One Handed: A Guide to Piano Music for One Hand (Music Reference Collection)

ONE HANDED

Recent Titles in the Music Reference Collection Form and Analysis Theory: A Bibliography James E. Perone, compiler Sacred Latin Texts and English Translations for the Choral Conductor and Church Musician William Bausano, compiler A Bibliographic Guide to Jazz Poetry Sascha Feinstein Library Resources for Singers, Coaches, and Accompanists: An Annotated Bibliography Ruthann Boles McTyre A Bibliographical Guide to Spanish Music for the Violin and Viola, 1900-1997 Laura Klugherz Anton Rubinstein: An Annotated Catalog of Piano Works and Biography Larry Sitsky An Index to African-American Spirituals for the Solo Voice Kathleen A. Abromeit, compiler Sinatra: An Annotated Bibliography, 1939-1998 Leonard Mustazza Opera Singers in Recital, Concert, and Feature Film Sharon G. Almquist, compiler Appraisals of Original Wind Music: A Survey and Guide David Lindsey Clark Popular Singers of the Twentieth Century: A Bibliography of Biographical Materials Robert H. Cowden The Printed Elvis: The Complete Guide to Books about the King Steven Opdyke

ONE HANDED A Guide to Piano Music for One Hand OS Compiled and Annotated by

Donald L. Patterson

Music Reference Collection, Number 80

GREENWOOD PRESS Westport, Connecticut • London

Library of Congress Cataloging-in-Publication Data Patterson, Donald L. One handed : a guide to piano music for one hand / compiled and annotated by Donald L. Patterson. p. cm.—(Music reference collection, ISSN 0736-7740 ; no. 80) "Selected discography": p. Includes bibliographical references (p. ) and index. ISBN 0-313-31179-X (alk. paper) 1. Piano music (1 hand)—Bibliography. I. Title. II. Series. ML128.P3P38 1999 016.7862—dc21 99-36260 British Library Cataloguing in Publication Data is available. Copyright © 1999 by Donald L. Patterson All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 99-36260 ISBN: 0-313-31179-X ISSN: 0736-7740 First published in 1999 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America

@r The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2

This book is lovingly dedicated to my wife, Janet.

This page intentionally left blank

Contents Preface

ix

Acknowledgments

xi

Guide to Annotations and Abbreviations

xv

Introduction

3

1. Original Works for the Right Hand Alone

15

2.

Original Works for the Left Hand Alone

51

3.

Music Arranged or Transcribed for One Hand Alone

179

4.

Concerted Works for One Hand Piano and Orchestra Piano and Other Instruments Including Voice Anthologies - Three Hand, Five Hand, Seven Hand Composer Ensemble Music — Three Hands, Five Hands

211 223 231 233

5.

Repertoire Anthologies for One Hand Pedagogical Anthologies for One Hand

259 267

6.

Selected Discography

283

Bibliography

301

Index

309

This page intentionally left blank

Preface I started looking for piano music for the right hand alone because of an injury to my left shoulder. I searched through my personal (rather substantial) library of piano music and found a few pieces. I also have access to a reference and music collection at the university where I teach piano. There I found a few more pieces; citations for others; and citations for works which turned out to be, contrary to the listing and title, not for one hand alone. It wasn't long before my search for right handed piano music was expanded to include music which I could also teach and it no longer mattered if it were for the right or left hand. I sensed that there must be more one-handed music than what had immediately turned up. The search was fun and it became, if not an addiction, an intense pursuit. This volume is the result of my research conducted over the last seven years. This work is a reference tool comprised of six main sections. First is an Introduction with my story, an overview of piano music composed for one hand, a few points on the difficulties and challenges of performing one-handed music, and some ideas for creating arrangements of standard literature for the onehanded pianist. Following the Introduction are four longer chapters. Each is an individual catalogue: one of original works for the right hand alone, followed by one of original works for the left hand alone, then music arranged or transcribed for one hand alone, and finally, concerted works for one hand in concert with other pianists, instruments, or voice. In each entry in these chapters I give an overview of the individual composition,, its quality, its difficulty, its particular appeal, and its uses. I have tried to provide the composer's full name, dates, and nationality. Unfortunately, this was not possible for all the composers. Some composers are obscured by national origin, the passing of time, or simply because they were never well known enough to appear in histories, lists, or biographical reference sources. Also, there is often little composer information available for composers of "pedagogy" pieces. Many of these works are available only in manuscript and, if published, enjoyed a single printing. Even determined contacts with publishers netted only occasional biographical information.

X

Preface

Not counting each individual movement of the larger works or many of the short folksong arrangements, this guide references over 2,100 works for one hand. Of this total at least 252 are for the right hand alone. There are also 36 concertos for one or three hands and orchestra, 14 pieces for one hand and one other instrument, 10 songs for one hand and woman's voice, 16 chamber works for several instruments and piano, 168 ensembles for three hands that would make good student works, 100 ensembles for three hands that could be effective concert pieces, 3 five-handed ensembles, and even one ensemble for seven hands. Additionally one chapter is a simple listing of the contents of 36 anthologies devoted to one-handed piano music. One-third of these anthologies contains concert music and the rest are designed for teaching purposes. Where appropriate, the titles of the individual compositions are followed by reference numbers to other chapters in the book. A selected discography of commercially produced phonodiscs, compact discs, and cassettes whether or not currently available is the last large chapter. Each entry in this discography includes names of performers, date of issue, and recording company. Reference numbers are given for the literature on the recordings that is found in the other chapters. The end matter contains a bibliography of 76 writings, books, articles, and theses about the literature annotated in this book, and finally an index concludes the volume.

Acknowledgments The research involved in compiling this reference work proved to be much more complicated and laborious than I had at first thought it would be. Many of the included works are only available in manuscript, published by small companies, or just plain out of print. It would not have been possible to see these works without the help of the following people and organizations. Some answered my queries about one specific piece of music, others aided in finding dates and publication information, many provided scores and biographical information, and still others helped with the mechanics of interlibrary loan and on-line searching. Library, Foundation, and Personal Assistance: Kathleen Henning and Mary Finseth, Interlibrary Loan Department and Daniel Norstedt, Reference Department of the University of Wisconsin-Eau Claire. Music Collection Staff of the Library of Congress, Washington, DC. Mr. Charles Eubank, Acting Division Chief and staff of the Music Division of the Library for the Performing Arts, Performing Arts Research Center, New York Public Library. Roni Armstrong, Sounding Board, the magazine of Sound Sense: The National Community Music Association of the National Music and Disability Information Service, United Kingdom. The American Music Center, 30 West 26th Street, 10th floor, New York, NY 10010. M. Pierre Chiasson and M. Sam King, Centre de Musique Canadienne, 416 rue McGill, Montreal (Quebec) H2Y 2GI.

Xll

Acknowledgments

Richard Griscom, Director Dwight Anderson Music Library, Mark Dickson, Circulation Supervisor, and Mrs. Stephens, Administrative Supervisor, University of Louisville, Louisville, Kentucky. Karen D. Drickamer, Assistant Professor of Library Affairs, Curator of Manuscripts and Assistant University Archivist, Morris Library, Southern Illinois University, Carbondale, Illinois. Heidi Owen, Sibley Music Library Interlibrary Loan, Eastman School of Music, University of Rochester, Rochester, New York. Photoduplication Office, Cleveland Public Library. Cleveland, Ohio. Sheryl Kieselhorst, Mukwonago, WI. Music minor. University of WisconsinEau Claire alumna. Charles King, Director, Music Library, Arizona State University. Susan Reiss, Music Library and Suzanne T. Jones, Music Office, Bennington College, Bennington, Vermont. Suzanne Suttner, Svensk Musik, the Swedish Music Information Center, Stockholm, Sweden. Mr. Paul von Wichert, Music Advisor, The Eckhardt-Grammate Foundation, 54 Harrow Street, Winnipeg, Manitoba R3M 2Y7 Brooks Whitmore, Doctoral piano student, University of Texas-Austin. Dr. Florian Ruker, Institute of Applied Microbiology, University of Agriculture, Nussdorfer Lande 11, A-1190, Vienna, Austria. Anne Tracy, Chris Miko, Bowling Green State University, Bowling Green, Ohio. Composers: Marshall Bialosky, Sanjo Music Co., Palos Verdes Peninsula, California 90274. Gian Paolo Chiti, Deputy Director Conservatorio di Santa Cecilia, Rome, Italy. Curtis Curtis-Smith, The University of Michigan. Tina Davidson, Philadelphia, Pennsylvania. Imelda Delgado, Corpus Christi, Texas.

Acknowledgments

Xlll

Kay Gardner, Stonington, Maine. Peter Golub, Pacific Palisades, California. Christine Graham (for Louis Calabro), South Burlington, Vermont. Betty and Sydney Hodkinson, Eastman School of Music. Elizabeth Lauer, Wilton, Connecticut. David Litpak, Eastman School of Music. Timothy Meier, Bethel Pennsylvania. Kathryn Mishell, Austin, Texas. Alison Nowak, New York, New York. L. Augustus Nowak, Lexington, Massachusetts. John Railton, Greenaway Lodge, Ashburton, Devon, United Kingdom. Allen Shawn, Bennington College, Bennington, Vermont. Raoul Sosa, Montreal, Quebec, Canada. Sotireos Vlahopoulos, Naples, Florida. Rebecca Wilkinson, Eau Claire, Wisconsin. Publishers: Mrs. Martha K. Cox, Permissions/Archives: Theodore Presser Co. David Engle, Editor. The Willis Music Co. Doreen Marshall, Publications Department, The Boston Music Co. Katie Argyle, Allans Music, Melbourne, Victoria, Australia. American Composers Alliance, 170 W. 74th Street, New York, New York. Mary Kay Moeller, Schmitt Music Center, Eau Claire, Wisconsin. Hank O'Neal, Chiaroscuro: Fine Jazz Recordings. New York, New York. Selma Epstein, Chromattica USA, Dickeyville, Maryland. Mr. Wayne Rapier, Boston Records Classical Corp., Duxbury, Massachusetts. Confidant and Special Aide: Janet Patterson

Additional Help: In addition to the specific help given by the above mentioned people and libraries, scores were graciously loaned through Interlibrary Loan Services from the following libraries: Arizona State University, Ball State University, Boston Conservatory of Music, Boston University, Carnegie Library of Pittsburgh, Carnegie Mellon University, Chicago Public Library, Cleveland Institute of

xiv

Acknowledgments

Music, Cleveland Public Library, College of St. Catherine, Columbus State College, Columbus Metropolitan Library, Denver Public Library, Eastman School of Music, Florida State University, Free Library of Philadelphia, Grand Valley State University, Haverford College, Illinois State University, Indiana University, Kansas State University, Kent State University, Mills College, Milwaukee Public Library, Minneapolis Public Library, Mississippi State University, Northern Kentucky University, Northwestern University, Oberlin College, Oster Nationalbibliothek, Vienna, Austria, Richmond Public Library, Saint Joseph's College, San Jose State University, Smith College, Southern Baptist Theological Seminary, Southern Illinois at Carbondale, State University - Potsdam, Swarthmore College, Texas Christian University, Texas Womans University, Toledo-Lucas County Public Library, University of Alabama at Birmingham, University of Arizona, University of Arkansas, University of California at Berkeley, University of California at Los Angeles, University of California at Santa Barbara, University of Cincinnati, University of Colorado at Boulder, University of Denver, University of Georgia, University of Illinois at Champaign-Urbana., University of Kansas, University of Kentucky, University of Maryland, University of Michigan, University of Minnesota, University of New Mexico, University of North Carolina, University of Northern Colorado, University of Pittsburgh, University of Tennessee, University of Texas at Austin, University of Washington, University of Wisconsin-Madison, University of Wisconsin-Milwaukee, University of Wisconsin-Superior, Vanderbilt University, Washington University, Wayne State University, Wisconsin Conservatory, Wheaton College.

Guide to Annotations and Abbreviations The works included in this annotated bibliographical catalogue are placed in chapters by type of composition as shown in the Table of Contents. Each chapter lists the works by corresponding cataloguing letter and number. These letters and numbers then are used as references throughout the book.

A

= Anthologies containing music for one hand.

B

= References to the Bibliography chapter.

C

= Concertos for right or left hand alone.

CE = Ensemble pieces, piano duet, piano trio, etc. CH = Concerted works for voice or other instruments and piano one hand. D =

Recordings.

HOF = References to pages in the Hofmeister catalogues: Handout der Musikalischen Literatur oder Verzeichniss der im deutschen Reiche und in den angrenzenden Landern erschienen musikalien auch musikalischen Schriften, Abbildungen und plastischen Darstellungen mit Anzeige der Verleger und Preise. Covering the literature from 1828 to 1903. [B28andB71]

Guide

XVI

INS = A number of works were listed in various source catalogues, but were not obtainable by this author. Because the music has not been reviewed and assessed, the information garnered was insufficient for detailed annotation. L = Solo works for left hand alone. LA = Solo works arranged or transcribed for left hand alone. p = Any work or anthology conceived for pedagogical purposes. R = Solo works for right hand alone. Asterisks (*) before entries indicate that the work has been edited/fmgered or composed for either hand alone. The LOCATION of works that are not personally owned by the author is placed in parentheses at the end of the citations, e.g. (University of Wisconsin-Madison). Three of these locations were sources for many entries and have been abbreviated as listed below: LOC = Library of Congress: Music Collection. NYPL = The Library of Performing Arts at Lincoln Center of the New York Public Library. AMC = American Music Center, 30 West 26th Street, 10th floor, New York,N.Y. 10010.

ONE HANDED

This page intentionally left blank

Introduction MYSTORY: On December 12, 1991,1 slipped and fell on the ice in a parking lot in Eau Claire, Wisconsin, where I am a professor of piano at the University of Wisconsin-Eau Claire. It had been a severe winter even for Wisconsin. Not only had we been having our usual bitter cold and inches and inches of snow, but we were now experiencing rain and freezing cycles which put a slippery glaze over everything. When my feet went out from under me, I landed rigidly on my left side with my left arm extended over my head. The full force of the fall was broken by my left shoulder joint. I still remember blanching and almost passing out when the orthopedic surgeon, Dr. Leland Mayer, showed me the xrays the following Monday. The jagged bones stared at me from the x-ray screen. It was much worse than I had ever expected. The damage was substantial. That week I underwent reconstructive surgery. Pins and screws were inserted to hold the shoulder in place with the hope that the ball of the joint would not collapse. I began recuperative therapy the day after surgery. I hoped I would be able to use my shoulder in a normal fashion and play the piano again. The surgery and the therapy, however, were not completely successful. At first it appeared that the shoulder would live, but with each check-up, it became apparent that complete arm motion would not return and Dr. Mayer told me that when the cartilage wore away, I would need a shoulder replacement. This is not a good option for a pianist. A shoulder replacement would almost certainly reduce the mobility of the arm joint. And now with each passing year my shoulder has continued to deteriorate and I am left with the prospect of being a onearmed pianist. During the months immediately following the accident, I began to explore the piano literature for one hand. Off of the top of my head I knew of a few one-handed pieces in my file cabinets. I read through these works, all for the left hand alone, and tried to adapt them for right handed pianism. I prepared a couple little concert pieces, Prelude-Etude by Arthur Foote and two longer

4

One Handed

studies by Hermann Berens, for a small public performance which took place a few weeks after my surgery. My left arm was still in its protective supporting sling as I played. This was fine, but I needed more music and wanted to exhaust all the possibilities. If being a one-handed pianist was my fate, I knew I could not perform and study just a few pieces for the remainder of my career. It is an extremely discouraging and frustrating situation to find oneself limited to playing with one hand, so being able to find as much literature as possible became very important to me. There is a tremendous psychological stress when you realize the tenuousness of your physical condition and your professional life. Just the act of searching for literature was therapeutic, giving a purpose to my being and renewing my enthusiasm. I have always taken an intense interest in piano literature of all kinds and had amassed a substantial library of solo and ensemble music. But in my own files, I had only a few single sheets and the Raymond Lewenthal anthology, Piano Music for One Hand: A Collection of Studies, Exercises and Pieces. As I started to order music, I found, to my surprise, not many works were readily available. At that time no reference book was published which dealt exclusively with one-handed repertoire nor did the standard piano literature guides offer many citations. I searched through periodicals and found just a few articles scattered over a number of years. These furnished some skeletal lists. So now the hunt was on so to speak. I started looking through master's theses and doctoral dissertations. These works, included in my Bibliography chapter, provide much information of an historical and practical nature, but the details for the most part were sketchy and imprecise and as I was later to discover, there are errors in nearly all of these published lists. Next came my searching on FIRSTSEARCH, WORLDCAT, OCLC, and the on-line library catalogues of various universities and public libraries throughout the nation and world. I searched for one, three, five, and sevenhanded music. I used the keywords of piano and one hand, right hand, left hand, main gauche, main droit, linke hand, rechte hand, mano sinistra, mano destra, mano izquierda, mano derecho, lev roko, and desno roko. All of this netted me a large pile of titles and composers but no actual music. Sorting through the available lists, I came upon many citations with "left hand" in the title or that appear to be for the left hand alone, but instead only emphasized the left hand and were not written exclusively for it. I began to feel driven to compile a list myself that included as much accurate data as possible and to locate and survey as many works as I could. But the sticking point came in viewing much of this literature. Many of the composers who have written to satisfy the needs of the one-handed pianist are not well known. Others have written only a work or two and sometimes these works were only available in manuscript or, if printed, enjoyed only one printing. Pedagogical literature written for students with one hand has often gone out of print because of a lack of a sales market and because of the constant change in pedagogical literature trends and styles.

Introduction

5

But, as a Hindu Proverb states: "The patient does not recover health by hearing the medicine described." I knew I could not play the music without seeing it. I knew that I needed to touch it and experience it, not just have a title and composer listing. I purchased as much as I could. I also requested what I could through the Interlibrary Loan service at the university where I teach. The participating libraries provide a wonderful service. When I think of the many libraries which so kindly sent scores for me to look at, I am truly grateful. These scores I carefully reviewed and annotated. However, due to the rare nature of some of these works and due to the Interlibrary Loan policies of some institutions, there were still many scores that I couldn't get. So what was I to do for the scores that could not be acquired in this fashion? I applied for a Summer Research Grant from the University of Wisconsin-Eau Claire. This grant helped fund travel to the east coast where I visited the music collections of the Music Division of the Library of Congress, the Free Library of Philadelphia, and the Performing Arts Library of the New York Public Library, as well as some smaller collections along the way where only one score was housed. I was making progress in filling in the holes on my list, but I still had dozens of scores I had not seen. I then wrote dozens of letters to individual composers, performers, spouses, record companies, foundations, artist representatives, and publishers. Most responded graciously and generously. Some sent scores and recordings, some provided biographic and bibliographic information, and some gave me tips to find additional works as well. With each answer to my queries I got a bit closer to sorting through the errors on the published lists and to completing my own personal catalogue of works. I became ever so indebted for the replies to my requests. I also inquired on the Internet through various music and piano discussion groups. Most of the answers were a re-hash of the information about a few really famous works that I already knew. But one e-mail reply was an exception and that came from Dr. Florian Rtiker, a professor from Vienna, Austria. He was kind enough to go the Viennese publisher, Ludwig Doblinger, and obtain some scores for me that are only in the archives of that publishing house. Even as I complete this manuscript, I have not seen all of the music for the titles that I have included. I am still searching and writing letters with the hope that I will find other pieces and be able to enlarge and improve the present work in the future. But I hope this volume will give the pianist, student, or professional a resource for finding music that has been written for the one-handed performer. "INS" (Insufficient) marks pieces in the book which could not be adequately annotated. If the reader owns any of the works listed as "INS", I would greatly appreciate seeing them. In this book I have included annotated lists of solo literature for right and left hand alone, teaching pieces for either hand, concerted literature (concertos, chamber music, vocal accompaniments, and duets, trios, quartets, etc.)

6

One Handed

for the one-handed pianist, as well as lists of anthologies, arrangements, recordings, and bibliographic resources. I have tried to verify the accuracy of all entries to make sure that no music was listed that really is for two hands. I have estimated the difficulty of each work surveyed and provided as much information as I thought appropriate to aid in selection of repertoire for teaching or performing. Fortunately for me, at the moment I am still a two-handed pianist. My shoulder is not healthy though. It aches. It is clumsy and tires very quickly. I cannot program some of the big concert works that I would have in the past. But now in my filing cabinet, I have many more one-handed pieces to choose from than I did on December 12, 1991.

"For all this his anger is not turned away, but his hand is stretched out still. " Ecclesiastes V:25.

WHY PIANO MUSIC FOR ONE HAND? For two centuries, composers have been writing one-handed works. As I sorted through the literature I was acquiring, I began to realize that there are many reasons for studying music for one hand besides my present situation. Some composers have had a didactic purpose. Pianists have always tried to make each hand and each finger independent even though the two sides of the body are not naturally alike and the fingers are not equally strong. They have tried to increase dexterity and control of both hands. It is common for teachers to assign "hands alone" practice to students and to use it to secure technical skill in difficult passages. This helps the pianist ensure s/he has the necessary muscular coordination in each hand and also encourages the pianist to listen carefully to what each hand is doing, thereby guaranteeing that the composer's intentions are being accurately observed. It is also a natural outgrowth of this type of practice to compose exercises and literature that would try to strengthen the left hand or right hand and be musically satisfying at the same time. Many composers wrote or arranged works for one hand as a result of injuries they had sustained or because a close friend or relative had been injured. There are several sponsoring societies such as the Music Therapy Society in Australia and the National Music and Disability Information Service of the United Kingdom, which have commissioned and promoted works for the physically challenged. The challenges of creating a piece for the one-handed are substantial. Not only must a composer write a musically satisfying work, but s/he must write one that sounds as if two hands are playing instead of one. Some one-handed pieces were written just as a test of ingenuity for the composer and just because pianists can play with only one hand. Performers often have a good deal of showmanship in them. They love to take chances and

Introduction

7

explore repertoire that makes a grand effect and excites the audience. The audience, in turn, can truly appreciate the display of skill and musicianship required by the performance of a one-handed work. There is the immediate empathy for the "victim" pianist and an inordinate interest in the playing and physical spectacle. And of course, with the audience watching a pianist using only one arm, there can be a little bit of the circus act involved as well. The emphasis and goal of some of these works was solely bravura display and so because of this, the intrinsic musical quality is not always of the highest caliber. In all, I have been able to document over 1800 pieces for one hand alone with 35 being concerted works for orchestra and piano one hand or three hands. There is also a small amount of chamber music written for voice and one hand or a solo instrument and one hand. A limited quantity of ensemble music was also composed for 3 hands, 5 hands, and even one piece for 7 hands. With all this variety, it is unfortunate that all of the attention has gone to just a few masterpieces. Much of the music for one hand is original - written specifically for the solo hand. However, there are also a number of transcriptions and arrangements from the standard piano repertoire that were made possible by a few mechanical adjustments to the original. At times the arranger would have to leave out some notes or dictate that the pianist roll or arpeggiate a chord rather than play it as written. While at other times, an adjusted fingering was all that was necessary. Studying these arrangements and analyzing the techniques involved in creating them should inspire ideas for producing more repertoire for one hand or developing arrangements for our students. Many teaching pieces could easily be created from the standard method books and accompanying literature and new larger scale works could come from many traditional solos. There has been a slight resurgence in writing one-handed music in the latter part of this twentieth century. A group of composers in the Netherlands have written a number of works for the pianist, Cor de Groot who has recorded under the name of Guy Sherwood. And American pianists Leon Fleisher, Gary Graffman, and Lionel Nowak have inspired many major solo pieces and concertos. Several publishing houses have issued teaching volumes for the onehanded student and the National Federation of Music Clubs has included the category "One Hand Piano Music" in its yearly Junior Festival Auditions. PERFORMING ONE-HANDED MUSIC: In studying and reviewing this literature, I came to realize, first hand, many of the difficulties confronted by a one-handed performer: A. Positioning at the piano. The pianist is required to sit more to one side or the other of the keyboard than when playing two-handed music. Since the playing arm must travel constantly from side to side, the keys that were once

8

One Handed

directly and comfortably in front of that arm or shoulder become awkward because of the reaches and body shifts. The pianist must plan ahead and perhaps will even have to slide from side to side on the bench some. The left-handed performer must sit more to the right of the keyboard to allow more keys to be within easy reach of the that hand. The right hand can be left in the lap or used as a support for the body when placed on the edge of the piano especially when playing in the upper registers. Naturally the opposite positioning is indispensable for the right-handed pianist. In speaking about left-handed positioning, Sandra Wing-Yee Lau states: Because of the changes in the nature of hand distribution and use of the instrument, the physical balance of the pianist's body and hand needs to be modified. This balance that operates almost subconsciously in normal circumstances has to be adjusted consciously because its immediate physical base is no longer the tripod (i.e., right hand/arm, left hand/arm, and torso). In order to prevent any further injury, the more precarious stability between torso and the one hand must be considered when addressing any musical passage. The torso, for instance, needs to be much closer and more responsive to the activity in the left hand and arm. The left hand is now entirely responsible for projecting sound into the hall and would rely on the weight of the arm, powered by the torso, to do so. Instead of acting as a fulcrum between two active hands and stabilizing the body primarily from side to side movement, the torso now serves as a weighted support of the left arm so that the elbow feels as though it is an outgrowth of the torso itself. The pianist's entire body needs to be behind the hand, supporting it, with every note struck in order to avoid straining. ([B39] - p. 3) Paul Wittgenstein suggests in his Schule fiir die linke Hand that for playing with the left arm: "The student should sit in the center of the piano with the little finger on'Middle C . The arm should be parallel to the keyboard. He should sit slightly off center which will be more to the treble part of the piano." B. Physical balance. Another aspect of the positioning problem is physical balance. It is surprisingly easy to get off balance when using only one hand. Some pianists use the inactive arm to balance themselves especially when reaching to the extremities of the keyboard, but this is not always possible if you no longer have the inactive arm. It is not easy to maintain balance on a swiveling piano stool, artist's bench, or small chair. A wide seat or large bench is the safest and most logical to use. Placing one's feet in a triangular shape with the buttocks helps when the pedal is not being employed. A footstool or foot support is recommended for use by the very young to help them feel planted and comfortable as they play.

Introduction

9

C. Damper Pedal. The damper pedal is critical to sustain harmonies and provide a feeling of legato and continuity when none really exists. When two hands are playing, it is not as necessary to employ this pedal because the fingers may depress the keys and hold down the harmonies. But with only one hand involved, and this hand frequently jumping all over the keyboard, it can no longer hold the keys down and provide a sustained sound. There is no other hand to use as cover-up or camouflage. So the damper pedal must be used more frequently. It is the damper pedal that makes left hand or right hand solo playing possible to a great extent. If the physical capabilities are present, the damper pedal needs to be used right from the beginning of study. Young children may need to stand to be able to use the pedal and of course, this could cause some problems as well. D. Fingering. Normally there are prescribed formulas for fingering piano music, but these must be altered frequently when using only one hand. These new fingerings may appear unconventional, unorthodox, and even bizarre, but they are necessary in order to achieve the correct sound and balance in one-handed music. At times fingers will repeat where they might have changed before. They will slide from one key to the next or be used several times in a row on several different keys. The hand might be called on to cross awkwardly under or pass over fingers that in normal fingering patterns would not be allowed. No two fingers are alike in strength, independence, length, leverage or angle of attack. The most individual and independent digit of the hand is the thumb. The thumb, in some respects, does the work of the right hand when playing left-handed music. It often plays the melody, and thus, it must be flexible and must be able to strike the black keys at an indirect angle and in a musically satisfying manner. It is uniquely suited to bringing out the top note of a chord and for producing a singing, melody tone. It can generate more quantity of sound than any other finger in either hand. Piano music is often written with a predominant melody and a subordinate accompaniment. Normally different hands execute these two musical functions. Now you must play both with the one hand. Melody and accompaniment are in the one hand only. The melody must still be predominant and the accompaniment must still be subordinate. Weak fingers are called into play to become prominent and strong fingers must be subdued. In music written for the right hand, the melody is often played with the weaker fingers, 5 and 4 and the stronger, heavier fingers must play the accompanying parts. Strong digits, like the thumb of the right hand, will often be playing notes that are not nearly as important as the melody which is being played by the little finger. So the weight of the thumb must be carefully balanced in attack and volume. These accompanying parts must be sublimated so as not to disturb the natural balance between melody and accompaniment, between prominent ideas and secondary ones. The pianist should work out the fingerings according to musical concepts and keyboard geography and not according to traditional patterns.

