 39, no. 9, Visnet, mm. 1-8
Triads form the basic compositional element in this piece, and the edition here shows
the LH playing the middle note. This is workable, but other hand distributions and fingering
could certainly be explored to better fit the capability of individual students.
Rinforzando markings create small outbursts against the backdrop of this jittery whiff of
sound, all while continuing the ever-present texture (Fig 2.27).
Figure 2.27 Backer-Grøndahl, Agathe. Fantasistykker, Op. 39, no. 9, Visnet, mm. 13-16
Though this piece does not require a variety of techniques, the exposed nature of it
requires perfect accuracy and consistency. The constant feeling of tense agitation makes this
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piece musically compelling, while also providing a useful technical exercise. It could also easily
be paired with another of piece from her Fantasistykker, due to its brevity.
Ricardo Castro (1864-1907), Valse Bluette, Op. 12 no. 2
¾, D Major, Tempo di valse lento, Late Intermediate, 3 pp. 3 min.
Can be found: IMSLP
Ricardo Castro was born in Mexico in 1864 to parents who were not musicians. In 1877
his family moved to Mexico City where he subsequently enrolled in the National Conservatory of
Music and studied both composition and piano. In 1883 Castro was chosen to represent Mexico
as both a pianist and composer at the centennial celebration of Simón Bolívar (a pivotal leader
in the movement for South American independence) in Venezuela. His first international tour
took place in 1885 where he traveled to New Orleans, Pennsylvania, and New York. He later
traveled through Europe where he gave masterclasses, furthered his own piano studies, and
performed at the Salle Erard. He returned to Mexico in 1906 and became the director of the
conservatory the following year. His output consists of one opera, two symphonies, two concerti,
and many piano pieces.
Castro’s Valse Bluette is a lovely waltz full of sentimentality. The sweeping melody that
begins the piece evokes emotion from the start and portrays the essence of Romanticism. The
rich legato theme is laced with delicate staccato markings, which together contribute to the
desired dolce sound (Fig 2.28).
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Figure 2.28 Castro, Ricardo. Valse Bluette, Op. 12, no. 2, mm. 1-8
The middle section is uses chromaticism as it develops fragments of the opening
material. Here the student will gain experience in managing two voices in one hand. Though the
melody starts out in the top voice, by the end of the phrase the voices have crossed and the
melody is now below the harmony. This is an excellent opportunity to focus on voicing the
melodic line, wherever it falls on the staff (Fig. 2.29).
Figure 2.29 Castro, Ricardo. Valse Bluette, Op. 12 no. 2, mm. 17-21
This piece is somewhat reminiscent of some of Liszt’s works, as it contains an appealing
melody which is embellished by some challenging passagework and also a cadenza. The most
difficult passage is provided below, where the LH plays both melody and accompaniment for
two measures as the RH plays a trill which evolves into a virtuosic flourish (Fig. 2.30). Though
the piece generally is achievable for a late intermediate pianist, it should be noted that even
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fingerwork is indispensable for a compelling performance.
Figure 2.30 Castro, Ricardo, Valse Bluette, Op. 12 no. 2, mm. 34-36
Although Valse Bluette was written later than any of Liszt’s compositions, it could serve
as a beneficial steppingstone to many of his more difficult pieces that similarly combine beauty
and virtuosity. Though the technical demands place this piece at the top of the Late
Intermediate range, it has much to offer for those who have reached that level of proficiency.
Marie Kiené Bigot de Morogues, (1786-1820), No. 1 in C Minor, Suite d’études
⅜, C Minor, Allegro, Late Intermediate, 3 pp., 2 ½ min.
Can be found: Vivace Press
Marie Kiené Bigot de Morogues was born in France to parents who were professional
musicians. Little is known of her early years except that her family moved to Switzerland when
she was five years old and that her mother provided her piano education.
In 1804 she married Paul Bigot de Morogues and moved to Vienna where her husband
was employed by the Russian ambassador, Count Andreas Razumovsky. Through
Razumovsky, Marie ad her husband came in contact with leading musicians of the day,
including Haydn, Cherubini, Salieri, and Beethoven. Marie had an active performing schedule,
and after playing one of Haydn’s pieces, the composer exclaimed, “Oh! My dear child, it is not I
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who wrote that music, it is you!”45 Her performances were highly praised by all, and she and her
husband developed a very close friendship with Beethoven, who considered Marie the best
interpreter of his works. They later moved to Paris, where Marie introduced Beethoven’s piano
works to the Paris audiences and became friends with other prominent composers, including
Dussek, Cramer, and Clementi. After her husband joined Napoleon’s army and was then taken
prisoner in 1812, Marie turned to teaching to support her family. Among these pupils were the
young Fanny and Felix Mendelssohn. Unfortunately, the many demands of teaching,
performing, and raising her children took a toll on her health, and she died prematurely at a
young age. Her works consist of one Sonata, an Andante with eight variations, and the Suite
d’etudes, consisting of 6 etudes.
Though her dates align with some late Classical composers, many of her works,
including the etude presented here, represent an early Romantic style. Beginning with a
serpentine figuration in the RH that accentuates the harmonic minor scale, the Etude in C Minor
is a thrilling and mysterious sounding piece. The hint of darkness in the opening theme quickly
escalates as the LH descends into a chordal accompaniment in the lower register. A solid
octave technique is necessary in this piece, as the LH again adds to the tempestuous mood
withsixteenth note octaves. Offset hands, rapid hand shifts, and striking dynamics are all
present in this stormy Romantic piece, and can be seen in the opening material (Fig. 2.31).46
45 Macdonald, Hugh. “Bigot (de Morogues) [née Kiené] Marie.” Grove Music Online. 46 All examples from this score are used with generous permission from Barbara Harbach of Harbach Music Publishing. © 1992 Vivace Press. All Rights Reserved. International Copyright Reserved.
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Figure 2.31 Bigot de Morogues, Marie Kiené, Suite d’études, no. 1 in C Minor, mm. 1-16
Careful note reading is also essential in this piece, as Bigot de Morogues repeatedly
plays on the different forms of the minor scale. Frequent use of the B natural (using the
harmonic minor scale) is expected, but she frequently goes back and forth with both B-flat/B
natural, and A-flat/A natural. Though difficult for students to learn initially, the interplay of these
notes adds so much to the intriguing audial effect. A small example can be seen below (Fig
2.32).
Figure 2.32 Bigot de Morogues, Marie Kiené, Suite d’études, no. 1 in C Minor, mm. 23-26
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The middle section changes texture with the hands alternating and playing broken
chords. This texture continues for sixteen measures and produces a dramatically drawn out
crescendo (Fig. 2.33).
Figure 2.33 Bigot de Morogues, Marie Kiené, Suite d’études, no. 1 in C Minor, mm. 27-32
The rhythmic energy is constant throughout the piece, and the dynamic range is wide
and frequently changes. A discerning pedal technique will also be needed, as well as the ability
to keep a steady pace. The Etude in C Minor possesses all the beloved qualities of the early
Romantic style, and has so much to offer students technically and musically.
Chiquinha Gonzaga, [Francisca Edwiges Neves] (1847-1935), Gaúcho
2/4, D Minor, Late Intermediate, 3 pp., 2 min.
Can be found: Globrazil Inc., 8notes, IMSLP (not a performance edition)
The life of Francisca Edwiges Neves Gonzaga, or Chiquinha Gonzaga (as she signed
her music) began with difficulty. Her mother (a freed slave) was not sure if her father, a white
military officer, would recognize the child as his own. Fortunately, he did accept the child and
provided her with a complete, well-rounded education. To quell her rebellious, independent
nature, her father arranged her marriage at age 16 to 24 year-old naval official, Ribeiro do
Amaral. Amaral disapproved of Gonzaga participating in any musical activity, which resulted in
their divorce just four years later and consequential ostracism from her family. After a second
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marriage and divorce in 1876, Gonzaga turned to piano teaching and performing to support
herself and her son (her ex-husbands withheld her other three children from her). At this point
her musical career began to flourish, as many of her numerous compositions became
exceedingly popular. Her many 77 stage works, including many operettas, earned her the title
of, “the feminine Offenbach,” and in 1885 she became the first woman to conduct an orchestra
in Brazil.47 Her total compositions total nearly 2,000 in several different genres.
Gonzaga’s Gaúcho (also titled Corta-Jaca) was hugely popular at the turn of the century
and was one of her most successful pieces, despite the aristocrats thinking it vulgar. It was
originally composed as part of an opera, but was frequently performed separately. It is an
example of the maxixe dance, or Brazilian tango, which developed from African rhythmic
elements and European dances such as the polka. Written in ABA form, Gaucho is a vibrant
and dynamic sampling of Gonzaga’s works.
The distinctive rhythmic elements can be seen in the opening 4 measures, labeled
Batuque (percussive). Here the RH acts as a drum, playing the off beats and creating the
rhythmic intensity (Fig. 2.34).48 It will be important for students to approach these passages with
careful voicing and direction. The repetitive nature of the notes could lead to a very mechanical
sounding performance, but this dance should be full of life and energy.
47 Magaldi, Cristina. “Gonzaga, (Francisca Edwiges Neves) Chiquinha.” Grove Music Online. 48 All examples from this score are reproduced with permission from 8notes.com. © 2017 Red Balloon Technology Ltd.
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Figure 2.34 Gonzaga, Chiquinha. Gaúcho, mm. 1-8
Gaucho is written in ABA form, and the A section alternates between the rhythmic,
Batuque passages and the melodic Canto passages (see above, Fig. 2.34). In the Canto
sections the LH takes on the more rhythmic role while the RH is employed with a syncopated
flute-like melody in the upper register. This frequent switching of character can be challenging
for young pianists, as well as the large leaps associated with it.
The B section is written in a polka style. Here the LH plays more straightforward
rhythms, but the leaps from the bass notes to the chords may prove difficult (Fig. 2.35)
Figure 2.35 Gonzaga, Chiquinha. Gaúcho, mm. 32-35
Gaúcho is a vibrant and dynamic sampling of Gonzaga’s works. It is a welcome splash
of freshness and vitality in the piano repertoire, and would be an exciting piece for any pianist to
study.
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Thomas Wiggins (1849-1908), Sewing Song
4/4, E-flat Major, Allegro moderato-Lento-Allegro ma non troppo, Late Intermediate, 10 pp. 6 ½
min.
Can be found: PianoLIT
Thomas Wiggins, more commonly known as “Blind Tom,” was born blind in Columbus,
Georgia in 1849 and was thought to be mentally impaired. He and his parents were bought as
slaves by James Bethune in 1850, and, after showing exceptional interest and aptitude for
music at a very young age, Bethune allowed Wiggins to receive musical instruction from his
daughter, Mary, when he was only four years old. In that same year he was able to play
complex pieces by ear and was composing substantial works. It is believed that Wiggins was an
autistic savant. He had extraordinary abilities such as playing difficult pieces after only one
hearing (including the mistakes of the performer), but did not communicate well and had
extremely odd idiosyncrasies. By 1857, Bethune began parading Wiggins’ great talent, and from
then on his life was full of public exhibition and exploitation. Bethune had Wiggins hired out to
various showmen who displayed his talents across the country, including an event that made
Wiggins the first Black American musician to perform at the White House. At the start of the Civil
War, however, the Bethune’s brought Wiggins back to the South to play benefit concerts for the
Confederacy. Because of his physical and mental impairments, Wiggins was conveniently
placed under guardianship of Bethune after the Emancipation Proclamation and never
personally received the benefits of his hugely successful career.
Sewing Song is one of approximately 100 piano works that Wiggins composed, and is
intended to imitate the sounds of a sewing machine. At ten pages in length, it is a large scale,
beautifully expressive work and contains a lengthy introduction. The piece begins allegro
moderato, with two ascending sixteenth note passages, and then moves to a deeply emotional
lento section. Though there are many chords in this passage and throughout the piece that
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exceed most pianist’s hand span, nearly all of them are notated as rolled and therefore can be
played easily by any hand size (Fig. 2.36).49
Figure 2.36 Wiggins, Thomas. Sewing Song, mm. 5-10
The main body of the work consists of a circular sixteenth note filigree in the RH with
rolled chords and melody in the LH. The difficulty for young pianists here lies in the evenness of
the graceful RH sixteenth notes and the layering and voicing of the LH. As students master
these elements they will get to experience the poetic lyricism that Wiggins creates (Fig 2.37).
49 All examples from this score are reproduced with permission from PianoLIT at pianolit.com.
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Figure 2.37 Wiggins, Thomas. Sewing Song, mm. 16-19
Being so extended in length for intermediate repertoire, Sewing Song requires
steadiness and pacing from young pianists. The ethereal RH passagework is a wonderful
steppingstone for more advanced works with a similar texture, and the management of harmony
and melody in the LH is a needful skill to attain. In addition to all of these pedagogical merits,
Sewing Song is beautiful to listen to and is a hidden gem of piano repertoire that deserves to be
enjoyed by all.
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CHAPTER 3: 1900-1950
Helena Fabianovna Gnesina (1874-1967) Miniatures, No. 8 “Etude” (1926)
4/4, Allegro, Early Intermediate, 1 ½, 30 sec.
Can be found: IMSLP
Helena Gnesina was a Russian composer, pianist, and professor who came from a
musical family. Having studied with Ferrucio Busoni and others at the Moscow Conservatory,
she completed her collegiate musical studies with distinction in 1893. Just two years later, she
and her sister, Mihail Gnesina, created Gnessins Institute, a music school in Moscow which
would become her life’s work. Helena Gnesina remained the director of the school until 1953,
despite a state take-over during the revolution in WWI. As a composition teacher, one of her
notable students was Aram Khachaturian.50 Though her compositions are few and mostly
pedagogically oriented, her outstanding work at what is now known as the Gnessin State
Musical College continues to live on, with one of its most well-known living graduates being
Evgeny Kissin.
This short etude comes from Gnesina’s set titled Miniatures and is only 27 measures
long. The texture is consistent throughout, with continuous eighth notes that are split between
the hands. The first of each grouping creates the melody which is played by the LH.
Additionally, the LH frequently has a held note beneath the eighth notes, as seen in the opening
bars (Fig. 3.1).
50 Sarkisyan, Svetlana. "Khachaturian, Aram." Grove Music Online. Oxford University Press.
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Figure 3.1 Gnesina, Elena. Miniatures, No. 8 ”Etude” mm. 1-6
Although there are indicated crescendos and diminuendos, the only written dynamic
marking provided throughout the piece is piano, which requires a delicacy to the quick
fingerwork. The hands remain in close proximity to each other throughout the piece, always
within less than two octaves. This, combined with the paralleled movement of hand position
between both hands makes it an easier study for an early intermediate student. It is a brief
technical exercise that also provides opportunities for musical growth and artistry for young
pianists.
Bilbro, Anne Mathilde (1870-1958) Sister Ida’s Story “The Wind Ghost”, Ghost Tales
4/4, A Minor, Moderato, Early Intermediate, 4 pp., 45 sec.
Can be found: IMSLP
There is little information available today about American composer Mathilde Bilbro.
Born in Alabama, she graduated from the Women’s College of Alabama in 1896, having studied
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piano and composition.51 She had an incredibly large output of pedagogical pieces with over
600 published works, and her articles and compositions were frequently featured in The Etude
Magazine (a music journal founded by Theodore Presser).52 She was an effective teacher and
earned high praise from prominent piano educators. John Thompson remarked that, “The very
name of Bilbro always amounts to the stamp of approval on a piano piece. Miss Bilbro has
contributed countless fine things to the piano educational literature, and her grateful admirers
among piano teachers are legion.”53 Most of her pieces fall within the elementary to intermediate
range, often with specific pedagogical purposes.
Bilbro’s works are usually descriptive, some even with lyrics provided, and are clearly
aimed at being interesting for young pianists. The set Ghost Tales is a great example of this.
Made up of 9 short pieces, each piece is accompanied by a text that can be read rhythmically to
the music if desired. The piece that will be discussed here is the eighth piece, Sister Ida’s Story:
“The Wind Ghost,” and comes with the following text:
On stormy nights and stormy days
When skies are dark and lightning plays -
I hear the Wind Ghost, - and he says-; “Ooo-ooo-Woo-oo-Woo “
Where he goes nobody knows.
He may live in the land of snows.
But we can hear him when it blows, saying: “Ooo-ooo Woo-oo-Woo!”
The programmatic writing in this little piece will inspire the imaginations of young
pianists. The predominating motif opens the piece, with the RH over the LH in a chromatic
oscillation that creates the illusion of a ghost in the wind (Fig. 3.2).
51 Wiley, Adrienne E. “Women in Music: Piano Music Written for One Hand by Women Composers: Part I.” American Music Teacher, vol. 63, no. 1, 08, 2013, pp. 27-31. 52 Cooke, James Francis. “Piano Teaching Materials by Mathilde Bilbro.” The Etude Magazine. Vol. 57,
no. 11 (November 1939).). https://digitalcommons.gardner-webb.edu/etude/883 53 “Anne Mathilda Bilbro.” Alabama Women's Hall of Fame, Alabama Women's Hall of Fame, 2005,
http://www.awhf.org/bilbro.html.
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Figure 3.2 Bilbro, Mathilde. Sister Ida’s Story, mm. 1-8.
Though most of the piece is in a quieter dynamic range, there are frequent fluctuations in
volume level, creating the suspense and fear that one would expect in a ghost story. Bilbro also
changes register frequently, though usually not more than an octave.
An important teaching aspect in creating the mood of this piece is executing the right
touch and tone. Creating a light enough sound to portray the scared jitteriness while keeping the
staccatos crisp and heard will be a challenge for less developed pianists.
Sister Ida’s Story is a less difficult piece that helps bridge the gap between beginner
repertoire and intermediate repertoire. Bilbro’s piano works would be helpful in any piano studio,
and she has many other kid-friendly collections as well, such as The Candy Suite.
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Ricardo Castillo (1891-1966), Tres Nocturnos, no. 3 (1942)
¾, Moderato (quasi andante), Mid Intermediate, 2 pp., 2 min.
Can be found: Éditions Max Eschig
Ricardo Castillo was born in a rural town in Guatemala with an interest in music. With full
support from his father, he eventually went to Paris to study violin and composition. He
composed and published his first pieces there, and in 1918 married the prize-winning pianist
Georgette Contoux (a student of Alfred Cortot). The couple returned to Guatemala in 1922 and
Castillo became a professor at the National Conservatory, a position he kept until 1960. His
interest in Guatemalan folk music and Indigenous cultures can be seen in his works, as well as
the European influences of impressionism and Neo-classicism. His works include over twenty
piano compositions, ten orchestral works, three chamber works, and two ballets.
The Tres Nocturnos were never performed publicly during Castillo’s life, and were not
recorded until the 1990s. Though all three are excellent, only the third nocturne is addressed
here. It is a magnificent piece that contains hints of impressionism and evokes a sense of
otherworldliness. The piece is written with a key signature of no sharps or flats and uses
numerous accidentals. Though it departs from conventionally functional harmony, it does create
a feeling of tonal centrality and ends on an E-flat Major triad.
The texture of the piece consists of an arpeggiated LH accompaniment with an
expressive RH melody above it. One of the primary teaching points of this piece could be finding
the right tone color to match the notes written. Many young students who haven’t been exposed
to much 20th century music may have a hard time finding beauty amidst dissonance, but this
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piece requires an element of compelling lyricism. This is demonstrated in the opening phrase
(Fig. 3.3).54
Figure 3.3 Castillo, Ricardo. Tres Nocturnos, no. 3, mm. 1-8
The final six measures of the piece present the greatest difficulty, as the RH plays the
original melody in the inner voice and a descending scale in the top voice. It will require
thoughtful fingering and voicing, but with the reach not extending an octave it is workable for an
intermediate pianist (Fig. 3.4)
54 All examples from this score are reproduced with the kind authorization of Max Eschig Publishing and Durand Publishing. TRES NOCTURNOS. Lyrics and Music: Rodrigo Asturias, Ricardo Castillo © Société Max Eschig / Éditions Durand. All Rights Reserved. International Copyright Secured.
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Figure 3.4 Castillo, Ricardo. Tres Nocturnos, no. 3, mm. 29-37
The last three measures of the piece require both hands to be in close proximity, so
special attention to hand position and distribution should be given there.
Castillo’s Nocturne presents technical and musical challenges for the intermediate
pianist within a mystical world of sound. It is a rewarding representation of 20th century
composition techniques and would make a great addition to the repertory.
Burleigh, Henry [Harry] Thacker (1866-1949), Through Moanin’ Pines, From the Southland
(1910)
4/4, F-sharp Minor, Andante semplice, Mid-intermediate, 2 pp., 2 ½ min.
Can be found: G. Schirmer, IMSLP
Born in Erie, Pennsylvania, Harry T. Burleigh was the grandson of a freed slave. He
studied many instruments in his early years and in 1892 attended the National Conservatory of
Music in New York City on scholarship. Antonín Dvořák was the director of the Conservatory
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and the orchestra at the time, and Burleigh served as the orchestra copyist and librarian.
Additionally, Burleigh introduced Dvořák to some of the spirituals of his heritage, which likely
influenced Dvořák’s compositions that contained a more “American” sound. Burleigh was a
featured soloist and choir member at New York churches and synagogues for over 50 years,
and attracted large crowds with his performances. He toured with Samuel Coleridge-Taylor and
also sang for King Edward VII in London. He was a prolific composer of art songs and choral
arrangements and is remembered and revered for his ability to combine the plantation songs of
his ancestry with Classical styles and forms.
The suite From the Southland is Burleigh’s only solo piano work and is dedicated to
Samuel Coleridge-Taylor. It consists of six pieces, each with an accompanying poem. Through
Moanin’ Pines is the first piece in the set and contains the following text:
Along de desolate roads we pass Thro’ lonely pines and wither’d grass: - De win’ moans in de branches tall An’ a heavy sadness broods o’er all!55
The heavy sadness mentioned in the poem can be felt through the music. The piece
opens with a sorrowful RH melody over a slow-moving chordal LH (Fig. 3.5). Since this texture
remains for twelve measures before adding more rhythmic interest, it is important for students to
produce a song-like qualities of the RH melody, as well convey the depth of feeling inherent in
this piece.
Figure 3.5 Burleigh, Harry T. Through Moanin’ Pines, mm. 1-4.
55 Burleigh, Harry T. From the Southland. New York: William Maxwell Music Co., 1910. Web. Petrucci Music Library, International Music Score Library Project.
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There are large chords reaching a 9th in this piece which can be rolled, if needed.
Students playing this piece should, at least, be able to comfortably reach an octave though,
since the emotional return of the opening material is played in octaves (Fig. 3.6).
Figure 3.6 Burleigh, Harry T. Through Moanin’ Pines, mm. 21-30
Through Moanin’ Pines is a wonderful piece for teaching students to play long, sustained
phrases. Its mournful melodies are combined with hints of jazz-like harmonies and create a
powerfully evocative experience.
Octavio Pinto (1890-1950), Run! Run!, Scenas Infantis
2/4, C Major, Brilliant and rapid, Mid-intermediate, 3 pp. 1 ½ min.
Can be Found: Schirmer, IMSLP
Brazilian composer Octavio Pinto was not actually a composer by trade, but was a
successful architect and engineer who built apartment houses. He is most known in connection
to his wife, the renowned Brazilian pianist, Guiomar Novaës. However, he did receive some
piano training from the Hungarian pianist, Isidore Philipp, who also taught Novaës at the Paris
Conservatory. Villa-Lobos was a close friend of Pinto and Novaës, and composed his A Prole
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do Bébé suite for their children. Pinto’s compositional output is small, but includes piano
miniatures and his most well-known work, Scenas Infantis (Memories of Childhood), which his
wife performed and promoted.
Run! Run! is written in an ABA form and is the first of five pieces in Scenas Infantis. All
of the pieces in the set have an accompanying text, and the text for Run! Run! is as follows:
The garden is full of life. In the sunshine children run about Gaily and noisily. Outside, on the street, The poor blind man with his hand-organ Sings his sorrows.56
The noisy running of children is apparent from the start, with the constant back and forth
of triads in both hands (Fig. 3.7).57 The texture and sound of the A section is reminiscent of
Villa-Lobos’ O Polichinelo, though in a much lower level of difficulty. However, it could serve as
a useful preparatory piece for O Polichinelo.
Figure 3.7 Pinto, Octavio. Run! Run! mm. 1-10
56 Pinto, Octavio. Scenas Infantis. New York/London: G. Schirmer, 1932. Web. Petrucci Music Library, International Music Score Library Project. 57 RUN! RUN! By Octavio Pinto. © 1932 (Renewed) by G. Schirmer, Inc. International Copyright Secured. All Rights Reserved. Used by permission: mm. 1-10, 36-41.
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Without any variation, both hands play alternating triads spaced apart by the interval of a
second. Because this setup always keeps the thumbs next to each other, it provides a sense of
unity between hands and makes the rapid movement of chords in both hands much less
intimidating (Fig. 3.7)
There are varying dynamic markings throughout the A section, including notated swells.
For students who have not played much 20th century music, this texture will provide a
completely new experience as it abandons any sense of melody/accompaniment style and
fuses the hands into an overarching sound effect.
The B section contrasts the A section in every way. Not only does the key signature and
time signature change, but the mood and style are much more relaxed and melodically focused.
With the RH playing both melody and an inner accompanimental voice, voicing the different
layers appropriately will be a main teaching point (Fig. 3.8).
Figure 3.8 Pinto, Octavio. Run! Run! mm. 36-41
Run! Run! offers variety, brilliance, and important techniques. Though the A section is
rapid and may look intimidating to students at first glance, the notes fit the hands so well that it
is very feasible for a mid-intermediate student. The imagery is clear, and the idea of children
playing is sure to be appreciated and understood by younger pianists.
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Ernesto Nazareth (1863-1945) Odeon (1910)
2/4, C-sharp Minor, Gingando, Mid-Intermediate, 3 pp., 3 min.
Can be found: Globrazil Inc., IMSLP
Brazilian pianist and composer Ernesto Nazareth began his piano studies with his
mother in Rio de Janiero. Through his musical training he created a great appreciation for
Chopin’s music, and his influence can be seen in some of Nazareth’s works. Most of Nazareth’s
compositions were set in the more popular genres of the time. At only fourteen years of age,
Nazareth saw the first publication of his music, a polka titled Você bem sabe. He composed
many works in various popular dance genres, including polkas, tangos, and waltzes. Grove
Music Online declares him as, “the most influential Brazilian popular composer of the 20th
century,” and quotes Villa-Lobos commending Nazareth as “the true incarnation of the Brazilian
soul.”58
Odeon is a Brazilian Tango named after the Odeon Cinema, where Nazareth worked
from 1920-24, playing the piano daily. It has three parts which all demonstrate striking rhythms
and vitality. One of the challenges of this piece will likely be consciously moving the melodic line
forward. The emphasis on the dance-like rhythms, which are often repetitive, can start to sound
mechanical or monotonous if not played with some direction of phrasing.
The opening material demonstrates this, as it features a descending scale in the LH with
off-beat chords in the RH. Having the ability to see the eight-measure phrase as a whole and
the shape it accordingly will greatly improve the performance of this piece (Fig. 3.9)
58 Béhague, Gerard. "Nazareth [Nazaré], Ernesto." Grove Music Online.
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Figure 3.9 Nazareth, Ernesto. Odeon, mm. 1-8.
The following section introduces a new rhythmic pattern, which is sometimes shared by
both hands. At times the RH also has a hidden melody with the accented notes, which
challenges students to create layers of sound.
The piece does contain quick hand shifts in the LH, but only a few of them jump an
octave. An octave reach would be very helpful for some of the larger chords, but the
predominant item of difficulty is the widely prevalent syncopation found throughout. The trio
section is full of dynamic contrast and has a texture of repeated chords in the RH. Odeon is a
playful, entertaining piece that offers a nice variety from the standard concert repertoire.
Mary Howe (1882-1964) Nocturne (1925)
12/8, D-flat Major, Andante Rubato, Late Intermediate, 3 pp. 3 ½ min.
Can be found: IMSLP
American composer Mary Howe was born in Richmond, Virginia. After her early music
training with Herminie Seron, she later became a student of piano and composition at the
Peabody Conservatory, though she did not complete her degree at that time. The timing of
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Howe’s life events is somewhat non-traditional. After her marriage to Walter Bruce Howe in
1912 and subsequently bearing three children, Mary increased her professional music activity.
At age 40 (in 1922) she finally received her diploma in composition from Peabody. She toured
with her piano duo partner, Anne Hull, from 1920-1935, co-founded the Society of American
Women Composers with Amy Beach in 1925, studied composition with Nadia Boulanger in
Paris in 1933, and helped found the National Symphony Orchestra. In response to her
numerous musical achievements and contributions, Howe received an honorary doctorate from
George Washington University in 1961. Though her orchestral works are more known, she also
composed 22 pieces for piano.
Mary Howe’s Nocturne is a hauntingly beautiful work with a strong impressionist
influence. With the time signature of 12/8, the LH creates a long, mournful accompaniment that
travels across a wide range of the keyboard. Against this backdrop the longing RH melody is
introduced. Polyrhythms are frequent in this piece, with the first instance (five against six)
occurring in m. 4. Even though the beginning is not technically difficult to execute, a high level of
musical maturity is needed from the start to set the right tone (Fig. 3.10).
Figure 3.10 Howe, Mary. Nocturne, mm. 1-5.
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The harmonic construction of this piece is very colorful. Though there is a foundation of
tonality, there are also tone clusters and unresolved dissonances that create rich sonorities. The
key signature consists of five flats, but the opening material (see above) does little to suggest D-
flat Major or B-flat minor. Instead, it appears to be in E-flat minor. After the addition of an A-flat
pedal point, an unexpected twist appears in m. 10 with a G natural. The E-flat Major ninth chord
in the following measure, combined with the other cluster chords in m. 12 create the
characteristic non-functional harmony of the Impressionist style (Fig. 3.11).
Figure 3.11 Howe, Mary. Nocturne, mm. 9-14
In the middle of the piece the texture of the flowing nocturne breaks into a repeated
chordal passage, reminiscent of some of Chopin’s nocturnes. This is then followed by
arpeggiated 16th notes in both hands. Both sections contain more harmonic exploration and
require a sensitive touch with the pianissimo dynamic markings (Fig. 3.12).
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Figure 3.12 Howe, Mary. Nocturne, mm. 20-23
The closing section is reminiscent of the opening material, but with a heavy presence of
duplets against triplets. The final line presents the dominant, A-flat Major, chord and is followed
by the first D-flat Major chord that continues through the last three measures and concludes the
piece.
This colorful Nocturne has so much to offer the late intermediate pianist in tone color,
technique, and musicianship, and is a rewarding addition to the Impressionist repertoire.
Robert Nathaniel Dett (1882-1943), Juba, In the Bottoms Suite (1913)
2/4, F Major, Non troppo allegro, Late Intermediate, 5 pp., 2 ½ min.