10

One Handed

Stefan Bardas [B2] who has been enthusiastically exploring fingering alternatives throughout his long career, believes thatfingeringproblems "should be solved with imagination and by no means in the belief that good fingering consists in being obvious or simply consistently putting the nearest available finger on every next note...Any phrase that requires an eloquent, relaxed, and fluent execution must be performed with the right combination of finger- and arm-technique." E. Technical Requirements. All things being equal, we are twosided, but most people do not have two perfectly equal hands. Their left hands are often underdeveloped. When the left hand is exposed without the right hand covering it up, we hear that the left hand is often clumsy and imprecise. So it is necessary to mark these problems in order to cure them and provide the necessary training to improve this sluggishness. The left hand has generally been assumed, throughout the history of piano playing, to be the weaker and less controllable member. Passages where notes lie closely together such as scale patterns, use finger action primarily. Passages, in which the notes are spread more widely over the keyboard, arpeggios for example, employ a combination of finger and hand action. And chordal playing requires equal and accurate balance of the hand and equal distribution of the weight of the arm. In accomplishing large leaps, the technique "should be that of a quickly traveling hand passing laterally, easily, and effortlessly from the accompanying bass to the singing melody line of the treble." [B2] All technical areas including arpeggios, double notes, chords, extensions, broken chords, trills, scales, chord voicing, leaps, octaves, balance of parts, and sophisticated pedaling must be particularly well learned and secure when playing one handed music. F. Specific Problems for Right-Handers. The right hand, because it is used in daily life morefrequentlythan the left by most people, is more apt to be injured. This is one reason why perhaps 80 percent of all one-hand piano pieces are for left hand alone. Also the left hand has always seemed to be the least trainable of the hands and has needed specific technical repertoire written to aid in its development and strengthening. Teachers have always known that beginning piano students seem to have the greatest amount of difficulty with the left hand. It is the hand that is least coordinated and it is also the hand that gets the least amount of exercise, unless the child is left-handed. Nevertheless, the left hand is more readily adaptable for one-hand piano playing because the strongest part of the hand commands the upper and usually more melodic part of chords. The left hand normally plays in the lower parts of the piano where there is more sonority and where a more mellow and rich tone can be projected. This fullness of sound gives the music written for the left hand alone a distinct advantage. Much of the literature for the right-hand alone sounds as if there is no foundation, no anchoring sonorities to ground the listener's ear. To increase the number of right hand solos and ensemble literature, it is necessary to utilize the left-hand repertoire with the right hand. There are some

Introduction

11

specific adjustments that must be made when playing left-handed music with the right hand. Fingers of differing strengths are needed to play parts of varying degrees of importance. The thumb is very strong and antagonistic to the other fingers. If the left hand music puts the thumb on the melody notes to bring them out, to voice them, then when the right hand plays this music, the little finger or the fourth finger must take on this responsibility. Oftentimes chords must be broken rather than played simultaneously when the notes do not all easily fit under the span of the hand. A passage that might be easy for the left hand may be very awkward when played by the right hand. Grabbing the bottom note of a chord with the fifth finger by the left hand will be a different sound entirely than grabbing the same note with the right hand thumb. The principle that needs to always be applied when playing "one-hand" music is to make it sound as though played with two hands. A general warning must be given for the pianist to always be careful not to strain the hand by forcing it too quickly to do things it has not often done before.

REPERTOIRE AVAILABLE TO THE ONE-HANDED PIANIST: One-hand music was very uncommon in the contrapuntal era. Composers in those days tried to use all possible digits rather than eliminating some. The earliest one-hand piece that I have found is the little piece in A major by C. P. E. Bach, Klavierstiick, sometimes called, Solfeggio. It is interesting to note that many of the earliest writers of left-hand music were Italian. In fact, "/a mano sinistrd" seems to have enjoyed quite a vogue in Italy during the first half of the last century. Training of the Left Hand {Die Pflege der linken Hand in Clavierspiet) by Hermann Berens (1826-1880) appears to be the first technical group of exercises and studies published for left hand alone. Among the earliest one-handed pianists we have Count Geza Zichy, born in Sztara, Hungary, July 23, 1849. This distinguished nobleman lost his right arm in a hunting accident when he was fourteen. Already showing talent as a pianist, he refused to let the catastrophe deter him. Instead he became the first eminent, left-handed concert pianist in history. He was determined to prove that this handicap could be used in a constructive manner to demonstrate the resourcefulness and versatility that the left hand is capable of producing. In 1878 Zichy started his solo career. He was extremely wealthy and played only for charitable events during his forty-six years before the public. He composed many works for the left-hand alone most of which are rather awkward and undistinguished. His Six Etudes pour la main gauche seule are dedicated to his friend and teacher, Franz Liszt. Zichy composed his Concerto in E-flat in 1895, which probably is the earliest example of a concerted work for piano lefthand and orchestra.

12

One Handed

The Viennese pianist, Paul Wittgenstein, born in Vienna in 1887 lost his right arm in the First World War. He was responsible for the creation of a large body of music for left hand. Some composers wrote specifically for him and others he commissioned to write left-handed works for him. Thus it was that pieces by such composers as Sergei Prokofieff, Benjamin Britten, Richard Strauss, Erich Korngold, Franz Schmidt and Maurice Ravel came into being. Most of these commissioned works were concertos for piano and orchestra or chamber works for piano and strings. Unfortunately, many of these compositions have remained unpublished. He also compiled and wrote a lengthy threevolume treatise for the left hand that contains exercises, transcriptions and arrangements, and some original pieces. This Schule filr die Linke Hand is a remarkable source of performance information about positioning, fingering, pedaling, etc. This volume's purpose is not to recount the history of one-handed piano music, but it is important for the reader to know that there have been several remarkable contributors to the corpus of one-handed literature. Pianists and composers such as Leopold Godowsky (the Apostle of the Left Hand), Adolpho Fumagalli, Ferdinando Bonamici, Otakar Hollmarm, Siegfried Raap, Cor de Groot, Cyril Smith, and Lionel Nowak have been a part of this tapestry of onehanded pianism. Actually, any pianist who has struggled with the task of trying to play with only one hand or arm has contributed to the history of this interesting field. The quality of the literature for one hand is not extremely good for the most part, but it can be used and made to sound musically convincing. There are two basic types of one-hand piano pieces, monophonic and contrapuntal/homophonic. The monophonic pieces are those consisting predominantly of single-note passage work in which the bass and harmony are implied, often through double stemming. The contrapuntal/homophonic pieces are those in which the one hand, with the aid of the damper pedal, performs the task of playing a melody, a bass-line, and an accompaniment figure, and is thus made to sound like two hands at one time. These contrapuntal/homophonic pieces pose an added challenge. The pianist must keep all of these elements on different dynamic planes, with the melody always dominate. In dealing with students and pianists of limited abilities, many traditional elementary level pieces can be played by one hand if the fingerings are adjusted for that one hand. The teacher and pupil can often play pieces from standard beginners' books as duets. Other music might also be arranged for use, such as recorder music, music for organ, and simple classical guitar music. A soloist can also study and adapt the solo instrumental music of the sixteenth and seventeenth centuries. Bach's solo violin and cello sonatas and suites can make excellent study material as well as convincing recital works. Overall, solo violin music and solo cello music appear both physically and musically made to order for the one handed pianist with little revision or adjustment necessary. Well-

Introduction

13

known instrumental and vocal solos, orchestral themes, and operatic melodies (arias and choruses) might also be sources of transcriptions and arrangements for one hand or for ensemble. There are a number of ways that studying and performing one-handed piano music can have value for the pianist. Using these arrangements might be an interesting way to train the left hand rather than always regarding it as the ugly stepsister of the right hand. It will enable the student pianist to achieve better chord voicing, more intuitive use of the pedal, and better musical and technical control. One handed literature could be helpful for those handicapped either with a muscular disease, broken limb, or by the loss of an arm. Therapists, dealing with clients that are physically challenged, will appreciate the positive effect music making brings and the personal success one can achieve with music making even on an elementary level. Students and audiences alike will appreciate the novelty of one-handed literature and the variety it adds to recital performances. Most of this literature whether original or arranged is unknown by audiences and can give a fresh concert experience.

MY WISH FOR THE READER: The adventure now comes with discovering something to play, playing it musically, and communicating these musical ideas with yourself, your friends, or an audience. Being a one-armed or one-handed pianist is not an ideal state. It is the author's wish that this catalogue of piano music for one hand will provide sources for finding music, ideas for creating other works, and the hope of continued musical involvement when all is not as we would want it to be. "So every bondman in his own hand bears The power to cancel his captivity. " William Shakespeare Julius Caesar

This page intentionally left blank

Chapter 1

Original Works for the Right Hand Alone The compositions listed here are arranged alphabetically by composer's last name. "R" numbers identify original works for the right hand. Number designations that include a "p" are assigned to works that are more suitable for pedagogical purposes. Reference numbers in brackets at the end of citations, e.g. [A12], refer the reader to entries in other chapters in the book. An asterisk (*) before a listing indicates that the work has been edited/fingered or composed for either hand. Rl.

Absil,Jean (1893-1974) Belgium Trois Pieces de piano pour la main droite (Three Pieces for the Right Hand Alone): Piece heroi'que, Piece tendre, Piece gaie, Op. 32. Paris: Max Eschig, c. 1961. For Frans Brouw. Duration: 9:30. 12 p. Piece heroi'que is also found in Bruxelles: La Revue Internationale de musique, Tome 1 no. 2, supplement, p. 6-8. Beautiful linear writing. Contains octaves, glissandi, thick chords, and ad libitum sections. Wide dynamic contrasts, frequent meter changes, and some rather complex rhythms. Covers the entire keyboard. Dissonant, difficult concert pieces. These are wonderful and sparkling additions to the right-handed repertoire. Pedal indicated. (LOC) [Dla]

R2.

Alkan, Charles-Henri Valentin (1813-1888) France Introduction, variations et finale, Op. 76 No. 2. (No. 2 from Trois grandes etudes pour les deux mains separees et reunies, Op. 76). Paris: Editions M. R. Braun or Gerard Billaudot Editions Musicales. Edited by E. M. Delaborde (the son of Alkan) and Isidor Philipp. Some fingering and pedaling are indicated. 22 p. D major, "...it seems to us to be most profitable to all pianists that the genial productions of Ch.-V Alkan should at last

16

ne Handed take the primary place to which they have the right in the estimation of all artists, professors and amateurs...His continual striving after perfection, his rare technique, his very original harmonic system elevate the idea which with him is always interesting and make his work a perfect school of improvement...There is no doubt that all musicians who are interested in the history and the development of the art of piano playing will give us their cordial support in helping us to restore Alkan's works and to make known his name as one of the greatest glories of the French School of Piano." This work is from a group of three etudes, the first is for the left hand alone [LI3] and the third is for both hands together. A sectional work delineated by meter changes beginning with a broad, hymn-like introduction marked Largamente. This leads to the contrasting Andante dolcemente in A major that is a theme and variations. Many cadenza-like passages, frequent use of arpeggios and broken chords. Very difficult, large-scale work, requiring sure and complete technical control. Right hand music in the grandest style. (University of Wisconsin-Madison) [D2a-c]

R3p.

Bach, Carl Philipp Emanuel (1714-1788) Germany *Klavierstuck in A major. [W.117:3]. Vienna: Universal and Kassel-Wilhelmshohe: Nagel [Barenreiter]. 1 p. Easy, giguelike. Perhaps the earliest work for one hand alone. May be played by right or left hand. This work serves as the foundation for a clever, more elaborate composition by Michael Bialosky. [R7] [A5&A9] [D23a]

R4.

Bennett, Richard Rodney (1936) Great Britain Five Studies for Piano. London: Universal Edition, c. 1965. "To Paul Jacobs and Yonty Solomon." No. 2, "Presto e leggiero" is for the right hand alone, "mano destra." 3 p. Linear writing. Fast, whirling, sixteenth note triplets. Wispy with biting seconds. Dynamic nuances carefully given. No fingering or pedal marks suggested. A moderately difficult concert work. No. 4 is for the left hand alone. [L34]

R5.

Berberian, Cathy (1925-1983) USA Morsicat(h)y, per la mano destra: un'azione musicale (Morse Code) segue il mio interesse nelPonomatopeia: Zanzara. Cover design by Roberto Zamarin. London: Universal Edition, c.1971. For piano or harpsichord right hand. 4 pages of music plus 3 pages of notes. "To Luciano." This is a chance composi-

Right Hand Alone

17

tion and more of a musical joke than concert literature. The right hand simulates the sound of a mosquito as the left hand attempts to swat it. So two hands are really needed to satisfactorily perform the work, but only one plays the piano. Included is a sketch of the score and a sample version of the possible execution of the piece. Both the sketch and the sample are single lines with no meter signature and never more than one note at a time with the alphabetical code printed below. (University of WisconsinMadison). Performance instructions are in English. From these instructions: The author, on receipt of the coupon to be found in the envelope in the back cover, will write a personal message to the pianist...The performer will then 'translate' the letters of that message into notes and rhythm, according to the codes on page 5. Punctuation marks are translated into 'rests' with a fermata. (This is no longer possible since the composer's death.) Berberian then gives more specific details on the procedures for realizing this work. To conclude the work, "the left hand flattened out stamps down on the right hand, causing a wide tone cluster. At the same moment the pianist says 'Splat.' After the count of three, the performer rubs the fingers of his left hand together, as if freeing them from the remains of the dead mosquito, the right hand drops off the keyboard and the piece has finished." Morsicat(h)y is a pun with four parts to it. Morsi = morse code used for rhythm. Cat(h)y - author of the message and the piece. Morsicat(h)y = in Italian phonetically "morsicati" means bitten— the fate of mosquito victims. Mors = Latin for death, the fate of this mosquito. R6.

Bernal, Miguel Jimenez (1910-1956) Mexico Toccatina para la mano derecho (Toccatina for the right hand alone) from Antigua Valladolid (The Ancient City) for piano. New York: Peer International Corp., c. 1954. A suite of four short character pieces about the colonial name of a town east of Mexico City. The first movement is the only one for one hand alone. 2 p. D minor. Fast, flowing sixteenth notes in the style of a short toccata. Single notes only. About one minute in length. Not much substance. It serves as a prelude to the rest of the suite. Lower Intermediate difficulty. (The other three movements are: Minues encadenatos (Double Minuet); Gavota; Humorada (Pleasantry). (Indiana University)

18

One Handed

R7.

Bialosky, Marshall (1923) USA "Carl Phillip Emanuel Bach Comes to the American Southwest" An Improvisation for Piano Right Hand Alone. Palos Verdes Peninsula, CA 90274: Sanjo Music Co., P. O. Box 7000-104, c. 1982. 8 pages of clear manuscript, easy to read. "To Lionel Nowak on his 70th Birthday, September 25, 1981." Duration: 7:50. Free metamorphosis of the C. P. E. Bach Klavierstiick [R3p]. Carefully edited with frequent meter and tempo changes, pedaling, and performance suggestions. Quiet ending. A very clever transformation and expansion of the original. Immediately appealing for performer and listener as well. Moderately difficult; no chord playing involved. Truly does have southwestern color.

R8.

Twelve Variations on an Imaginary Jewish Folk Song for Piano, Right Hand alone. Palos Verdes Peninsula, CA 90274: Sanjo Music Co., P. O. Box 7000-104, c. 1982. Reproduced clearly from computer manuscript. 12 p. Wide keyboard range, including the highest note on the piano. More complex than either of the two other right hand works by Bialosky. The theme is modal and middle-eastern in tonal organization. Each variation uses frequent shifts of meter and has a mood of its own. All tempos are indicated by metronome markings; Var. IV is also marked "like a free rhapsody," Var. VIII is "Very fast, like a gigue; Var. IX is "Molto espressivo"and Var. XII is "Slowly and with the utmost simplicity." Some variations are to be played "attacccT while others are to have a short pause, 3-second pause, 4-5 second pause, etc. between them. No chord playing involved, but there are a few sustained tones. Some complex rhythms. Sostenuto pedal required occasionally and damper pedal marked. A rather fascinating moderately difficult work intended for concert use.

R9.

Two Meditations on Music of John Dunstable: 1. Puisque M'Amour. 2. O Rosa Bella. Palos Verdes Peninsula, CA 90274: Sanjo Music Co., P. O. Box 7000-104, no date given on score. 3 pages each. Printed in clear manuscript. Using these two Dunstable melodies, Bialosky freely transforms them with tempo and meter changes, a wide variety of dynamics, and subtle color changes. The Sostenuto pedal is required in No. 1. Both lie primarily in the center of the keyboard and do not require chord playing. Bialosky has carefully edited the music for effective performance, giving such markings as "delicate, slow grace note, light and 'feathery,' ponderously, slightly hurried and out of

Right Hand Alone

19

time." A knowledge of the original works and their style adds to the effective interpretation of this work. Intermediate difficulty. RIO.

Blank, Allan (1925) USA *Six Studies for Piano One Hand (Left or Right), Set 1: I. Limited Shapes; II. Around Sustained Tones; III. Contrasts; IV. Riding the Beat; V. Semi-Improvisation (without bar-lines); VI. Serious Events. New York: American Composers Editions, 170 w. 74th Street, c. 1993. 17 p. Composed between 1987 and 1992 and reproduced from the composer's manuscript. None is over 4 pages in length. The composer makes the following comments: "Tempo indications are approximate. In IV [Riding the Beat], a piano with a sostenuto pedal is required. In III [Contrasts] and VI [Serious Events], accidentals hold within the figure and for ties. Pedaling may be changed to accommodate the sense of the passage. Titles are afterthoughts, but may point the performer in the right direction." Textures throughout are thin and dry, mostly single notes. Some complex rhythmic groupings and complicated digital manipulations. The first, third and fifth lie most easily under the range of the right hand while the second, fourth, and sixth would be more easily executed by the left. [L54] Pedal is marked. Difficult.

Rl 1.

*Six Studies for One Hand (Left or Right), Set II: Numbers I. Staccato Sempre; III. The Ballerina's Flute Dance; V. Dramatic Fantasy. (Nos. II, IV, and VI are for left hand [L55]). New York: American Composers Editions, 170 w. 74th Street, c. 1993. 19 pages total. None is over four pages in length. Performance Notes: "Tempo indications are approximate. No pedal show [sic] be used in number I, and a pedaling that overlaps the sounds show [sic] be aimed for in number VI. These studies are formally thought of in groups of two (I, II; III, IV; V, VI). Pauses may be used to set off these three groupings." Very similar in style, texture, and technical demands to the composer's first set of studies, although these seem to be less free and more rhythmically organized. Pedal is marked. Difficult.

R12p.

Bliss, Paul (1872-1933) USA Two Compositions for Right Hand Alone. Philadelphia: Theodore Presser, c. 1926. Forest Echoes 2p. E-flat major. Gavottelike. The Winding Road, 2 p. F major. A gentle waltz. Both are teaching pieces of upper elementary difficulty. They are well written and effective for students with emphasis on double notes,

20

One Handed staccato, and arpeggios. Pedaling and fingering are provided. (LOC)

R13.

Boer, Ed de (1957- ) The Netherlands Toccata: piano rechtshandig. Donemus: Amsterdam, c.1978. 11 p. "voor Marie-Jose Verstralen." In the composer's manuscript. Free, sectional composition. Frequent tempo and dynamic changes. Perpetual motion accompanying figures, alternating sections of declamation and melody amid the very active accompaniment figures, including many arpeggios and trill patterns. Wide variety of registers and colors. Some fingerings suggested. Difficult concert piece ending pianpianissimo. Requires mature technique and musicianship. (New England Conservatory of Music)

R14.

Bowen, Edwin York (1884-1961) Great Britain Caprice, for the right hand alone from Curiosity Suite, Op. 42. London: J. Williams, c. 1916 (Berners Edition). 6 p. C major. Bowen notes above this piece: "To those who revel in right hand dexterity." Scherzo-like, presto in 3/4 meter. Wide range of dynamics and pitches. Very comfortably written for the right hand. Ternary form. Some cadenza-style passages before the return of the "A" section. The entire suite is composed tongue-in-cheek. Pedaling, fingering, and performance suggestions given. Moderately difficult. (UCLA) [L66]

R15.

Five Sketches. De Wolfe, Ltd. Three of these pieces are for the right hand and two are for the left hand alone. Moderately difficult. (INS)

R16p.

Branson, John (1923) USA Prelude for right hand alone. Cincinnati, Ohio: Willis Music, c. 1989. 3 p. C major. Flowing, perpetual motion sixteenth notes with melody notes double-stemmed, most often in dotted quarter and sixteenth note groupings. Single notes only with the exception of two arpeggiated chords at the final cadence. Central three octaves of the piano. Some rather pleasant "impressionistic" harmonies and a tuneful melody. Pedaling marked and necessary. Fingering suggested. Useful upper elementary student repertoire. [B75]

Right Hand Alone

21

R17p.

Brumby, Collin (1933) Australia *Reverie. Melbourne: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 3 p. Tranquillo, 3/4 meter. Waltz-like. Pedaling and fingering suggested. Tonally organized ternary composition. Single melody notes and three note accompanying chords. May be performed by either hand alone according to the composer. Suitable for an upper elementary student. [A32p] [L81p]

R18p.

Buttner, Maria Austria *Sechs Oesterreichische Tanze fiir Klavier fiir die linke oder rechteHand. Wien: L. Doblinger, c. 1946. 7p. Dedicated to the soldiers wounded in the Second World War. Charming, pedagogically useful Austrian landlers.

R19.

Butterworth, Neil (1934) Great Britain Adagio and rondo a la scherzo for piano right hand. 8 pages. London: BBMP, 1985. (NYPL-missing; INS)

R20p.

Cafaro, Sergio Italy *Per un gruppo di allievi: raccolta di brani. For one or two pianos, 2-4 hands. 41 p. Rome: Edi-Pan Musicisti Contemporanei, 1982. Most of the fourteen pieces in this group are ensemble works [CE20p]. Contrary to the information on the cover page, there is also one solo piece for either hand alone. Gruppi e note isolate, 2 p. The pedal is held throughout the entire piece. Single note heads are pointillistically played ad libitum.

R21.

Calabro, Louis (1926-1994) USA Solo Piano Fantasy (for the right hand), 1984. Written for Lionel Nowak. 8 p. Duration: ca 6:30. Calabro states in the notes to the Nowak recording: "The Fantasy for Piano Right Hand was composed with the thought of using the entire range of the piano. It deals with digital aspects, in ways that I might not have considered when writing for the normal two hands. For example, a passage occurs that used a steady Alberti bass with fingers 1,3, and 5 while the 2nd and 4th fingers play staccato notes around it. The form of the piece is free and I just let my imagination roam." Very interesting writing using many different techniques and a wide keyboard range for interesting sonorities. Much implied counterpoint, some recurring motives. A fun piece to listen to as well as to perform. Difficult, but remarkably well conceived for the right hand. Available from Mr. Calabro's

22

One Handed widow, Christine Graham (CPG Enterprises, 60 Bartlett Bay Rd. South Burlington, VT 05403). [D36a]

R22.

Czerny, Carl (1791-1857) Austria *Etude in A major. New York: G. Schirmer. [A9] 3p. Frequently changing tempo markings and key signatures. A variety of techniques are used including scales, arpeggios, chords, sustained tones, implied counterpoint, trills, octaves, etc. Fingering is given for both hands by Isidor Philipp. Moderately difficult.

R23.

Davidson, Tina (1952) USA I am the Last Witness (companion piece to Day of Rage, for two hands, piano partially prepared). Unpublished MS, c. 1985. Written for Lionel Nowak. 10 p. Both pieces make up the Phantasy for Piano Solo. 20 pages total. According to the composer: "These pieces were written as companion pieces and should be performed together. However, they can be played separately." I am the Last Witness (9 p.) is a slow, poignant, and atmospheric work that serves as a striking contrast to the bristling and rhythmically exciting first movement. Marked by freedom in rhythmic groupings, short phrases of melodic and declamatory interest, and various ostinato patterns, this movement ends peacefully. Carefully edited with some pedalings supplied. (AMC)

R24.

Dupont, Auguste (1827-1890) Belgium Fantaisie et Fugue, Op. 41. c. 1875. Mainz: Schott. (HOF 18741879) (INS)

R25.

Eckhardt-Gramatte, Sophie-Carmen (Sonia) (1899-1974) Canada (born Russia) Piano Sonata No. 6 (Drei Klavierstiicke), E. 130. Duration: ca. 14:30. Published in Volume 17 of her selected works. Available from the Eckhardt-Gramatte Foundation, 54 Harrow Street, Winnipeg, Manitoba, Canada, R3M 2Y7 which was set up by her second husband, an art critic, Dr. Ferdinand Eckhardt. The scores are obtainable from the Canadian Music Centre, 1263 Bay Street, Toronto, Canada, M5R 2Ca. This Sonata was begun in 1928 and finished in 1952. The first movement, "For left hand alone, Prestissimo, e molto preciso? was written in 1928 and is almost identical to the last movement of Sonata No. 4. The second movement, "For right hand alone, Lustig und mit Witz? was composed in 1951. And by coinci-

Right Hand Alone

23

dence the two movements may be played together to form the third movement, "For both hands, Vivo assai e marcato." From the CD notes by Michael Pisani: "The first movement is a perpetuum mobile in continuous demi-semiquavers, with few pauses. The second movement is angular, with rhythms purposefully contrasting with each other...The first movement sustains one texture and one key, conceived like an etude for the co-ordination and strengthening of the left hand; the second is full of character and bizarre humour, capricious and mercurical [sic] with frequent changes of tonal centre. The step-by-step process of bringing the two together; slightly prolonging one measure to allow another to catch up, subtly altering pitches to compensate, transferring lefthand material to the right and vice versa offers an experiment unique not only in this composer's works, but probably in all of modern music." This is a brilliant and exciting concert work that deserves performance and widespread use. The manuscript score, c. 1952, is very meticulously written and includes some fingerings and pedal markings. [LI 18] [D9a-c] R26p.

Edwards, Ross (1943- ) Australia Three Little Pieces for Right Hand Alone. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. I. Allegro; II. Andante; III. Molto Vivace. 3 p. Pedaling suggested and absolutely necessary. Second and Third movements have alternating meters. Tonally organized. Interesting shift of meters and accents. Lots of contrapuntal writing with one hand. Suitable for upper elementary students. [A32p]

R27.

Erlich, Ed. Zwei Universal-Etiiden fiir Pianoforte, Op. 83 for the right hand. Vienna: Wetzler. (HOF 1887: CXXIIL20) (INS)

R28.

Elias, Brian (1948- ) Great Britain Five Piano Pieces for Right Hand. London: J. & W. Chester, c. 1972. 4 p. Duration: ca 2:27 with a distinct pause in between. "For Eli." Composed in London, 1969. Short, pointillistic, twentieth century miniatures with thin textures, complex rhythms, and frequently changing meter signatures. Each has metronome markings, very precise dynamic indications, pedaling, and articulations given. Entire keyboard range is used. Interesting works for upper intermediate students or concert performance. (Ball State University)

24

One Handed

R29.

Fine, Vivian (1913) USA The flicker (for solo flute or piano right hand). New Centre, MA: Gunmar Music, Inc., c. 1983. 5 leaves of manuscript music. Duration: 4:00. Composed in 1973. On the title page: "'The flight is deeply undulating, produced by several quick beats and a pause.' Roger Tory Peterson. Bird-song is also heard, and flight and song intermingle." Performance notes and biographical information are provided. Tempo markings with metronome indications and the infrequent bar lines are helpful to organize the work into musical thoughts. There are numerous dynamic shifts, use of a wide upper keyboard range, many bird-like trills, and fast notes. The sectional structure gives the work an improvisatory feel. Single line at all times, no chords used. Dramatic ending with some histrionics indicated by the composer: "Performer slowly lifts and turns head and eyes as if following an ascending trajectory disappearing into space, holding final position for a moment." Pedal marked for the pianist. A serious concert work. Perhaps more suitable for the flute than the piano. (Boston Conservatory of Music) [D36a]

R30p.

Fisk, Beatrice Hatton (1903-1977) USA A Right Hand Trick. New York: Schroeder and Gunther, Inc., c. 1944. 2 p. "For Gladys Walter." This teaching piece is a traditional upper elementary level flowing waltz. Ternary form. G major-D major-G major, conventional harmonies. There are simple chords, single notes, chromatic passages, and some arpeggios. Pedaling and fingering given. (LOC)

R31.

Foote, Arthur William (1853-1937) USA Prelude-Etude, Op. 37 No. 1. Boston: Arthur P. Schmidt, 1897, 1925, 1930. 4 p. An arrangement of the same piece which was originally written for the left hand [LI31]. This work is effective for the left hand and equally so for the right. This arrangement is considerably easier than the original. It shows a marked Baroque influence with free recitative-like sections, many arpeggiated passages, and toccata inspired figurations. Fingering and pedaling indicated. Moderately difficult. (LOC)

R32.

Fricker, Peter Racine (1920-1990) Great Britain/USA Twelve Studies for Piano, Op. 38. London: Schott & Co. 23 minutes total for the twelve. They were first performed on July 9, 1961 by Lamar Crowson at the Cheltenham Festival. Of the twelve Studies, only Number 9 is for the left hand alone [LI38]

Right Hand Alone

25

and Number 5 is for the right hand alone. 4 p. A slow, free opening introduces the flowing eighth note pattern that predominates the entire study. The melody rises sonorously out of this flowing pattern. Sectional in nature; the opening idea returns in the center and at the end. Beautiful legato and fluid passage work required. A fine, inviting concert work. Difficult. R33p.

Gallasch, David (1934) Australia Space Music. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 1 p. "for James." "Space Music was conceived in the presence of a very bright student... James Hunwick." This piece is atonal, but revolves around tone clusters on A-flat and D-flat. Pedaling is indicated, but may be omitted for the very young. No meter is given to provide a feeling of timelessness. Performance notes by the composer. Gallasch has tried to stimulate intellectual curiosity with the instructions and musical parameters. Elementary. [A32p]

R34.

Ganz, Rudolph (1877-1972) Switzerland/USA Capriccio in E-flat for the Right Hand, Op. 26 No. 2. New York: G. Schirmer, 1917 and 1945. Publisher plate number 27932. Dedicated to Lester Donahue. 7 p. Allegro moderato — Tempo di Gavotta. Concert piece which could be paired with No. 1 from this set for left hand alone. Thin texture, dance-like with a walloping big ending. Ternary form. Middle section is contrasting in nature. Coda builds to a climax. Fingering and pedaling suggested. Use of sustaining pedal required in "B" section. Published with Op. 26 No. 1 for the left hand alone. [LI47] [A9]

R35p.

Germer, Heinrich (1837-1913) Germany The Technics of Pianoforte-Playing: Musical Ornamentation: Manual of Tone-Production in Pianoforte playing, Op. 28. Leipzig: C. F. Leede, c. 1886. This volume contains many excellent exercises for strengthening the left or right hand as well as a number of two-handed studies. None are repertoire pieces, but all are clever and worthwhile for dexterity and control. Most are few lines long and each involves a specific technical task that must be mastered. Fingerings carefully provided. Moderately difficult. (Milwaukee, WI Public Library)

R36.

Giorni, Aurelio (1895-1938) Italy 24 Concert etudes in all major and minor keys for piano: No. 22 Etude for the right hand alone. New York: G. Schirmer, c.

26

One Handed 1927. (Composed July 20, 1923). 3 p. Most of these etudes are for two hands. No. 20 is for the left hand alone [LI55]. No. 22 is in G minor, Adagio, 5/4 meter. It is a trill study in every sense of the word. "NB: May be played without trills-when trills are played the number of notes given for their execution is to be looked upon as a minimum..." Some of the trills are on the top, some in the middle and others on the bottom of the three voices. Difficult.

R37.

Golub, Peter (1952) USA Six Pieces: Rhapsodically; Smoothly; Sprightly; Ringing; Majestically; Playful. Manuscript, c. 1980. Written for and dedicated to Lionel Nowak. Duration: 5:46. 7 p. None of these short and delightful pieces is more than two pages in length. Golub states in the notes to the recording by Nowak [D36a]: "These pieces explore the sound of the piano. One hand (the hand of a master) seems like two." Thin textures, rarely more than two notes at one time. Contrast in mood, tempi, and sonorities between each piece. Middle to upper keyboard range. Some pedal marked and very important for the sonorities. Interesting contrasts in tempi and moods between the movements. Upper intermediate difficulty. [D36a]

R38p.

Grill, Joyce USA * Either/Or: Nine Pieces for Left Hand or Right Hand: Duet for One Hand; One-Hand Boogie; Reaching Out; See-Saw; Singing; Trumpet Fanfare; Tubas on Parade; Waltzing Alone; Woodpeckers. Miami, Florida: Belwin Studio Series, Belwin Mills, 1992. Mostly one page each. Very elementary pieces with no more than one note played at a time. Range is centered on the keyboard and staff. All in C major or F major with the use of accidentals. Would provide good sight-reading material for the very young and could be expanded into creative exercises as well. No rhythm values faster than eighth notes. Composer's suggestions: "Fingering for each hand should be written in...Experiment with articulation and dynamics...Also add either chords or accompaniment patterns with the 'other' hand." Contains illustrations. (See [A16p] for the contents.) [L184p]

R39p.

*Left Alone—Right On!: 12 pieces for left hand alone or right hand alone. Those for right hand include: Right On!, Inside Out, Solitude, Ripples, Melancholy, Little Lively Latin. Miami, FL: Belwin Mills, c. 1995. The other six pieces are for the

Right Hand Alone

27

left hand alone [L185p]. Elementary solos that could serve as learning experiences for students who are temporarily incapacitated. Some fingering suggested. Pedaling is to be experimented with, but a few suggestions are marked. Contains illustrations. No rhythms more complex than eighth note triplets. (See [A19p] for the contents.) R40p.

*More Left Alone-Right On! for left hand alone or right hand alone. Miami, FL: Belwin Mills, c. 1996. Those for the right hand include: Strolling Right Along, I Wish I Knew, Sara's Song. The other six solos are for the left hand alone [L186p]. Upper elementary level for these works. They are more difficult than either of the previous volumes. Few chords make the texture sparse and sometimes too bare. I Wish I Knew is probably the most effective of the solos for the right hand alone. Fingering is marked. Pedaling is suggested in several of the pieces, but often is not necessary. Solid study works. Could be effective for young student recital. (See A19p for the contents.)

R41.

Groot, Cornelius Wilhelmus de (1914-1993) The Netherlands "In any Direction," a poem for the right hand only with 2 pedals. Amsterdam: Donemus, 1974. 4 p. Duration: 5:20. Precisely edited. Performance suggestions include: "keeping both pedals down during the whole piece, using slow tremolo pedal or half pedal with the right foot, and holding the last fermata for 25 seconds." Free, declamatory style, but in strict tempo in each section as indicated by metronome markings. Frequent changes in articulation and dynamic nuance. Some fingerings suggested. Quiet, slow ending. Moderately difficult technically, but musically advanced. Conceived as a concert work. (Eastman School of Music)

R42p.

Gross, Eric (1926- ) Austria/Australia Three Pieces for 5 Fingers or 1 hand (Pfte), Op. 133. No. 1 Scherzino: Allegretto; No. 2 Contemplation: Lento ma un poco rubato; No. 3 Discussion: Allegro. Melbourne: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 4 p. Contrasting in texture and mood. Tonally organized but with splashes of dissonance. No. 2 contains many expanded harmonies. Conventional forms. Pedaling suggested. Suitable for upper elementary to lower intermediate students. [A32p]

28

One Handed

R43p.

Hannan, Michael (1949- ) UK/Australia *Modal Melodies for Single Hands. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Single line melodies alternately for right hand and left hand. Twelve melodies total. None is over three lines in length. Contrast of modes and moods. "Each of these pieces, grouped in pairs for right and left hand, explores one of the Church Modes...Although those melodies written in the treble clef are intended for right hand, and those in bass clef for left hand, it is obviously possible to play them all with either one hand or the other." Elementary. [A32p]

R44p.

Harris, Shirley (1941- ) Australia *Study in A minor. Melbourne: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 1 p. Running sixteenth notes in scalar and chord inversion patterns. Might be played by either hand. No chords, pedaling, or fingering. Upper elementary. [A32p]

R45p.

Hawkey, William R. New Zealand *Play Mates and Colours. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 1 p. Two contrasting slowish pieces for the upper elementary student. Might be played with either hand, but most appropriate for the right hand. Tonally conceived. Composer's directions for Colours: "Repeat as many times as you wish. The final time only get softer and softer and let the final two bars be sustained with the pedal until the sound is no longer heard." Pedaling and precise articulations given. [A32p]

R46p.

Hicks, Marjorie Kisbey (1905) Canada Two Indispositions: #2 Indisposed Left Hand. Don Mills, Ontario: BMI Canada Limited, 1969. 3 p. Marked Scherzino. This sarcastic, biting little work flies by somewhat in the style of Prokofieff, all tongue-in-cheek. Sharp seconds and pungent chords with crisp disjunct rhythms. It lies mostly in the middle register and has fingerings and pedalings marked. Contains some glissandi for additional color. Intermediate level technical difficulty and charming musically. (University of Maryland) [L215p]

R47.

Hodkinson, P. (1934) Canada Minnie-rag (Kwazy-Kwilt for Minnie Mouse's Birthday) for Piano: Right Hand. November, 1990. Manuscript available from the composer on the faculty of Eastman School of Music in Rochester, New York. Commissioned by and dedicated to Rebecca Penneys. 3 p. Duration: ca. 2:15. The composer stated:

Right Hand Alone

29

"This brief bagatelle was composed on Thanksgiving Day of 1990 in Ormond, Florida, honouring a request from the American pianist Rebecca Penneys for a short recital 'opener' written for piano right hand only. Perhaps the relative proximity to, and a recent return from, Disney World reminded me that also paying homage to one of America's 'leading ladies' might be fitting for such a work. While strongly tonal, with the second strain in the obligatory subdominant, the rag meanders around a bit, with a Trio in G-flat and a somewhat silly battle between C and E-flat occurring in the principal melody. C major wins." The catchy, syncopated rhythms and the familiar and not so familiar chord progressions give an almost "heard-it-before" feeling to this short work. Hodkinson has been quite precise in his markings for articulation and dynamic nuance. The predominance of upper register tones makes the piece sound a little incomplete aurally, almost lacking a foundation. Some pedaling is marked. Moderately difficult and exceedingly cute. [D18a] R48.

Hoenderdos, Margriet (1952) The Netherlands Es verjiingt sich nach unten: (It rejuvenates as it goes down) piano solo (right hand). Amsterdam: Donemus, c. 1986. 14 p. Duration: ca. 10:00. Composed in 1983. A free, rhapsodic work filled with melodic tones that aurally "appear" between multinoted, chromatic melismas. From the composer's performance notes: "The image: the pianist, cigaret [sic] in the left hand, staring at the keyboard. Casually and with sure ease his right hand is playing from one melody tone to the next one, slurring grace notes in between; in short, endlessly 'noodling'... A game is created between the melody/main tones and the density of the grace notes." No meter or bar lines. A pulse bar is placed below or above the music staff to indicate the various metronome markings for the keyboard registers. On this line pulses are presented as noteheads (quarter or half) with metronome numbers above. Mostly legato. No pedal is to be used. A very complex, concert work. (Northwestern University) [D19a]

R49.

Holland, Dulcie Sybil (1913) Australia *Quiet Procession for Piano Solo for One Hand. [L226]

R50.

Huss, Henry Holden (1862-1953) USA Prelude III in E major from Quatre Preludes en forme d 'etudes, Op. 17. New York: G. Schirmer, Inc., c. 1901. 3 p. The other Preludes from this opus are for two hands. "Pour la main droite

30

One Handed (ad lib)" Dedicated to Miss M. Wood. Allegretto. Full chords alternating with arpeggios that reinforce the harmonies provide an embellished chorale-style work. Pleasant harmonies and chromatic chord progressions lead to a climax in the center followed by a quiet ending. Simple charm. Pedaling and fingering indicated. Moderately difficult. (Indiana University)

R51.

Hutchens, Frank (1892-1965) New Zealand Vienna Interlude: Piano Study for the right hand, optional, both hands). "To Valda Johnstone." Melbourne: Allan & Co., 1954. 6 p. A Viennese style waltz filled with grace and exuberance. The middle section is broader and denser in texture and after a return to the material of the first section, an accelerando brings the performer to a dazzling end. Requires ease in playing thirds, broken chords, and quick register shifts. Upper intermediate. Pedal marked. Encore type work. (LOC)

R52.

Hyde, Miriam (1913) Australia These three studies were written by the composer for her own concert use in 1982 after she had broken her left arm in an accident. Study in C Minor. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 4 p. Moderato, poco maestoso. Modulates to other tonal centers. Ternary form with center section in contrasting triplet rhythm. "This sounds far more like a structure for two hands...It deals with the quick release of the last semiquaver of the bar and immediate location of the next note, which may be far below, or above it...There is a quite real possibility of losing one's balance or even falling off the stool when the right hand moves to the lowest bass notes..." Quite a challenging piece for an intermediate student. Would serve well as a recital piece. Fingering is suggested. [A32p]

R53.

Staccato Study in E major. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Molto allegro, scherzando. Ternary in form. Perpetual motion, sixteenth notes, always staccato. Interspersing of chords and single notes throughout the rhythmic groupings. "It is playful in spirit, with teasing off-beat accents." Fingering and pedaling are suggested. A challenging intermediate level student recital piece. [A32p]

Right Hand Alone

31

R54.

Study on the White Keys. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Presto. Continual running sixteenth notes. Thinner texture than either of the above. Mostly single notes with only a few triads interspersed. "This is a 'motto [sic] perpetuo', requiring sheer finger fluency and equality...The compass is wide-ranging...The object was to create interest within the limits of the white keys only, and to tax the consequent technical accuracy of the player, through touch and visual perception..." Carefully designed to fit neatly under the hand. Intermediate level. [A32p]

R55.

Kessler, Minuetta (1914) USA Awakening and Dance for right hand alone, Op. 169. Belmont, MA: Musical Resources, 1991. 5 p. Introduction: "Since most one-handed music is written for left hand alone, much of it is not comfortable for right-hand performance. This composition is written for and dedicated to Jeanne Tourin who, in her late seventies, suffered a paralytic stroke leaving her with a useless left hand. Having been a music student, a piano teacher, and a performer on piano, harpsichord and fortepiano all her life, and not yet ready to give music up, she was faced with the challenge of finding sufficient right-hand-only music to fill out an adequate and interesting repertoire. This is my contribution to her search. I hope this piece will also reach right-hand-only pianists." (Southern Baptist Theological Seminary) The one-page, introspective Awakening serves as a prelude to the longer, rhythmically exciting Dance which is filled with joy and exuberance. Colorful scale patterns and spicy harmonies. The pianist tumbles down the keyboard with several lines of 32nd note groupings to a ^fending. A very effective piece. Fingerings and pedalings marked. Upper intermediate difficulty.

R56p.

Ketterer, Ella (1889) USA *Valse Melodique (for either Right hand or Left hand alone). Philadelphia: Theodore Presser, c. 1951. 1 p. "To Barbara Blanck." The waltz is printed two times, once fingered for the left hand and once fingered for the right hand. Gentle, pedagogically conceived work. Arpeggiated first section in G major contrasts with the chordal middle section in D major before the da capo. Some closed position four note chords. Simple melody

32

One Handed supported by the chords and arpeggios. (LOC)

Upper elementary.

R57.

Kohn, Karl (1926) Austria/USA Etude for the right hand (and foot). Available in manuscript from the American Music Center, 250 W. 54th Street, Room 300, New York, N. Y. 10019. 4 p. Duration: 5:00. Composed in Claremont, California, 1978. First performance by Audrey Grigsby, the dedicatee, in Los Angeles, April 23, 1979. A sectional work that begins with a brittle Allegro giusto; then moves into an poetic Largo. The Quasi doppio movimento serves as a bridge to the Tempo I that brings back the opening material. The sections are built on asymmetric rhythms and rhapsodic writing with thin textures and flashes of color. Kohn has marked the score meticulously with frequent dynamic changes, precise articulations, and careful use of the three pedals. Quiet ending. An interesting concert piece.

R58.

Kohs, Ellis Bonoff (1916) USA Etude-Variations on a Sestatonic Scale (A B C D D# E) After a Theme by Johannes Brahms (and E. B. Kohs' Fantasy II for Solo Violin) for piano right hand. Manuscript at the American Music Center, 250 W. 54th Street, Room 300, New York, N. Y. 10019. 7 p. Completed in Cannes, June 17, 1985. The Brahms theme is taken from Symphony No. 4, Op. 98 in E minor. This concert work has a distinct solo violin style with broken chords, single notes most of the time, implied polyphony, and a few "double stops." Twenty-two variations in all, each is eight measures in length and based on the same harmonic structure and bass line, somewhat like a passacaglia. The pedal is marked at desired spots. This is a mentally engaging work, but, perhaps not as interesting on the piano as on violin.

R59.

Ten Two-Voice Inventions for Piano. (October, 1949, c. 1954). Nos. 3 and 8 are for right hand alone. Unpublished manuscript. New York: American Composers Alliance, 170 W. 74th St. Also at the American Music Center. The ideas for each of these Inventions are derived from the J. S. Bach two-part inventions. Both have careful dynamic and articulation markings and indicate pedal as needed. Not technically more than upper intermediate difficulty, they require a mature musical mind.

Right Hand Alone

33

No. 3 is centered around B-flat. It is a graceful 6/8, one page in length. "Mono-tonal, binary form, use of inversion and cantus firmus in part two." No. 8 is based on a six-tone scale and is slightly reminiscent of J. S. Bach Invention No. 4 in D minor. 7/8 meter, 2 pages in length. "Ternary form, use of inversion 'inverted scale,' harmonics, fingering problems." In the last two measures No. 8 needs to have four notes pressed silently by a left hand. This may not be possible for some pianists. R60.

Lang, Walter (1896-1966) Switzerland 10 Klavier-Etuden, Op. 74. Hug, 1964. Of these ten studies only No. 4 is for the right hand alone. [L286] (INS)

R61.

Lauer, Elizabeth (1932) USA Dextravaganza. New York: American Composers Alliance, 170 W. 74th Street, c. 1992. Written for Lionel Nowak. First score 17 p. Final score 21 p. Lauer made some changes in the original score while preparing to perform the work herself three years after Nowak's death. The final amended score has the date of February 1999 and is a neatly printed, computer-generated publication. Duration: 10:00. From the composers notes: "The idea of writing a piano work for Lionel Nowak - for right hand alone - has been 'in the works' for several years. There have been many starts (followed by an equal number of 'stops'), countless 'sound' ideas, ruminations and the like, but an actual piece never materialized...There is just no way that I can express, in sheer music, the affection, admiration and honor that I have always paid to Lionel Nowak. Indeed (it finally came to me), that is not what writing music is for or about...Once I got rid of the overhang of non-musical 'responsibilities.' I was free to think about the idiosyncrasies of using the right hand only. This has been much more enjoyable - dealing with various aspects of registration, timbre, pedaling, touch, nuance, dynamics...all in terms of keyboard sound...Lionel always has been the best in an array (happily for me!) of marvelous teachers. He was always (during my undergraduate years), encouraging, demanding, goodhumored, enthusiastic and inspiring. I treasure the fact that he still wishes to keep our friendship very much alive. And I do hope that he finds some pleasure in the pages of 'Dextravaganza.'"

34

One Handed This interesting work is built from sparks and flashes of sounds, washes of color caused by repeating rhythmic figures, pedal points with frequent use of the sostenuto pedal, passages of rapidly fluttering "Bebung" touch, and periods of turbulent activity contrasted with periods of static repose. Wide keyboard register with a predominance of sustained bass notes under high, fast keyboard figurations. Requires much use of the damper and sostenuto pedals. Sectional in structure with a bold, powerful ending. Difficult concert work.

R62p.

Leask, Jeffrey (1944- ) Australia *Film Theme (for the right hand alone). Melbourne, Australia: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 1 p. G major. Lyrical melody with simple chordal accompaniment underneath. Moderate tempo. Some modal harmonies. Pedal required. Upper elementary difficulty. [A32p]

R63.

Leeuw, Ton de (1926-1996) The Netherlands *Linkerhand en rechterhand voor piano (Left and Right Hand). Amsterdam: Donemus, c.1976. (Photograph of manuscript at NYPL-Lincoln Center). Reproduced from manuscript. 3 p. "in opdracht van de Rotterdamse Kunstichting." Almost totally single notes, lying in the center of the keyboard. This work is actually meant to be played by two hands with the single line being passed back and forth between the hands and increasing in speed. In one area the left hand is notated as holding an open fifth while the right hand continues the perpetual motion. This could be achieved, however, with the use of the sostenuto pedal and the passing back and forth can be achieved by one hand alone. Sectional by metronome markings. No note values faster than eight notes. Requires mature musicianship to perform well. Intermediate technical difficulty.

R64p.

Lemont, Cedric Wilmont (1879-1954) Canada Valse in C major. Philadelphia: Theodore Presser, 1929. (INS)

R65.

Levine, Jeffrey (1942) USA Soliloquy for Right Hand. (1982) Written for Lionel Nowak. Duration: ca. 5:00. Levine states: "Extracted from a set of variations, this piece could be described as a lyrical free fantasy on a compact motive. Lionel's persona and musical mastery elicited its invention, and his performance convincingly supports its existence as an independent solo work."

Right Hand Alone

35

Linear writing, freely expressive. Mostly single notes with occasional octaves and glissandi. The recurring motive which binds the sections together creates a feeling of exploration and introspection. Quiet ending. A very emotionally engaging work. Pedal is important for color and sustaining the harmonies. Moderately difficult. [D36a] R66.

Luening, Otto (1900-1996) USA The Right Hand Path. (1984) Written for Lionel Nowak. Duration: ca. 5:00. Luening says about the work: "The Right Hand Path for right hand alone is built out of segments of the overtone row, which have various degrees of resonance depending on both spacing and the dynamics and sometimes the rhythm. The opening measure, two whole steps, is immediately followed by two more whole steps on the second overtone of C, which is G; then E, which is the fourth overtone of C. The strict intervallic adherence brings fragments of C, G, E, and B major in the opening measures. Through contrapuntal manipulations, the intervallic motive expands further into almost polytonal harmonies. The sonority forms need to be kept in proportion through precise pedaling. The allegro of measure 13 compresses and inverts the materials; thirds become sixths, leading to a new resonance climax. The passage beginning at measure 30 is lyric though dynamically dramatic. It is based on previous materials: whole-tone steps and thirds. This material is developed and expanded using piano resonance as a formal means, leading to a climax and then a fadeout." Written on three staves that assist in delineating the various compositional lines. It lies mostly in the upper half of the keyboard range. The pointillistic writing allows tones with melodic inflection to emerge from the center of the piano with light filigree above. Luening has achieved a very interesting sound, somewhat like electronic music, but tonally conceived. There is an exciting and purposeful ending. Technically not demanding. Possibly one of the most interesting of the right hand works from this century. [D36a]

R67p.

Markiewiczowna, Wladyslawa (1900) Poland Coloured Pictures (Kolorowe obrazki). Polsie Wydawnictwo Muzyczne, 1979. Available through Universal. Six charming pieces, somewhat in the style of Bartok, using local folk music and extraordinarily clever drawings by Barbara Brzozowski. Only two of the six are for one hand. Pastuszek (The Shepherd Boy) is for right hand alone and Zniwiarze (The Harvesters)

36

One Handed [L318p] is for left hand alone. In the footnotes to these pieces the instructions are reversed, but the fingering indicates which piece is for which hand. Each is 2 pages long and is lower intermediate in difficulty. The scores are carefully edited and pedaling and fingering are indicated. (University of Illinois at ChampaignUrbana)

R68p.

Martyska, Barbara USA Waltzing in My Sneakers. Miami, FL: Belwin Mills, c. 1992. Belwin Banner Series. 2 p. This elementary level piano solo in C major was on the National Federation of Music Clubs, Junior Festival One Hand Piano Music list Elementary Class III, 19951997. Barbara Martyska is a music teacher living in Allentown, Pennsylvania. She says: "This piece is meant to be played by the right hand only. Allow your left hand to be resting in your lap throughout the entire piece." Her tempo marking is "trying to be graceful." A thoroughly charming solo for teaching purposes. Fingerings given. No pedal needed. [L319p]

R69p.

Meyerowitz, Harry Three piano compositions for the right hand alone: Gavotte; Waltzing Snowflakes; An Old Chinese Music Box. New York: G. Schirmer, Inc., c.1941, 1942, 1944. 8 p. Cute teaching pieces. Worthwhile for study. Each has a distinct character. An Old Chinese Music Box uses the pentatonic scale. Upper elementary level. Fingering and pedaling suggested. (Philadelphia, PA Free Library)

R70.

Migot, Georges (1891-1976) France Cinq etudes pour la main droite (en forme de suite). Paris: Alphonse Leduc, 1941. 12 p. Carefully conceived concert works that are a welcome addition to the literature for the right hand. They are meticulously marked with performance suggestions. These intriguing, tonally derived works are very suitable for recital. Since these pieces are often written on one staff, the linear direction and compositional plan is clear. Migot does not neglect the harmonic emphasis, however, and adds chords as the color and sonorities dictate. Migot has given precise fingerings and pedalings (including the soft pedal), but feels that the performer may determine the best pedal usage for the desired effects. Moderately difficult. (Philadelphia, PA Free Library) I. allant et decide, "pour Nicole Romeuf." 3 p. Some interesting 2-voice writing, with many thirds and sixths.

Right Hand Alone

37

II. andante et chantant. "pour France Chiron." 2 p. Richer in texture with more use of bass notes. III. allegre et legerement. "pour Yvette Barot." 1 p. Like a minuet and trio. The least difficult of the set. IV. lentement, avec emotion, "pour Marie-Therese Lacote." 2 p. Built as an expanded chorale and funeral march. Textures grow denser and denser throughout. V. final: decide et rythme. "pour Suzanne Parnaudeau." 4 p. The most complex of the set. The initial rhythmic motives give impetus to the entire movement. A cadenza area near the end prepares the coda and big ending. R71.

Mucci,John (1953) USA Elegy for the Left Hand (for the Right Hand Piano solo) c. 1985. Manuscript available from the American Music Center, Inc., 30 W. 26th Street, New York, NY 10010-2011. 6 p. "for Carlo Stea." Sectional work: Rubato-Lento-Allegretto. Contains interesting musical directives such as: "angrily," "resignedly," "trionfante." A cathartic and introspective work that is truly an elegy to the loss of or the loss of the use of the left hand. There is a tapestry of textures and timbres, thick chords, rich sonorities, declamatory phrases, thorny themes, cadenza passages, fist glissandi, and a very quiet ending. An interesting and moving concert piece. Moderately difficult.

R72p.

Murrow, Christine A. (1945) USA Sounds for One Hand: Five Lyric Studies for Either Hand Alone: September Waltz (A-flat major); Circus (C major); Mayday March (G major); Toe Dance (E minor); Bees (C major). Florence, KY: Willis Music, 1986. Dedicated to Lola Christiansen Dunn. Each is two pages long and of upper elementary to lower intermediate difficulty. Pedagogically conceived to fill the gap in literature for a young student with only one hand. They contain cheerful and creative writing for young children. The Circus and Toe Dance are especially effective and inviting. Murrow says: "While one-handed piano students such as mine may be rare, there are often occasions when a student has a finger, hand, or arm temporarily incapacitated. These pieces, fingered for either right or left hand, will be helpful at such times, or at any time, for developing the dexterity of either hand alone." Fingering is provided for either hand and pedaling is indicated where needed. All five of these pieces are included on the One

38

One Handed Hand Piano Music list for the National Federation of Music Clubs, Junior Music Festival, 1995-1997. [L344p]

R73p.

Nagy, Maryanne USA *One handed solitaire: No. 1, No. 2 (Peacefully), No. 3 (Martial). New York: Lee Roberts Publications (Recital Series for Piano), Agent G. Schirmer, c. 1970. 6 p. Dedicated to Laurie. Three short pedagogical pieces of varying moods which may be played with either hand or both hands according to the composer. These are excellent, carefully prepared, and charming upper elementary level works with tinges of modern colors. Pedaling and fingering for both hands precisely marked. [L345p]

R74.

Nowak, Alison (1948) USA View for Piano Right Hand. Manuscript. Available from American Composers Alliance, 170 West 74th Street, New York NY 10023. October 25, 1981. Written for her father, Lionel Nowak. Duration: 6:40 min. 7 large pages. Alison says: "I wrote the View for Piano Right Hand as a gift to my father on his 70th birthday in 1981. The 12-tone set (GEFACD/AbDbBbB DF#) on which it is based was originally created for an unfinished setting of Howard Nemerov's poem View from an Attic Window. The title is meant to reflect the continuous variations on a single theme (a point of departure for exploration) plus the tendency to return time and time again to certain 'landmarks' (in this case specific triads and specific rhythmic figures)." A slow, dramatic, pointillistic, twelve-tone work with flexible rhythms, wide upper keyboard range, effective dynamic contrasts, and snippets of clever melodic interest. Many nuances of articulation, tempo, and dynamics are marked by the composer. Technically only moderately difficult, but requires mature musicianship. [D36a]

R75.

Nowak, L. Augustus USA Theme and Variations. (1987) Written for his father, Lionel Nowak. 9 p. Duration: ca. 7:00. Unpublished manuscript. Nowak states in the notes to the recording by his father: "My intention in writing the Variations was to provide a traditional option in terms of tonality and phrasing to a repertoire that, from what I had heard, had tended to be more intricate and exploratory.

Right Hand Alone

39

I believe that the elementary lyric should maintain a segment of the spectrum in current composition." A simple, melancholy, and touching theme in the middle of the keyboard range is followed by nine variations. Linear writing with only a few chords, but interesting color subtleties and rhythmic nuances. Begins in D major, travels through d minor, A major, E major, and B major and then ends in E major. A rather solemn and dark work with some interesting "American" sounds. Moderately difficult. [D36a] R76.