Can be found: Masters Music Publications, Inc.; IMSLP
Robert Nathaniel Dett was a Canadian-American composer, pianist, and teacher born
1882. Born in Canada, his family moved to Niagara Falls, NY when he was eleven years old.
The compositions of Dett’s early years reflect some of the light salon music or ragtime style to
which he was exposed, but he later was “lauded as the first American composer to fuse Negro
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folk music with the European art music tradition in a sophisticated way.”59 Dett made his mark in
1908 when he became the first black American to graduate from Oberlin College, receiving a
Bachelor of Music degree in both piano and composition. From there he went on to teach at
several different traditionally Black colleges, engaged in studies for himself at several other
universities, and was awarded an honorary doctorate from both Howard University (1924) and
Oberlin College (1926). In addition to this achievement, he completed a Master's degree in
Composition from the Eastman School of Music in 1932. A recipient of numerous awards and
prizes for his compositions and writings, Dett was also known for creating an internationally
renowned choir that specialized in singing sacred settings of African American music (many of
which were his own compositions or arrangements). His nearly 100 works are comprised of an
oratorio, choral music, piano solos, and voice solos, and show his dedication to preserving
African American music.
Described by the composer himself, In the Bottoms “is a Suite of five numbers giving
pictures of moods or scenes peculiar to Negro life in the river bottoms of the Southern sections
of North America.” 60 The last piece in the set is titled “Juba” (Dance)61 and demonstrates the
social life of the people. Dett explains in the preface that the characteristic LH rhythm here
represents “the stamping on the ground with the foot and following it with two staccato pats of
the hands.”62 The RH depicts the fiddler playing double stops as the crowd dances (Fig 3.13).
59 Erickson, Clipper. “Biography.” Nathaniel Dett, Feb. 2016, nathanieldett.org/biography/ 60 Dett, Robert Nathaniel. In the Bottoms, No. 5 “Juba”. 1913. Chicago: Clayton F. Summy Co. Web. Petrucci Music Library, International Music Score Library Project. 61 Juba is ”an elaborate form of handclapping and body slapping practiced by African Americans as the rhythmic accompaniment to improvised dance, usually creating complex cross-rhythms with the fall of the feet.” McNeil, W.K. "Juba." Grove Music Online. 62 Dett, In the Bottoms.
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Figure 3.13 Dett, Robert Nathaniel. In the Bottoms, Juba mm. 1-8
This piece is lively, fun, and sounds (and looks) much more difficult than it is. Though it
certainly contains challenges for the late intermediate pianist, the patterns fall nicely within the
hand and the repetitive nature of the piece facilitates quick mastery. It is full of excitement and
would make a wonderful recital or competition piece.
One of the flashier sections of this piece comes in the second section. Here, both hands
play chords, then quickly travel down the keys for repeated notes in each hand, with octaves in
the LH. The score may look intimidating for younger pianists, but they will all be excited at the
resulting bravado sound (Fig 3.14).
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Figure 3.14 Dett, Robert Nathaniel. In the Bottoms, Juba mm. 17-22
There are many rapid hand shifts in this piece that require precision and forward
thinking. Although the parallel intervals in the RH fit the hand well, playing both notes of each
“double stop” at the same time will be a challenge for some pianists. Various practice
techniques will be needed to ensure rhythmic clarity and to preserve the lightness of the dance.
Juba is a piece that will easily be enjoyed by all performers and listeners, all while also serving
many pedagogical purposes.
Mel Bonis (Mélanie Hélène) (1858-1937), Une flûte soupire
¾, B-flat Major, Moderato, Late Intermediate, 2 pp., 2 min.
Can be found: Editions Henry Lemoines (Mel Bonis: 17 piéces pour piano)
Mélanie Hélène Bonis, or Mel Bonis (the pseudonym she used to disguise her gender)
was born in Paris to a middle-class family who were disinclined to foster her musical talent. After
developing her musical interests on her own, a family friend (a professor at the Paris
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Conservatory) introduced her to César Franck, who would become her teacher. She formally
enrolled in the Conservatory in 1876, where she was classmates with Debussy, won first and
second prizes in harmony and accompaniment, and fell in love with fellow student and vocalist
Amédée Landély Hettich. With her parents already opposed to her musical career and even more
opposed to her marrying a musician, this relationship prompted them to take Bonis out of school
immediately and arrange her marriage with wealthy businessman Albert Domange, who was 25
years older than her and had five children.
For the next ten years Bonis was not active in the musical scene, as her duties as wife
and mother absorbed her time. In 1894 she began regularly composing again, and ultimately
produced over 300 works, most of which were published. These include 150 solo piano works, 22
chamber works, 11 orchestral works, organ works, choral works, and songs. She writes in a post-
Romantic style, often Impressionistic, and received high praise from many well-known
composers, including Saint-Saëns, Debussy, and Franck. Though her pieces have been largely
overlooked for years, they provide a treasure trove of piano repertoire that have yet to be fully
appreciated.
Une flûte soupire (“A Sighing Flute”) is just one of Bonis’ many exceptional piano works.
Steeped in Impressionism, it features a shimmering descending triplet figure in the RH that
combines with widely spaced LH chords (Fig. 3.15)63
63 All examples from this score are reproduced with permission from Edition Kossack. More details can be found at www.editionkossack.de.
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Figure 3.15 Bonis, Mel. Une flûte soupire, mm. 1-6
Triplets remain a primary element of the piece throughout, as they pass between the
hands. Occasionally they are played simultaneously with eighth notes, so students will need a
firm grasp on this rhythmic concept.
Bonis uses colorful harmonies that sometimes sound jazz-like. Many of the larger chords
span a tenth and will need to be rolled by most students, which will still be effective. Some of the
rich harmonies can be seen in the following example (Fig. 3.16).
Figure 3.16 Bonis, Mel. Une flûte soupire, mm. 24-27
The piece ends with fairy-like sextuplets that usher in a slow close. Despite the harmonic
exploration, it does conclude on an authentic cadence in B-flat Major. Une Flûte Soupire is a
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magnificently graceful piece and is very useful for working on touch and tone color. It requires a
high level of sensitivity and nuance and is another superb intermediate Impressionist work.
Germaine Tailleferre (1892-1983), Impromptu
9/8, E Major, Allegro, Late Intermediate, 3 pp. 2 ½ min.
Can be found: Jobert; IMSLP
The youngest of five children, French composer Germaine Tailleferre began playing
Mozart at age five, and composed her first opera at age eight. Despite her father’s disapproval,
she entered the Paris Conservatoire in 1904 and quickly earned first prizes in many categories.
In 1913 she shared a counterpoint class with Darius Milhaud, Arthur Honneger, and Georges
Auric who would all later become part of the group “Les Six,” of which Tailleferre was the only
female. Stravinsky and Ravel were both good friends of hers, and she produced several two-
piano transcriptions of Stravinsky’s ballets. Though as a person she was modest and never
promoted her own work64, she was highly esteemed and received great praise from many of the
leading musicians at the time. Unfortunately, her personal life was not so successful, as she
experienced two very difficult marriages and divorces, along with times of near poverty.
Nonetheless, she was an extremely prolific composer in many genres. Her works include music
in the following categories: opera, orchestral, chamber, band, choral, songs, solo instrumental,
ballets, and film music.
Tailleferre’s Impromptu is an enchanting piece of music that continuously flows through
a sea of ever-changing colors. The main thematic material is used all throughout the piece, but
never stays with one tonal center for very long. The long slurs combined with this tonal
vacillation create an effect similar to water traveling downstream that slightly changes course
64 Gelfand, Janelle Magnuson. “Germaine Tailleferre” in Glickman, Sylvia & Schleifer, Martha Furman (Eds.), Women Composers: Music Through the Ages, New York: G.K. Hall & Co. p.463
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with every rock and then continues on in the next available path. The sound produced is
undeniably representative of French music in the early 20th century and provides another
wonderful addition to the intermediate level Impressionist repertoire (Fig. 3.17).
Figure 3.17 Tailleferre, Germaine. Impromptu, mm. 1-11
Careful note reading is essential in this piece, as the accidentals are both frequent and
unpredictable. The RH contains mostly stepwise motion with small leaps, but the LH does
contain some larger leaps that can facilitate conversations on arm technique and rotation.
Another pedagogical aspect of this piece is the opportunity to work on tone color and touch. The
texture of the piece is consistent throughout, which allows students to give more focus to these
specific techniques. Tailleferre’s Impromptu is a lovely sampling of early 20th century music and
is fit for a late intermediate student.
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Samuel Coleridge-Taylor (1875-1912) Scenes from an Imaginary Ballet, No. 1, Forest of
Wild Thyme, (1911)
2/4, D Major, Molto vivace, Late Intermediate, 4 pp., 2 ½ min.
Can be found: IMSLP
Samuel Coleridge-Taylor nicknamed the “African Mahler,” was born in London to mixed-
race, unwed parents. His father, David Taylor, was a medical doctor from Sierra Leone who met
his mother, Alice Holmans, during his temporary stay in England. Showing great musical talent
as a boy, Coleridge-Taylor was admitted to the Royal Conservatory of Music in 1890 and saw
the first publication of his work in 1891. His first symphony was performed in 1896, with
classmates Gustav Holst playing trombone and Ralph Vaughn Williams at the triangle.65 His
most famous composition was the cantata Hiawatha’s Wedding Feast, which was compared to
Handel’s Messiah in popularity and quickly catapulted his fame. Spreading across the Atlantic,
his music inspired the creation of the Coleridge-Taylor Choral Society, a group of African
American singers who performed his music. Coleridge-Taylor later toured the United States with
this group on two occasions, and was invited to visit the American president, Theodore
Roosevelt. He taught as a professor of composition at the Guildhall School of Music and the
Trinity College of Music and was the conductor for the Handel Society of London. Regrettably,
his career came to a premature end with his untimely death from pneumonia at age 37.
The Forest of Wild Thyme is a large collection of what was first intended to be incidental
music for a play by Alfred Noyes. Though it’s unclear why that did not come to fruition, what did
result was a collection of delightfully composed pieces for piano. The first set is entitled “Scenes
from an Imaginary Ballet” and contains five pieces.
65 Robles, Zanaida N. The Sacred Choral Works of Samuel Coleridge-Taylor, University of Southern
California, Ann Arbor, 2014. p. 8.
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The first piece in the set is charming and capricious, with a deeply emotional middle
section. It is written in ABA form and begins with fluttering sixteenths in the RH that lead up to a
rich dominant seventh chord. The lively A section is full of character, and Coleridge-Taylor
specifies frequent dynamic and articulation directives (Fig. 3.18).
Figure 3.18 Coleridge-Taylor, Samuel. Scenes from an Imaginary Ballet, No. 1, mm. 1-12
The contrasting middle section is marked appassionato and employs a very steady
rhythmic backdrop with longer note values. Switching to the relative minor, the beautiful melody
in this section is tinged with pain and sadness, as a lone melodic line wanders on the keys (Fig.
3.19).
Figure 3.19 Coleridge-Taylor, Samuel. Scenes from an Imaginary Ballet, No.1, mm. 33-40
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The transition in this B section contains two-octave LH arpeggios in triplets underneath
the RH melody, mixed with chords and some larger leaps. An octave reach is essential for this
piece, as the despondent melody returns in impassioned octaves (Fig. 3.20).
Figure 3.20 Coleridge-Taylor, Samuel. Scenes from an Imaginary Ballet, No. 1, mm. 73-80
This piece has large demands both technically and musically. It is a masterfully crafted
work in a late Romantic style that would be a stunning addition to any concert or competition
repertoire. It is within the reach of a talented late intermediate student, yet will still provide plenty
of opportunities for growth and improvement.
Boulanger, Lili (1893-1918), No. 2 D’un jardin clair, Trois morceaux pour piano (1914)
3/4, B Major, Assez vite, Late Intermediate, 4 pp., 2.5 min.
Can be found: G. Schirmer, IMSLP
Born in Paris to a family of musicians for generations, Lili Boulanger is perhaps best
known as being the younger sister of the illustrious composition teacher, Nadia Boulanger. At
age two she contracted bronchial pneumonia, which weakened her immune system and left her
highly susceptible to disease. She suffered through poor health throughout her life, which
caused her musical education to be rather sporadic. Nonetheless, she became highly proficient
at playing the piano, cello, violin, and harp.
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Boulanger entered the Paris Conservatory in 1909 and four years later became the first
woman to win the prestigious Prix de Rome scholarship in composition. Though her time
studying in Italy was cut short with the outbreak of World War I, she did enter a contract with
Ricordi and achieved wide renown. Boulanger composed over 50 works in a period of
approximately ten years, and her compositional style shows influences of Debussy and Fauré (a
family friend). Her output includes choral and vocal works, an unfinished opera, chamber music,
and solo piano pieces all of exceptional quality. Most unfortunately, Boulanger fell prey to
intestinal tuberculosis and died at the young age of 24.
D’un jardin clair (“Of a bright garden”) is the second piece in Boulanger’s set Trois
morceaux pour piano and is a highly colorful impressionist work. The piece is based on the four-
note motif of G# - B - C# - F# and has an expected brightness to it (Fig 3.21).
Figure 3.21 Boulanger, Lili. D’un jardin clair, mm. 1-9
Many Impressionist techniques are used in this piece. The low pedal point in m. 9 of the
above example is continued for eight measures. While it creates the static harmony so
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characteristic of the style, it does present a technical challenge for the LH to jump back and
forth while maintaining an appropriate tone within a quiet dynamic range.
Additionally, Boulanger uses many parallel intervals, quartal and quintal harmonies, and tone
clusters to create the washes of sound. The final eight measures of the piece are written in
three staves, which may be a new experience for students, but is a wonderful introduction to the
notational style of Debussy. Here the music alternates between the bell-like iteration of the
melodic motif in octaves and descending seventh chords, creating an ethereal quality (Fig.
3.22).
Figure 3.22 Boulanger, Lili. D’un jardin clair, mm. 50-58
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D’un jardin clair is an exquisite Late Intermediate Impressionist work. It represents
Boulanger’s mastery of composition and absolutely deserves a place among other celebrated
works in the same style and difficulty level.
Peggy Glanville-Hicks (1912-1990) Prelude for a Pensive Pupil (1932)
3/4, C Major, Legato e penseroso, Late Intermediate, 2 pp., 2 ½ min.
Can be found: Musescore; Schott (Piano Music by Female Composers)
Peggy Glanville-Hicks began her musical education in her native country of Australia,
but later received a scholarship to study at the Royal Conservatory of Music in London, where
she was a student of Ralph Vaughn Williams. An additional scholarship enabled her to continue
her studies in Vienna and also Paris, where she studied with Nadia Boulanger. After much
traveling, she and her husband at the time decided to settle in New York City. There she
became a prodigious music critic for the New York Herald Tribune, with over 500 published
reviews in 8 years. Her writings were published in multiple other outlets as well, including her
contributions to 108 composer entries in the fifth edition of the Grove Dictionary in 1954.66 She
composed several operas, ballets, film scores, and many more vocal and instrumental works
before undergoing surgery to remove a brain tumor in 1967. Though recovered, Glanville-Hicks
hardly composed after this, and moved back to Australia where she was awarded an honorary
doctorate in 1987.
Her Prelude for a Pensive Pupil is an exquisite piece that is fluid, lush, and colorful. The
gentle rolling LH figuration sets a slightly mysterious backdrop for the RH melody above it. This
66 Hayes, Deborah. “Glanville-Hicks, Peggy.” Grove Music Online.
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melody is rarely played by a single voice, but with chords that often travel in parallel motion (Fig.