Nowak, Lionel (Henry) (1911-1995) USA Lionel Nowak was a faculty member in composition and piano at Bennington College for more than forty-five years. He suffered a stroke in the Spring of 1980 that prevented him from using his left hand but continued his work as pianist, teacher, and composer, although restricted to playing with his right hand alone. Colleagues, friends, and family have written thirty works because of his disability. A cassette recording issued by Bennington College, entitled The Right Hand Path: Music for Piano Right Hand, is a collection of some of the works written for and played by Nowak. A brochure accompanies the recording and provides biographical notes and information about the various compositions. Most of the works have not been published but are sometimes available from the composers themselves. [SEE Calabro, Fine, Golub, Lauer, Levine, Luening, A. Nowak, L. Nowak, Shawn in this chapter.] Practice Piece. 2:29 min. Nowak stays: "Shortly after my stroke in spring, 1980, several composer friends signaled their sympathy by sending serious new scores for right hand alone. It occurred to me that certain finger and arm techniques were not in evidence so I decided to construct a piece for myself which could extend muscular facility by daily practice as warm-up...It has since served well in programming by giving contrast to the offerings which have come my way." A brisk study in repeated notes and octave displacements. Mostly single notes. Written somewhat like a set of variations with the texture becoming thicker and thicker as the work progresses. Repeated rhythm patterns and melodic motives bind the sections together. No pedal required. Covers the entire piano keyboard. Upper intermediate difficulty. [D36a]

40 R77.

One Handed Panni, Marcello (1940) Italy Appunto 8.68. Milan: Edizioni Suvini Zerboni, 1972. 2 p. Dedicated to Antonio Ballista. Printed on one staff. The entire piece revolves around pitches on the five lines of the staff, using the fingers of the right hand over these five notes. Since no clef is given, presumably these pitches are the lines of the treble clef, but any chord can be used according to the composer. From his notes: "Only one chord to use for every single performance. The same finger has to be used always for the same line of the pentagram, less during the passage in the dotted square, where different fingering is indicated. This passage should be played as fast as possible." These five pitches are played in various rhythms and combinations with many timbre and articulation changes. The composer has indicated the rhythms that are highly complex and agitated, but the notes are to be determined by the performer. Extremes of dynamic levels are suggested. "Play with only the right hand a whatsoever chord of five different sounds...Some dynamic indications are only imaginaries [sic] but not therefore negligibles. Advisable half note = not less than 60 MM." Some of the imaginary dynamics are crescendos and swells on half notes. Declamatory style. No pedal is employed. Minimalist. Difficult and cerebral. (University of Illinois at ChampaignUrbana)

R78p.

Payne, Cora Sadler USA *One-Hand Serenade. Mequon, WI: Schaum Publications, Inc., c. 1984. 2 p. C major. An elementary level pedagogy solo, single notes only. Contains fingering for either hand. Pedal marked. Thumb-under crossing necessary for the right hand. Some legato keyboard shifts are aided by the use of pedal. The cover design shows a young lady playing the piano with her left arm in a sling.

R79p.

Peter, Darrell (1918) USA Surf-Riding for Right Hand Alone. St. Louis: Art Publication Society, Progressive Series Compositions (Catalogue 602-2), c. 1961. 3 p. "To Karen and Craig." In the biographical sketch of Darrell Peter written by Jack Hurt, it is noted that he was born in Pawnee, Oklahoma and studied with Olga Samaroff and Sascha Gorodnitzki. There are notes "To the teacher" and "To the Student" by the composer. This is an intermediate level work of continuous sixteenths with some double stemming for melodic interest. Song form. Many dynamic contrasts in order achieve the ebb and flow of the "surf." Quiet ending. Nice student piece

Right Hand Alone

41

with pedaling and fingering provided. Peter writes: "SurfRiding has been designed to acquaint the student with playing legato arpeggios fluently, using them to build—by each crescendo and diminuendo-toward the principal climax and to give direction toward the coda." (LOC) R80.

Petyrek, Felix (1892-1951) Czechoslovakia/Austria *Zwei Tanzstuckettl. 2 p. A minor. A quiet, slowish waltz. Requires facility in keyboard shifts and chord voicing. Pleasing chromatic harmonies and some rhythmic devices. Pedaling carefully indicated. Fingering suggested. Intermediate difficulty. [A5] [L369]

R81p.

Pietsch, Edna Frieda (1894) USA * Waltz in C major. New York: G. Schirmer, 1957. (INS)

R82p.

Poe, John Robert (1926) USA Look Ma, One Hand: Pieces for One Hand Alone. San Diego, CA: Neil A. Kjos Company, 1990. Twelve single line, mostly one page, early elementary solos. Six for each hand alone. Dedicated to Jessica, who smashed her thumb. For Right Hand: Right Away; Right Foot Forward; Right on Target; You are so Right!; Right About Now; Two Rights Don't Make a Wrong! No fingerings were provided in order to stimulate the student's involvement. Circles are to be filled in with the correct fingerings. Tempos are to be determined by the performer. All pieces lie within a five finger position. Only one pedal is marked. Articulations and dynamic markings are provided. [L374p]

R83.

Pollock, Robert (1946) USA Short Study: for piano (right hand). Ship Bottom, New Jersey: Association for the Promotion of New Music, c. 1979 by Mobart Music Publications. 2 p. Duration: 2:00. Reproduced from holograph. For Gilman Collier. Freely written, declamatory concert study, covering a wide keyboard range and with many 20th century sounds. Linear writing, never more than two notes at a time, however. Changing meters. Broad range of dynamics and articulations. Metronome markings change frequently. Pedal indicated. Difficult. (Swarthmore College)

R84p.

Portnoff, Mischa (1901) USA Music Box for the right hand from Trilogy: Suite for piano solo. New York: Mesquite Music Corp., c. 1968. 2 p. Portnoff has

42

One Handed created this miniature suite as a result of his teaching experiences. Music Box, the first movement, is written to be played one octave higher than notated. Landmark fingerings are suggested. Con moto tempo in cut-time. Perpetual eighth note rhythm which includes double stemming to emphasize melody tones. Upper elementary level. From the Preface: "...compositions for the right hand alone seem to be non-existent. As the plans for a suite containing three pieces, one for the right hand alone, one for the left hand alone, and one for both hands together, were being formed, the familiar aphorism, 'Nothing is new under the sun', came to mind. It does not, I believe apply to the Trilogy." The second movement of the suite (Metronome) is for left hand alone [L381p] and the third movement, Mobiles, is for both hands together. A short biography of Portnoff is included. (University of Wisconsin-Madison)

R85.

Ragni, Valentino Mosaiken: fur eine Hand (1. Kleine Rhapsodie; 2. Farben; 3. Melodie; 4. B.A.C.H.; 5. Hommage a Usher [Edgar Allan Poe]; 6. Feuerspiele). Zurich: Musik Hug Verlage, c. 1982. 15 p. This work won the Premier prix de composition de la Societe Suisse de Pedagogie Musicale. French and German Instructions for performance along with a 2 page guide of non-traditional symbolic notations are given. Movements 2 and 5 are for left hand alone; movements 1 and 6 are for right hand alone; and movements 3 and 4 may be performed by either hand. The instructions are absolutely essential. Ragni uses traditional as well as non-traditional notation. Some movements use bar lines for rhythmic organization while others do not. Copiously marked with musical indications, durations, and frequent metronome changes. Some formulated improvisation is asked of the performer. Minimalist in texture and sound. Some of the movements would be more easily prepared than others. Pedaling is prescribed. Concert music. (Northwestern University) [L384]

R86p.

Riccardi, J., et al. *Elementary Piano for One Hand [A 15p].

R87p.

Ridout, Alan (1934) Great Britain Quick Dance from White Notes, Black Notes, Key Notes: Twelve Pieces on Modes. Published in the Easier Piano Series, No. 80. London: The Associated Board of the Royal Schools of Music, c. 1991. 1 p. The key note is F# for this cute, bright and

Right Hand Alone

43

shiny, little piece. Uses only the black keys and the middle range of the keyboard. 5/4 meter divided into 3 and 2 in every grouping. Precisely marked for accent, staccato, slurs, and sustained tones. No pedal needed. Fingering suggested. Upper elementary technically and engaging musically. (National Music and Disability Information Service List) (University of Cincinnati) R88p.

Rocherolle, Eugenie Katherine Ricau (1936) USA Hands separately. San Diego, CA: General Words and Music Co., Neil A. Kjos Music Co. Distributor, 4380 Jutland Drive, c. 1989. This volume contains four pieces, two for each hand alone. [L397p] Pedagogically conceived works that are tuneful and harmonious. Waltz for the right hand (F major), 4 p.; Etude for the right hand (G-flat major), 2 p. The Waltz is strong and energetic and has a contrasting middle Andante section in common time while the Etude is a graceful flowing melody and accompaniment which reaches a strong climax before the return of the opening material. Pedaling and fingering are suggested. Clever learning experiences for the intermediate level student. [D44a]

R89.

Rorem,Ned (1923) USA Etude #7 from Eight Etudes for Piano. New York: Boosey and Hawkes, c. 1977. 2 p. Rorem states: "All with the right hand, without meter; Smooth and meandering and always expressivo [sic]. Filled with pedal." A very poetic concert etude with an extremely wide keyboard range. Improvisatory and free. Big climax and quiet ending. Lyrical piano sound of the utmost importance in this difficult work. Metronome indications at various cadence points. This set of etudes was commissioned by Emanuel Ax on a grant from the Edyth Bush Charitable Foundation, Inc., for the Bicentennial Piano Series of the Washington Performing Arts Society, and dedicated to the memory of Edyth Bush. The premiere, by pianist Emanual Ax, took place in Kennedy Center, Washington, D. C , on March 13, 1976. Composed in Nantucket during the summer of 1975.

R90.

Samazeuilh, Gustave (1877-1967) France Souvenir (pour la main droite seule) from Esquisses pour le Piano. Paris: Durand & Cie., 1945. 3 p. The Serenade from this suite is for the left hand alone and the other two movements are for two hands. [L414] Dedicated to Marcel Ciampi. A slow impressionistic work with a steady chromatic triplet accompani-

44

One Handed ment. Many nuances in tempo are indicated. Very free and rhapsodic at times, building to interesting climaxes. Quiet ending. Although the fingerings are for the right hand alone, Samazeuilh allows for a two-handed performance. Moderately difficult to difficult.

R91p.

Sauter, Maya (1910- ) Switzerland *Klaviermusik fiir eine Hand allein. Improvisationen zum Transponieren, Nos. 1-8; Ein- oder mehrstimmigen Studien, Nos. 1-12: Impromptus, Nos. 1-5. Zurich: Musikverlag Zum Pelikan, c. 1971. According to the composer, all of the pieces may be played by either hand and are fingered accordingly. Most seem more comfortable for the left hand because of the location on the keyboard. They range in difficulty from upper elementary to intermediate. The specific technical problems studied include transposition, staccato, appoggiaturas, firmness of attack, legato, broken chords, octaves, extension, black keys, inversions, and diminished seventh chords. Most of the writing is single note at a time with only occasional chords. Fingerings and pedal usage are marked. The Impromptus are given titles: 1. Sennentanz; 2. Allegro; 3. Ping-Pong; 4. Der Hampelmann; 5. Andantino. These are inviting, tonal works that would be suitable for student recitals.

R92.

Shawn, Allen (1948) USA Six Miniatures (for Piano Right Hand): Majestic and singing; With driving rhythm; Con brio; Molto tranquillo e espressivo; Brittle, angry; Maestoso; freely, Manuscript available from the composer at Bennington College, VT, c. 1988. Written for Lionel Nowak. 10 p. Duration: 10:25. This is an entertaining and mature work. The opening chorale requires ease with chords and the other pieces need an ear for color and shaping. Some very interesting rhythms provide the necessary vital force in the animated movements. Shawn has carefully marked all nuances of dynamics, articulation, and pedal including "una corda." Metronome markings are provided. Moderately difficult and could be highly effective in concert. Shawn says: "The Six Miniatures were written for Lionel and celebrate his playing. The harmonies of the opening chorale are echoed in No. 4, and form the basis of the cadenza-like sixth movement. Though also linked to the chorale, the remaining pieces provide contrast; numbers 2 and 3 are balletic in character, and No. 5 is a rather acerbic march." [D36a]

Right Hand Alone

45

R93.

For Lionel Nowak. Manuscript available from the composer at Bennington College, VT, c. 1989. 6 p. Duration: 4:30. This short work is somewhat like a meditation or an improvisation on the blues. It flows continuously from one idea to another and almost playfully works through each section, some loud, some soft, some fast, and some slow. Harmonies, scales, and accents give a true bluesy feel. Carefully edited for articulations, dynamics and pedal with some fingerings provided as well. Concert work.

R94.

Skerjanc, Lucijan Marija (1900-1973) Yugoslavia Sest klavirskih skladb za eno roko (Six pieces pour piano a une main seule). Ljubljana, Yugoslavia: Sloveska akademija znanosti in umetnosti, 1952. Composed in 1950. This large work is divided into two sections with three pieces for each hand in each section. Tri skladbe za desno roko (Trois pieces pour la main droite) 8 p. Preludio: A lyrical and rhapsodic melody supported by thick chromatic harmonies. Requires careful voicing and balance between accompaniment and melody. Comprehensive technical control is needed to adequately present this work filled with nuance and rubato. Quasi Valse: The light, thin melody is supported by synthetic scales and cleverly derived patterns that fit neatly under the five fingers. Toccatina: A lively, staccato, perpetual motion work that spans the keyboard with passage work which fits comfortably under the hand. These works are good concert fare. Interesting to the listener and challenging but not traumatic to the performer. Ingenious writing. There are three other pieces for the left hand [L440].

R95.

Sosa, Raoul (1939) Argentina/Canada Six Etudes. Montreal, Quebec: Centre de musique canadienne, 1984/1985. Score reproduced from manuscript. Dedicated to Franz Tournier. From this group of studies, there are two for the right hand, two for the left hand [L449] and two for two hands together. I. "pour la main droite seule: Allegro comodo." 3 p. Perpetual motion legato sixteenth notes with chords at the first of each grouping. Falls cleverly under the hand. Sosa has provided many fingering suggestions and musical instructions. An interesting concert work. IV. "main droite seule: Allegro non troppo." 4 p. Interesting sonorities derived from sustained (either physically or with the pedal) diads. Short sparks sound between the notes of the diads. There is a contrasting middle section that utilizes flowing and

46

One Handed somewhat blurry eighth note groups under sustained chords, some with as many as six notes. Difficult.

R96.

Sourget, E. de Santa Coloma Gavotte Variee pour la main droite seule. Brussels: Schott, 1881. (HOF1887: CXXIII:20).

R97p.

Steiner, Eric (1911) *One Hand only for the Young Pianist [A30p]

R98.

Stravinsky, Sviatoslav Soulima (1910-1994) Switzerland/USA Piano Suite for the Right Hand: Prelude; Marcia; Valse; Gavotte; Sarabande; Gigue. New York: C. F. Peters, c. 1980. 6 p. Composed in 1975. Duration: ca. 8:00. Based on a twelve-note row that is given at the beginning of the composition and employing the traditional dance rhythms from earlier musical style periods. Rather intriguing from a compositional standpoint. Thin, linear texture, rarely more than two notes at a time. Dynamic markings and articulations carefully indicated. Intermediate difficulty; advanced musically. A few fingerings furnished; no pedal marked. Later transcribed for viola solo.

R99.

Sonatina Terza. New York: C. F. Peters Corporation, c. 1967. This is one of six Sonatinas for Young Pianists by Soulima Stravinsky. Movement I, Fantasia piccola, is for the right hand. 1 p. Marked Corrente with no meter. A series of free flowing triplet figures punctuated by fermatas at resting spots. Carefully marked with many nuances of articulation essential. Thin, linear writing. Single notes only. Intermediate difficulty. Proceeds directly, attacca, into Movement II, Marcia, which is for both hands, but could be adjusted for either hand alone. Movement III Epilogue is written for left hand alone. [L477].

RIOOp.

Austria/USA

Sulpizi, Fernando (1936) Italy Contrapppunto per la mano destra from Album per secondo Daniela. Ancona: Edizioni Berben, c. 1975. There are seven pieces in this volume. Five are for two hands, one for the left hand alone [L480p] and the Contrappunto per la mano destra for the right hand alone. 1 p. The pitches are placed freely on one staff line, all in the treble clef. A rhythm bar is printed above for the white notes and below for the black notes. Suplizi gives the following instructions: "La nota seguita dalla linea, dovrd essere tenuta fin quando non sard sostituita dalla seguente dello

Right Hand Alone

47

stesso colored Sulpizi shows precisely how long the white and black notes must be held. Intellectually stimulating for the intermediate student. No fingerings given. R101.

Takahashi, Yuji (1938) Japan "Three Poems of Mao Tse-Tung: Tapoti (1933); Ode to the Plum Tree (1961); Reply to Comrade Kuo Mo-Jo (1963). Japan: Zen-On Music, c. 1976. 6 p. Only Tapoti and Ode to the Plum Tree are for one hand alone. Beautiful, evocative poems are printed in Japanese and English following each piece. Violin-like score. No bar lines, no meter. Unrestrained and rhapsodic. Metronome markings given. Interesting use of rolled chords. Some pedaling indicated. Location on the keyboard makes these poems perfectly suited for the right hand, but they could be played with the left hand alone as well. Many fourths, large leaps, and broken attacks. Requires especially artistic and sensitive performance. Moderately difficult. (University of Colorado at Boulder)

R102.

Tautenhahn, Gunther (1938) USA Bagatelle: for right hand piano #1. New York: Seesaw Music Corp., c. 1976. 2 p. Composed in July, 1975. E-flat major. Duration: ca. 1:15. Manuscript reproduction. A miniature threepart form with coda. The first part (moderato cantabile) is waltzlike in 3/4 meter; the second in 2/4 meter (piu mosso con spirito) is followed by a return of the first part slightly altered. Uses the center and upper registers of piano. Thin texture, rarely more than two notes at a time. Many dynamic markings are provided. Moderately difficult.

R103p.

Telfer, Nancy (1950) Canada Dance of the Moon Maidens from Put On Your Dancing Shoes. Princeton, New Jersey: The New School for Music Study Press, c. 1985. Published as a part of the "Frances Clark presents..." series. 1 p. Played entirely on the black keys. Written on one staff with the range of slightly more than one octave. No meter signature given. This is an interesting and atmospheric piece that allows the student to explore new sounds, notation, and one-handed playing. Easy. (Several other pieces from this suite could possibly be played with one hand if the student is agile. Dance of the Elephant, Rain Dance, and Dance through the Town.) Composer's Performance Notes: 1. Keep the damper pedal down throughout the piece.

48

One Handed 2. Eighth note groupings are to be played quickly and freely. 3. Pause after each phrase.

4. Use any fingering that is comfortable for your hand. R104.

Ussachevsky, Vladimir (1911-1990) Manchuria/USA These pieces for the right hand alone were written after an automobile accident in the summer of 1984 which totally impaired Ussachevsky's left hand. Suite for Right Hand: Right Hand Studies No. 1 and No. 2 and Three Voice Fugue for Right Hand Alone. In manuscript, c. 1984 Vladimir Ussachevsky. Reprinted and discussed in the Duehlmeier dissertation [B15]. 6 p. Very clever, rhythmically intriguing works. Carefully formulated and concisely edited with frequent meter changes, lots of articulation nuances, dynamic shifts, and clever pedaling. These Studies concentrate on sonority and timbre as well as on one-hand technique. While not difficult, they require a mature understanding of the piano and its performance requirements. The Fugue is written on three staves. Highly chromatic (all twelve tones) but with a traditional tonicdominant relationship. Frequent shifts of meter. The articulations that Ussachevsky has marked help delineate the voices and entries of the subject. Big ending. Intermediate level technically, but a mature work.

R105.

Wellman, Samuel (1951) USA Eight Waltzes for Left Hand (or for the right hand, ifyou insist), Op. 75. [L526]

R106p.

Wilkinson, Philip G. (1929) Great Britain Suite: Left Hand Right Hand: London: Ascherrerg, Hopwood & Crew, Ltd., 1966. Pavanne; Fughetta; Jig for right hand. The other three pieces are for the left hand alone. "To Cyril Smith, who prompted the idea." Each is about one page in length. Thin textures with not many chords. Some clever pedal usage. Distinct characterization. Tonal with tinges of biting harmonic colors. Interesting meter changes in Fughetta. Jig is rollicking and highly effective. Articulations are precise. Intermediate difficulty. (LOC) [L533].

R107.

Wissmer, Pierre (1915-1992) Switzerland Pour la main droite from Trois etudes pour piano. Paris: M. R. Braun, c. 1968. Edited by Gerard Billaudot. Dedicated to Madame Paulette Mayer. Duration: 3:20. There is also one etude for

Right Hand Alone

49

the left hand alone [L540] and a third etude for both hands together. Although grouped with these other studies, this work can stand alone as a moderately difficult concert work. Written in a three part form, the middle section is lyrical and provides a sharp contrast to the dissonances and agitation of the outer sections. Filled with colorful chords and interesting twenthieth century sounds. Wissmer provides clear tempo and metronome markings and some fingerings and pedalings. A very effective work. R108.

Wurm, Mary (Marie Verne) (1860-1938) Great Britain Etude fur die rechte Hand, Op. 42 No. 2, c. 1905. Leipzig: Steingraber. [L546 for Op. 42 No.l] (HOF 1904-08: 117:22) (INS)

R109p.

Yeager, Jeanine (1938) USA Beginnings from the set of pieces Especially for You. San Diego, CA: Kjos West, Neil A. Kjos Music Company, c. 1989. 2 p. C major. (This anthology was written for students who had had a left hand injury. All of the pieces use the left hand in nontraditional ways, i.e. one finger, two fingers, thumb, knuckles, etc.). But this piece, Beginnings, can be manipulated with only one hand although designed for two hands. Driving rhythmical fun. Triads and single notes only with many quick shifts. Fingering and pedaling suggested. Upper elementary. Also see Just forFun[L549p].

"Let not thy left hand know what thy right hand doeth. " Matthew VI:3

This page intentionally left blank

Chapter 2

Original Works for the Left Hand Alone The compositions listed in this chapter are arranged alphabetically by composer's last name. "L" numbers indicate original works for the left hand. Number designations that include a "p" are assigned to works that are best suited for pedagogical purposes. Reference numbers in brackets at the end of citations, e.g. [A12], refer the reader to entries in other chapters in the book. LI.

Abrahamsen, Hans (1952) Denmark October. Copenhagen: Wilhelm Hansen, 1961; revised 1976. (INS)

L2.

Absil,Jean (1893-1974) Belgium Ballade, pour piano, main gauche seule, Op. 129. Brussels: Centre Beige Documentation Musicale, 1972. 5 p. Duration: ca 11-12:00 minutes. Composed in 1966. Reproduced from manuscript. "Lento recitativo con rubato." Many meter and tempo changes. Wide dynamic ranges. Contemporary harmonic structure. Bold ending to a bold work. Entire keyboard range with some octave, trill, and thirds technique required. A difficult concert piece. Some pedal indications. (Indiana University and LOC)

L3p.

Adair, Yvonne Madeleine (1897-1991) Great Britain Three Preludes (for the Left Hand). London: Joseph Williams (Stainer & Bell), c. 1930. 6 p. I. Moderato (E-flat major); II. Andante (G minor); III. Allegro (Gavotte-like; D major/minor). Decidedly tonal and straightforward student works. The melodies and accompaniments are clear and obvious. Some pleasant augmented and diminished chords in the harmonies. Mostly single lines with a few thicker chords. Fingering and some pedal sug-

52

One Handed gestions given. Middle to low keyboard range. Upper elementary to lower intermediate difficulty. (Free Library of Philadelphia and Chicago, IL Public Library)

L4.

Air and Variations for Left Hand. London: Joseph Williams (Stainer & Bell). (INS)

L5.

Adams, Mrs. Crosby (1858-1951) USA Left Hand Studies, Op. 7. Chicago: Clayton F. Summy. Nos. I and II listed in British Broadcasting Corporation Music Library, Piano and Organ Catalogue, Volume 1. Now published by Musigraphics. [B55] (National Music and Disability Information Service List [B57])

L6.

Adlam, Frank Great Briatin Triumph (Impromptu for the Left Hand). London: Nightingale & Co. (EMI), c. 1918. Listed in British Broadcasting Corporation Music Library, Piano and Organ Catalogue, Volume 1. E-flat major. 4 p. Salon music. Noble 3/4 time theme with contrasting sections. Rich chords and octaves create a full sound. Good control of octaves and chords necessary. Pedal marked. Intermediate difficulty. (LOC)

L7p.

Adoff, Stephen (1938) USA Left Alone and Blue (Piano solo for Left Hand Alone). Cincinnati: The Willis Music Company, c. 1988. 3 p. "For Gina, with love." Free and rhapsodic. Carefully edited and fingered. Effective, extended jazz harmonies are built with the use of the pedal. Clever piece that would interest most intermediate level students. Small cadenza area prepares the return for the opening theme one octave higher. Effective teaching solo.

L8.

Agee, Barbara Lee (1932) USA Ascent (for the left hand only). Unpublished manuscript which appears to have been torn from a spiral bound manuscript book, c. 1950 by the composer. 2 p. Three part form with traditional (although piquant) harmonies. Mixed meter signatures. Thick chords and octaves with some broken chords. No fingering or pedaling indicated. Intermediate level. (LOC)

L9.

Alden, John Carver (1852-1935) USA Gavotte for the left hand. Boston: B. F. Wood Co., c. 1902. 5 p. "To Mr. Arthur Foote" (Alden was a pupil of Carl Faelton and

Left Hand Alone

53

on the faculty of the New England Conservatory of Music.) Ternary form in A-flat major to D-flat major and return to A-flat major. (Gavotte-Intermezzo-Gavotte). Tonal with pleasant deceptive cadences and Neapolitan sixth harmonies. Many, many arpeggiated chords. Careful use of the pedal indicated with the necessity for pedal point effects. Cadenza-like sixteenths prepare the return of the A section. Distinct melody. Fingering given. Intermediate level salon music. (Cleveland, OH Public Library) L1 Op.

Aldridge, Maisie The Bass Clef Book. [A13p]

Great Britain

Lll.

D'Alessandro, Raffaele (1911-1959) Switzerland Vingt-Quatre Preludes pour piano, Op. 30 (No. 20 pour la main gauche seule). Lausanne: Edition Maurice et Pierre Foetisch, c. 1951. There are 24 Preludes in this set which lasts 32 minutes. All are very pianistic with touches of Impressionism, and modern harmonies. They are well written for the piano, technically difficult, and employ the hands in somewhat novel fashion. Number 20 is the only one for left hand alone. It is two pages long, in A minor, rhythmically appealing, and marked vigoureux. It requires control of octaves, chords and top note voicing to be effective. Big ending. Pedal indicated and some crucial fingerings suggested. (UCLA)

L12p.

Alexander, Dennis (1947) USA *Elegy (For the Left Hand Alone). Van Nuys, CA: Alfred Publishing Company, Inc., c. 1994. 2 p. Composer's note: "This work could also be performed by right hand alone if desired. The performer would, of course, need to supply different fingerings than those indicated. Pedal markings should be strictly observed." A somber chord study with some pleasant harmonic surprises and extended chords. Has a little of the "cocktail piano" flavor, but is an appealing and sensitive student work. Lower intermediate level of difficulty.

L13.

Alkan, Charles Henri Valentin (1813-1888) France Fantaisie in A-Flat, Op. 76, No. 1. (No 1 from Trois Grandes Etudes pour les deux mains separees et reunies). Paris: Gerard Billaudot Editions Musicales. Edited by E. M. Delaborde (the son of Alkan) and Isidor Philipp. 14 p. The editors of this publication state in their forward to this series of compositions: "...it seems to us to be most profitable to all pianists that the genial

54

One Handed productions of Ch.-V Alkan should at last take the primary place to which they have the right in the estimation of all artists, professors and amateurs...His continual striving after perfection, his rare technique, his very original harmonic system elevate the idea which with him is always interesting and make his work a perfect school of improvement...There is no doubt that all musicians who are interested in the history and the development of the art of piano playing will give us their cordial support in helping us to restore Alkan's works and to make known his name as one of the greatest glories of the French School of Piano." This Fantaisie is from a group of three etudes, the second is for the right hand alone [R2] and the third is for both hands together. A sectional work, delineated by different tempo markings. Very difficult, large-scale, and virtuosic, requiring complete control of all aspects of one-handed playing, including thick chords and chord inversions, tremolo, arpeggios, octaves, and quick keyboard register shifts. (University of Wisconsin-Madison) [A9]. [D2a-c]

L14.

Aimer de Resimont, Emilie SEE: Resimont, Emilie Altner de [L393]

L15.

Andreoli, Guglielmo (I) (1862-1932) Italy Etude de concert: Barcarolle du Marino Faliero, Op. 5. Mainz: Schott. (HOF 1852-1859:107) (INS)

L16.

Andriessen, Jurriaan (Leslie Cool) (1925-1996) The Netherlands Quattro pezzi: Fanfare; Allegro deciso; Adagio; Vivo. Amsterdam: Donemus, c. 1961. l i p . Dedicated to Cor de Groot. Clever works which bristle with rhythmic excitement and modern dissonances. These spirited pieces require good chord facility and ease with rapid keyboard shifts. Thin textures predominate. They are only moderately difficult, but are clear and carefully conceived. They would make excellent concert fair. Pedaling is carefully marked and must be strictly observed to achieve the essential colors desired by the composer. [A8]

LI7.

Andriessen, Louis (1939) The Netherlands Trois Pieces: I. Promenade; II. Fracas; III. Hymne (Promenade II). (Six pieces by Netherlands composers for piano left hand). 6 p. Amsterdam: Donemus, 1961. Dedicated to Cor de Groot. These are very exhilarating works that have thoughtful and emotional appeal for the listener. Slow-Fast-Slow tempos of moderate technical difficulty but artistically mature. Frequently

Left Hand Alone

55

changing meters with wide variety of dynamics. Biting dissonances. Atonal. Entire piano range used. Pedaling suggested. [A7] LI8.

Andriessen, Wilhem (1887-1964) The Netherlands Preludium. Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, 1961. Composed in 1960. 3 p. Dedicated to Cor de Groot. A very slow, sad, dignified work of moderate difficulty, but definitely a concert work. Ternary form. Artistically conceived and rhapsodic in nature. Exciting harmonies and shifts in dynamic levels. Textures that are deceptively thick. Strong climax. [A7]

L19.

Anger, Joseph Humphrey (1862-1913) Canada, born Great Britain Impromptu. London: Weekes/Stainer & Bell. (National Music and Disability Information Service List [B57]) (INS)

L20.

Augieras, Pierre France Twenty-five studies for the left hand alone on the piano, 1917 (c. 1924). (New York: G Schirmer: Scholastic Series volume 149). (NYPL) (INS)

L21p.

Auzende, A. M. France Etude de rythme: Exercice pour la lecture de la cl6 de fa et pour la main gauche seule. (Exercise for reading the Bass Clef and the Left Hand alone.) Paris: Maison J. Hamelle. (INS)

L22p.

Bach, Carl Philipp Emanuel (1714-1788) Germany *Klavierstuck in A major, W.l 17:3. Vienna: Universal and Kassel-Wilhelmshohe: Nagel [Barenreiter]. 1 p. An easy, gigue-like original composition. May be played by right or left hand. If played by the left hand, it is suggested to play it one octave lower than written. This work serves as the foundation for a clever, more elaborate composition by Michael Bialosky [R7]. [A5 and A9] [D23a]

L23p.

Bailey, Freda Great Britain According to the (National Music and Disability Information Service List (B57]), Miss Bailey has composed and arranged some of her own piano music for one hand. (INS) Nocturne for a Right Handed Performer

L24p.

Nocturne for a Left Handed Performer

56

One Handed

L25p.

Under Water Ballet (with descriptive poem)

L26p.

Fun at the Fair: Dodgems; Helter Skelter; On the Horses; On the Big Wheel.

L27.

Ballata, Zeqirja (1943) Yugoslavia Dve Skladbi za Klavir: za levo roko (Due pezzi per pianoforte: a mano sinistra: I. Echi delle Montagne Maledette (Andante con variazioni). Composed in 1963; II. Fantasia rustica (Allegro non troppo). Composed in 1964. Vienna: Universal and Kassel-Wilhelmshohe: Nagel [Barenreiter]. Ljubljana: DruStvo Slovenskih Skladateljev, 1970. l i p . Dedicated to Tatjana Bu£ar. Ballata has created these two works in a rather improvisatory style. Both concert pieces employ frequently changing and sometimes unusual meters, wide dynamic range, and rather fluid mood shifts. They are rhythmically and harmonically exciting and fresh. Interesting moods are created through the use of dissonances and melodies that emerge from the textures. Moderately difficult. (University of Wisconsin-Milwaukee)

L28.

Bart6k,BSla (1881-1945) Hungary Etude for the Left Hand (Tanulmany balkezre): No. 1 from Four Piano Pieces. London and New York: Boosey and Hawkes #2335, c. 1950 and c. 1956; Melville, New York: Belwin Mills (Kalmus Piano Series #3128), 1970. Composed in Budapest in 1903. 13 p. Dedication: Mesterenek, Thoman Istvannak ajanlva. Advanced concert work in sonata form, somewhat rhapsodic in style. Tonally organized. Broad, sweeping lines. Requires complete control of octaves and chords. Resounding ending in B-flat major. Some performance suggestions included. This is a solid and important work for the left hand. [A9] [D8a, D23a]

L29.

Bax, Arnold (1883-1953) Great Britain Slow Movement from the Left Hand Concertante. A solo arrangement of this movement. London: Chappell & Co., Ltd., c. 1950. 5 p. Performed by Harriet Cohen. This is really for two hands and is an abridged version arranged by Lloyd Webber. Thick textures. (LOC)

L30.

Beachcroft, Richard Owen Great Britain Air and Variations. London: Oxford University Press, 1927.

Left Hand Alone

57

Oxford Piano Series: No. P85. Written in the summer of 1918. "For D. G. A. Fox." 12 p. A serious, single note, eight measure, g minor melody becomes the basis for these dramatic and very orderly variations. They are tonally conceived and vary in tempi, mood, length of theme, and sometimes key. I. Maestoso; II. Allegro e leggiere; III. Risoluto; IV. Scherzando; V. Largamente; VI. Vivace; VII. Recitativo Arioso; VIII. Abbandone; IX. Fuga Sciolta: chorale: vivo. All require excellent facility with chords, broken chords, and octaves. This is a powerful piece that should be used in concert. Difficult. (LOC) L3 lp.

Beard, Katherine K. (1926-1990) USA Song for Left Hand Alone. Florence, Kentucky: The Willis Company, 1987. 3 p. A lower intermediate level study piece which requires careful pedaling and expressive playing. Octaves create a pedal point. All of the chords are second-inversion dispositions (one of the pedagogical side benefits of studying this work). Fingering and pedaling suggested. Used on the Federation of Music Clubs Junior Festivals One-Hand Piano Music List for 1995-1997, Elementary Class II. [B75]

L32.

Beath, Betty (1932) Australia Black on White (Piano Piece for Left Hand). Grosvenor Place, Australia: Australian Music Center, PO Box N690, NSW 1220. Composed in 1983. Reproduced from the composer's autograph located at the Australian Music Center. 2 pages of music plus biographical and bibliographical data about the composer. Thin textures, many sustained and resonant sounds, passages of declamation and bebung, as well as a wide variety of distinct contrasts contribute to the special emotional color of this piece. Makes use of the sostenuto pedal. Intermediate technical difficulty, but with mature artistry required. From the composer's notes: "Black on White...was written following an invitation from Shirley Harris, Director, The Harbor Conservatory for Musical Growth and is a contribution to her collection of piano music for one hand. Black on White makes use of the full keyboard with the help of a ruler, thirty centimetres long, just the right length to depress two octaves of either black or white keys. By depressing the ruler and at the same time the sustaining pedal, the resulting gong-like cluster of sound can be maintained for as long as is musically appropriate. The tempo Andante has been chosen to accommodate varying skills but the

58

One Handed work needs to be kept moving. Clusters and groups of chords are designed to make use of all the black keys followed by a shift of interest to the white keys. This work was published in the third edition of Premiere, the only magazine to have music instead of words..."

L33.

Beecher, Karl Vier Praludien. Berlin: Schlesinger, 1928. (HOF1924-1928:29) (INS)

L34.

Bennett, Richard Rodney (1936) Great Britain Five Studies for Piano. London: Universal Edition, c. 1965. "To Paul Jacobs and Yonty Solomon." No. 4, "Recitando, mano sinistra" is for the left hand. 3 p. Written in 1962. Dark, wide keyboard range. Flexible rhythmic groupings. Dramatic ending. Thick chords. Outbursts of "musical speech." Dissonant. Carefully marked for all nuances. Concert work. (LOC) [R4]

L35p.

Bentley, Berenice Benson (1887-1971) USA Four Compositions for the Left Hand Alone. Chicago: C. F. Summy Co., 1944. All are upper elementary teaching pieces in a variety of keys and moods. Fingerings and pedal markings are provided. Useable teaching works. A Happy Heart. "To Trudi Roberts" C major, 3/4 meter, Merrily. Slightly easier than the other three. Just a-foolin' (Black Keys). "To Mary Jarman Nelson" G-flat major, 2/4 meter. Briskly, with humor. Prince Fairy Foot. "To Florence Fender Binkley" E minor, 2/4 meter. In a merry mood. Vagrant Breeze. "To Louise Garrow" G minor, 3/4 meter.

L36p.

Berens, Hermann (1826-1880) Germany/Sweden Die Pflege der linken Hand in Clavierspiel, (L'Scole de la main gauche or Training of the Left Hand): 46 exercises and 25 studies for the left hand alone, Op. 89. (This is the first time the terms "for the left hand alone" had been used by a composer.) Many publishers: Alphonse Leduc, G. Schirmer, Peters. The Breitkopf and Hartel edition was edited by Scharwenka. Moderately difficult. Technical exercises presented in a progressive order. Each is a few lines long and at least of moderate difficulty. The techniques encompass all aspects of traditional left hand playing. From the Introduction:

Left Hand Alone

59

These Exercises are intended to impart velocity, strength, and a uniform touch to the fingers. Those who have the patience to take up 6 to 8 numbers a day and to practice them for 10 to 15 minutes will soon be convinced of the utility of the same. Practice them at first at a moderate speed and accelerate the time with each repeat. All of the Exercises are to be played as powerfully and as loud [sic] as possible. The second set of 25 exercises is more involved and aims at musical problems as well as physical technique. A number of these (for example nos. 4, 11, 18, 23, 25) could be used individually or grouped as intermediate level recital pieces. They are slightly longer and more interesting. Several appear in other anthologies. Lewenthal includes nine of these Etudes, Nos. 4, 9, 10, 11, 12, 13, 16, 18, and 23. Moderate difficulty. [A9 and A6]. L37p.

Berger, Francesco (1834-1933) Great Britain Six Bagatelles. Philadelphia: Theodore Presser, c. 1929. All of these character pieces lie in the center of the keyboard. They increase in difficulty from number one to six. Not difficult, only upper elementary level. From the Foreword instructions: "...strict attention to the marked fingering which often requires the thumb on a black key...on no account is either pedal to be used." (LOC) I. A Good Old Fashion, 1 p. C major, single line, Cut time. II. Sweet Innocence, 1 p. D major, a few chords, 3/4 meter. III. In Sunny Spain, 1 p. G major, some arpeggiated chords and double stemming, 3/8 meter. IV. In Bonnie Scotland, 1 p. F major, 4-note chords. V. Dreaming in Venice, 1 p. F major, double stemming and melody voicing, 6/8 meter. VI. Polacca, 1 p. D major, 6/8 meter.

L38p.

Six Bagatelles for the Left Hand. London: Augener, Ltd., 1926. This is a different group from the one listed above with the same title. This group is simple; consisting mostly of single line pieces that are shorter than one page. Clever and useful for the purpose designed. From the Foreword: "...to supply the Pianoforte student in his early days, with little pieces that will train his Left Hand..." The rhythms are more complex than anything else. Upper elementary level. (LOC) 1. Slow with much expression, almost solemnly. 2. With spirit and accent (Irish Character) 3. Moderately slow with much sentiment, never very loud.

60

One Handed 4. 5. 6.

Lovely and lightly, mf throughout in colouring. Moderately fast, with smooth, elegant touch. Fairly quick, legato throughout, not much colouring.

L39.

Berger, Ludwig (Louis) (1777-1839) Germany Etude de Chant for the Left Hand, Op. 12, No. 9, from 12 Etudes for the Left Hand. Leipzig: Breitkopf & Hartel. 3 p. In Lewenthal [A9] and Kohler [A 10]. A gentle character piece in three part form, G major-G Minor-G major. Some very appealing and slightly unusual harmonies. The melody emerges from the arpeggiated accompaniment pattern. Mostly single notes sustained by the pedal with a few larger chords for color at the cadences. This is from one of several groups of etudes by this composer. In this opus, all of the other etudes are for two hands, but some give special training to the left hand. According to the introductory remarks by Carl Reinecke, Robert Schumann praised these etudes when they were published. Pedaling marked. The fingering provided in the original publication is that suggested by Berger himself and differs significantly from that supplied by Lewenthal. Intermediate level of difficulty. (Denver, Colorado Public Library)

L40.

Berger, Wilhelm (1861-1911) Germany Romanze, Op. 31 No. 5. Leipzig: V. Franquet. (HOF 18861891:60) (INS)

L41.

Bergman, Borah Three for the Left Hand Alone: River Shadows; Oranges; Horizons. 23 minutes. Recorded on Chiaroscuro Records; CR-158, 1977. New York: Borah Bergman Music. Duration: ca. 23:00. These works are improvisations by Bergman. [D4a] (INS)

L42p.

Berkowitz, Ralph (1910) USA The Right Hand's Vacation: Five Pieces for the Left Hand Alone. Philadelphia: Elkan-Vogel, 1952. 6 p. Charming and clever children's character pieces that are edited for student pianists. Sad Clowns and The Harp are the most difficult, but all are only lower intermediate difficulty. (LOC) Tuning-Up "for Larry" 1 p. Two Sad Clowns "for Doane and Roddy" 1 p. The Harp "for Cara" 2 p. Spanish Dance "for Kathy" 1 p. Contains a glissando. Circus March "for Joan" 1 p.

Left Hand Alone

61

L43.

Besly, Maurice (1888-1945) Great Britain Eidullion, Piece for One Piano Left Hand Alone, Op. 29 #3. From Three Pieces for Piano Solo. London: Winthrop Rogers, c. 1928. "To Mrs. James Pearce." Ternary form E major-C major-E major. "Eidullion" means a little picture. The "A" section is slow and sarabande-like. rolling, double stemmed eighth notes in the "B" section and then the "A" idea returns embellished with arpeggiated accompaniment. Pedaling is marked. Slightly above the quality of the salon style music of the period. The other two pieces from this group are for two hands: Berceuse and Pulcinello. (LOC)

L44.

Bial, Carl Vier Clavierstucke: Serenade, Gavotte, Polka, Menuetto, Op. 30. (1884) Berlin: Ries & Erler. (HOF 1887: CXXIIL20) (National Music and Disability Information Service List [B57])

L45p.

Bilbro, Anne Mathilde (1880) USA Melody in D-Flat for the left hand. Boston: White-Smith Music, c. 1912. 3 p. A lyrical, rich melody with off-beat chords and accompanying tones. Ternary form. Some interesting harmonic progressions. One cadenza area. Lower intermediate level. (NYPL)

L46p.

Two friends (right hand and left hand). First grade piano studies for equalizing the two hands. New York: G. Schirmer ~ Schirmer's scholastic services, vol. 89, c. 1917 and 1920. Ms. Bilbro has composed these teaching pieces for two reasons. First, to build up the strength and increase the independence of the left hand and secondly, to train the eye to read quickly and readily from staff to staff. This is a suite of twenty-four pieces, eight of which are for the left hand alone while none are for the right hand alone. All are titled and some contain words for singing or chanting. Fingerings are given. Pedaling is not required. Upper elementary difficulty. The titles listed below are the titles for the left hand. All of the pieces are between two and five lines in length. (Eastman School of Music) Little Left Hand's Resolution ("I'm tired of being so slow.") Left Hand Begins Work ("I must begin my work by noticing that lazy little Fourth Finger.") At Home ("I am not making any visits in Treble-Clef-ville today. I am staying close at home, because I have work to do.")

62

One Handed Practice Makes Perfect ("I must work by myself now and then, for I feel that Right Hand is still ahead of me.") Lullaby ("Of course, the effect is better when Right Hand helps me; but just the same, I can make a little melody entirely by myself") A Long Walk ("I've never yet taken a very long walk alone. I wonder if Right Hand is at home to-day? I looked all over his house up to the fourth floor; and he wasn't there!") An Excursion ("I'm getting used to long walks. I do not grow so tired now, and I'm not afraid to go anywhere."") A Happy Heart ("Even when you are alone you can be happy.")

L47p.

Birkedal-Barfod, Ludvig Harbo Gote (1850-1937) Denmark Etuderfor venstre Haand (EtUdenfur die linke Hand), Op. 8. 2 volumes. Kjobenhavn: Wilhelm Hansen #12146-12147, 1850. Dedicated to Ove Christensen. [L96] Exercise No. 7 from Volume I is available on p. 17 of Grade IV in Standard Graded Course of Studies for the Pianoforte in Ten Grades, Bryn Mawr, PA: Theodore Presser Co. This same piece is printed in [A21p] but given the title of Prelude by the editor, Charles Dennee. Volume I: 13 p. Ten studies of intermediate level difficulty from half page to two pages in length. Traditional harmonies; variety of tempos, major and minor keys, and technical difficulties studied. Some are simple and charming and could be used as student recital pieces. Fingering suggested. Volume II: l i p . Four studies more lengthy than those in Volume I. Presents a variety of tempos and technical problems to study. All tonally organized and traditional in form. No. 1 and No. 4 have programming possibilities. Fingering suggested. Moderately difficult. (University of Colorado at Boulder)

L48p.

Lette studier for venstre Haand (Leichte Studien fur die linke Hand), Op. 15. Kjobenhavn: Wilhelm Hansen #12766-12767. 2 volumes. Volume I: 9 p. Ten studies of half page to one page in length. Moderately easy studies with a variety of tempos, keys, and technical requirements. Pleasing and effective for developing cantabile style and good control of voicing. Volume II: 9 p. This is a continuation of the previous volume. Six longer studies of slightly more difficult nature. Tonally oriented in simple forms. True one-handed character studies in the style of Heller or Gurlitt. Many of these are useable as student recital works. Fingerings suggested. (University of Colorado at Boulder)

Left Hand Alone

63

L49.

Melodiske studier (Melodische Studien fiir die linke Hand), Op. 19. Kjobenhavn: Wilhelm Hansen #13080. 15 pages. Dedicated to Terman Windfeld. Five larger scale, very melodious studies in a variety of tempos. These are designed for concert use and are more musically mature and involved than any of the studies in the four volumes listed above. Moderately difficult, straightforward, but effective. Pedaling and fingering suggested. (University of Colorado at Boulder)

L50.

Blaesing, Felix Zwei Klavierstucke, Op. 24. Leipzig: F. Schuberth Jr. (HOF 1925:26) (INS)

L51p.

Blake, David (1936) Great Britain Shepherd's Evening Song. McKinley Publishing, Co. Early elementary level teaching piece. (INS)

L52.

Blanchet, Emile R. (1877-1943) Switzerland Treize etudes pour la main gauche seule (Thirteen Studies for the Left Hand Alone), Op. 53. Paris: Editions Max Eschig; New York: Associated Music, c. 1932. 32 p. Dedicated to Rodolphe (Rudolph) Ganz. These advanced virtuoso works are typical of the harmonic practices of the early twentieth century. They cover the gamut of pianistic techniques, moods, and styles, exhibiting a wide variety of textures and sonorities. They could be programmed individually or in groups. Some are as short as a page while others are up to 4 pages in length. Certainly these are important works for the one-handed pianist. However, their difficulty places great responsibility on the pianist technically as well as in interpretation and performance. Blanchet has given careful attention to articulations and interpretational markings. Some fingering suggestions are given. (Blanchet is the dedicatee for Godowsky's Etude Macabre [LI60]) (Northwestern University)

L53.

Serie IV: Exercices pour la main gauche seule, Op. 41. Etude contrapuntique de technique transcendante — Exercices pour la main gauche seule. Paris: Editions Max Eschig, c. 1927. Dedicated to Paderewski who also wrote the Preface to the volume. In this Preface Paderewski states: "It is modern music, without doubt, music that is original, personal, daring. Yet it has one priceless quality: that is 'sincerity'...The instructive value of the work is, I think, absolutely first-rate." Blanchet published 64

64

One Handed preludes for two hands in three Series. Then as a supplement, he published a fourth Serie which is for the left hand alone. This is divided into ten large sections and then these sections are subdivided into a varying number of drills. Most are one to four lines in length. Meticulously fingered and carefully conceived to instruct, they cover all aspects of the necessary training for the left hand and provide a thorough compendium in left hand techniques. Blanchet says in his Explanatory Notes: "The Preludes which form the first three books are primarily intended for the purposes of study. A certain number of them are equally suited for public performance. The left hand is often reduced to its simplest expression, however, a fourth book is specially set a part for it." Both of the last two Preludes are useable as recital works for the left hand alone. (Carnegie Library of Pittsburgh) I. Gammes (Scales) 16 exercises. II. Arpeges (Arpeggios) 24 exercises. III. Tierces (Thirds) 12 exercises, IV. Notes repetees (Repeated notes) 12 exercises. V. Octaves. 13 exercises. VI. Trilles (Trills) 4 exercises. VII. Divers (Various) 19 exercises. VIII. Sauts (Leaps) 1 exercise. IX. Prelude X. Prelude

L54.

Blank, Allan (1925) USA *Six Studies for Piano One Hand (Left or Right), Set 1: I. Limited Shapes; II. Around Sustained Tones; III. Contrasts; IV. Riding the Beat; V. Semi-Improvisation (without bar-lines); VI. Serious Events. New York: American Composers Editions, 170 w. 74th Street, c. 1993. 17 p. Composed between 1987 and 1992 and reproduced from the composer's manuscript. None is over 4 pages in length. The composer makes the following comments: "Tempo indications are approximate. In IV [Riding the Beat], a piano with a sostenuto pedal is required. In III [Contrasts] and VI [Serious Events], accidentals hold within the figure and for ties. Pedaling may be changed to accommodate the sense of the passage. Titles are afterthoughts, but may point the performer in the right direction." Textures throughout are thin and dry, mostly single notes. Some complex rhythmic groupings and complicated digital manipulations. The first, third and fifth lie most easily under the range of the right hand while the second,

Left Hand Alone

65

fourth, and sixth would be more easily executed by the left. [RIO] Pedal is marked. Difficult. L55.

L56p.

*Six Studies for One Hand (Left or Right), Set II: Numbers II. Dirge; IV. Pantaloon's Dance; VI. Determination. (Nos. I, III, and V are for right hand [Rl 1]). New York: American Composers Editions, 170 w. 74th Street, c. 1993. 19 pages total. None is over 4 pages in length. Performance Notes: "Tempo indications are approximate. No pedal show [sic] be used in number I, and a pedaling that overlaps the sounds show [sic] be aimed for in number VI. These studies are formally thought of in groups of two (I, II; III, IV; V, VI). Pauses may be used to set off these three groupings." Very similar in style, texture, and technical demands to the composer's first set of studies, although these seem to be less free and more rhythmically organized. Difficult. Bliss, Philip Paul Jr. (1872-1933) USA Three fancies for the left hand alone. Boston: B. F. Wood Music, c. 1925. 6 p. Lower intermediate parlor music with modest, lyrical charm. Old-fashioned, pleasant melodies supported by chords and octaves. Middle keyboard range. Pedal indicated and some fingering provided. (Texas Christian University and LOC) No. 1 In Lilac Time. "Borne on the air, like Music, to enrich the soul." Ternary form ( F major-D-flat major~F Major). No. 2 A Summer Reverie. "Twitter of Birds and a flutter of leaves." Long arpeggios. No. 3 By Quiet Waters. "A lily bends and dips in the pool." Octave displacements. (E-flat major)

L57.

Blumenfeld, Felix (1863-1931) Russia Etude pour piano pour la main gauche seule (Etude for the Left Hand), Op. 36 A-flat major. Frankfurt: M. P. Belaieff; agents exclusifs Boosey and Hawkes, 1906. New York: Sole agents, C.F. Peters, c. 1987. 9 p. Dedicated to Leopold Godowsky. This highly regarded work is based on a lyrical melody surrounded by arpeggiated, chordal accompaniment made up of zephyr-like figurations. Contains cadenza-like passages and contrasting middle section in F minor. Quiet ending. Very difficult and quite charming. Blumenfeld wrote this work in 1905. It wasn't until 1918, however, when his right side became paralyzed due to an illness that he was forced to play it out of necessity. [A9] [D6aandD12a]

66 L58.

One Handed Bocca, Carlotta USA Ten melodious compositions for the left hand alone, Op. 2 Boston: B.F. Wood (Edition Wood no. 816), c. 1915. 40 pages. These tonal, character pieces are gentle and pleasant. No surprises in harmonic structure or form. Typical of the salon style in the early twentieth century with better than average content and musical appeal. Could be played individually or grouped in any manner. Suitable character pieces for recital use or intermediate study. Carefully designed for the left hand. Pedaling and fingering suggested throughout. (University of Alabama, Birmingham) Meditation. G major, 4 p. Moderato: lusingando. Barcarole-like. Impromptu. F major, 4 p. Con moto. In the style of a march. Humoresque. C major, 4 p. Moderato con moto. Gently playful. Scherzo. G major, 4 fp. Allegretto. Arabesque. G major, 4 p. Moderato non troppo. Legato. More contrapuntal interest than the others from this opus. Burlesque. D major, 4 p. Allegretto non troppo. Cheerful. More contrast in articulations required. Nocturne. B-flat major, 4 p. Moderato: espressivo. Lyrical, melody with supporting accompaniment. Contrasting middle section. Romance. G major, 4 p. Moderato: espressivo. Quiet melody supported by undulating accompaniment. Capricietto. D minor, 4 p. Allegretto: energico. Scherzo-like. Middle section is more legato. March. B-flat major, 4 p. Tempo di Marcia. Melody supported by triplet figures. More use of octaves.

L59.

Bon, Willem Frederik (1940-1983) The Netherlands Preludes voor Piano (1959-1978), Op. 14. Amsterdam: Don mus, c. 1991. "voor Cor de Groot." The first two preludes are for the left hand alone. 4 p. Written in 1959 and 1961 respectively. About 6 minutes. Both are slow thoughtful works. They both contain flowing rhythm patterns, big dissonant chords, sostenuto pedal usage and quiet endings. Interesting and wellconceived. Moderately difficult. They are published with several other preludes for two hands. (NYPL)

L60.

Bonamici, Ferdinando (1827-1905) Italy 30 exercices-etudes pour piano, pour la main gauche seule, 272. 54 p. Milano: Ricordi. Edition nouvelle par Isidor Philipp. Paris: Societe anonyme des editions Ricordi, c. 1915. (INS)

Left Hand Alone L61.

67

34 etudes melodiques pour piano pour la main gauche seule, Op. 273. Edition nouvelle par Isidor Philipp. 72 p. Paris: Society anonyme des Editions Ricordi, c. 1915. These studies cover the most difficult technical problems. They are more complex and musically more satisfying than the 100 exercices et 153 passages divers pour piano, pour la main gauche seule, Op. 271 (listed below) and many of them could easily be used as concert works, concert etudes. Bonamici says: "En publiant ces etudes pour la main gauche seule, je crois presenter un travail qui n'a pas encore et£ tentee par d'autres dans des proportions aussi specials, ni d^veloppe avec des details soigneusement indiqu^s pour l'execution." He includes studies for wrists, turns, repeated notes, legato, finger control, independence of line, staccato, chains of trills, double notes, octaves, arpeggios, etc. This volume is the most difficult of the three sets. There are some really stupendous and interesting works in the best tradition of the concert etude. Each has fingering, pedaling, specific tempos and articulations marks. (The copies at the NYPL were gifts from the composer to James Huneker and then to the Library.) Etude No. 3, Op. 273 is in Lewenthal [A9]. 3 p. A rather unusual piece. Filled with ascending and descending glissandi to introduce or fill in between statements of the undistinguished theme. Some chromaticism and harmonic interest. Requires breaking of intervals, rolling of chords, and large stretches. Fingering suggested. Clumsy and unappealing. Moderately difficult.

L62.

100 exercices et 153 passages divers pour piano, pour la main gauche seule, Op. 271. Paris: Society anonyme des editions Ricordi, c. 1915. Edition nouvelle par Isidor Philipp. 75 p. Philipp states: "Void un ouvrage oublie mais cependant extremement remarquable et je crois bien le plus complet qui existe pour la main gauche seule." Bonamici gave specific instructions for placing the bench in the proper spot for left hand playing, to begin slowly, to repeat each exercise several times, etc. He also gave more than one fingering for the exercises and recommends resting when the hand has become tired. None of the 100 are more than three lines in length and are arranged in three "Series." The 153 passages begin with arpeggios and cover all technical problems imaginable including glissandi in octaves. Moderately difficult to difficult. (LOC)

68

One Handed

L63.

Bontoft, Frederic S. (1896) Great Britain Prelude and Fughetta. London: Augener, Ltd. (Stainer & Bell), c. 1958. Each section is 2 pages in length. "For Yolande Uyttenhove (Brussels)." D minor. Rich textures. Some double stemming. The Prelude consists of bold lines in flowing sixteenths with a quiet ending in preparation for the Fughetta. The subject is chromatic and chorale-like. Three voices are implied. Octaves add richness and support the subject in augmentation. Quiet ending. Pedaling and some fingering provided. Effective upper intermediate concert work. (LOC)

L64.