3.23).
Figure 3.23 Glanville-Hicks, Peggy. Prelude for a Pensive Pupil, mm. 1-7
As the piece continues, Glanville-Hicks adds more chromaticism and cluster chords to
create a rich, constantly flowing journey of sound. Students will learn to patiently create long
and elegant musical lines in this piece, and to keep a slow, thoughtful tempo while maintaining
the energy and forward momentum.
The most technically difficult measures of the piece are near the end. There are two
measures of octaves in the LH with large leaps; however, with the slow tempo and a possible
broadening of the tempo at this climactic spot in the piece, a dedicated late intermediate student
should be able to execute it successfully. Additionally, the following measures contain an octave
melody in the RH with the triplet figure embedded within (Fig. 3.24).
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Figure 3.24 Glanville-Hicks, Peggy. Prelude for a Pensive Pupil, mm. 28-35
Prelude for a Pensive Pupil is a challenge for the late intermediate pianist, but is
excellent preparation for even more advanced works. It is a highly evocative and emotional
piece, and will be a very rewarding study for all who take up the challenge.
Juan Bautista Plaza (1898-1965) Sonatina Venezolana
3/8, Allegro vivo, Late Intermediate, 2 pp., 4 min.
Can be found: Schirmer (Latin Art Music for Piano), Scribd (web)
Venezuelan composer and musicologist Juan Bautista Plaza was born in the capital city
of Caracas and began his studies at the Caracas French School at age fifteen. One year later,
he was asked to lead the choir and teach at the school. After graduating with his Bachelor’s in
1916, Plaza went on to study law and medicine, but eventually abandoned these pursuits and
instead dedicated his focus to music. He was the recipient of a scholarship to study in Rome in
1920, and returned to Venezuela in 1923 with a Master of Sacred Compositions diploma. From
1923-1947 Plaza held the cathedral choirmaster position at the National Conservatory of Music
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where he also taught courses on harmony and music history. His crowning achievement took
place over the years of 1936-44, where he studied, cataloged, and then created a twelve-
volume archive of Venezuelan Colonial Music. Plaza also was interested in providing more
opportunity for music education, and created a very successful preparatory music school. Most
of his compositions are vocal works, often in a sacred setting, but he also composed for
orchestra, chamber groups, and several solo instruments.
Sonatina Venezolana is dedicated to Chilean pianist Claudio Arrau, who gave its first
performance in Caracas in 1934. It is inspired by native themes and rhythms of Venezuela and
has a constant energy. The texture is largely the same throughout most of the piece, with eighth
notes in the LH, and sixteenth notes in small groupings in the RH. The sixteenth note rests
create a restless feeling, which is combined with a feeling of uncertainty from the frequent use
of dissonance. Because the piece is marked Allegro it may be difficult for students to clearly
play the dyads or triads at the beginning of each motif. Students should consciously pay
attention to strike both notes of the RH at the same time, so each one does not give a rolled
effect (Fig. 3.25).67
Figure 3.25 Plaza, Juan Bautista. Sonatina Venezolana, mm. 1-5
There are some quick, large jumps in this piece in the LH, but not too many to
overwhelm a late intermediate student. Parallel intervals in one hand (particularly thirds) are an
important skill to master preparatory to this piece.
67 SONATINA VENEZOLANA by Juan Bautista Plaza. © 1947 (Renewed) by G. Schirmer, Inc. International Copyright Secured. All Rights Reserved. Used by permission: mm. 1-5, 53-58.
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Though the piece may just sound like a lot of notes to a young student at first glance,
this piece does have more melodious moments amidst the incessant rhythmic drive. One
example can be seen near the end where, after a long buildup, the dynamic level reaches forte
and a clear Venezuelan melody is heard in the top voice in mm. 55-58 (Fig. 3.26).
Figure 3.26 Plaza, Juan Bautista. Sonatina Venezolana, mm. 53-58
Sonatina Venezolana is an exciting work that is representative of the early 20th century
music idiom and incorporates Bautista’s Venezuelan originality. It is a challenging piece, with
many difficult notes and jumps at a fast speed, but provides many musical and technical
opportunities.
Marion Eugénie Bauer (1882-1955) Six Preludes for the Pianoforte, No. 2 (1922)
3/4, A Minor, Allegretto Grazioso, Late Intermediate, 3 pp., 2.5 min.
Can be found: IMSLP
American composer Marion Bauer was born in Washington as the youngest of seven
children. Though her early studies were done on the West Coast, she eventually traveled to
Berlin and Paris, where she studied with Nadia Boulanger. Beginning in 1919, Bauer spent
twelve summers at the residency arts program known as the MacDowell Colony, where she met
many other prominent American women composers including Amy Beach and Ruth Crawford.
She quickly became very active in the composition world and was especially supportive of
American modern composers. This led to her co-founding the American Association of Women
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Composers, the American Music Guild, and the League of Composers. She also taught at New
York University and Juilliard and co-authored music textbooks.
Though Bauer’s works were considered radical at first, by the middle of the century they
were already deemed “conservative”. Influences of impressionism, free forms, and non-Western
techniques can be seen in her works. Aside from a brief experimentation with serialism, her
music is still within the concept of functional tonality. Her oeuvre consists of chamber works,
orchestral works, vocal/choral works, and solo piano pieces.
The Six Preludes for Piano is her only work without a descriptive title.68 The second
prelude, which is presented here, is a beautiful, melodically driven 20th century piece. The
prevailing motif in the piece is the three-note step-skip pattern which undergoes constant
alteration and variation throughout the prelude.69 In the following example, this melodic motif
can be seen in the first three notes of every measure (Fig. 3.27)
Figure 3.27 Bauer, Marion. Six Preludes for the Pianoforte, No. 2, mm. 1-9
68 Her publisher suggested the title “Six Modern Preludes,” but Bauer objected, asserting that as time
passed they would no longer be modern. She then suggested “Six Preludes for the Advanced Student,”
but her publisher was afraid it would intimidate pianists and therefore reduce sales. Ultimately, the pieces
were titled, “Six Preludes for the Pianoforte.”
Stewart, Nancy L. The Solo Piano Music of Marion Bauer, (University of Cincinnati, Ann Arbor, 1990), p. 128. 69 Stewart, p. 133
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Though students may feel like the melody is constantly traveling in changing directions,
noticing the unifying motif will help them connect the figures into longer phrases.
The piece maintains a melody/accompaniment style throughout and contains rubato and
espressivo markings. Bauer’s coloristic harmonies create a feeling of beauty and mystery, but
involve very frequent accidentals. Because of this, students should be careful to learn the notes
accurately from the beginning.
The piece is written in binary form, and reaches a dynamic climax at the end of the first
section. With a range from pianissimo to fortissimo, this prelude contains a wide display of
emotions in only three pages. It is an intriguing piece that, while presenting some technical
difficulties, also requires a high level of musical maturity. It would be best suited for thoughtful
and dedicated late intermediate students who are ready for a deeper level of music making.
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CHAPTER 4: 950-PRESENT DAY
Ayo Bankole (1935-1976) no. 5 Warriors March, Nigerian Suite (1961)
4/4, C Major, Early Intermediate, Allegretto con fuoco, 2 pp., 45 s.
Can be found: Chapell & Co. Ltd.
Ayo Bankole was born in Nigeria to an organist and choirmaster (father) and a high
school music instructor (mother). After serving as the chorister at a church in Lagos in the
1940s, Bankole received a government scholarship and left Nigeria in 1957 to study at the
Guildhall School of Music and Drama in London. As he focused his studies on organ, piano, and
composition, he was chosen to represent his school through various performances, including
performing on the organ at Royal Albert Hall. Following this, received a scholarship to study
organ at Cambridge and became the second Nigerian to become a Fellow of the Royal College
of Organists. He later received a fellowship to study ethnomusicology at UCLA. Throughout his
life he incorporated more of his Nigerian heritage into his music, including choral pieces in the
Yoruba language. In 1966 Bankole returned to Nigeria where he became the senior music
producer at the Nigerian Broadcasting Company as well as a lecturer at the University of Lagos.
His compositions include choral works, songs, and piano and organ solos. Unfortunately, his life
was ended too early as he and his wife were brutally murdered by a half-brother in 1976.70
“Warriors March'' is the fifth and final piece in Bankole’s Nigerian Suite. Dissonance,
accents, and staccato markings all help to create the violent character of this piece. There are
undercurrents of tonality, but the dissonance dispels any expectation of traditional functional
harmony. The opening line shows the aggressive nature of the piece, with the fortissimo
dynamic marking and the prevalent accents. There is a fierceness that comes from the tritone
70 Sadoh, Godwin. “Ayo Bankole at 80.” The Musical Times, vol. 156, no. 1930, Musical Times Publications Ltd., 2015, pp. 73–88.
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relationships in the LH from beats 1 and 3 of each measure. As the LH plays parallel thirds, this
harsh tritone sound is doubly effective (Fig. 4.1).
Figure 4.1 Bankole, Ayo. Nigerian Suite, No. 5 Warriors March mm. 1-6
Not all of the piece is fortissimo though. The threatening first six measures calm down
into a mischievous tip-toe-like passage marked pianissimo. Though the LH part is identical to
the opening line, the character of this part is quite different. It doesn’t last long though, as the LH
crashes down a C Major arpeggio at the other dynamic extreme (Fig. 4.2).
Figure 4.2 Bankole, Ayo. Nigerian Suite, No. 5 Warriors March mm. 7-12
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Warrior’s March is full of intense energy. Though it contains many fiery elements, the
hands stay in a fairly close position and the technical elements are not overly difficult. It is
ferocious and brief and would be a great piece for an early intermediate student.
Florence Price (1887-1953) The Goblin and the Mosquito (1951)
4/8, Allegro, A Minor, Early Intermediate, 2 pp. 1 min.
Can be found: Clayton F. Summy (IMSLP)
Florence Price was born in Little Rock, Arkansas in 1887. With her mother as her first
music instructor, Price later studied composition at the New England Conservatory. She
graduated with honors, received a Teacher’s Diploma in piano, and an Artist’s diploma in organ
and then moved back to the South. There she taught at colleges in Arkansas and Georgia, but
was rejected from the Arkansas Music Teachers Association because of her race. Hoping for a
less discriminatory racial environment, she and her family moved north to Chicago in 1927.
Price continued her musical education in Chicago and began winning awards for her
compositions. Her breakthrough achievement was winning first prize in the Wanamaker
Foundation competition for her Symphony in E Minor. The Chicago Symphony Orchestra played
its premiere in 1933 and made Price the first African American woman to have their music
played by a major American orchestra.
Price was able to brilliantly combine her Classical training with her African American
experience. Without directly quoting plantation songs and spirituals, she incorporated similar
melodies and traditional dance rhythms to her music. She was a versatile composer and wrote
for various instruments, but was most known for her Art songs. Of her 300+ compositions, most
went unpublished and only a few songs and piano pieces are now available.
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The Goblin and the Mosquito is not as difficult as Price’s larger scale works, but is
intricately designed for an intermediate student. Full of playfulness and mischief, this cleverly
constructed piece would be especially fun for students to play around Halloween.
The dialogue and imagery of the two characters can be heard from the beginning, with the
alternating of chords and grace note flourishes. Though the music frequently jumps around the
keyboard, Price eases these transitions by writing many passages within a five-finger position.
One example of this can be seen in m. 1 and 3. Though the RH travels up and down each
measure, the return to the five-finger position (shared with the LH) decreases the difficulty (Fig.
4.3).71
Figure 4.3 Price, Florence. The Goblin and the Mosquito, mm. 1-12
Another example can be seen in the following measures, mm. 5-8. Here the LH
maintains a close hand position, and even though the RH again travels up and down, the RH
grace note runs are both within a five-finger position and only on the white notes.
71 All examples from this score are taken from: The Goblin and the Mosquito, ed. John Alexander McKinnon, 2020. Available at https://imslp.org/wiki/The_Goblin_and_the_Mosquito_(Price,_Florence) under a Creative Commons Attribution 4.0 license. Full terms at https://creativecommons.org/licenses/by/4.0/ No changes made.
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Basic chromatic scale technique is employed in mm. 9-12 in an inventive expansion of
sound and range.
The dynamic range in this piece is wide, which adds to the sense of mischief and
unpredictability. Fortissimo accented chords are followed by teasing piano passages (see
Fig. 4.4), all contributing to the impish nature of the piece.
Figure 4.4 Price, Florence. The Goblin and the Mosquito, mm. 13-18
The Goblin and the Mosquito gives a glimpse into Price’s compositional mastery. Out of
basic hand positions and relatively minimal difficulty, she produced exceptionally creative sound
effects. With no large chords and plenty of imagery, it will surely be a favorite of young pianists.
Karen Tanaka (b. 1961), Swan, A Zoo in the Sky (1996)
4/4, Allegro grazioso, Mid-intermediate, 4 pp., 2 min.
Can be found: Edition Kawai
Japanese composer Karen Tanaka was born in Tokyo and began piano lessons at age
four. At ten years old she began her formal composition lessons which continued through her
collegiate studies at the Tōhō Gakuen School of Music in Tokyo. One of many scholarships
awarded her took her to Paris to study with Tristan Murail. While in Europe, she both took a
course and worked at IRCAM (a French musical research center exploring many avant-garde
and electronic music methods) and studied with Luciano Berio. Her music is played by major
orchestras worldwide, and she was the orchestrator for the BBC’s Planet Earth II series. She is
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currently on faculty at the California Institute of the Arts, where she teaches composition and
experimental sound practices. Her music encompasses a wide range of styles, as she
composes film scores, solo and orchestral concert music, and electronic music.
Tanaka’s collection, The Zoo in the Sky, is inspired by constellations named after
animals. Her preface explains that she wants, “children to fully develop their dreams for space
and stars, their affection for animals, and also express their originality and imagination. Children
can imagine any story they wish to go with this music.” 72 Each of the twenty pieces in the set
are of similar difficulty level and include a brief description of the constellation and the piece, as
well as some performance instruction.
Swan is the penultimate piece in the set, and includes the following guidance, “The
arpeggios should be played smoothly like a harp. Imagine you are a beautiful swan and give an
elegant performance.”73 Throughout the piece both hands are used to create a seamless string
of ethereal 16th notes. Though the pattern varies, the effect of the colorful, sparkling sky
remains constant.
To produce this celestial sound, the RH broken octaves combine with the LH intervals in
the beginning of the piece. Long pedals are needed to create the shimmer of sound, and careful
attention is required to ensure consistency of tone between both hands. A potential pitfall for
students is the possibly of the LH pedal point becoming too loud at the beginning of each beat,
so a focus on the overall sound effect, rather than each note, will be helpful (Fig 4.5).74
72 Tanaka, Karen. “Preface.” A Zoo in the Sky. Tokyo, Japan: edition KAWAI, 1996. Print. 73 Tanaka, Karen. A Zoo in the Sky. 74 All examples from this score are reproduced with permission from Karen Tanaka. Karen Tanaka, “Swan” from [The Zoo in the Sky] © 1996 by edition KAWAI, Assigned 2017 to Zen-On Music Co., Ltd. All Rights Reserved. International Copyright Secured.
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Figure 4.5 Tanaka, Karen, Swan, mm. 1-6
After a time signature change to ¾, the pattern consists of the planing of descending
arpeggios with a peaceful melody unfolding from the top notes. These arpeggiated triads
primarily move in a parallel motion, creating a tensionless harmony that aurally suggests the
weightlessness of outer space (Fig 4.6).