Bortkiewicz (or Bortkevich), Sergei Eduardovich (1877-1952) Russia/Austria Le Poete (Pour la main gauche). F-sharp major. No. 5 from Cahier I of 12 Etudes Nouvelles (Illustrees) pour piano, Op. 29. Leipzig: D. Rahter, c. 1924. "a Mr. Hugo van Dalen." 6 p. Each of the etudes is given an interesting, descriptive title. Le Poete is the only one from this set for left hand alone. It is built from a broad, flowing Romantic melody with accompanying chords and broken chords placed sometimes below and sometimes above this melodic line. The middle section drives to a rousing climax before the return of the opening theme. Complete pianistic skills are required with special emphasis on chord inversions and arpeggios. Thick textures and quiet ending. A difficult concert work. (LOC and Cleveland Public)

L65.

Bovy-Lysberg, Charles-Samuel SEE: Lysberg, Charles-Samuel Bovy [L312]

L66.

Bowen, York (1884-1961) Great Britain Nocturne, for the Left Hand only from Curiosity Suite, Op. 42. London: J. Williams, c. 1916. 4 p. F minor. This entire suite contains pieces for left hand alone, right hand alone, and hands together and is written somewhat tongue-in-cheek. Bowen states about this piece: "To the serious minded musician, to whom the use of only one hand in performance does not detract from the power of interpretation." A slow, serious, dramatic work with an agitated middle section. There is a powerful spinning out of an octave reinforced melody over accompaniment. Dramatic cadenza-like passages lead to the return of the "A" section. Ternary form. Pedaling, fingering, and performance suggestions given. Moderately difficult. (UCLA) [R14]

Left Hand Alone

69

L67.

Five Sketches. 3 for RH and 2 for LH. De Wolfe, Ltd. Moderately difficult. National Music and Disability Information Service List)

L68.

Bozi, Harold De France Paolina: Tango pour la main gauche seule. Paris: Editions Max Eschig, c. 1938. 3 p. A clever, pleasant work, thick with chords and octaves. Somewhat clumsy and unrefined in pianistic technique with frequent large leaps from low thudding octaves to melodically important chords. The harmonic structure is interesting and contains many key changes that are quite natural to the sound. There is a sultry, Latin, dance-like feeling about it, however, which could make it an effective encore piece. Ternary form. Pedaling and some fingerings indicated. Upper intermediate difficulty. (Eastman School of Music)

L69.

Bradsky, Wenzel Theodore (Theodore Vaclav) (1833-1881) Bohemia La Petite Fadette: Morceau de Concert pour la main gauche seule pour piano, Op. 22. Berlin: Stempelmann. c. 1862. Danzig: Lau. (HOF1893: CXLL19) (INS)

L70.

Brandman, Margaret S. (1951- ) Australia Winter Piece (for left hand alone). Grosvenor Place, Australia: Australian Music Center, PO Box N690, NSW 2000, c. 1992. 5 p. Dedicated to Selma Epstein. Reproduced from the composer's computer generated autograph that is located at the Australian Music Center. Primarily a single staff work. Constructed in a free-flowing way with a variety of techniques, some declamation, some chordal areas, and some arpeggiated chord progressions. A mixture of flexible tempi and diverse utterances. Dynamic levels quiet overall with a quiet ending. No fingerings and few pedalings indicated. Moderately difficult.

L71p.

Branson, John L. (1923) USA Prelude for Left Hand Only (Title inside score is Prelude for Left Hand Alone). Cincinnati, Ohio: The Willis Music Company, 1988. 2 p. "For Susan." A useful upper elementary level study in perpetual motion sixteenth notes. Single notes only. Melody is mostly double-stemmed quarter notes emerging from the accompanying patterns. Some Impressionistic harmonies and slightly reminiscent of Debussy's Dr. Gradus ad Parnassum. Pedaling and fingering are suggested.

70

L72.

One Handed Braun, Rudolf (1869-1925) Austria Drei Klavierstucke fiir die linke Hand. Vienna: Ludwig Doblinger, c. 1928. All of these works are well conceived and require enormous skill from the pianist. Complete command of the one-handed techniques and musical flair are indispensable. All are difficult concert pieces. Their traditional harmonies are more reminiscent of the late nineteenth century than the twentieth. This edition has only minimal editing, articulations, dynamics, and pedal marks. (Oster Nationalbibliothek, Vienna, Austria) Nocturne: 4 p. Quite an absorbing work. The opening is in Aflat major and very slow. There is a lyrical melody and some beautiful shifts in harmony. The middle section changes meters and keys to C major and is very agitated, filled with octaves, frequent shifts of register, and many diminished seventh chords. This agitation subsides and brings a return of the opening material. Quiet ending. A la Zingarese: 4 p. F minor. Some imitations of the guitar with spread chords. A character piece in the true sense with lots of charm. Thick writing, many sixteenth note octaves, and a wide keyboard range. Walzer: 7 p. F major. After an introduction, the waltz begins with typical inflections of the Viennese style. Many transitory modulations. Somewhat a chain of little waltzes. Joyful ending.

L73.

Drei Klavierstucke fiir die linke Hand. Vienna: Ludwig Dobli ger, c.1928. Written in the summer of 1922. Dedicated to Paul Wittgenstein. Difficult concert works that require fleet fingers and virtuoso technique. As in the above set of pieces, the harmonies are traditional, somewhat chromatic, but never modern in sound. This edition has only minimal editing, articulations, dynamics, and pedal marks. Scherzo: 7 p. E major. This character piece contains lots of color, flashes of interesting harmonies, spirited rhythms, and flies all over the keyboard. A fine concert work. Perpetuum Mobile. 6 p. A minor. Brusque flowing sixteenths with double stemming for melodic interest. Traverses the entire keyboard rapidly and needs secure octave technique. Wild and thorny ending.

Left Hand Alone

71

Serenata. 3 p. D-flat major, "a la guitarra" The least difficult of this group. Thinner texture overall, but with some very tricky passages in double notes and extended chords. L74.

Brenet, Therese (1935) France Oceanides: etude pour la main gauche. Paris: Editions Henry Lemoine, c.1988. 9 p. Duration: 6:00. Difficult contemporary concert etude. Performance instructions in French and English preceding the score. These instructions, along with those given by the composer throughout the score are critical for the performance of this avant-garde work. "OcSanides derives its name from the story of the daughters of the sea as told by Aeschylus in his Prometheus. The components of the musical fabric are undulant [sic] figures, chordal units, pseudo-polyphony and cadenza-like passages. It falls into three main sections, the inner one of which is framed by quiet, briefly suspended transitions." Requires a wide gamut of new keyboard techniques, sounds, and effects. Traditional and non-traditional notations are used. Freedom is given to the pianist in certain passages to approximate the graphic notation. Notes in French and English on back cover by Mark Robson for whom the work was composed provide information about Brenet and the commissioning of the work. (Northwestern University Music Library)

L75.

Bricht, Walter (1904-1970) Austria/USA Bricht was a professor at Indiana University. As a young student he was the assistant to and "musical son" of Franz Schmidt. [C26] Fantasy upon motives from Gounod's Faust, composed 1936. First performed October 16, 1937. Unpublished manuscript written for Paul Wittgenstein.

L76.

Fantasy on Themes of Die Fledermaus, composed 1937. Unpublished manuscript written for Paul Wittgenstein. A portion of the "Morgenblatter Variations" are included as a study in Volume II of Wittgenstein's Schule fur die linke Hand. [All]

L77.

Lied ohne Worte, composed 1937. written for Paul Wittgenstein. (INS)

L78.

Albumblatt, composed 1937. Unpublished manuscript written for Paul Wittgenstein. (INS)

Unpublished manuscript

72

One Handed

L79.

Perpetuum mobile, composed 1937. Unpublished manuscript written for Paul Wittgenstein. (INS)

L80.

Bridge, Frank (1879-1941) Great Britain Three Improvisations for piano (left hand): At dawn; A vigil; A revel. 12 p. London: Winthrop Rogers. New York: G. Schirmer, c. 1919. London: Thames Pub.: Trade distributor: Novello & Co., 1984. "The Frank Bridge Trust in association with Thames Publishing." These three Improvisations were written in 1918 for the pianist Douglas G. A. Fox, who lost his right arm in the First World War. Slightly impressionistic harmonies and scales underpin these lovely, atmospheric tone poems. Musically very satisfying works that would make a fine recital group. Carefully edited with fingerings, pedal marks, dynamics, and articulations. The first two are rather delicate, atmospheric, and less difficult than the third with its fast and continuous sixteenth note triplet rhythms. Moderately difficult. (University of WisconsinMadison)

L81p.

Brumby, Collin (1933) Australia * Reverie. Melbourne: Allan Music Australia Pty. Ltd., c. 1984. 3 p. Tranquillo, 3/4 meter. Like a gentle waltz. Tonally organized but tinged with modern sounds. Ternary form. May be performed by either hand alone according to the composer. Suitable for an upper elementary to lower intermediate student. Melody and accompaniment pragmatically distinguished for the pianist. Pedaling suggested. [A32p andR17p]

L82.

Bunge, Sas Ernest Alexander (1924-1980) The Netherlands 10 Etudes (Tien etudes voor de linkerhand). Amsterdam: Donemus, c. 1977. 13 p. Most of these etudes are about one page in length. Reproduced from the composer's manuscript. Written for the Dutch master storyteller, Paul Biegel. Commissioned by Johan Wagenaar Stichting. Introductory remarks in Dutch by the composer in which Bunge indicates that numbers 1 and 4 are studies in playing two voices in one hand. Numbers 2 and 6 are for elasticity. Numbers 3 and 10 are studies in perpetual motion. Number 5 develops the coordination of low bass notes followed by chords. And numbers 7, 8, and 9 help the pianist accustom himself to all sorts of irregular rhythm shifts. The ten etudes cover a wide spectrum of moods and become miniature character pieces, some lighthearted, some poignant, some tuneful, and some satirical. A few utilize Baroque dance rhythms, while others are

73

Left Hand Alone

rhythmically asymmetrical. They are carefully conceived and minutely edited. The fingerings and articulations are given. All lie in the center of the piano with rarely more than two notes sounding at once. Upper intermediate level. (Northwestern University) 1. sempre cantabile 2. con giusto 3. com 'una macchina 4. lento 5. grazioso 6. con brio 7. con spirito 8. a capriccio 9. con moto 10. corrente

L83.

Mazurka voor piano (linkerhand). Amsterdam: Donemus, 1989. 3 p. Reproduced from composer's manuscript. Composed in 1977. Very linear in construction, mostly single notes with only occasional chords for harmonic punctuation. Playful rhythms and sparkling harmonic shifts. Many nuances are indicated in the score. Clearly articulated with fingering suggestions. Middle to low range of the keyboard. Very similar in technical requirements to the Tien etudes voor de linkerhand by the same composer. Upper intermediate difficulty. (Florida State University)

L84.

Bussmeyer, Hans (1853) Germany Drei Klavierstucke fiir die linke Hand oder zwei Hande: Minuetto, Fughetta und Burletta, Op. 5. Munich: Schmid, c. 1885. (HOF 1887: CXXIIL20) (INS)

L85p.

Buttner, Maria Austria *Sechs Oesterreichische Tanze fiir Klavier fiir die linke oder rechteHand. Wien: L. Doblinger, c. 1946. 7p. Dedicated to the soldiers wounded in the Second World War. Charming, pedagogically useful Austrian Landlers. (INS)

L86.

Buttschardt, C. Stiidien. Vienna: Dreiklangverlag, 1946. Leipzig: Ruhle (INS)

74

One Handed

L87.

Cacioppo, Curt Beloved emblem. "Left hand study for piano." Bryn Mawr, PA: Orenda Press, c. 1983. 2 p. Duration: 2:48. This is number 5 in a set of nine preludes for piano based on authentic Pawnee melodies. In the 1920's Frances Densmore recorded the tunes on wax cylinders at the Pawnee Indian Reservation in Oklahoma. This poignant melody tells the story of a man of extreme old age, with no children of his own. His last remaining relative rides into battle carrying the beloved emblem, a lance. The young man sadly is killed in the battle. More background information on this Native American story is provided with the score. Strongly declamatory and free with many performance nuances and pedaling indicated on the manuscript score. Very precise pedal markings are given and described in a footnote. Cacioppo has tried to capture in notes and minute editorial suggestions all of the pathos of this emotional scene. Moderate difficulty. (Haverford College)

L88.

Cage, John (1912-1992) USA *Dream (Music for the Dance by Merce Cunningham). New York: Henmar Press, Inc., c.1960. Sole selling agents C.F. Peters No. 6707. 2 pages. Duration: 5:00. Composed in New York City in 1948. Not specifically for one hand, but easily performed by either hand alone. Written in alto clef. Minimalist in nature. Single line, running notes, mostly on the staff with a few chords. Cage states: "Always with resonance; no silence; tones may be freely sustained, manually or with pedal, beyond notated durations." Uses the soft pedal throughout. Only upper elementary difficulty technically, but not a pedagogical work. (University of Wisconsin-Madison)

L89.

Calcagno, Elsa (1916) Argentina 5 Preludios para piano: inspirados en modalidades ritmica melodicas del cancionero criollo. Buenos Aires: Ricordi Amer cana, 1950. Second edition. Composed in New York City in 1948. 13 pages for the entire suite. Only the second and fourth preludes are for left hand alone. The second: Preludio para la mano izquierda, con aire pampeano is dedicated to Haydee Ferrero. 2 p. Begins in D minor and ends in B minor. Alternation of broken chords and scale passages. Rather impassioned. One B natural accidental is omitted in measure 15 and one C* accidenta is omitted in measure 21. Pedaling and dynamic markings indicated. The fourth: Preludio Para la mano izquierda, con aire

Left Hand Alone

75

de Estilo is dedicated to Sefiora Corina H. de Lima. 1 p. repeated. E minor. Passionate, mostly chordal with a melody emerging from the chord tops. Pedaling and fingering indicated. Not as technically challenging as the second prelude. Both are of upper intermediate difficulty. (Indiana University) L90.

Variaciones classicos sobre un temade la llanura para le mano izquerida. Buenos Aires: Ricordi & Co., 1942.

L91.

Doce (12) Preludios para piano (6 para la mano izquierda). "Inspirados en modalidades ritmicas y melodicas del cancionero criollo." Buenos Aires: G. Ricordi & Co., 1969. Concert works of upper intermediate difficulty. No fingering given. Lively and entertaining. (LOC) #2. Preludio con aire pampeano. "al Maestro Eduardo Melgar." 2 p. G minor. A double-stemmed melody emerges from the more or less perpetual sixteenths. Some interesting harmonic progressions. #4. Preludio con aire de Estillo. "a Tina y Albert Carvallo." 2 p. B-flat minor. Sad, sultry andante melody often in thirds. Rubato. Thirds, tenths, and broken chords. #5. Preludio con aire pampeano. "a la pianista Hay dee Ferrero." 2 p. D minor and B minor. Broken chords alternating with descending scale passages. Aggressive. #7. Preludio con aire Estillo. "a la Sra Corlina H. de Lima." 1 p. Recitative-like. Simpler than the others. Impassioned melody over chords. Repeated to appp ending. #8. Preludio con aire de Triste. "al Rotary Club de Carmelo." 2 p. Quiet opening. Lyrical melody over chords. Modulates through several keys. Solid declaimed ending. #11. Preludio con aire de Vidala. "al Sr. Mauricio Ferrari Nicolai." 3 p. B minor. Slow waltz. Sensual in nature. Chromatic and pleasing.

L92p.

Cassanova, F. A. (1924) USA Owed to Czerny (Octave Etude for the Left Hand). Florence, Kentucky, The Willis Music Company, c. 1992. 2 p. F minor. The composer suggests playing this with lots of bravura. Built from broken chords and octave scale patterns. Requires above average control of large chords and running octave passages. In-

76

One Handed termediate difficulty. Pedaling suggested. Useful for study, but not as musically successful as the 'Pop' Song listed below.

L93p.

'Pop' Song for left hand alone. Florence, Kentucky: The Willis Music Company, c. 1992. 2 p. F major. Andante tempo. Pleasant lower intermediate level pedagogy solo. Fluency with very large chords and inversions required. "Cocktail piano" flavored harmonies give it an obvious appeal to a certain level of piano student. A few passages have a distinct melody, but otherwise the melodic interest is derived from the chord progressions. Fingering and pedaling indicated.

L94.

Castaldi, Paolo (1930) Italy Left: per pianoforte. Milano: Suvini Zerboni, 1971. 14 pages 14" X 20" in size. Duration: between 11 and 13:00 minutes. Includes detailed performance instructions in Italian by the composer. The score is rather interesting visually (suitable for framing). It is laid out in 1-4 measure blocks with arrows pointing the way to the next grouping often beginning on the enharmonic equivalent of the last tone. Castaldi gives note value to note value equivalencies in brackets to indicate the pulse relationship from one grouping to the next and says: "Le equivalenze metronometriche devono esser osservate a rigore? Tempo markings, meter signatures, and key signatures change almost grouping by grouping. This is a restless, complex, constantly undulating and difficult concert work with many long arpeggiated passages and infrequent chords. A work that must be undertaken in a very accurate way because Castaldi warns us in his explicit instructions that we should play the score precisely as it is written ("precisamente come e scritta nella partitura"). (University of Illinois at Champaign-Urbana)

L95.

Chiti, Gian Paolo (1939) Italy Arion Suite: Prelude and Fugue 1993. 8 p. Through correspondence with Chiti, I was graciously given a computer derived copy of the suite. He has written it for left hand or ad libitum for both hands if the performer has small hands. The new title has been added and the work is in the process of being printed. (Chiti's address: Deputy Director, Conservatorio di Santa Cecilia, Via Proba Petronia 82, Roma, Italia 00136.) The Prelude is very free with flexible rhythmic groupings, few bar lines, frequent meter changes, and thorny passage work. A few Baroque ornaments are apparent and give the feeling of a typical

Left Hand Alone

77

Prelude to a Fugue. The Andante Fugue is two-voiced and written clearly so that the sixteenth notes of one voice are played while the other voice holds, but some overlapping of the range of the voices could cause aural confusion between lines. At the end of the Fugue are the instructions to play the portion of the Prelude from the sign to the end. ("Di seguito ripete preludio dal @a finire") Some pedal markings given. This is an interesting and serious moderately difficult concert work. L96.

Christensen, Ove (1856-1909) Denmark Drei Pianoforte Etiiden fiir die linke Hand. Leipzig: Arthur P. Schmidt, and Mainz: Schott, 1907. Brief studies for equalizing the fingers. Many running sixteenth note figures. Moderately difficult. (HOF 1904-08: 117: 22) (LOC) (INS)

L97.

Clemens, T. L. Octave Study. Chappell. (INS)

L98.

Coenen, Willem (1837-1918) The Netherlands Fantasia on "The Last Rose of Summer" and "God Save the Queen" for the left Hand Alone. Neue ausgabe mit einem hinzugefuten Schlusse von Marie Krebs. Leipzig: J. Schuberth and London: Novello, 1864. Probably written for his own concert performances. (HOF 1867: XCV:19) (INS)

L99p.

Cola, Felix de (1906Left hand, Right foot book [A22p]

L100.

Corigliano, John (1938) USA Etude No. 1: For the left hand alone. From Etude fantasy: for solo piano. New York: G. Schirmer, 1981. 29 pages for the entire work. Commissioned by James Tocco on a grant from the Edyth Bush Charitable Foundation, Inc., for the Bicentennial Piano Series of the Washington Performing Arts Society, and dedicated to the memory of Edyth Bush. The premiere, by James Tocco, took place in the Kennedy Center, Washington, D.C., on October 9, 1976. The published score is also edited by James Tocco. The other movements require two hands and flow one into the next. They are: Legato; Fifths to thirds; Ornaments; and Melody. From the composer's notes: "The first etude is for the left hand alone~a bold, often ferocious statement which introduces both an opening six-note row (the first notes of the work) and a melodic germ (marked 'icy' in the score) which follows the

) South Africa/USA

78

One Handed initial outburst. This etude reaches a climax in which both the row and the thematic germ are heard together, and ends as the right hand enters playing a slow chromatic descent which introduces the next etude..." There is no real stopping point for the first movement, so it probably cannot stand alone as a concert piece. Flexible, declamatory movement with broad sweeping passages from top to bottom of the piano, rather brutal and harsh. Dynamics, articulations, pedaling, and fingerings given.

L101.

Corpus, Constantin Wilde Flucht vor Raubern fiir die linke Hand, Op. 39. Berlin: Hoffheinz. (HOF 1906:XXIV:21) (INS)

L102p.

Czerny, Carl (1791-1857) Austria Two Studies for the Left Hand Alone, Op. 735. Vienna: Mechitt, 1846. Amsterdam: Heuwekemejer, c.1969. These are also published in Les Maitres du piano (Degre superieur): Volume I -- Etudes speciales, choisies, revues, doigtees et annotees par Armand Ferte, Bruxelles: Schott Freres, c. 1937. No. 1 in G minor, Allegro maestoso. No. 2 in A-flat major, Andante expressivo. Both are three pages in length and require solid technical skills in chord inversions, octaves, scales, trills, broken chords, and arpeggios. They contrast in character; are simple in structure, melodic and harmonic device, but pleasing and innately effective.

Pedaling and fingering given. University)

Difficult.

(Northern Kentucky

LI03.

*Etude in A major. New York: G. Schirmer. 3p. Frequently changing tempo markings and key signatures delineate the formal sections. This becomes almost like a fantasy. A variety of techniques are used including scales, arpeggios, chords, sustained tones, implied counterpoint, trills, octaves, etc. Fingering is given for both hands by Isidor Philipp. It seems most suitable for the right hand. Moderately difficult. [A9]

L104.

Dacci, Giusto (1840-1915) Italy Melodia colla sola mano sinistra. Trieste: Schmidt & Co., c. 1894. (HOF 1900:179:21) (INS)

L105p.

Damm, Gustave (1803-1904) Ubungsbuch nach der Clavierschule: 16 leichte Etuden. (INS)

Left Hand Alone

79

LI 06.

Da-Oz,Ram (1929) Israel Kemo menuet li-fesanter yad semol bi-levad (Quasi menuetto for piano): for the left hand only. Tel Aviv: Or-Tav Music Publications, 1988. 3 p. (Harvard University, Loeb Music Library) (INS)

L107p.

Davies, Evan Thomas (1878) Great Britain Roses of Yesteryear: Waltz. Cincinnati, OH: The Willis Music Company, c. 1915. 3 p. Trite, 3-part waltz in G major with contrasting middle section in C major. Mostly single notes in arpeggio with a few three-note chords interspersed. Lower intermediate level of technical difficulty. Pedaling and fingering carefully marked. (Southern Illinois University at Carbondale)

L108.

Delgado, Imelda USA ^December's Dance. Unpublished manuscript available from the composer, 27 Camden Place, Corpus Christi, TX 78412. Originally titled Valse Sentimentale pour la main gauche. Written in 1994 and dedicated to Edgar L. Cort6s, the composer's husband. 2 p. According to the composer: "This is a schmaltzy waltz...can be played with the right hand as well...play it with great freedom." The "A" section is in C# minor and 6/8 meter; the "B" section is a Giocoso waltz in V* meter and C# major. This brie piece is elegant and musically inviting. It is filled with rubato and emotional outpouring. Some octaves and larger jumps plus a free "cadenza" area provide slight obstacles. Damper and una corda pedal marked. Upper intermediate difficulty.

L109p.

Diack, John Michael (1869-1946) Great Britain The Laggard Left (Pianoforte studies for the left hand). London: Patterson's Publications, c. 1939. 24 p. New York: Carl Fischer. This is a volume of moderately difficult exercises some for the left hand alone and others for two hands. The first eight drills are brief quotes of famous themes from standard literature ranging in length from 2 to 6 line. From Bach's: "Werde munster, mein Gemuthe." From Bach's Piano Concerto in D minor. From Corelli's Giga From Paradisi's Toccata From Mozart's Jupiter Symphony From Beethoven's 5 m Symphony From Beethoven's Variations on "Nel cor piu." From the 32 Variations by Beethoven.

80

One Handed The next ten studies, of which Numbers three, seven, ten are conceived for the left hand alone, are original works dealing with specific technical problems that confront the left hand in piano playing. They arefriendly,cheerful works, but of no real distinction. Intermediate level students would benefit from studying them and they might serve as student recital pieces. Fingerings are suggested. (National Music and Disability Information Service List and Oberlin College) [B57]

LI 10.

Dichler, Josef (1912) Austria Intermezzo und Capriccio fiir die linke Hand allein. Wien: Doblinger, c.1980. 16 p. Includes notes in German and English about the Intermezzo. This highly effective concert work is made up of two fast movements that are dissonant, percussive, rhythmically exciting, and almost jazzy. After a brief, disjunct introduction, the Capriccio settles into the rhythm of the polonaise and builds to an exuberant ending. Both movements utilize powerful dynamics and demand a strong keyboard technique including arm and fist clusters, glissandi, as well as ease with a wide keyboard range. Big, savage ending. Moderately difficult. Pedaling is suggested. (Florida State University)

LI 11.

Dohler, Theodor (1814-1856) Italy Etude de Concert pour la main gauche, Op. 42 #33. Mainz: Schott. Also published in Dohler Album: Sammlung beruhmt Compositionen fiir Pianoforte, Leipzig: C. F. Peters, 718 1889 and in the Collection Litolff No. 1741 Dohler PianoforteAlbum. (HOF 1852-1859:134). This is a sentimental, two page Andante with characteristic nineteenth century harmonies and structure. The melody is projected in long notes by the thumb over undulating dyads in triplet rhythms. The editor, Conrad Kuhner, provides some fingering and pedaling suggestions. Moderately difficult. (Toledo-Lucas County Public Library, Toledo, OH)

LI 12.

Dohnanyi, Erno von (1877-1960) Hungary Fugue for left hand or two hands. New York: Associated Music Publishers Inc., 1913 and 1962. 6 p. Duration: 4:30. Dedicated to Mrs. Oliverson. Published posthumously. Originally subtitled: "for one advanced left hand or two unadvanced hands." Four voices in effect. Some free passages and episodic writing. Rhythmic subdivisions become thicker as the fugue progresses.

Left Hand Alone

81

Big ending with octaves and thick chords. Moderately difficult requiring a large hand span. (University of Wisconsin-Madison) L113.

Dreyschock, Alexander (1818-1869) Bohemia Variations, pour la main gauche seule (pour le piano), Op. 22. Prague: Berra & J. Hoffmann. 12 p. Dedicated to Mademoiselle Charlotte Fink. C major. After a one-page introduction of declamatory passages and octave scales, the Andante con espressione theme is introduced followed by three variations and a finale. The theme is a lyrical melody with some secondary harmonic progressions presented over an Alberti accompaniment. The variations proceed in the traditional Classic period style and include diminution of accompaniment patterns, octave displacements, trills, and change of meter from the theme's common time to 3/4 meter for the Finale. Pleasing, somewhat routine, and technically difficult. (Cleveland, Ohio Public Library)

LI 14.

Grande Variation sur l'Air "God Save the Queen" pout* la main gauche seule, Op. 129. Paris: Offenbach s/M chez Jean Andre, (no date). 9 p. "A Son Altesse Royale Madame la Princesse Frederic Guillaume de Hesse nee Princesse de Prusse." Introduction: Tempo di Marcia. Theme: Andante Maestoso. As the title states there is just one enormous variation on this traditional theme. It is wonderfully harmonized and powerfully presented. Octaves galore and oodles of arpeggios against the melody which is proclaimed in long notes surrounded by whirlwind accompanying patterns. Complete pianism is required. It could be a highly effective work as a period showpiece, p e n d i n g . Pedal and some fingerings marked. (LOC and University of Texas at Austin)

L115p.

Driver, F. Percival Great Britain Single Handed Pieces. Series of four books. Boosey & Hawkes. (National Music and Disability Information Service List [B57]) (INS)

LI 16.

Eckartz, Hubert (1903) Germany *Capriccio from Acht Klavierstucke. 2 p. Full of rhythmic vitality and very clever. Scherzo-like with frequent changes of meters from 5/8 to 2/8, 3/8, or 4/8. Big ending. Marked carefully for fingerings, pedalings, and articulations. Would be equally manageable by either hand and might actually be easiest for the right hand. [A5]

82

One Handed

L117p.

Eckhardt, Fanny G. Candlelight Waltz (for the Left Hand Alone). Providence, RI: Axelrod Publications, Inc., c. 1939. Simple C major waltz. Uses triplets, sustained notes, and two-note chords. No pedal required. Fingering supplied. Upper elementary teaching piece. (LOC)

LI 18.