Figure 4.6 Tanaka, Karen, Swan, mm. 7-9
The climax of the piece comes mid-way through, where the texture changes to include
three voices: a rising melody in the top voice, continued arpeggiated sixteenths in the middle,
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and a low bass. With a growth from piano to forte in just two measures and an accelerando,
these two measures are the most technically difficult of the piece (Fig 4.7).
Figure 4.7 Tanaka, Karen, Swan, mm. 25-30
Swan is an exquisite and imaginative piece, one of many by Karen Tanaka. The modern
techniques used create a beautifully evocative sound and require great technical skill from an
intermediate pianist. It is a wonderful piece to prepare students for more challenging
impressionist or contemporary repertoire.
Zenobia Powell Perry (1908-2004) Teeta, Piano Potpourri (1988)
4/4, B-flat Minor, Slow, Mid-Intermediate, 4 pp. 2 ½ min.
Can be found: Jaygayle Music (ASCAP)
Zenobia Powell Perry was born in Boley, Oklahoma in 1908. Though her grandfather
had been a slave, her father was a Black physician and she grew up in a well-educated, middle-
class home. As a girl she received her piano studies from the local teacher, Mayme Jones (a
former student of R. Nathaniel Dett), and won her first piano competition at the age of eleven.
In 1931 she went to the Hampton Institute to study music with Nathaniel Dett, but later received
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her degree from Tuskegee Institute in 1938. Future studies included a Master of Arts degree
from Colorado State College of Education in 1945 and a Master of Music in composition degree
from the University of Wyoming, where she notably studied composition with Darius Milhaud.
Perry taught in many capacities, including a Black teacher training program that was supervised
by Eleanor Roosevelt who became a close friend. Her longest university faculty position
spanned from 1955-1982, where she taught and was composer-in-residence at Central State
University in Wilberforce, OH. She has received numerous awards and honors, and her
compositions have been performed by the Detroit Symphony, the Cleveland Chamber
Symphony, and others. Her voluminous compositions include chamber works, songs, piano
solos, a mass, an opera, and pieces for band and orchestra. Combining her heritage and her
training, “her style incorporates contrapuntal, tonal, mild dissonance, with some jazz and folk
influence.”75
Teeta is one of 15 pieces in the Piano Potpourri set that ranges from elementary to
advanced levels. A great fit for an early intermediate student, this piece is in ABA form and
provides great contrast within itself. The slow paced, four-voiced texture of the opening section
is a wonderful teaching tool for a budding pianist. Without the aid of any rhythmic interest, it
requires students to keep the melodic line flowing (Fig. 4.8).76
75 Gray, Anne. The World of Women in Classical Music. World Publishing, 2007, p. 208. 76 All examples from this score are reproduced with permission from Jeannie Gayle Pool at Jaygayle Music. © 2020 Jaygayle Music (ASCAP). All Rights Reserved.
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Figure 4.8 Perry, Zenobia Powell. Piano Potpourri, Teeta mm. 1-6
Mastering these long melodic lines in the opening will benefit the return of the A section,
where the melody is now accompanied by running eighth notes (Fig. 4.9)
Figure 4.9 Perry, Zenobia Powell. Piano Potpourri, Teeta mm. 41-43
Another challenge in this piece lies in the transitions between the highly contrasting
sections. In the transition to the middle section, the tempo change requires the student to be
consciously aware of the beat and how it relates to the next section. Additionally, the contrast of
mood is heightened by a new detached texture of alternating left hand single notes with right
hand clusters (Fig. 4.10).
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Figure 4.10 Perry, Zenobia Powell. Piano Potpourri, “Teeta” mm. 41-43
Almost like a “two for one special” of intermediate piano music, Teeta is a valuable
teaching piece for exposing a young pianist to two contrasting textures, styles, tonalities, and
tempos. Though there are a few large, rolled chords at the conclusion of the piece, the technical
challenges presented in this piece fit in the mid-intermediate range.
Toru Takemitsu (1930-1996) No. 2 Clouds, Piano Pieces for Children (1979)
4/8, A Major, Andante, Mid-intermediate, 2 pp., 1 ½ min.
Can be found: Schott
Toru Takemitsu was born in Tokyo in 1930 and was conscripted into the military at a
young age in 1944. Although Western music was banned in Japan during the war years,
Takemitsu’s first exposure to Western music actually occurred during his military service. It left
such an impression on him that after the war ended he sought out more music, particularly in
the classical genre, while he was employed at an American military base. He then decided at
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the age of 16 that he wanted to be a composer, despite not having any musical education to
speak of.
Takemitsu received some instruction beginning in 1948 from Yasuji Kiyose, but was
otherwise self-taught, citing the music Debussy and Messiaen as his “mentors.” Tainted by his
early military experience, Takemitsu avoided traditional Japanese elements in his music, and
formed the Jikken Kōbō (Experimental Workshop) with two other musicians in 1951. After
spending time in electronic music and other mixed media, Takemitsu met John Cage (who was
fascinated by Japanese culture) in 1964, and later began to incorporate Japanese elements and
traditional instruments into his compositions. His copious works include a wide variety of
mediums including traditional methods, avant-garde techniques, and Japanese instruments.
Piano Pieces for Children was composed for a televised children’s program called Piano
no Okeiko (Piano Lessons) and is made of two pieces, the second of which (Clouds) is
presented here. Appropriate for its title, Clouds sounds of airiness and grace. The LH contains
the same texture for most of the piece, with an oscillating figure that at times remains the same
for several measures, and other times moves the harmony along more quickly. The gentle
steadiness of the LH pattern seems to mimic the slow movement of the clouds in the sky as
they simultaneously appear motionless yet fluid. Meanwhile, the RH is employed in a melody
that seems to float in the atmosphere (Fig. 4.11).
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Figure 4.11 Takemitsu, Toru. Clouds, mm. 1-7
Takemitsu CLOUDS from Piano Pieces for Children Copyright © 1979 Schott Music Co. Ltd., Tokyo. All Rights Reserved.
Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music Co. Ltd., Tokyo
The middle section contains the quickest rhythms and harmonic changes before a return
of the opening material. With this return, the hands switch places with the RH playing the
identical pitches from the beginning of the piece and the LH playing the previous RH melody in
a lower register (Fig. 4.12).
126
Figure 4.12 Takemitsu, Toru. Clouds, mm. 16-23
Takemitsu CLOUDS from Piano Pieces for Children Copyright © 1979 Schott Music Co. Ltd., Tokyo. All Rights Reserved.
Used by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Schott Music Co. Ltd., Tokyo
Though the notes are the main contributor to this weightless quality of sound, the slightly
offbeat notes and triplet flourishes also provide a rhythmic element. This may be difficult for
young students on first reading. One of the biggest challenges for a successful performance will
be the tone, dynamic balance, and layering of sound. Much like the music of Debussy, this
piece creates colors of sound, showing a strong Impressionist influence. It would be a great fit
for a mid to late intermediate pianist and a welcome addition to the Impressionist repertoire.
Sofia Gubaidulina (b. 1931) No. 2 Magic Roundabout, Musical Toys (1971)
4/4, Vivo, Mid-Intermediate, 1 ½ p., 40 sec.
Can be found: Boosey & Hawkes
Russian composer Sofia Gubaidulina is currently 90 years old and is one of the most
prominent Russian composers of the second half of the 20th century. Beginning first at the
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Kazan Conservatory, her studies later took her to the Moscow Conservatory. One of her
distinctive qualities as a composer is her deep interest in religion and spirituality within music,
even during the religious suppression of the Soviet Union. In 1959 her final examination
committee was headed by Dmitri Shostakovich, who told her, “Everybody thinks that you are
moving in the wrong direction. But I wish you to continue on your ‘mistaken’ path.”77 Her musical
exploration included film, electronic, ballet, synthesized, and many other unconventional musical
idioms. After an official boycott of her avant-garde music by the Union of Soviet Composers, her
breakthrough success came from the performance of her violin concerto Offertorium in 1981.78
After this she was permitted to travel to the western countries and since then her career has
been filled with commissions and performances worldwide.
Magic Roundabout is the second piece in the set titled Musical Toys, a collection of
fourteen pieces for children. Though the other pieces vary in difficulty, this piece would be
appropriate for a late intermediate student. The circular note patterns contribute to the feeling of
a traveling round and round, and allows for a child’s imagination to continue the imagery. The
repeated motif at the beginning of the piece illustrates this effect (Fig. 4.13).79
Figure 4.13 Gubaidulina, Sofia. Magic Roundabout, mm. 1-5
77 Lukomsky, Vera, and Sofia Gubaidulina. “Sofia Gubaidulina: ‘My Desire Is Always to Rebel, to Swim against the Stream!’” Perspectives of New Music, vol. 36, no. 1, Perspectives of New Music, 1998, p. 16. 78 Kim, Seong-Sil. “A pedagogical approach and performance guide to Musical toys by Sofia Gubaidulina.” DMA essay, University of Iowa, 2015. p. 12 79 © with kind permission of MUSIKVERLAG HANS SIKORSKI, Hamburg
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Far from a melody and accompaniment style, in this piece both hands are featured
equally as they travel across each other and through different registers. Students should be
prepared to move up and down the keyboard quickly and change clefs. This can be seen in the
following example (Fig. 4.14).80
Figure 4.14 Gubaidulina, Sofia. Magic Roundabout, mm. 14-17
As can be seen in the above example, especially in the last measure, dissonance is
abundant in this piece. Though playful, the piece also has an element of harshness and
percussiveness to it. The dynamics vary, often changing rapidly between piano and forte, which
is especially difficult considering the very quick tempo marking.
Pedaling is another aspect that students will need to pay attention to, as all the pedaling
is marked in the score. Though brief, the articulation, tempo, and registral changes make this
piece a very challenging study.
Libby Larsen (b. 1950) Penta Metrics, No. 3 (2005)
7/8, D-flat Major, Fast and bright, 3 pp., 1 ½ min.
Can be found: Oxford University Press
Libby Larsen is one of America’s most performed composers. A Delaware native, she
grew up with four sisters and was exposed to many varying genres of music. In elementary
80 © with kind permission of MUSIKVERLAG HANS SIKORSKI, Hamburg
129
school she sang in the choir and created her own songs, a practice which continued throughout
her schooling, with the addition of singing in a rock band in high school. Though Larsen earned
her BA, MM, and PhD from the University of Minnesota, she prefers to work independently
outside of academia. While in Minnesota she co-founded the Minnesota Composers Forum
(later the American Composers Forum) with Stephen Paulus, and has since been actively
involved in many music organizations. Larsen often uses the rhythms and sounds of US English
to inspire her works. With over 400 compositions, she has composed in a wide array of genres,
including large orchestral works, solo pieces, 15 operas, and many others. A wide tonal color
palette and rhythmic vitality are some of the distinctive characteristics in her music.
Penta Metrics is a collection of five intermediate level pieces that was commissioned by
the Music Teachers’ Association of California Friends of Today’s Music. It is designed with the
flexibility of either playing the complete set or one individual piece.
The third piece in the group is set in 7/8 time, and features a repeated rhythmic passage
that occurs in almost every measure. This pattern divides the seven beats into a 1-2-3 1-2 1-2
distribution and can be seen in the RH in the opening four measures (see Fig 4.15).81
Figure 4.15 Larsen, Libby. Pentametrics, No. 3, mm. 1-8
81 All examples from this score are reproduced with permission from Oxford Publishing Limited (Music). © 2005 Oxford University Press. All Rights Reserved.
130
Though a piece composed around a single rhythmic motif that repeats every measure
may sound rather tedious, Larsen brilliantly keeps the music alive through various techniques.
The melody is directly combined with the rhythmic pattern; however, while the rhythm stays
constant, the notes of the melody frequently move around. Numerous dynamic changes also
create differences in mood. Additionally, these melodic and rhythmic patterns become even
more interesting with the frequent key changes. Larsen creates quite the journey of tonal
centers, traveling through G-flat Major, G Mixolydian, E Major, A-flat Major, C Major, and B-flat
Major. This is a wonderful opportunity to put a students’ theory skills in action and apply it to
understanding the skillful construction of this piece.
One advantage of the repetitive patterns in this piece will be a shortened learning period
for younger students. This very engaging piece is a terrific way to introduce a living composer to
the upcoming generation of pianists.
Chen Yi (b. 1953) Yu Diao, Two Chinese Bagatelles, No. 1
4/4, D Major, Mid-intermediate, 2 p. 1 ½ min.
Can be found: Theodore Presser Company
Chen Yi was born in China in 1953, and though many in her family were doctors by
profession, her parents were amateur musicians who played Western instruments. She began
playing the piano and violin at a very young age, along with taking theory lessons. China’s
Cultural Revolution began in 1966 and her family was targeted to be “re-educated” because
they were educated intellectuals who had ties to Western culture. She was able to continue
practicing both instruments with a mute on her violin and a blanket inside her piano until 1968,
when she was separated from her family and forced to do labor in a rural area. During this two
131
year period she was required to carry 100 lb. loads up a mountain several times a day.82 She
was allowed to bring her violin with her and could play certain approved revolutionary songs,
while practicing Western music in secret whenever she could.
Once the Cultural Revolution was over in 1976, Chen Yi went to school and became the
first woman in China to receive a Master's degree in Composition. She later came to the United
States and received a DMA from Columbia University. She now teaches at the Conservatory of
Music and Dance at the University of Missouri- Kansas City and is a prolific composer. Her
works are extremely numerous and she has received many commissions from orchestras and
musicians. Having spent much time collecting Chinese folk songs, her style fuses her Chinese
heritage with the Western Classical music tradition.
Two Chinese Bagatelles is subtitled “Piano Solo for Children.” They can be played
individually or together as a set and are just the right length for an intermediate student. Only Yu
Diao will be discussed here, and Chen Yi provides the following information in the score.
Yu means “Henan province in Northern China. Diao means “tune.” The pitch
material is taken from the local opera in Henan Province. This piece won the
composition competition for the Beijing Chinese Children Piano Competition in 1984.83
There are many great teaching aspects in this piece. The piece begins marked allegretto
scherzando and its playful manner is felt through the short slurs, staccatos, and accents.
However, dissonance is created from the beginning, with the constant back-and-forth of the F#
and C#, sounding as if the piece can’t decide if it’s in D Major or D Dorian (Fig. 4.16).84
82 Billock, R. L. (2003). Selected Intermediate Piano Pieces by Seven Women of the Twentieth Century: Marion Bauer, Germaine tailleferre, Ruth Crawford Seeger, Sofia Gubaidulina, Emma Lou Diemer, Chen Yi, and Karen Tanaka. University of Washing, Ann Arbor, 2003. p. 71. 83 Yi, Chen. Two Chinese Bagatelles (Piano Solo for Children). U.S.A.: Theodore Presser Company, 2000. Print. 84 All examples from this score are reproduced with permission from Carl Fischer Music/Theodore Presser Company. © 2000 Theodore Presser Company. All Rights Reserved. International Copyright Secured.
132
Figure 4.16 Yi, Chen. Yu Diao, mm. 1-3
Yu Diao is loosely in an ABA form. The liveliness of the A section is dissipated with the
arrival of the legato B section. Here each hand has an independent line, composed from the
Pentatonic scale. After the first phrase, the right and left hand switch lines, continuing the
counterpoint (Fig. 4.17).
Figure 4.17 Yi, Chen. Yu Diao, mm. 19-22
There is a sixteenth note run with irregular accents at the end of the B section. After the
return of the A section the piece closes with more off-beat accents in the left hand. It’s an
engaging piece, it has some less familiar harmonies and sounds, and plenty of rhythmic and
textural interest to keep any student on their toes the whole time.
Capers, Valerie (b. 1935), “Mr. Satchmo,” Portraits in Jazz, no. 5
4/4, C Major, Moderate tempo, Late Intermediate, 2 pp. 2 min.
Can be found: Oxford University Press
133
New York City native Valerie Capers has overcome many obstacles in her life. As a
Black woman she was also the first blind person to receive a Bachelor’s and Master’s degree
from The Juilliard School of Music. Though her Juilliard studies were in Classical composition
and performance, she later turned her efforts to jazz. She was a faculty member at the
Manhattan School of Music and the Bronx Community College of the City University of New
York, and is the recipient of four honorary doctorate degrees. A performer, educator, and
composer, Capers’ success has taken her all over the United States. She performed with her
trio at universities, festivals, concert halls, and jazz clubs and has given jazz workshops and
lecture concerts abroad. She has been the recipient of many grants, awards, and commissions,
and was still regularly playing jazz in her favorite hotels and clubs as recently as 2013.
Capers’ collection, Portraits in Jazz, features twelve intermediate level pieces inspired by
various jazz musicians and styles. Though perhaps not traditional for a classical piano studio,
the jazz style can often serve as a “pupil saver” for those students who are struggling to find the
typical repertoire interesting enough. Jazz is also highly effective at presenting rhythmic
challenges and less familiar harmonies.
The title Mr. Satchmo is derived from one of the nicknames of the famed trumpeter,
Louis Armstrong. In her interpretation guide, Capers writes, “This piece attempts to capture the
feeling of the old New Orleans street bands, whose charm and simplicity are typical of early
American jazz and hallmarks of the tradition from which Louis Armstrong came.”85 The RH is
more active in this piece than the LH, and often imitates Armstrong’s trumpet playing (see in
mm. 3-4 of Fig. 4.18)86
85 Capers, Valerie. Portraits in Jazz: A Piano Album. Oxford, England: Oxford University Press, 2010. Print. 86 All examples from this score are reproduced with permission from Oxford Publishing Limited (Music). © 2001 Oxford Music/U.S.A. All Rights Reserved.
134
Figure 4.18 Capers, Valerie. Portraits in Jazz, No. 5, “Mr. Satchmo” mm. 1-4
This pattern of two to three measures of “band playing” followed by one or two measures
of solo improvisation continues throughout the piece. As expected, syncopation is abundant
throughout the piece, as well as tuplets and accents.
Another clear homage to Armstrong appears in the fast triplets of the cadential breaks,
occurring twice in the piece. These passages require nimble finger work and a delicate balance
between the increased notated speed and the “relaxed swing” tempo marking (see Fig 4.19).
Figure 4.19 Capers, Valerie. Portraits in Jazz, No. 5, “Mr. Satchmo” mm. 23-25
The pedagogical merits of Mr. Satchmo look different than the standard style of
repertoire, but they are still very valuable. High quality music is not just limited to the classical
style, and as students learn to appreciate other forms of music it will enhance their overall
musicianship.
135
Shande Ding (1911-1995), Catching Butterflies, Suite for Children, No. 2
4/4, D Major, Presto leggiero, Late Intermediate, 2 pp.
Can be found: Schott
Shande Ding was a Chinese composer who began his musical education with traditional
Chinese instruments. In 1928 he entered the Shanghai Conservatory where he studied the pipa
(four-stringed lute) and later the piano. After teaching at Tianjin Women’s Normal College and
Shanghai Conservatory for a few years, he traveled to Paris to further his composition studies.
He entered the Paris Conservatoire and took classes from Nadia Boulanger, among others. He
later returned to teach again at the Shanghai Conservatory, where he eventually became the
vice president. Ding was invited to serve as an adjudicator for many major piano competitions,
including the Queen Elizabeth Competition, the Schumann Competition, and the Chopin
Competition. His career was halted in the 1960s because of the Cultural Revolution, but Ding
resumed composing again in 1978. His oeuvre includes orchestral works, string quartets, piano
trios, piano solos, and other forms.
Catching Butterflies is a wonderfully imaginative piece full of vibrant imagery.
Throughout the piece both hands work together through alternating chords to create the effect
of someone running about as they chase an elusive butterfly. Irregular accents, continuous
dynamic fluctuations, and delicately placed rests all work together to bring this winged insect to
life. The following example demonstrates some of these techniques. After the volume level
decreases with the diminuendo in m. 14, the two rests found in m. 15-16 creates an image of
the butterfly landing somewhere and holding still for just a second, before it flits about again
(Fig. 4.20).
136
Figure 4.20 Ding, Shande. Catching Butterflies, mm. 13-16
Additional imagery can be found in the single repeated notes on the next page. As the
passage begins mp, increases to forte, and then is followed by accented dissonance, it
suggests a child attempting to sneak up on the butterfly and then pounce, only to be thwarted
again (Fig. 4.21)
Figure 4.21 Ding, Shande. Catching Butterflies, mm. 25-32
In addition to the many artistic elements to this piece, there are also technical
challenges. The pattern of alternation between hands varies constantly and the accents do not
appear with regularity either. The many dynamic changes amidst the same texture present
another challenge, as well as the rapid hand crossings. With an eye-catching title that young
students can relate to, Catching Butterflies possesses great pedagogical value.
137
Betty Jackson King (1928-1994) Spring Intermezzo, Four Seasonal Sketches, (1955)
4/4, A Major, Andantino, Late Intermediate, 3 pp., 3 min.
Can be found: Jacksonian Press; Hildegard Publishing
Betty Jackson King was born in Chicago in 1928. Her mother, Gertrude, was her piano
teacher and the two of them along with Betty’s sister, Catherine, formed the singing “Jacksonian
Trio.” Her father, the Reverend Dr. Frederick D. Jackson, also strongly supported and
influenced her work, providing the libretti for her operas. King received her Bachelor’s degree in
piano and a Master’s degree in composition from Roosevelt University in Chicago, and went on
to teach at both the Chicago Laboratory School and Dillard University in New Orleans. She also
taught choir at a public high school in New Jersey. Her opera, “Saul of Tarsus” was well
received after its premiere in 1952 with Chicago’s Imperial Opera Company, and was her first of
three operas. King served as the president of the National Association of Negro Musicians and
was an active choir director throughout her life. Her works include several choral pieces, art
songs, and arrangements of spirituals, as well as opera, and works for solo piano. Her style has
been described as, “marked by an extended harmonic language, concentrated chord clusters,
and simultaneous layers of sound.”
Spring Intermezzo from Four Seasonal Sketches is a beautiful sound picture for the late
intermediate pianist. It’s lush, ever-flowing texture contains hints of impressionism. The piece is
marked legato cantabile and provides many opportunities for students to practice creating a
long musical line. This is largely created through the running sixteenth notes that make up most
of the piece, and require a seamless transition between hands, as seen in m. 2 and 4 (Fig.
4.22).
138
Figure 4.22 King, Betty Jackson. Spring Intermezzo, mm. 1-6
To contrast in texture, the piece also affords brief intervals of a thick, chordal texture.
Though short, these passages allow the student practice in transitioning textures and finding a
rich and restful voicing that fits in with the mood of the piece.
Another important aspect of this piece is the touch. The middle section (m. 18-30) is all
marked between pp and mp and is marked dolce, requiring a gentler and sweeter sound. The
chordal sections offer a deeper touch, and the outer sections can lend toward a richer sound as
well. There are many register changes in this piece, with repeated material being transferred up
or down an octave (Fig. 4.23).
139
Figure 4.23 King, Betty Jackson. Spring Intermezzo, mm. 16-21
The harmonic characteristics of this piece include use of the pentatonic scale and the
juxtaposition of nearly identical passages first played in major and then repeated in minor. The
chordal sections include parallel open fifths, and the middle section is also filled with tone
clusters and chromaticism.
These more modern harmonies create stunning sound colors and are an excellent
substitute to other intermediate impressionist repertoire. Spring Intermezzo has much to offer for
the intermediate pianist who wants to explore tone, color, touch, and harmony.
Tan Dun (b. 1957), Staccato Beans, Eight Memories in Watercolor, No. 2 (1978)
2/4, D Aeolian, Allegro Scherzando, Late Intermediate, 1 ½ pp., 1 ½ min.
Can be found: G. Schirmer
Tan Dun was born in China and grew up during the Cultural Revolution. Instead of an
early musical training, he was occupied with planting rice in a commune. Eventually Tan
140
became involved with the local opera theater and entered the Central Conservatory of Music at
age nineteen, which had just recently reopened. It was there that he was first exposed to
Western Classical music, and was later introduced to other 20th century composers that had
been censored under the Cultural Revolution. As Tan’s compositions rose to prominence and
became representative of the artistic cultural pluralism in China, they were met with increasing
controversy. This led to the Chinese government temporarily banning performances of his work
in 1983. He eventually emigrated to the United States, received a DMA from Columbia
University in 1993 and has since received numerous awards, including an Academy Award for
his music for the film Crouching Tiger, Hidden Dragon. Tan’s compositions encompass a wide
range of mediums, including opera, chamber, solo, symphonic, film, oratorio, and organic
instruments made from stone, paper, or water.
Staccato Beans is the second piece in Tan’s set entitled, Eight Memories in Watercolor.
It was composed when he left his home province to study at the Central Conservatory of Music
in Beijing and felt homesick for the folk melodies of his childhood. Though it was composed in
1978, it was premiered and recorded by Lang Lang in the United States in 2003.
The piece is lively and highly articulate, as one would expect from the title. The opening
motif is repeated frequently throughout the piece, in various registers and with varying
dynamics. The biggest challenge for students will be playing the piece at an appropriate Allegro
scherzando tempo to achieve the character of the piece while also producing a highly articulate
performance. Many young pianists will want to play the piece faster than their fingers can
accurately produce the slurs, staccatos, and accents presented, especially in passages where
there is conflicting articulation between hands. However, the articulation is paramount in this
piece and necessitates careful practicing and attentiveness (Fig. 4.24).87
87 STACCATO BEANS (from EIGHT MEMORIES IN WATEROLOR) by Tan Dun. © 1996 by G. Schirmer, Inc. International Copyright Secured. All Rights Reserved. Used by permission.
141
Figure 4.24 Tan Dun, Staccato Beans, mm. 1-8
The dynamic range in this piece is broad, extending from pianississimo to fortississimo,
with many accents and sforzandos included. The range of the keyboard is also rather large and
stretches nearly six octaves. Though the thin texture of the piece makes it look rather
straightforward at first glance, there are many delicate details in the piece. One example can be
seen in mm. 13-16 (Fig. 4.25)
Figure 4.25 Tan Dun, Staccato Beans, mm. 13-16
Instead of just repeating the opening material up an octave, the LH contains a lower
voice, as well as a syncopated inner voice, all within the piano dynamic range. Even though the
same melodic material is used throughout the piece, it is always varied in one or more ways,
and creates a feeling of bubbling excitement. It’s exhilarating effect is increased with the repeat,
as Tan indicates that the second time should be played faster. It
Staccato Beans is a delightful study in articulation and attention to detail and nuance.
Tan’s Chinese heritage, heard through the whole tone scales, modes, and rhythmic elements,
combine with Western Classical techniques to produce a magnificent 20th century intermediate
level piece. Though some of the other pieces in the set are more difficult, playing all eight would
be a rewarding project for any pianist.
142
Manuel Herrarte (1924-1974) Tres Danzas, No. 2 (1957)
3/4 and 6/8, Andantino, Late Intermediate, 2 pp., 1 ½ min.
Can be found: Hal Leonard, Peer Music
Born in Guatemala City, Manuel Herrarte completed his early musical studies at the
National Conservatory of Guatemala. There he studied piano with Ricardo Castillo, orchestral
conducting, and composition and graduated in 1944. The following year he received a
scholarship to travel to New York and study at the Eastman School of Music. His teachers there
included Howard Hanson (composition), Bernard Rogers (orchestra), Sandor Vas (piano). He
also had additional studies with Robert Casadesus. His known works include a Sinfonietta for
piano and orchestra and a small number of solo piano works.
Tres Danzas (three dances) is a fantastic mid-20th century composition. The melodic
RH combined with the frequent use of seconds creates an otherworldly feeling that is
captivating and imaginative. Though the first and last movements in the set are more advanced
in difficulty, the middle movement could be suitable for a dedicated late intermediate pianist.
One of the obvious challenges of this piece is the differing time signatures of the hands.
The LH is in 6/8 and the RH is in 3/4 which allows the beats to line up nicely, but requires a
difference in emphasis. In addition to this, the LH part contains dyads on beats one, three, and
five, which could lead toward it sounding as if it’s written in 3/4 (with the dyads on beats 1, 2,
and 3). To combat this, Herrarte puts an accent mark on beat four in the LH part, keeping the
feeling in two, rather than three (Fig 4.26).
143
Figure 4.26 Herrarte, Manuel. Tres Danzas, no. 2 mm. 1-8
The LH pattern shown above is repeated throughout the piece with 31 of the 50 total
measures being identical. Though it will take some focused practice to master, once it is learned
the rest of the piece will be much more manageable.
About halfway through the piece the hands switch roles and meters and eventually
expand the range of notes in opposite directions. This builds to a fortissimo climax where the
original material returns in the outer registers (Fig 4.27).
Figure 4.27 Herrarte, Manuel. Tres Danzas, no. 2 mm. 31-34
The piece pushes the boundaries of tonality in that it has a sense of home in a tonal
center, but doesn’t have conventionally functional harmony. It also portrays an element of
lyricism within the dissonance that creates a style reminiscent of Khatchaturian or Prokofiev
(especially the third piece in the set). The technical and musical challenges in this piece are
more than meets the eye, but the effect is a well-crafted piece that has much to offer.
144
Judith Lang Zaimont (b. 1945) Jazz Waltz, Suite Impressions, No. 2 (1994)
3/4, Relaxed, Late Intermediate, 6 pp., 3 min.
Can be found: Vivace Press
Judith Lang Zaimont was born in Memphis, Tennessee, but soon after moved with her
family to New York City. Receiving her first piano instruction at age five from her mother, she
began performing publicly at age eight and entered the Juilliard Preparatory Division, studying
under Rosina Lhevinne, at age thirteen. She won many prestigious competitions in both piano
and major orchestras and soloists, and her many compositions have been performed around
the globe. Influences of Stravinsky, Debussy, Ravel, and Messiaen can be found in her output,
which consists of pieces for orchestra, voice, chamber groups, and solo instruments.
Jazz Waltz is the second of three pieces that make up this set, and sounds as the title
implies but with a mix of more modern harmonies. While the tempo and mood of the piece are
relaxed, the difficult rhythms might initially be a source of stress for an intermediate pianist.
Since it is written in the style of jazz, syncopation is prevalent throughout the piece, as well as
triplets. However, many of these triplets have rests and varying note lengths within them. Slow,
careful practice and counting out loud will need to be utilized at the early stages of learning this
piece. An example of the rhythmic and textural setup can be seen when the melody appears in
m. 9 (Fig. 4.28).88
88 All examples from this score are reproduced with permission from Barbara Harbach at Harbach Music Publishing. © 1996 Viviace Press. All Rights Reserved. International Copyright Secured.
145
Figure 4.28 Zaimont, Judith Lang. Jazz Waltz, mm. 8-15
The texture does change throughout the piece, sometimes involving both hands in a
string of triplets, as seen below (Fig. 4.29).