Eckhardt-Gramatte, Sophie-Carmen (Sonia) (1899-1974) Canada (born Russia) Piano Sonata No. 6 (Drei Klavierstucke), E. 130. Published in Volume 17 of her selected works. Available from the EckhardtGramatte Foundation, 54 Harrow Street, Winnipeg, Manitoba, Canada, R3M 2Y7 which was set up by her second husband, an art critic, Dr. Ferdinand Eckhardt. The scores are obtainable from the Canadian Music Centre, 1263 Bay Street, Toronto, Canada, M5R2Ca. Duration: ca. 14:30. This Sonata was begun in 1928 and finished in 1952. The first movement, "For left hand alone, Prestissimo, e molto preciso, " was written in 1928 and is almost identical to the last movement of Sonata No. 4. The second movement, "For right hand alone, Lustig und mit Witz" was composed in 1951. And by coincidence the two movements may be played together to form the third movement, "For both hands, Vivo assai e marcato." From the CD notes by Michael Pisani: "The first movement is a perpetuum mobile in continuous demi-semiquavers, with few pauses. The second movement is angular, with rhythms purposefully contrasting with each other...The first movement sustains one texture and one key, conceived like an etude for the coordination and strengthening of the left hand; the second is full of character and bizarre humour, capricious and mercurical [sic] with frequent changes of tonal centre. The step-by-step process of bringing the two together; slightly prolonging one measure to allow another to catch up, subtly altering pitches to compensate, transferring lefthand material to the right and vice versa offers an experiment unique not only in this composer's works, but probably in all of modern music." This is a brilliant and exciting concert work that deserves performance and widespread use. The manuscript score, c. 1952, is very meticulously written and includes some fingerings and pedal markings. [R25 and D9a-c]

LI 19.

Variation X "Busy Honey Bee" from Introduction and Variations on a Theme from my Childhood for piano, c. 1990 by Pe-

Left Hand Alone

83

ter McKee Music Co., Limited. Sole selling rights assigned to Waterloo Music company Limited, Waterloo, Ontario, Canada. Edited by Michael Pisani. Biographical notes on the back cover. 1 p. Busy, legato sixteenths in a 3/8 meter with some doublestemming for melodic interest. Wide range with some fingerings given. This movement is marked "segue subito" to Variation XI. It does have a complete cadence, but because of its extreme brevity, probably could probably not stand alone. Intermediate difficulty. L120p.

Eggling, George (1866- ) Germany/USA Melodie in F-Sharp minor, Op. 178. Boston: Arthur P. Schmidt, 1912. Also available in [A21p] edited by Charles Dennee. 4 p. Salon piece. "Big note" chordal melody surrounded by long arpeggiated figures in "small note values." Very expressive. Big, expansive climax which is followed by a slow, quiet ending. Octaves, chords, thirds, sixths, and fluid motion over the keyboard needed. Fingering and pedaling given. Upper intermediate. (LOC)

L121p.

On the Lagoon (Barcarolle), Op. 165. Philadelphia, PA: Theodore Presser, c. 1913. 4 p. A-flat major. Salon music. Pleasing melody in single notes and thirds surrounded by arpeggiated figures. Pedaling and fingering given. Upper Intermediate. (LOC)

L122.

Ehrhardt, C. Michael (1955) USA Prelude in G minor for the Left Hand Alone. Portland, ME: Manduca Music Publications. PO Box 10550. Dedicated to Jim McKay. Duration: ca. 2:30. Melodic double stemming brings a beautiful melody out of the sweeping arpeggiated figures and broken chord passagework. A slightly slower, more dramatic, and chordally conceived middle section contrasts with the opening and closing portions. Interesting displacement of accents gives a feeling of excitement and tension. Pedal and fingering, including the una corda, are marked. Intermediate difficulty. (As a side note, Mr. Ehrhardt, an American educator and pianist, was also the founder of EDUCO Records in California.)

LI23.

Epstein, Selma (Erzsebet Szonyi) (1924) Hungary/USA Epstein became interested in music for one and three hands as the result of a broken shoulder accident. She has proposed the publication of a volume of piano music for one hand by women composers and according to correspondence I have received from her,

84

One Handed "is now working on two [Adult] group teaching beginner's books; one devoted to a method for LH alone, and the other a method for RH alone!" She is the Director of and may be contacted at Chromattica USA, 2443 Pickwick Road, Dickeyville, MD 21207.

LI24.

Erlich, Ed. Zwei Universal-Etiiden fiir Pianoforte. Op. 82 for the left hand alone. Vienna: Wetzler. (HOF 1887: CXXIIL20) (INS)

L125.

Eyken, Heinrich van (1861-1908) Germany Romanze fiir die linke Hand, Op. 8. Berlin: Raabe & Plothow. c. 1894. New York: Carl Fischer. (HOF 1900: 180:21) (INS)

L126p.

Eysler, Edmund S. (1874-1949) Austria 12 Etiidenfiir die linke Hand. Wien: Wiener Dreiklangverlag, 1946. 28 p. These are upper elementary teaching pieces about children. Carefully edited. They need a large reach and ease with chords. All are two pages in length. This fun little book has clever and appealing pen and ink drawings by Elenore Haberrettl and Maria Matejka. (NYPL) Aller Anfang ist schwer Heimliche Mitteilung Spinnerliedchen Im Dorf Traumgesicht Schwesterlein Die Schule ist aus Wiegenlied fiir die kleine Use Kleiner Trotz kopf Mein liebes Mutterlein Reiterliedchen Weihnachten

L127p.

Feanch, Alan (pseudonym Alain Poinsot) Shell Fish. France: Editions Musicales Sforzando, c. 1976. 1 p. (INS) Winter. France: Editions Musicales Sforzando, c. 1976. 2 p. (INS)

L128.

Felderhof, Jan (1907) The Netherlands Impression. (Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, c. 1963. 3 p. Composed in 1959 for Cor de Groot. Ternary form: Andante rubato—Piu mosso—

85

Left Hand Alone

Tempo I. Felderhof marks this "Quasi improvisando" to give a feeling of ebb and flow throughout. Melody with accompaniment. Impressionistic sounds and yet somewhat atonal. Provocative and poignant. Middle section requires excellent octave and chord control. Difficult [A7] L129.

Fink, Gottfried Wilhelm (1783-1846) Germany Romanze, Op. 200, No. 1. Philadelphia, PA: Theodore Presser, c. 1913. 4 p. D-flat major. Adagio. Center keyboard melody surrounded by cumbersome arpeggio figures. Many broken chords. Fingering and pedaling marked. Upper intermediate difficulty. (LOC) (HOF 1900:180:21)

L130.

Foerster, Josef Bohuslav (1859-1951) Czechoslovakia Notturno & Fantastico, dve klavirni skladby pro lvou ruku, Op. 142. 11 pages. Prague: Melantrich Tschechischer Staatsverlag, 1945. (National Music and Disability Information Service List [B57]) (INS)

L131.

Foote, Arthur (1853-1937) USA Drei Clavierstiicke fiir die linke Hand allein, Op. 37: Preludeetude (D minor); Polka (B-flat major); Romanze (D-flat major). Boston: Arthur P. Schmidt, c.1897. 11 p. Each is moderately difficult and meant for recital performance. Wide dynamic and pitch range, effective use of damper pedal. Fingerings are suggested. They require very secure technique because of the many octaves and larger chords. Prelude-etude (perhaps the most appealing of the three pieces) is characterized by a Baroque influence with free recitative-like sections, many arpeggiated passages, and toccata inspired figurations. It has been slightly simplified and published for the right hand [R31]. Polka is a salon-style, chromatic piece in ternary form. Romanze is highly dramatic with many wilting chromatic harmonies. These are solid compositions but with a dated sound. (University of Michigan)

L132.

Etude for the Left Hand. Elementary. (INS)

L133p.

A Little Waltz for the Left Hand, Op. 6 No 4 from Cinq pieces pour piano. Hamburg: Cranz. Boston: Arthur P. Schmidt, c. 1885. Re-published by the same company in 1913 and 1925. Also published in [A21p] edited by Charles Dennee. Alternate title: Petite valse pour la main gauche seule. 3 p. A minor.

Arthur P. Schmidt, Co.

3 p.

86

One Handed This is the only one from this set for one hand. Dedicated to Stephen Heller. Clearly defined, lilting melody appears sometimes below and sometimes above the accompaniment. Requires ease with voicing, scales, arpeggios, and larger reaches. Some period chromaticism. Ternary form. Pedaling and fingering marked. An attractive, competently composed period piece of upper elementary to lower intermediate difficulty. (Eastman School of Music)

L134.

Franco Mendes, Hans (1890) The Netherlands For the Left Hand from Uit mijn dagboek: voor piano. Amsterdam: G. Alsbach, 19??. This is the only piece for one hand alone from these five volumes of piano music. (INS)

L135p.

Franklyn, John USA Dainty Novellettes for the Left Hand Alone. Cincinnati, OH: Willis Music Co. Written over a period of 10 years between 1915 and 1925. Six gentle, sentimental, short pieces for upper elementary to intermediate level students. With the exception of Dream of an Hour which is three pages in length, all are two pages long. There is a salon-style charm about these study pieces. Spring Breezes is particularly pleasant. Fingerings and pedaling carefully indicated. (LOC) Belfry Echoes ("Sleepy gardens where lily-pads lie.") Spring Breezes Waltz ("Soft whispers thro' the tree-tops") In Dewy Gardens ("Diamonds dainty, and the Rising Sun.") Dream of an Hour [Reverie] Forest Glades [Autumn Song] ("Comes a call, thro' the trees") In a Snow-clad Vale: A Winter Lullaby ("The Voice of Nature stills us now")

L136p.

Frey, Adolph (1856-1938) USA born Germany Valse lente. Boston: Oliver Ditson Co., c. 1919. 5 p. Lilting. Intermediate level study piece. A-flat major. Some chromaticism and unfortunate harmonic twists. Fingering given. (LOC)

L137p.

Valse Romantique. Boston: Oliver Ditson Co., c. 1919. 4 p. Easier than the Valse lente above. B major. Quick waltz. Ternary form with the return of the "A" section more complicated than at the beginning. Some fingering given. Both are rather pleasant period pieces for students. (LOC)

Left Hand Alone

87

L138.

Fricker, Peter Racine (1920) Great Britain Twelve Studies for Piano, Op. 38. London: Schott & Co. Duration: 23:00 total for the twelve. First performed on July 9, 1961 by Lamar Crowson at the Cheltenham Festival. Of the twelve Studies, only Number 5 is for the right hand alone [R32] and Number 9 for the left hand alone. 3 p. A moderate tempo in rhapsodic style. Requires firm control of octaves, chords, and scale passages. Begins and ends quietly. The soaring melody, reinforced in octaves is accompanied by chords and broken chord patterns with some wonderful harmonies. Many dynamic and tempo nuances with some really terrific swooping scales. A fine, inviting concert work. (The Cleveland Institute of Music)

LI 39.

Friedman Song of Spring. McKinley Publishing, Co. Early elementary level teaching piece. (INS)

L140p.

Frost, Bernice (1896-1976) USA The White Swan. Boston, MA: Boston Music Co., 1941. 3 p. Upper elementary level teaching piece. Melody and accompaniment in C major with contrasting middle section in A minor. Single notes only; melody tones being sustained while accompanying tones fill in. Some interesting arpeggios used. Phrasing, pedaling, dynamic levels, and fingering precisely marked. (University of New Mexico)

L141.

Fuchs,Lucie (1903) Kleine Romanze fiir die linke Hand, Op. 1 No. 7 (Frohsinn beim Lernen). Berlin: Paez. This is a set of short pieces for beginners (Kurze Klavierstucke fur Anfanger), but only this seventh one from this opus is for the left hand alone. (HOF 1893: CXLL19) (INS)

L142.

Fumagalli, Adolpho (1828-1856) Nocturne, Op. 2. Milan: Ricordi. [LA38-LA42] (INS)

LI43.

Furlani, Henri Humoresque pour la main gauche. Milan: A. and G. Carisch & Co., 1929. 3 p. "A Mademoiselle Juliette Thevenet" Charming, dance-like, and capricious. Immediately appealing character piece. Humorous intentionally. Interesting program music or encore piece. Fingering and pedaling given. Upper intermediate difficulty. (LOC)

Italy

88

One Handed

L144.

Gabrilovich, Ossip Solomonovich (1878-1936) Russia Etude for the left hand, Op. 12 No. 2 from Two piano pieces, Op. 12. Boston: Oliver Ditson Co., 1917. 9 p. Dedicated to Leopold Godowsky. Printed with larger note heads for notes of melodic interest and smaller note heads for accompanying notes. An impassioned allegro in A minor with a bold distinct melody brought out by re-inforced octaves. A tremendous climax is reached before dying away to a quiet ending. This is a solidly constructed concert etude that still exhibits charm and appeal today. Gabrilovich has suggested fingerings and pedalings. (Denver Public Library)

L145p.

Gage, Walter Impromptu. Philadelphia, PA: M. D. Swisher, 1913. 3 p. Aflat major. Published in Gage's Piano Album: A Collection of Melodious Compositions. Simple, trite theme presented three times, each time more elaborately. Requires facility with arpeggios, octaves, chords inversions, and quick register shifts. Pedaling marked. Intermediate. (LOC)

L146.

Gajani, G. Souvenir de Vienne. c. 1854. Milan: Ricordi. (HOF 18521859:144) (INS)

L147.

Ganz, Rudolph (1877-1972) USA born Switzerland Capriccio No. 1: for the left hand alone, Op. 26 No. 1. New York: G. Schirmer, 1917. 6 p. Published with Op. 26 No. 2 for the ri^ht hand alone. [R34]. "To Mollie Margolies" Gavottelike, ternary form. G major—e minor—G major. The middle section is slower and presents a minor melody surrounded from the top to the bottom of the piano with arpeggios. Zippy ending. Fine, competently crafted work. Fingering and pedaling marked. Difficult, but not inaccessible. (Philadelphia, PA Free Library)

L148p.

Garrow, Louise USA Waltz Time for Left Hand alone. Miami, Florida: Belwin Mills, 1973. 2 p. Published as part of the David Carr Glover Program Solo Series. Trivial elementary waltz in F major. Melody sometimes in the thumb and at other times played by the fifth finger. Three part form. Fingering and pedaling supplied.

Left Hand Alone

89

L149p.

Gaul, Harvey Bartlett (1881-1945) USA Bluette Waltz. Boston: C. W. Thompson & Co., 1912. (LOC) (INS)

L150p.

Gebhard, Heinrich (1878-1963) Germany/USA An Old Sea Story, No. 2 from Three Little Concert Pieces for the Piano. Boston: E. C. Schirmer, Music Co., c. 1928. "To Ernest C. Schirmer." This is the only piece from this set for a single hand alone. The other two are for two hands and dedicated to other people. An Old Sea Story is a study in cantabile left hand playing. Fingerings and pedal markings are given. Early intermediate level piano study music, designated as 3rd and 4th grade by the publisher. (The other titles in the set are: Sunlight through the trees: Pedal Study and Toccata Mignonne: for Scales, Skips and Staccato). (Mississippi State University)

L151.

George, Jon (19437-1982) USA Etude 2 from Modern Suite No. 4. Sherman Oaks, CA: Alfred Publishing Co., Inc., c. 1979. 2 p. Each of the innovative Modern Suites is accompanied by interpretational and musical analyses to help the advancing student. Suite No. 4 is a set of etudes rather than a suite of dance movements like the others. The etude for the left hand challenges the student "to shape phrases while subduing their accompaniments; to clarify intertwined voices; and to move over a wide expanse of the keyboard, working for sonorities and textures usually achieved by both hands." "Tempo rubato" A great reliance on broken chords for accompaniment. Big climax after a cadenza-like passage. Some "modern" harmonies. While intended to be a part of this six movement suite, this would be an excellent work for a developing student and could stand alone. Fingerings and very careful pedalings are indicated. Upper intermediate level. A cassette of the work performed by Mary Gae George is available from the publisher. [D14a]

L152p.

Germer, Heinrich (1837-1913) Germany 25 Studien, Op. 41. Leipzig: Hug & Co., 1899. New York: Carl Fischer. (LOC) (INS)

L153.

The Technics of Pianoforte-Playing: Musical Ornamentation: Manual of Tone-Production in Pianoforte playing from How to play the Pianoforte, Op. 28. Leipzig: C. F. Leede, c. 1886. This volume contains many excellent exercises for strengthening the left or right hand as well as a number of two-handed studies.

90

One Handed None are repertoire pieces, but all are clever and worthwhile for dexterity and control. Most are a few lines long and each involves a specific technical task that must be mastered. Fingerings carefully provided. Moderately difficult. (Milwaukee, WI Public Library)

L154.

Gerschefski, Edwin (1909) USA Suite for left hand alone, Op. 15. New York: Pioneer Editions, c. 1961. 11 p. Duration: 11:00. Composers facsimile edition. First performance by the composer, League of Composers, Midtown Center, New York, New York, February 23, 1936. Three movements: Allegro moderato; Largo; Allegretto. Linear writing overall with much implied counterpoint and many register shirts. Frequent meter changes, complex rhythms, and dissonance. Many fingerings suggested. Has a Baroque feeling. The first movement is binary and employs ornaments. The Second movement is a broad Sarabande-style binary work. And the third movement gives the impression of a gigue even though written in 5/8 meter. Certainly a serious work for the left hand. (AMC)

L155.

Giorni, Aurelio (1895-1938) Italy 24 Concert etudes in all major and minor keys for piano: No. 20 Etude in C minor for the left hand alone. New York: G. Schirmer, c. 1927. 7 p. Most of the etudes from this group are for two hands. No. 22 is for the right hand alone. Difficult program pieces. (NYPL) [R36]. (National Music and Disability Information Service List [B57])

L156.

Gliere, Reinhold (1875-1956) Russia Impromptu, Op. 99 #1. Available in [A6]. 2 p. E major. Structurally this is a simple ternary work. The Andante tempo becomes slightly more animated in the middle section and the opening material returns and closes calmly. The harmonic progression is that of enticing chromatic chords that provide a slight melodic interest in the top voice. Intermediate level with a special need for chordal voicing. Fingerings and pedal marks given.

L157p.

Goddard, Francis W. Nocturne. Boston: Oliver Ditson & Co., 1883. 2 p. A very pretty slow melody spun out over a triplet arpeggio figure. Cadenza passage. Large broken chords. Some fingering and pedal indicated. Intermediate.

Left Hand Alone

91

L158.

Godowsky, Leopold (1870-1938) Poland/USA Capriccio (Patetico). C-sharp minor. New York: G. Schirmer, 1931. 6 p. Dedicated to Ernest Hutcheson and Emile R. Blanchet. Allegretto espressivo. Ternary form, C-sharp minor with modulation to D-flat major in "B" section. Fingering and pedaling suggested. Contains much rhythmic vitality requiring great finger independence, octaves, and thick chord playing skills. Very quiet ending. Fingering and pedaling marked. Difficult concert repertoire. [A4] [D16a]

LI59.

Elegy. B minor; moderato. New York: G. Schirmer, 1931. 4 p. Dedicated to Gottfried Galston and Emile R. Blanchet. Moderato. Lyrical, double-stemmed melody. Flexible tempo with surges of passion. Somber ending. Fingering and pedaling suggested. Difficult concert piece. [A4 and A9].

L160.

Etude macabre: piano solo for the left hand alone. New York: G. Schirmer, c. 1930. Composed 1929. D minor. 4 p. Dedicated to Emile R. Blanchet. Presto perpetual motion; double stemmed melody notes; pianissimo dynamic level for the most part. "Fearful and uncanny." Some interesting chord progressions. Originally titled Wailing Winds. Written on one staff. Fingering and pedaling, including the soft pedal, suggested. Difficult. [A4]

L161.

Impromptu: piano solo for the left hand alone. New York: G Schirmer, 1930. Composed in 1920. 5 p. Dedicated to Joseph Lhevinne and Emile R. Blanchet. E-flat minor. Ternary form with "B" section in E-flat major. Presto appassionato with important dynamic swells. Constant groupings of three eighth notes in compound meter. Reminiscent of Mendelssohn. Difficult. [A4]

L162.

Intermezzo (Malinconico). New York: G. Schirmer, c. 1930. E major. 4 p. Dedicated to Alexander Silotti and Emile R. Blanchet. Minuet-like Allegretto. Ternary form. Quiet dynamic levels. Fingering and pedaling suggested. Difficult. [A4]

L163.

Meditation. New York: G. Schirmer, c. 1930. 5 p. Dedicated to Dmitri Tiomkin and Emile R. Blanchet. E-flat major. Andante sostenuto. Long, spun-out heartfelt melodic line over accompaniment. Very polyphonic and thick texture. Important, impassioned climax and then quiet ending. Fingering and pedaling suggested. Very difficult. [A4 and A9]

92

One Handed

LI64.

Prelude and fugue (B-A-C-H): piano solo for left hand alone. New York: G. Schirmer, c. 1930. 13 p. Dedicated to Arthur Loesser. Composed in 1929. A perpetual motion Prelude in F major followed by a 4-voice Fugue based on B-A-C-H. This theme is suggested in the Prelude as well. Minutely edited and very carefully fingered. Not as difficult as some of the other Godowsky left hand music. Sturdy and solid sound required throughout. (University of Illinois at Champaign-Urbana)

LI65.

Studies on Chopin's Etudes (Studien iiber die Etuden von Chopin). 5 volumes. Berlin: Robert Lienau Vormals Schlesinger, 1899-1914. Of the 53 pieces, 22 of them are for the left hand alone. The Introductory Remarks, General Remarks, Special Remarks on the Studies for the Left Hand Alone, and Description of the Various Forms Employed in the Versions of the Chopin Studies are in English, French, and German and provide important information about these works and how to study them. All are extremely difficult and require enormous flexibility of hand and fingers. A few exercises are provided for the right hand alone to use as preparation for the two-handed etudes. Godowsky carefully edited them giving precise fingerings, articulations, dynamic markings, and pedalings. Godowsky has arranged some of these works while others are almost new creations. [D16a, D51a] The following are for left hand alone: Volume 1: Op. 10 #1 transposed to D-flat major; Op. 10 #2; Op. 10 #3 transposed to D-flat major; Op 10 #4; Op. 10#5. Volume 2: Op. 10 #6 [A9]; Op. 10 #7 transposed to E-flat major; Op. 10 #8 transposed to G-flat major; Op. 10 #9 transposed to Fsharp minor; Op. 10 #10. Volume 3: Op. 10 #11 transposed to A major; Op. 10 #12 transposed to C-sharp minor; Op. 25 #1; Op. 25 No. 2 transposed to Fsharp minor; Op. 25 #3. Volume 4: Op. 25 #4; Op. 25 #5 in B-flat minor; Op. 25 #9. Volume 5: Op. 25 #10; Op. 25 #12 transposed to C-sharp minor. Also included are two Etudes from the Moscheles Method: # 1 in f minor and #2 in D-flat major.

L166.

Suite for the left hand alone. New York: G. Schirmer, c. 1930. 37 p. Dedicated to Isidor Philipp. Movements in D major and D minor. (Allemande; Courante; Gavotte; Sarabande; Bourse; Sicilienne; Menuet; and Gigue). Composed in 1926. Difficult concert music. Each movement uses the characteristic rhythm of the corresponding Baroque dance with Romantic melodies and har-

Left Hand Alone

93

monies. Thick chordal textures and dense polyphony. Requires careful pedaling and diligent attention to melodic voicing. Minutely marked with musical nuances, fingerings, and pedalings. Very difficult. (Carnegie-Mellon University) LI67.

Symphonische Metamorphosen Johann Straussschen Themen. Symphonic metamorphoses of the Schatz-Walzer themes from The Gypsy Baron. New York: Carl Fischer, 1941. 19 p. Edited by David Saperton (who has put in even thicker ossia passages.) G major. This work is in the same style as all of the Godowsky pieces. Fingering and pedaling are shown. Duration: ca. 10:00. Very difficult, requires a master of all pianistic techniques. (LOC) [D12a,D15a]

L168.

Waltz-Poems for the Left Hand Alone. New York: Carl Fischer, c. 1930. 31 p. Six pieces in all. Contains preface by Leopold Godowsky, dated January 1, 1937. Originally issued in two-hand versions or for violin and piano. Godowsky carefully gives fingerings, pedal markings, and metronome suggestions. All are difficult. Dedicated to Carl Engel. No.l G-flat major, 1929. 2 p. Allegretto amabile. Appealing melody over chromatic harmonies and secondary melodic lines. Quiet ending. More centered in the keyboard and perhaps slightly easier than some of the others. (Southern Baptist Theological Seminary) No. 2 B-flat major, 1929. 4 p. Allegretto grazioso. Three part form. Interesting modulations in the center section which is in G major. Rich sound throughout. Polyphonic. (Southern Baptist Theological Seminary) No. 3 G major, 2/2/1929. 8 p. Allegretto amabile. Three part form with the middle section in E major. Viennese in flavor. Chromatic, yearning harmonies. Pleasant, appealing melodies. Interesting play of the accompanying voices throughout. Wide keyboard range. (Southern Baptist Theological Seminary) No. 4 E-flat major, 1929. 5 p. Moderato, con tenerezza e grazioso. Three-part form the center section is even more chromatic. A gentle engaging work that fits more easily under one hand than some of the others. (Kansas State University) No. 5 A-flat major, 1928. 6 p. Moderato. Three part. Appealing use of fourths and sixths in accompaniment. No. 6 C major, 1929. 7 p. Confuoco. A very energetic waltz in three part form.

94

One Handed

L169p.

Goedicke, Alexander (1887-1957) USSR Etude for the Left Hand, Op. 32 No. 28. Oceanside, NY: Boosey & Hawkes Repertoire Album (Lower Elementary H in the Piano Teachers Library edited by Leo Podolsky, June Davison and Ardella Schaub, c. 1964. 1 p. Plain continuous eighth notes in G major. Harmonies based on primary triads and related chords. Pleasing in a simple way. Fingering given. No pedal needed. Elementary.

L170.

Gomezanda, Antonio (1894-1961) Mexico Vieja danza (sobre un antiguo tema mexicano) para canto y piano o para la mano izquierda sola. (For voice and piano or for left hand alone). Mexico: Ediciones del Instituto Musical "Gomezanda," c. 1931. 2 p. Dedicated to Paul Wittgenstein. Introductory flourishes and declamatory passages are followed by a soulful melody with accompaniment using the habaftera rhythm. Lyrics, written by Gomezanda, are printed above the score. An impassioned chorus section brings the work to a fortefortissimo conclusion. Pedaling indicated. Moderately difficult, fluid octaves required. (Indiana University)

L171.

Goodrich, Florence A Study for the Left Hand Alone. Summy. (INS) [B55]

Chicago:

USA Clayton F.

L172.

Goolkasian-Rahbee, Dianne (1938) USA Abstracts, op. 7. Published by Dianne Goolkasian-Rahbee, 45 Common Street, Belmont, MA 02178. (1970-1981). There are nine short pieces in this group, some with titles. Only the first one, Nocturne for the Left Hand Alone is for one hand. This is a moderately easy, short piece, 31 stark measures. The writing is atmospheric and rather alluring. Mostly single notes with a few chords and/or rolled chords. Pedaling is indicated. Technically not difficult, but requires mature musicianship. (Southern Baptist Theological Seminary)

L173p.

Gordon, J. Elise The Left Hand Goes Into Training. London: Stainer & Bell, 1933. Brief two line exercises for young students. (LOC) (INS)

L174.

Goria, Alexandre Edouard (1823-1860) France Serenade: Etude pour la main gauche, Op. 9. Berlin: Schle-

Left Hand Alone

95

singersche Buch~und Musik Handlung (Rob. Lienau). "a Monsieur Camille Pleyel." The Serenade (3 p.) is for the left hand alone, but the following section adds the right hand (3 p.). It is possible to cadence after the Serenade to use this work as a solo piece. Introduction followed by an accompanied, uninspiring melody with many large chord spreads to emphasize the melody tones, and finishing with cadenza material. Moderately difficult. [Al]. (LOC) L175p.

Gould, Danny Running Arpeggios. Brooklyn, 1947. (LOC) (INS)

L176.

Grahn,Ulf (1942) Sweden Gallery: for piano left hand, 1996. Submitted to the New Music and Arts Festival of the College of Musical Arts at Bowling Green State University in Bowling Green, OH. A collection of six short, moderately difficult pieces: Tomas T. Adagio e Cantabile (5 p); Sailing (4 p); Arpeggio (7 p); The Shore Line (4 p); Presto (5 p); Tomas T. Adagio e Cantabile (5 p). Grahn has created a serious and esoteric work. The colors are somber and dark with fleeting moments of animation and driving passion. Carefully edited for tempi and dynamic contrasts. Difficult, but not overwhelming. (Bowling Green State University non-circulating).

L177.

Graue, C. Dieterich Kurze melodische Stiidien fiir die linke Hand allein, Op. 25 Volume I: Praludium; Marsch; Elegie; Intermezzo. Volume II: Nocturne; Idylle; Nachspiel. Bremen: Schwers & Haake. (HOF 1893: CXLL19) (INS) Ballade fiir die linke Hand (oder auch fiir 2 Hande), Op. 24. Bremen: Haake. (HOF 1874-1879:174) (INS) Caprice: Konzertstuck, Op. 22. Bremen: Praeger. (HOF 1874-1879:174) (INS)

L17 8.

Graziani, Maxim Valse-Etude. Mainz: Schott. (HOF 1874-1879:174) (INS)

L179.

Greef, Arthur de (1862-1940) Belgium Nouvelles etudes de concert, mouvement perpetuel. Paris: Lemoine. (INS)

96

One Handed

LI80.