Figure 4.29 Zaimont, Judith Lang. Jazz Waltz, mm. 28-30
The ascending triplets up to chords seen in m. 30 is another recurring pattern used. This
example also shows the inclusion of accent marks, which are also featured throughout the piece
and add further rhythmic interest.
146
The range of this piece is large for the intermediate level, and the LH bass is usually in a
very low register. Zaimont does include frequent specific dynamic and tempo markings, which
should be closely observed for a successful performance. Jazz is a fantastic way to interest
students at the intermediate age who sometimes lose interest in the classical repertoire. This
piece is an excellent choice, because it is challenging to learn and play, but it’s improvisatory
feel is very easy and enjoyable to listen to.
Iman Habibi (b. 1985) Three Piano Preludes, No. 2 (2009)
4/4, Adagio, Late Intermediate, 2 pp., 2.5 min.
Can be found: imanhabibi.com
Iman Habibi was born in Iran in the middle of the Iran-Iraq war. Excluding the
nationalistic music used for political purposes, music (and the education thereof) was strongly
discouraged by the Islamic government. Consequently, Habibi had very little exposure to any
other styles of music as a young child. However, after spending an increasing amount of time at
the family’s prized 40-key Casio keyboard, Habibi’s parents ignored societal expectations and
found him a piano teacher when he was ten years old. One year later he was told by his
schoolteacher that he would be expelled from his school if he continued his piano lessons.
Though he signed the required contract indicating he would cease his piano lessons, Habibi
continued his musical education in secret.89
At seventeen years old his family emigrated to Canada and he openly continued his
musical studies. Habibi earned his Bachelor’s and Master's degree from the University of British
Columbia and his DMA from the University of Michigan. His numerous compositions have been
89 Habibi, Iman. “From Nomad to Cultural Ambassador.” Gabriela Lena Frank Creative Academy of Music,
GLFCAM, 2019. https://www.glfcam.com/blog/2018/5/29/from-nomad-to-cultural-ambassador.
147
performed and commissioned by several major orchestras and organizations, winning many
awards and prizes. His career as a pianist is also highly successful, both as a soloist and
together with his wife, Deborah Grimmett, in the duo Piano Pinnacle.
Habibi’s second prelude, in the set of three, is a very musically mature piece. It features
a recurring motif which is presented in the first measure and then extended in the subsequent
measures. The meandering quality of this motif creates a sense of uncertain wandering, but
also a depth of emotion suggesting feelings of grief or pain. This same intervallic figure appears
in both hands and on different pitches throughout the piece and creates a unifying element (Fig.
4.30).90
Figure 4.30 Habibi, Iman. Prelude No. 2, mm. 1-4
The most technically challenging passage in the piece emerges early on, with
passionate parallel intervals in triplets in the RH and large leaps in the LH until it joins the RH.
The rest of the piece is much more manageable and frequently presents only one voice in each
hand. The rhythmic figure of duplets and triplets played simultaneously is employed a few times,
requiring a firm sense of pulse.
After more artful development of the motif in the LH, both hands come together for an
exquisite pianissimo passage in offset rhythms (Fig. 4.31)
90 All examples from this score are reproduced with permission from Iman Habibi. © Habibi 2006. All Rights Reserved.
148
Figure 4.31 Habibi, Iman. Prelude No. 2, mm. 25-28
The haunting beauty of the opening motive is magnified and expanded as the piece
continues, and makes this prelude a truly captivating 21st century work. Young pianists rarely
play repertoire by living composers, and this piece would help highlight the importance of
present-day music making. It offers a wide dynamic range, various technical demands, and
requires an elevated level of artistry that would be a wonderful challenge for a serious late
intermediate/early advanced pianist.
149
CONCLUSION
There are so many composers whose stories have been left unheard and whose
compositions have been left unplayed. The reasons that the composers listed in this essay (and
many others) are not common household names have little to do with the quality of their work or
their innate ability as a musician, but have more to do with the social constructs of the time in
which they lived or still live. If we want to discard the exclusivity of the past and move forward to
a classical music culture that welcomes all genders, races, and nationalities, we need to
incorporate repertoire that represents all people into our teaching studios.
The supply of intermediate level piano repertoire is nearly inexhaustible, yet the majority
of young pianists play many of the same, well-known pieces by many of the same, well-known
composers. For piano teachers who want to diversify their teaching repertoire but are not sure
how or where to begin, it is my hope that this essay has provided you with tools to easily
incorporate a more diverse composer base into your studios. And for piano teachers who
previously had no interest in deviating from the standard repertoire, it is my hope that this essay
has illuminated the reasons why the inclusion of a broader composer demographic is
worthwhile, and why the quality of music will not suffer through this pursuit.
To further the promotion of underrepresented composers and their works, I hope to
eventually publish a score anthology that will provide teachers and students with easy access to
these works in one book, similar to other level-specific anthologies. I would also like to present
pieces of this material at conferences as well as in scholarly music journals. As I plan to
incorporate works by underrepresented composers in my performing, I also plan to create a
YouTube channel of performances of these pieces and others, so teachers and students will be
able to listen to these rarely played works.
150
APPENDIX: COPYRIGHT PERMISSIONS
Vivace Press
[External] HMP Copyright permissions for Billington and Campbell
Harbach, Barbara <[email protected]> Mon 2/14/2022 2:27 PM
To: Worsham, Heidi A <[email protected]>
Greetings, Heidi Worsham! Congratulations on your outstanding DMA essay! You are using two of my favorite composers,
Elizabeth Billington and Caroline Campbell, and you have permission to include brief score
examples from Elizabeth Billington's Sonata No. 3 in A Major, Op. 1, mm. 1-4, and mm. 27-32;
and Caroline Campbell's Sonata No. 1 in E-flat Major, mm. 1-9, and mm. 34-38.
Vivace Press no longer exists, it has morphed into HMP (Harbach Music Publishing) and HMP
carries the same compositions/editions as Vivace Press. Wishing you continued success, Barbara
Keep the Music Playing and let your Spirit Soar! Barbara Harbach, D.M.A.
Curators’ Distinguished Professor Emerita of Music
University of Missouri-St. Louis
cell: 314-960-4960
www.barbaraharbach.com
RE: HMP Copyright permissions for Billington, Campbell, Dussek; MH Park;
Savage; Hardin; Bigot
Harbach, Barbara <[email protected]> Tue 2/15/2022 9:56 AM
To: Worsham, Heidi A <[email protected]>
Hi Heidi! Yes, you have permission to use the following excerpts: Sophia Dussek, Sonata in A Major, II. Allegretto mm. 1-9, mm. 45-50
Maria Hester Park, Sonata in C Major, Op. IV, I. Allegro Spirito, mm. 1-3, 29-32 Jane Savage, Sonata in G Major, Op. 2 no. 3, II. Rondo, mm. 1-16, 25-32
Elizabeth Hardin, Six Lessons for Harpsichord or Piano, Lesson V, Allegro, mm. 1-8, 38-39, 42-
44 Marie Kiéné Bigot de Morogues, Suite d’études, no. 1 in C Minor, mm. 1-15, 23-32 My only request: please include HMP and Barbara Harbach in a footnote; and please send me a
copy when you finish the essay; and if you are so inclined, a small donation to a charity of your
choice.
151
My philosophy: the more we can bring these outstanding women composers to the forefront of
the canon, the more women composers we can recover from obscurity.
Wishing you continued success, Barbara Keep the Music Playing! Barbara Harbach, D.M.A.
Curators’ Distinguished Professor Emerita of Music
University of Missouri-St. Louis
cell: 314-960-4960
www.barbaraharbach.com
[External] RE: It's me again!
Harbach, Barbara <[email protected]> Tue 3/1/2022 12:34 PM
To: Worsham, Heidi A <[email protected]>
Hi Heidi! Great to hear from you!
Yes, you have permission to include mm. 8-15 and 28-30 of Judith Lang Zaimont’s “Jazz Waltz”
in your essay. Looking forward to reading it!! Barbara Keep the Music Playing! Barbara Harbach, D.M.A.
Curators’ Distinguished Professor Emerita of Music
University of Missouri-St. Louis
cell: 314-960-4960
www.barbaraharbach.com
152
Edition 49
[External] AW: Cecilia Barthélémon Permissions
Boris Bagger <[email protected]> Wed 2/16/2022 1:55 AM
To: Worsham, Heidi A <[email protected]>
Dear Heidi Worsham, you can use this, but please insert Copyright
with friendly permission of www.edition49.de
Best regards Prof. Boris Björn Bagger Albstr. 59, D-76275 Ettlingen Tel: +49 7243 332280, +49 171 6007100 e-mail mailto:[email protected] Homepage http://www.BorisBagger.de Videos in You Tube http://www.youtube.com/edition49 Spotify https://open.spotify.com/artist/7p2K7MlnXg0k9v9yxxuf06?si=UperQ3zbRBOQZxsyWYQBoA iTunes https://music.apple.com/de/artist/boris-bj%C3%B6rn-bagger/41983518 Von: Worsham, Heidi A Gesendet: Dienstag, 15. Februar 2022 02:58 An: [email protected] Betreff: Cecilia Barthélémon Permissions
Hello, My name is Heidi Worsham I am working on my Doctor of Musical Arts degree essay at the University of Iowa in the United States of America. I and am creating an annotated bibliography (with score examples, when possible) of intermediate level piano repertoire by underrepresented composers. I was wondering how I could get permission to include brief score examples from Cecilia Barthélémon's Sonata in G Major, Op. 3. The measures I would like to include are mm. 1-5 and mm. 183-198. Thank you so much, Heidi Worsham
153
Mel Bay Publications
Yes, we can give you permission to include those measures listed below from our book MB99159 Etudes
of Louise Farrenc in your DMA essay. Please also include “Used by permission of Mel Bay Publications,
Inc.” where applicable. Sincerely,
Julie M. Wakefield
Accounting Supervisor Mel Bay Publications, Inc.
1734 Gilsinn Lane, Fenton, MO 63026 800-8MELBAY ext. 11 FAX: 636-257-5062 [email protected] From: Heidi Worsham <[email protected]> Sent: Monday, February 14, 2022 10:08 PM To: Mel Bay Publications, Inc. <[email protected]> Subject: Louise Farrenc Permissions Hello, I am a doctoral candidate in Piano Pedagogy at the University of Iowa. For my DMA essay I am creating an annotated bibliography (with score examples, when available) of intermediate level piano works by underrepresented composers throughout all historical periods. I am seeking permission to include some brief score examples from Louise Farrenc's 25 Etudes Faciles, Op. 50, no. 2 in A minor. The measures I am hoping to include are mm. 1-4, 9-12, and 19-24. Could you let me know how I would go about this and if it's possible to include these? Thank you! Best, Heidi Worsham
Louise Farrenc Permissions
Julie Wakefield < [email protected] > Wed, Feb 16, 2022 at 4:34 PM To: Heidi Worsham <[email protected]>
154
8notes
Chiquinha Gonzaga Permissions
3 messages
Heidi Worsham <[email protected]> Mon, Mar 14, 2022 at 10:32 PM To: [email protected]
Hello,
My name is Heidi Worsham and I am a doctoral candidate in Piano Pedagogy at the University of Iowa. For my DMA essay I am creating an annotated bibliography (with score examples, when available) of intermediate level piano works by underrepresented composers throughout all historical periods. I would only like to include mm. 1-8 and mm. 25-28 of Chiquinha Gonzaga's "Gaucho" in my essay, and am seeking permission to do so. Could you let me know if that is possible? Thank you! Best, Heidi
David Bruce <[email protected]> Tue, Mar 15, 2022 at 1:11 PM To: Heidi Worsham <[email protected]>
Yes that's fine, thanks David
155
PianoLIT
Hi Heidi
Thanks for reaching out! You can absolutely reference our edition, I am thrilled to know Wiggins’
music is being included in your essay.
Please feel free to reach out if you need other scores by him or any other composer you came across
in your research. One of our main goal is indeed to promote music by underrepresented composers,
and I will be glad to help in anyway I can.
Best Elena from PianoLIT
> On Feb 14, 2022, at 11:02 PM, Heidi Worsham <[email protected]> wrote: > > > Hello, > > I am a doctoral candidate in Piano Pedagogy at the University of Iowa. For my DMA essay I am
creating an annotated bibliography (with score examples, when available) of intermediate level piano
works by underrepresented composers throughout all historical periods. I am seeking permission to
include some brief score examples from Thomas Wiggins' Sewing Song. The measures I would like
to include are mm. 5-10 and mm. 16-19. Could you let me know if that would be possible? Thank you! > > Best, > Heidi Worsham
Thomas Wiggins Permissions
PianoLIT < [email protected] > Wed, Feb 16, 2022 at 12:21 AM
To: Heidi Worsham <[email protected]>
156
Edition Kossack
Hello Heidi,
I am sorry. I oversaw your mail.
I give you the permission, but please mention Edition Kossack with the Website
www.editionkossack.de in your work.
Good luck
Wolfgang Kossack
Von: Heidi Worsham
Gesendet: Dienstag, 15. März 2022 04:05
Betreff: Mel Bonis Permissions
Hello,
My name is Heidi Worsham and I am a doctoral candidate in Piano Pedagogy at the University of
Iowa. For my DMA essay I am creating an annotated bibliography (with score examples, when
available) of intermediate level piano works by underrepresented composers throughout all historical
periods. I am seeking permission to include measures 1-6 and mm. 24-27 from Bonis' work, "Une
flute soupire" in my document. Can you let me know what I need to do to make that possible? I first
contacted Henry Lemoine (as the score lists Editions Henry Lemoine), he sent me to C.F. Peters, and
they sent me to you. I'd really appreciate any suggestions as to how to accomplish this!
Thank you for your help!
Heidi
Mel Bonis Permissions
Edition Kossack < [email protected] > Tue, Mar 15, 2022 at 10:35 AM
To: Heidi Worsham <[email protected]>
157
Edition KAWAI
[External] Re:Karen Tanaka: A Zoo in the Sky Permissions
木村一貴 <[email protected]> Tue 2/15/2022 11:02 PM
To: Worsham, Heidi A <[email protected]>
Cc: [email protected] <[email protected]>
Ms.Heidi Worsham
Hello
We will allow you to publish the score in the DMA essay that you contacted.
●Karen Tanaka
● "Swan" from [ The Zoo in the Sky ]
●Measures 1-9, 25-30
Please follow the conditions below to publish.
●Do not arrange
●Specify the following. The description position is arbitrary.
Karen Tanaka
"Swan" from [ The Zoo in the Sky ]
© 1996 by edition KAWAI. Assigned 2017 to Zen-On Music Co., Ltd.
If you have any questions, please feel free to contact us.
************************************************************* Kazutaka Kimura [email protected] edition KAWAI A division of Zen-On Music Co., Ltd. 2-13-3 Kamiochiai Shinjuku-ku Tokyo, Japan 161-0034 TEL. 81-03-3227-6285 Fax. 81-03-3227-6293
158
Jaygayle Music
[External] Re: Zenobia Powell Perry Permissions
jeannie pool <[email protected]> Wed 2/16/2022 8:21 PM
To: Worsham, Heidi A <[email protected]>
Of course you can use these music examples! Congratulations! Thanks for your
email! Jeannie Pool
Please excuse any typos....Sent from my iPhone
On Feb 15, 2022, at 7:09 PM, Worsham, Heidi A <[email protected]> wrote:
Hello Dr. Pool, I am a doctoral candidate in Piano Pedagogy at the University of Iowa, and I actually got in touch with you about a year ago regarding the score for Zenobia Powell Perry's piece, "Teeta" (which you so graciously sent me free of charge- thank you!). For my DMA essay I am creating an annotated bibliography (with score examples, when available) of intermediate level piano works by underrepresented composers throughout all historical periods. I would like to include mm. 1-6, 16-23, and 41-43 in my essay, and am writing to see what would be required to do that. Could you let me know if that would be a possibility? Thank you so much for your time! Heidi Worsham
159
Schott
Dear Ms. Worsham:
In accordance with your request of March 15, 2022, we hereby grant a non-exclusive license for
you to use the above mentioned excerpts in your doctoral dissertation, provided the conditions
listed below are satisfied:
1. Under each excerpt, the following copyright information must appear:
Takemitsu CLOUDS from Piano Pieces for Children
Copyright © 1979 Schott Music Co. Ltd., Tokyo
All Rights Reserved.
Used by permission of European American Music Distributors Company, sole
U.S. and Canadian agent for Schott Music Co. Ltd., Tokyo
2. Mention will be given us in the prefatory or appendix acknowledgements, if any.
3. This permission is valid providing your doctoral dissertation is completed within
one (1) year of the date of this letter.
4. This usage is restricted to your doctoral dissertation, which is not to be sold or
distributed in any manner whatsoever without the consent of the publisher and is
not to be reproduced except for the archives of University of Iowa and by
University Microfilms International/ProQuest.
Sincerely yours,
Caroline Kane
CAROLINE KANE | VP, Licensing and Administration She, Her, Hers [o] 212.461.6948
250 West 57th
St., 6th
Floor, New York, NY 10107 Nashville | Los Angeles | New York | London | Berlin | Miami
Takemitsu CLOUDS from Piano Pieces for Children, mm. 1-7 and mm. 16-23
Caroline Kane < [email protected] > Tue, Mar 15, 2022 at 11:21 AM
160
From: Schütz-Meisel, Dagmar <[email protected]>
Sent: Tuesday, March 15, 2022 3:31 AM
To: Yuko Shindo <[email protected]>
Cc: Caroline Kane <[email protected]>
Subject: WG: Toru Takemitsu Permissions
Von: Heidi Worsham <[email protected]> Gesendet: Dienstag, 15. März 2022 06:23
An: Schütz-Meisel, Dagmar <dagmar.schuetz-Meisel@schott-
music.com> Betreff: Toru Takemitsu Permissions
Hello,
My name is Heidi Worsham and I am a doctoral candidate in Piano Pedagogy at the University of Iowa. For my DMA essay I am creating an annotated bibliography (with score examples, when available) of intermediate level piano works by underrepresented composers throughout all historical periods. I would only like to include mm. 1-7 and mm. 16-23 of Toru Takemitsu's "Clouds" in my essay, and am seeking permission to do so. Could you let me know if that is possible? Thank you!
Best, Heidi
161
Oxford Publishing Limited (Music)
PARTIES:
1. Oxford Publishing Limited (Music) (Company number – 01748118) (Licensor); and 2.
Heidi Worsham (Licensee).
Thank you for your recent permission request. Some permission requests for use of
material published by the Licensor, such as this one, are now being facilitated by PLSclear. Set out in this license cover sheet (the License Cover Sheet) are the principal commercial terms under which Licensor has agreed to license certain Licensed Material (as defined below) to Licensee. The
terms in this License Cover Sheet are subject to the attached General Terms and Conditions, which
together with this License Cover Sheet constitute the license agreement (the License) between Licensor and Licensee as regards the Licensed Material. The terms set out in this License Cover Sheet
take precedence over any conflicting provision in the General Terms and Conditions.
License Terms License Date: 17/02/2022 PLSclear Ref No: 61605, 61604
The Licensor Company name: Oxford Publishing Limited (Music) Address: Music Rights Department
Great Clarendon Street
Oxford OX2 6DP GB
The Licensee Licensee Contact Name: Heidi Worsham
Licensed Material
Title: PENTA METRICS (MD) ISBN/ISSN: 9780193869318 Publisher: Oxford Publishing Limited (Music)
Title of musical work: Penta Metrics, No. 3 Composer's name: Libby Larsen
Bars, measures, lyrics or sections used: mm. 1-8
Title: PORTRAITS IN JAZZ BK + CD
ISBN/ISSN: 9780193385627
Publisher: Oxford Publishing Limited (Music) Title of musical work: Mr. Satchmo
Composer’s name: Valerie Capers Bars, measures, lyrics, or sections used: mm. 1-4, 23-25
162
For Use In Licensee's Publication(s) Usage type Book, Journal, Magazine or Academic Paper-Thesis / Dissertation Will your dissertation be placed in an online repository? No Author Heidi Worsham Estimated publication date: 5/2022 Language: English Information: My name is Heidi Worsham and I am a doctoral candidate in Piano Pedagogy at the
University of Iowa. For my DMA essay I am creating an annotated bibliography (with score examples, when available) of intermediate level piano works by underrepresented composers.
Title of dissertation/thesis: A Teacher’s Guide to Diverse Piano Repertoire: An Annotated Bibliography of
Intermediate Level Pieces by Underrepresented Minority Composers Through Each Historical Period University or Institution: University of Iowa
Unlimited Circulation? No.
Other relevant
Rights Granted Exclusivity: Non-Exclusive Format: Thesis/Dissertation Language: English Territory: USA Duration: Lifetime of Licensee's edition Maximum Circulation: Maximum print circulation: 1 copies
Additional Terms: If at some future date your thesis is published it will be necessary to re-clear this permission.
Please also note that if the material to be used is acknowledged to any other source, you will need to clear
permission with the rights holder and for any electronic
version the © line must appear on the same page as the OUP material and the OUP material should not be
included under a Creative Commons license, or any other
open-access license allowing onward reuse.
Payment Details Fee Payable: £0.00 [+ VAT if applicable] Payment Terms: Strictly 30 days from date of License
163
Habibi
To: Heidi Worsham <[email protected]>
Hi Heidi,
Including score sample are totally fine, and there is no need for you to ask for my permission
as to which parts you would like to include. I am attaching the score. If you have any questions
or if I can help in any way, please feel free to let me know, and I would be delighted if you
send me a final copy of your work.
Best Wishes,
Iman
Iman Habibi
Composer and Pianist
Doctor of Musical Arts, University of Michigan
(647) 657-8904
http://www.ImanHabi
bi.com/
Piano Preludes score
Iman Habibi < [email protected] > Thu, Jan 6, 2022 at 1:24 AM
http://www.PianoPinnacle.com /
[ Quoted text hidden ]
164
Sikorski / Boosey & Hawkes
Dear Heidi,
Please use the following copyright line:
© with kind permission of MUSIKVERLAG HANS SIKORSKI, Hamburg
And please send us a copy of your dissertation for our archive.
Best,
Sandra
My name is Heidi Worsham and I am a doctoral candidate in Piano Pedagogy at the University
of Iowa. For my DMA essay I am creating an annotated bibliography (with score examples,
when available) of intermediate level piano works by underrepresented composers throughout
all historical periods. I would only like to include mm. 1-5 and mm. 14-17 of Sofia Gubaidulina’s
Musical Toys, No. 2 “Magic Roundabout” in my essay, and am seeking permission to do so.
Could you let me know if that is possible? Thank you!
Best,
Heidi
Sofia Gubaidulina permissions
Sandra Bogdanovic < [email protected] > Thu, Mar 17, 2022 at 3:15 AM To: Heidi Worsham <[email protected]>
Sofia Gubaidulina permissions
Heidi Worsham < [email protected] > Tue, Mar 15, 2022 at 1:41 AM To: [email protected]
165
March 8, 2022
Heidi Worsham
2207 Cousteau Drive
West Lafayette, IN 47906
Re: Dissertation Permission
Dear Heidi:
Carl Fischer, LLC, on behalf of the Theodore Presser Company (the "Owner"), hereby grants to
you (the "Licensee") non-exclusive permission to include the copyrighted works listed in Schedule
A attached hereto (the "Musical Works") in your dissertation to The University of Iowa
("Dissertation"). The Dissertation is to be published on the following terms:
Term: Perpetuity
Media: Distribution through the University of Iowa and ProQuest Fee:
Thirty Dollars ($30.00)
The copyright notice, as it appears on the Musical Works, shall appear in any written materials
associated with the Dissertation.
Please sign and return one copy of this agreement.
Carl Fischer, LLC Heidi Worsham
o/b/o Theodore Press Company
166
48 Wall Street 28th floor, New York, NY 10005
P (212) 777-0900 F (212) 477-6996 www.carlfischer.com
1) Maria Teresa d'Agnesi Pinottini, Sonata in G, 1st mov. mm. 1-9 mm. 15-18
mm. 33-3
2) Marianne Martinez, Sonata da Cimbalo, 1st mov. mm. 1-3 and mm. 63-65.
3) Marianna d'Auenbrugg, Sonata per Il Clavicembalo o Forte Piano, I. Moderato mm. 1-8,
35-36, and 47-49
4) Anna Bon, Sonata No. 5 in B Minor, Ill. Allegro mm. 1-8, 13-20
5) Chen Yi, Two Chinese Bagatelles, mm. 1-3, 19-22
6) Le Chevalier de Saint-Georges, Adagio in F Minor, mm. 1-10, 51-55
167
Heidi WORSHAM [email protected]
Paris, Wednesday 16 March 2022
Dear Madam,
In order to help promote the work “Tres Nocturnos” by Ricardo Castillo we are pleased to
confirm herewith our approval for the print license of mm. 1-8 and mm. 29-37 in the annotated
bibliography of your DMA essay.
The copyright credits are as follows:
TRES NOCTURNOS
Lyrics and Music: Rodrigo ASTURIAS, Ricardo CASTILLO
© Société Max Eschig / Éditions Durand
Our authorization is granted on the following conditions:
1. Authorization for graphic reproduction given exceptionally free of charge.
2. You will make a commitment to reproduce the copyright credits as indicated above,
followed by the mention «With the kind authorization of Max Eschig Publishing and Durand
Publishing".
3. This authorization is non-exclusive.
4. This authorization is granted to you for the U.S.A.
5. This authorization is granted to you for a period of 3 years, renewable by tacit consent,
unless one of the parties pulls out 3 months before deadline and becomes effective from
the signature of this contract.
6. The abovementioned conditions will be valid until 15 March 2023.
7. As a general rule, any other arrangement or application of the abovementioned
musical work not provided herein are expressly excluded from this agreement, and will
have, as appropriate, to be subject of a new request. In addition, any new printout will also
have to be subject of a new request.
8. We warrant that we have full authority to grant you the rights referred to herein.
9. This agreement may be terminated in advance in the event of non-performance by either
party of any of its obligations. This termination will take place automatically 10 (ten) days
after formal notice to fulfil the said obligation, sent by registered mail with
acknowledgement of receipt and remaining without effect.
10. For the establishment and application of this agreement, the parties acknowledge that they
are governed by French law. In the event of disputes and/or difficulties arising from the
interpretation and/or execution of the present agreement, the parties, in the absence of an
amicable agreement, assign jurisdiction to the competent courts of PARIS.
168
The authorization which is the subject of this document will take effect on receipt by us of your
agreement to the above conditions. Please return the duplicate copy of this letter to us with your
signature.
UNIVERSAL MUSIC PUBLISHING
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PAR ACTIONS SIMPLIFIEE AU CAPITAL DE 3 000 000 € 582 019 279 RCS PARIS - SIRET
582 019 279 00071 - TVA INTRA. FR37582019279
169
March 15, 2022
Heidi Worsham
2207 Cousteau Drive
West Lafayette, IN 47906
RE: SEE SCHEDULE A
Dear Heidi:
This letter is to confirm our agreement for the nonexclusive right to reprint measures from the
compositions referenced in the attached ‘Schedule A’ for inclusion in your thesis/dissertation,
subject to the following conditions:
1. The following copyright credits are to appear on each copy made: SEE SCHEDULE A
2. Copies are for your personal use only in connection with your thesis/dissertation, and may
not be sold or further duplicated without our written consent. This in no way is meant to
prevent your depositing three copies in an interlibrary system, such as the microfilm
collection of the university you attend, or with University Microfilms, Inc. or ProQuest.
3. Permission is granted to University Microfilms, Inc. or ProQuest to make single copies of
your thesis/dissertation, upon demand.
4. [THIS SECTION INTENTIONALLY REMOVED. FEE HAS BEEN WAIVED.]
5. If your thesis/dissertation is accepted for commercial publication, further written
permission must be sought.
Should the above correctly reflect our understanding, please sign and return a copy of this letter
to us for countersignature. One fully executed copy of the letter will be returned for your file.
170
Best regards, G.
Schirmer, Inc.
Lic #14998
SCHEDULE A
STACCATO BEANS (from EIGHT MEMORIES IN WATERCOLOR)
By Tan Dun
Copyright © 1996 by G. Schirmer, Inc.
International Copyright Secured. All Rights Reserved.
Used by permission.
• Mm. 1-8, 13-16
RUN! RUN!
By Octavio Pinto
Copyright © 1932 (Renewed) by G. Schirmer, Inc.
International Copyright Secured. All Rights Reserved.
Used by permission.
• Mm. 1-10, 36-41
SONATINA VENEZOLANA
By Juan Bautista Plaza
Copyright © 1947 (Renewed) by G. Schirmer, Inc.
International Copyright Secured. All Rights Reserved.
Used by permission.
• Mm. 1-5, 53-58
Lic #14998
171
BIBLIOGRAPHY
Scores:
Agay, Denes. Classics to Moderns in the Intermediate Grades. New York: Consolidated Music Publishers, 1962. Print.
Agnesi, Maria Teresa, edited by Barbara Harbach. Two Pieces for Solo Piano or Harpsichord. Pullman, WA: Vivace Press, 1996. Print.
Agnesi, Maria Teresa. Sonata per il Clavicembalo. David Silva Monje, 2008. Web. Accessed September 23, 2021. Petrucci Music Library, International Music Score Library Project.
Aguirre, Julian. Aires Nacionales Argentinos, Op.17. Buenos Aires: G. Ricordi & C., 1930. Web. Accessed October 1, 2021. Petrucci Music Library, International Music Score Library Project.
Aguirre, Julian. Gato. Buenos Aires: Ricordi Americana, 1955. Web. Accessed October 28 2021. Petrucci Music Library, International Music Score Library Project.
Backer-Grøndahl, Agathe. 10 Fantasistykker, Op.39. Kristiania: Brødrene Hals, 1896. Web. Accessed February 28, 2022. Petrucci Music Library, International Music Score Library Project.
Backer-Grøndahl, Agathe. 6 Fantasistykker, Op.66. Kristiania (Oslo): Brødrene Hals, 1905. Web. Accessed 6 November 2021. Petrucci Music Library, International Music Score Library Project.
Backer-Grøndahl, Agathe. Three Piano Pieces, Op. 15. Copenhagen: Wilhelm Hansen, 1882. Web. Accessed 6 November 2021. Petrucci Music Library, International Music Score Library Project.
Baker, David. Five Short Pieces: Solo Piano. 1970. Saint Louis, Missouri: MMB Music, Inc, 1989. Print.
Bankole, Ayo. Nigerian Suite: For Pianoforte. London: Chappell & Co, 1961. Musical score.
Barthélemon, Cecilia Maria, edited by Fine Zimmermann. Sonata III E-Dur fur Cembalo. Koln: P.J. Tonger Musikverlag, 2000. Print.
Bauer, Marion. 4 Piano Pieces, Op. 21. New York: Cos Cob Press, Inc., 1930. Web. Accessed 6 November 2021. Petrucci Music Library, International Music Score Library Project.
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