Greentree, W. J. SEE: Grunebaum, W. J. [192p]

L181.

Greulich. F. W. (1796-1837) Germany Etudes de Salon pour la main gauche seule, Op. 19. Leipzig: Peters, 1917. There are three etudes for the left hand alone. These salon pieces are written with charm and dramatic impetus. While not of the highest musical caliber, they would provide an interesting and novel group on a recital. All are moderately difficult. B minor - Con brio e mobilitd. 4 p. Perpetual sixteenth notes with double stemming for thematic interest. This sweeping whirlwind would make an effective encore piece. Fingerings and pedal markings given. [A9, A10, and A12] E major - Grazioso ed assai moderato. 1 p. Chorale-like melody with repeated accompanying chords, long scale passages, and some wide arpeggiations. Pleasant and predictable. Requires good chord voicing. Pedal and fingerings given. [AlOandAl]. F-sharp minor - Presto ed energico. 3 p. Perpetual sixteenth note triplets with dramatic accents and climaxes. Some double stemming for melodic interest. Effective showpiece. Fingerings and pedal markings provided. [A 10 and A12].

L182.

Griffis, Elliot (1893-1967) USA (A short biography of Griffis is given by Dr. James Spencer at the conclusion of his volume Tunes for 2, 3 and 4 hands [CE36p]. He was a recipient of a Pulitzer Prize in 1931, taught at various universities across the nation, and lived two years in Vienna. He also took up painting, a medium in which he produced about a hundred canvasses.) Piece for the left hand: a la chaconne, Op. 12 #2. Flushing, New York: Schroeder and Gunther, c. 1923. Copyright assigned to D. L. Schroeder, 1948. This is the second piece from Three Studies. The other two require two hands. "To Jere R. Wichwire." 7 p. C minor tonal center. An eight measure chord progression forms the basis for the variations in this chaconne-like composition. Rhythms increase from single quarter note chords to elaborate arpeggiated groupings. Two recitative sections punctuate the work and organize the form. Some fingerings are marked and the use of soft pedal, damper pedal, and sostenuto

Left Hand Alone

97

pedal are all necessary. This is an effective, dramatic concert piece. (University of Georgia) L183p.

Workout for the left hand (Hornpipe). Hollywood, CA: Carlvi Music, Co. 1958. "for Ellen Cannon" 1 p. This is published with Happy Song, a piece for two hands, in Carlvi's "Two in One" Series for Piano. Single notes throughout with some "ossia" octaves in parentheses. A brisk, upper elementary level solo. Fingerings suggested. No pedal necessary. Rhythmically alive with a strong ending. (AMC)

L184p.

Grill, Joyce USA *Either/Or Nine Pieces for left or Right Hand: Duet for One Hand; One-Hand Boogie; Reaching Out; See-Saw; Swinging; Trumpet Fanfare; Tubas on Parade; Waltzing Alone; Woodpeckers. Miami, FL: Belwin Mills, c. 1992. Each early elementary level teaching piece is one page in length. None require playing more than a single note at a time. Range is centered on the keyboard and staff. All are in C major or F major with the use of accidentals. Would provide good sight-reading material for the very young and could be expanded into creative exercises as well. No rhythm values faster than eighth notes. Composer suggestions: "These pieces can and should be played with either hand...Fingering for each hand should be written in...Experiment with articulation and dynamics. After playing the pieces as written, move to different octaves. Also add either chords or accompaniment patterns with the 'other' hand." Contains illustrations. [R38p] [B75] (See [A16p] for the contents.) Many of these solos have been included on the National Federation of Music Clubs Junior Festivals Selections for 1995-2000.

L185p.

*Left Alone—Right On!: 12 pieces for left hand alone or ri hand alone. Miami, FL: Belwin Mills, c. 1995. Those for left hand include: One-Way Waltz, Rocking Rainbow, Left Alone, Scaling Left, Wondering. The other six pieces are for the right hand alone [R39p]. Upper elementary to lower intermediate solos that could serve as learning experiences for students who are temporarily incapacitated. None are more than two pages in length. Some fingering suggested. Pedaling is to be experimented with, but a few suggestions are marked. Contains illustrations. (See A19p for the contents.) [B75] Several of these solos have been included on the National Federation of Music Clubs Junior Festivals Selections for 1998-2000.

98

One Handed

L186p.

*More Left Alone-Right On! for left hand alone or right ha alone. Miami, FL: Belwin Mills, c. 1996. Those for the left hand include: Wishing, Left Alone Rag, Back in the Saddle, Loco-Motion, Stately Dance, Ah, Spain! The other three solos are for the right hand alone [R40p]. Lower intermediate level for these works. They are more difficult than either of the previous volumes. The left hand solos are more effective than those for the right hand. Wishing and Ah, Spain! are a cut above the others and provide more than the slim musical thrust of the others. Fingering is marked. Pedaling is suggested in several of the pieces, but often is not necessary. Solid study works which could also be effective for student recital. (See [A19p] for the contents.)

L187.

Grimm, Friedrich Karl Enrico (1902) Germany Konzert-Etiide fiir die linke Hand, Op. 38 No. 4. Wiesbaden: Rudolf Erdmann Musik-Verlag, c. 1954. 4 p. E major. Andantino molto expressivo. Romantically designed upper intermediate work. Rolling triplet arpeggios alternating with chords. Carefully marked for nuance and color. An effective work that is rhapsodic and flexible with large climaxes. Some intriguing and surprising harmonies. Requires quick shifts and ease with chords. Some fingering and pedaling marked. (LOC)

L188.

Groot, Cornelius Wilhelmus de (1914-1993) The Netherlands Apparitions, voor piano (linkerhandalleen). (Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, c. 1963. Seven moderately difficult pieces: Marcia; Agitato; Con moto; Andante; Poco lento; Vehemento; and Andante Tranquillo. Each miniature is distinctive in character giving the set a tapestry of textures and sounds. All use a wide dynamic spectrum and keyboard range and require varying levels of pianistic technical skill. Some are more physically demanding than others. Interesting, biting harmonic structures. Frequent meter changes. Numbers 4 and 5 are marked attacca. Pedaling is suggested. Cor de Groot has made many recordings using the name of Guy Sherwood. (Eastman School of Music) [A7]

LI89.

Apparition No. VI. Amsterdam: Donemus, c. 1960. 5 p. A sectional work with frequent meter and mood changes. The beginning is marked "Vehemente, tumultuoso" Loud dynamics an charged asymmetric rhythms makes this a percussive and thorny work. Some pedal markings are given. Moderately difficult. [A8]

Left Hand Alone LI90.

99

Irish Waltz (alleen linkerhand). Amsterdam: Donemus, 1980. 4 p. Duration: 2:00. Reproduced from holograph. Composed in September, 1980 for Jan Wijn. Thin texture with a few arpeggiated chords and lying mostly in the upper register of the keyboard. Tonally conceived, sectionally organized. Pleasant melody with accompaniment. Pedal, metronome, and fingering suggestions provided. Intermediate difficulty. (University of Maryland)

L191p.

Gross, Eric (1926) Austria/Australia Three Pieces for 5 Fingers or 1 hand (Pfte), Op. 133. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 4 p. No.l Scherzino: Allegretto. No. 2 Contemplation: Lento ma un poco rubato. No. 3 Discussion: Allegro. Tonally organized with conventional forms. Striking contrasts in textures and moods. Implied counterpoint throughout. Some clever rhythms and accents. Mostly in the center of the keyboard. Suitable for upper elementary students. Pedaling suggested. [A32p]

L192p.

Grunebaum, W. J. Twilight Shadows, Op. 77 #1. Boston: Arthur P. Schmidt, Co., c. 1918. Also published in [A21p] edited by Charles Denn£e under the composer name of W. J. Greentree. 3 p. G major. Ternary form. An arpeggiated chord progression with no specific melody. Pleasant study piece. Fingering and pedaling marked. Lower intermediate level of difficulty. Slightly less difficult than its companion piece. (LOC)

L193p.

Indian Legend, Op. 77 #2. Boston: Arthur P. Schmidt Co., c.1919. Also published in [A21p] edited by Charles Denn^e. 4 p. F-sharp minor. A strong heroic character piece that strives to paint a very dramatic picture. Somewhat free. Four-note chords, octaves, widely spread chords, and quick register shifts needed. Interesting musical markings: "Eraico," and "Tempo Vivacetito." Fingering and pedaling marked. Intermediate level difficulty. Not particularly effective. (LOC)

L194p.

Gurlitt, Cornelius (1820-1901) Germany Impromptu: Etude fiir die linke Hand, No. 4, from Sechs melodische Etiiden fiir Pianoforte, Op. 185. Boston: Arthur P. Schmidt, 1892. 7 p. A minor. Vivace tempo. A study in chord inversions and arpeggios. Sturdy, perpetual motion piece in 4/8 meter with sixteenth note triplets as the standard rhythmic subdi-

100

One Handed vision. Some sections of contrasting dynamics. Ternary form. Dramatic overall. Moderately difficult for the advancing student. As with so many of Gurlitt's pedagogical works, this piece is highly effective with just the right amount of technical challenge. Fingering and pedaling marked. Also published in an abridged form (2 p.) in [A21p], c. 1914 edited and revised by Charles Dennee and again in 1920. The five other etudes in this opus are for two hands. (Milwaukee Public Library)

L195p.

La Plainte, Etude in F minor, Op. 123. London: Augener (Stainer & Bell), 1902. (HOF 1906:XXIV:21) (National Music and Disability Information Service List [B57]) (INS)

L196p.

Schule fiir die linke Hand, Op. 143. Two Volumes. Hamburg: Cranz. New York: Carl Fischer. (HOF 1893: CXLL19) (National Music and Disability Information Service List [B57]) (INS)

L197.

Haberbier, Ernst (1813-1869) Germany Poetic Studies No. 20: "Tremolo." 3 p. A Paul Wittgenstein arrangement derived from this work. It is excerpted from Haberbier's Poetic Etudes, Op. 53 and 59. There are 32 studies in these two groups, five of which could be executed by one hand if the pianist cares to take the trouble to make the necessary adjustments. For the most part these works require two hands. No. 20 is a study in bringing out a melody in "three-hand" fashion as was so popular last century in salon writing. Not as difficult as others in the Wittgenstein School [All] and perhaps not as effective for concert use.

L198.

Hale, Alfred Matthew (1876-1960) England Op. 95 Nos. 1 & 2. London: Goodwin and Tubb. (National Music and Disability Information Service List [B57]) (INS)

L199p.

Hall, Frederich Douglas (1898- ) USA/Australia Prelude in F. Melbourne: Allan & Co., 1926. 5 p. Ternary form. F major. "B" section in d minor. March-like. Simple melody with chordal or arpeggiated chord accompaniment. Fits easily under the hand. Fingering given. Useful for teaching. Lower intermediate. (LOC)

Left Hand Alone

101

L200p.

Hannan, Michael (1949) Australia *Modal Melodies for Single Hands. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Single line melodies alternately for right hand and left hand. Twelve melodies total. None is over three lines long. Contrast of modes and moods. "Each of these pieces, grouped in pairs for right and left hand, explores one of the Church Modes... Although those melodies written in the treble clef are intended for right hand, and those in bass clef for left hand, it is obviously possible to play them all with either one hand or the other." Elementary. [A32p]

L201.

Hardt, G. Adolf Capriccio. Number 1 from Zwei Stiicke for Pianoforte. Cologne: P. J. Tonger, c. 1882. (HOF 1887: CXXIII:20) (INS)

L202p.

Harris, Cuthbert (1870-1932) Great Britain *Left Hand Studies. Forsythe Music Publishing. Warren & Phillips. Eight pieces. Also suitable for right hand. (Cuthbert Harris also published pieces under the name of Paul Valdemar [L504p] and Edward Moran). (National Music and Disability Information Service List [B57]) (INS)

L203.

Harris, Edward C. (1899) USA Chopin in the Citrus Belt: A Nocturne for the Left Hand and an Orange. New York: Carl Fischer, c. 1938. 3 p. G-flat major and F-sharp minor. Inspired by Ansel E. Adams, the first orange virtuoso that the composer ever met. Instructions for choosing the correct orange and on how to use it. This piece really needs two hands, but the right hand plays its part by pressing an orange into the keys. No finger dexterity is needed. Intermediate difficulty. Great party piece. (LOC)

L204p.

Harris, Shirley (1941) Australia Study in A minor. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 1 p. Running sixteenth notes in scalar and arpeggiated passages. Uses two staves. Might be played by either hand. Harris says: "Broken chord study with finger agility passages." Upper elementary. [A32p]

L205.

Hasse,Jean (1958) USA Silk Water (1992) for piano (left hand). Arlington, Massachusetts: Visible Music, 276 Massachusetts Avenue #411, 02174, c. 1992, published in 1994. 5 p. Duration: 6:00. (Composer's bi-

102

One Handed ography appended to the score.) Dedicated to Leon Fleisher who gave the premiere on October 12, 1992 in Boston, MA on a Composers in Red Sneakers concert. The composer says: The overall mood of Silk Water relates to a sense of calmness, of suspended time. While composing the piece I visited the Atlantic Ocean, and standing deep in the water moved my hands across the textured, dark, tranquil surface. The spirit of this calming moment is somewhat reflected in the piece, the structure of which is two sections and a coda. To the performer: There are a few chords in the piece where the addition of the right hand is necessary. If possible, I would greatly prefer this to rolling the chords with your left hand. Fermatas in parentheses are of relatively short duration. Pedal indications in parentheses require a half-pedal. A somewhat stark, poignant, rhythmically static work. Traditional notation and measure barring. Frequent dynamic and tempo shifts. Technically only moderately difficult, but requires a musically mature performer. Pedaling is suggested. (AMC)

L206p.

Haupt, Lois Von ^Either Hand Alone for Piano. New York: J. Fischer & Bro., c. 1954. Five teaching pieces that are suitable for either hand. Fingering is given above and below each piece. Pedal is marked. Upper elementary. (LOC) White Clouds. 2 p. C major. Legato waltz. Two notes together at times. Holiday Parade. 1 p. C major. Energetic, octave and chord displacements. Cute. Donkey Ride. 1 p. D minor. Staccato chords. Drifting on the Lake. 2 p. F major. Three-note chords. Legato lines. Hawaiian Moonlight. 2 p. C major with added sixths. Lyrical triads.

L207p.

Hawkey, William R. New Zealand *Play Mates and Colours. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 1 p. Two contrasting slowish pieces for the upper elementary student. Might be played with either hand, but most appropriate for the right hand. Tonally conceived. Composer's directions for Colours: "Repeat as many times as you wish. The final time only get softer and softer and let the final

Left Hand Alone

103

two bars be sustained with the pedal until the sound is no longer heard." Pedaling and precise articulations given. [A32p] L208p.

Hayes, Opal Louise One Hand Waltz. Century Music. (INS)

L209.

Helps, Robert (1928) USA Music for left hand: three etudes for piano solo. New York: Associated Music Publishers, c. 1976. 13 p. Duration: ca. 8:30. 1. Andante con moto — "for Ian Underwood." 2. Adagio; espressivo e rubato — "for Tison Street." 3. Allegro brillante ~ "for Rudolf Kolisch." All three movements are very difficult concert pieces. They contain many large leaps, complex rhythmic groupings, and sophisticated pedaling. They explore the upper register of the piano almost to the exclusion of the bass tones and need complete technical control. Although they are completely edited with explicit dynamics, phrasing, pedal, etc., Robert Helps says in his note that "in so many instances I felt there were several possibilities. Therefore, a minimum of such markings have been given and within this 'minimum' other possibilities should certainly be explored." The first two movements contain no fingerings while the third movement has a finger number for each note. A brief biography of the composer is included. (University of Wisconsin-Madison and AMC)

L210.

Hemel, Oscar van (1892-1981) The Netherlands Sonatina. Amsterdam: Donemus, c. 1959. 8 p. Dedicated to Cor de Groot. A three movement work. (I. Allegro', II. Passacaglia; III. Con Allegrezza). Clean lines, thin textures, and clear formal structure. Tinged with modern harmonies and dissonances. Asymmetric rhythmic groupings and frequent meter changes. Moderately difficult. An effective multi-movement work. [A8].

L211.

Hennessey, Swan (1866-1929) Ireland/France Introduction, 12 variations et fugue, pour la main gauche seule. Found in Diverses pieces et variations pour piano sur un theme oblige. Paris: E. Demets, c. 1910. 9 p. "a mon ami Hugo Rasch." The obbligato theme is "Chopsticks" and is printed on a separate staff above the entire work in small notes and evidently may be played as duet. There is a wide variety of moods and techniques involved in the main variations and the two-voice fugue. Difficult technically. A puzzling piece. (Along with this

104

One Handed one-handed work are five two-handed works based on the same theme by Hugo Rasch, Georges Loth, Auguste Delacroix, and Herbert Fryer.) (LOC) Deux etudes pour la main gauche. 190?. C minor. (INS)

Paris: Maison Hamelle,

L212p.

Henry, Marcella A. Shepherd's Lullaby. Philadelphia: Theodore Presser, c. 1911. G major. Rolled chords on every first beat with single note melody notes to fill out each measure. Jaunty rhythm, somewhat like a Minuet. Big chords and wide arpeggiations. Predictable harmonies. Has fingering and pedal markings. Pleasant study piece. Lower intermediate. (LOC)

L213.

Henze, Hans Werner (1926) Germany La mano sinistra per pianoforte: Piece for Leon (1988). Mainz: New York: B. Schott Sohne, c. 1990. 4 p. Duration: 4:00. The work is dedicated to pianist Leon Fleisher. The musical problems comprise complex rhythms, thick cluster chords, wide keyboard range, and a broad dynamic scope. Enormous intensity and penetrating musicianship are demanded of the performer. Freely written on three staves. Quiet, dark ending. Moderately difficult concert work. Pedaling given. (University of Minnesota)

L214p.

H£rard, Paul-Silva France Douze etudes pianistiques pour la main gauche, Op. 103 Paris: Alphonse Leduc Editions Musicales, c. 1910. Forward by Isidor Philipp. Dedicated to Monsieur Charles-Marie Widor. Nos. 1 11 are for two hands with special emphasis on the left hand. Number 12, Sonorite dans les accords and the Exercices Preparatoires which accompany each of the studies are for the left hand alone. Sonorite dans les accords is a slow, one page waltz built almost entirely of four note chords. H^rard gives instructions for controlling the sound without contracting the hand or stiffening the arm. This is a simple three-part form in F major with some interesting harmonic diversions. Pedaling is necessary and fingerings are provided. Large hand expansion required. Moderately difficult. (National Music and Disability Information Service List [B57] and University of Wisconsin-Madison)

Left Hand Alone

105

L215p.

Hicks, Marjorie Kisbey (1905- ) Canada Two Indispositions: No. 1 Indisposed Right hand. Don Mills, Ontario: BMI Canada Limited, c.1969. 2 p. Marked "Lamento" Continually rolling triplets in the lower reaches of the keyboard and double-stemmed notes allow an atmospheric melody to emerge from the malleable texture. Quiet dynamics throughout. Pedaling is marked. Intermediate level of technical difficulty. Musically very appealing. (University of Maryland) [R46p]

L216.

Hirst, A. L. Toujours pret, Op. 23 No. 5. London: Phillips & Page. (INS)

L217p.

Hobson, Marie USA Waltzing Memories for the left hand alone. 4 p. Cincinnati, Ohio: The Willis Music Co., c. 1935. A minor. An affable, salon-style, moderately slow waltz consisting of arpeggiated melodic fragments and chordal accompaniment figures. Some chromaticism, but no surprises here. Flows pleasantly along. Fingering and pedaling suggested. Lower intermediate level.

L218.

Hobson, Neil *Songs of the Thirties. SEE [A34p]

L219.

H6ffer,Paul (1895-1949) Germany *Zwei Etiiden. 5 p. These two etudes contrast in style, tempo, and mood. The first, in C-sharp minor, marked Largo is broad, expressive, and pensive. A serious melody is heard above a chordal accompaniment and a low pedal point rhythm, somewhat reminiscent of the second movement of J. S. Bach's Italian Concerto. The second etude is whimsical and nervous. A melody emerges from a perpetual motion rhythmic figure. Strong D minor ending. Fingerings and pedal markings are provided. Upper intermediate difficulty. Effective recital music. [A5]

L220.

Hoffman, Richard (1831-1909) Great Britain/USA Venetian Serenade. Philadelphia: Theodore Presser, c. 1907. 2 p. A-flat major. A typical character piece. The accompaniment imitates the thrumming of a guitar. Contains cadenza areas before the final cadence. Needs style and flash. Intermediate difficulty. Pedaling and fingering marked. (LOC)

106

One Handed

L221.

Hofmann, Josef Casimir (II) (1876-1957) Poland/USA Etude for the Left Hand in C major, Op. 32. Leipzig: C. Dieckmann. (HOF 1906:XXIV:21) [B55] (INS)

L222.

Hollaender, Alexis (1840-1924) Germany Sechs Intermezzi, Op. 31. Berlin: Schlesinger'sche Buch un Musikhandlung (1884). Each of these upper intermediate pieces, ranging from 1 to 6 pages in length, is attractive, carefully conceived, imaginative, and well written. They demand a good control of the keyboard and could be grouped for recital. In the style of Romantic period character pieces, they offer a variety of moods and tempi. Charming music, especially for upper intermediate level students. (Lincoln, NE City Library) 1. Abendlied (Evening Song) is found excerpted in Grade IV of Standard Graded Course of Studies for the Pianoforte in T Grades on page 15. Bryn Mawr, PA: Theodore Presser, c. 1911. The complete work is also available in The B. M. Co. Digest o Piano Pieces for the Left Hand Alone. [A3]. 2 p. A-flat majo Lyrical and very expressive, chordal piece with an attractive melody emerging from the tops of the chords. Typical of the late nineteenth century. Traditional tonality with poignant chromaticism. Pedaling andfingeringprovided. Moderately difficult. 2. Etude. 2 p. E minor. Rolling sixteenth note chord progression with some double stemming. Waves of sound. Pedaling and fingering supplied. Moderately difficult. [A 12] 3. Melodic 2 p. A major. Sentimental melody with descending chordal accompaniment. The middle section reverses the process. Somewhat reminiscent of Schumann. Fingering and pedaling provided. Perhaps the least difficult in the set. 4. Walzer (Waltz) is available in The B. M. Co. Digest of Pian Pieces for the Left Hand Alone. [A3]. 4 p. C major (Contrast ing Trio in F major). Typical salon piece. Some interesting harmonic progressions under the rather undistinguished melody. Tempo is "in one." Pedaling andfingeringprovided by the editor. Moderately difficult. This Walzer (Waltz) edited by John Orth, was also published by the Oliver Ditson Company in Boston in 1913. 5. Perpetuum mobile. 6 p. C minor. This is the most intellectually and technically engaging of the pieces. Somewhat in the style of von Weber. Rondo form with contrasting key and style sections. The Coda begins quietly and builds to a climax in C

Left Hand Alone

107

major. Difficult. Fingering and pedaling supplied. Also included in Crosse Vol. 6 [A 12]. 6. Jaglied (Hunting Song) is available in The B. M. Co. Digest of Piano Pieces for the Left Hand Alone. [A3] 4 p. E-flat major. Sturdy program piece with imitations of the hunting horn (lots of fifths) and a very trite melody. This work is one of the more difficult pieces in this opus because of the range shifts and thicker chord structures. Ternary form. Requires good chord facility. Pedaling and fingering indicated. L223.

Sechs Klavierstucke, Op. 52. Berlin: Schlesingersche Buch-und Musik Handlung (Rob. Lienau), 1892. Effective, Romantic style pieces. Pedaling and fingering given. Intermediate. (LOC) Lied. E major 4 p. Scherzino. B-flat major 3 p. Studie. C minor 4 p. Dramatic. Menuetto. G major with trio. 4 p. Romanze. A minor 4 p. Kanon. C major 2 p. The easiest of the set.

L224.

Sechs Fantasiestiicke, Op. 66. Berlin: Schlesingersche Buchund Musik Handlung (Rob. Lienau). Gavotte; Pilgerzug; Nacht-licher Ritt; Schlummerlied; Das Bachlein; Landler. (HOF 1914-1918) (INS)

L225.

Mit fliegenden Fahnen (Marsch fiir Pianoforte). Vienna: Universal-Edition. (HOF 1920:51) (INS)

L226.

Holland, Dulcie Sybil (1913) Australia *Quiet Procession for Piano Solo for One Hand. Grosvenor Place, Australia: Australian Music Center, PO Box N690, NSW 2000, 1992. Reproduced from the composer's autograph which is located at the Australian Music Center. Dedicated to Selma Epstein. 4 p. Duration: 3:20. Instructions for either hand alone. This is a slow, tonally-conceived dirge-like march that twice builds to a biting and terse climax and then closes quietly. Requires ease with quick register shifts and parallel thirds. No fingering or pedaling marked. Intermediate difficulty.

L227.

Horn, Camillo (1860-1941) Czechoslovakia Zwei Stiickefiir die linke Hand allein, Op. 33. Leipzig: Kahnt Nachfolger, c. 1908. "Frau Emmy Sobieczky." No. 1 Albumblatt. 4 p. G minor. Dramatic and somewhat free. Lyrical sec-

108

One Handed tions combined with recitative areas. Fingering and pedaling marked. A real sense of drama is needed. Although somewhat syrupy, this could be a useful concert work. Upper intermediate. No. 2 Fantaisie. (LOC) (HOF 1904-08: 117: 22) (INS)

L228.

Hosenpud, Matthew (1903-1961) USSR Etude for the Left Hand. Published in Russian Music for the Young Pianist, Book Six. New York: MCA Music, 1967. Compiled and edited by Poldi Zeitlin and David Goldberger. B minor. 2 p. Poco Andante. Duration: 2:45. Two-voice texture with dotted note double stemming for melodic interest. A somber and melancholy miniature of only eighteen measures. Quiet throughout with gentle dynamic swells. Pleasing and interesting to the listener. Intermediate difficulty. [D20a]

L229p.

Hovemann, Christina Twilight Shadows. New York: Harold Flammer, Inc., c. 1946. 2 p. "Dreamily, quite slowly." Augmented harmonies. Extended arpeggiated chords. Tenor melody in waltz time. Fingering given. Upper elementary pedagogy piece. (LOC)

L230.

Huber, Hans (1852-1921) Switzerland "Auf dem Wasser" Arpeggien-Etiide from Die Schulung der linken Hand in sieben Kapiteen zusammengestellt. Lausanne: Foetisch. (National Music and Disability Information Service List [B57]) (INS)

L231p.

Huerter, Charles (1885) USA Six Compositions: Spring's Magic; The White Butterfly; From the Southland; Restless Moments; Summer Moon; Bridlepaths. Boston: B. F. Wood, 1926. All are pedagogically conceived character pieces. They include fingering and pedal marks. This set, ranging in difficulty from moderately easy to moderately difficult, is slightly more difficult than the rest of the pieces below. (LOC)

L232p.

By the Firelight. New York: G. Schirmer, c. 1928. 2 p. F major. Chords with off-beat bass notes. Moderate tempo. Pedagogical character piece. Some bass, grace notes. Upper elementary. (LOC)

Left Hand Alone

109

L233p.

Marching. New York: G. Schirmer, c. 1927. 3 p. Sturdy little melody with crisp accompanying rhythms. Ternary form. Pedal not marked, but is necessary. Upper elementary. (LOC)

L234p.

Tango. New York: G. Schirmer, c. 1927. 4 p. F major. Imitates guitar with broken chord accompaniments. Ternary. Gentle and pleasing. Some fingering suggested. Lower intermediate. (LOC)

L235p.

Two Dance Tunes. New York: G. Schirmer, c. 1927. Lower intermediate. I. Mask Dance. 2 p. A minor. Brisk and dramatic. Ternary. Fingering and pedaling marked. Big ending. Could make a good work for a student recital. II. Harvest Dance. 2 p. Ternary. C major. Arpeggios and chords. Uses quick shifts. Fingering given. Study piece. (LOC)

L236p.

About Sunshine: A Group of Two Piano Pieces. New York: G. Schirmer, c. 1927. Student works of upper elementary difficulty. Fingerings marked. Clever and useful straightforward pieces. 2 p. each. (NYPL) I. Stray Sunbeams II. Dancing in Sunlight

L237.

Hummel, Ferdinand (1855-1928) Germany Fiinf Klavierstiicke fiir die linke Hand allein, Op. 43. Leipzig: C. F. W. Siegel's, 1900. Sentimental character pieces using standard forms and gentle chromatic harmonies. Each piece utilizes a different left-hand technique. Most lie in the center of the keyboard and require flexibility and chord control. Pedaling, fingerings, and musical nuances are given. Intermediate to upper intermediate difficulty. (Mills College, California) Friihlingsgruss, Op. 43 No. 1. Philadelphia: Theodore Presser. 1 p. F major. Sagging, chromatic harmonies support a sentimental melody. Pedaling and fingering marked. Lower intermediate difficulty. Etude, Op. 43 No. 2. 2 p. C major. Perpetual motion triplets. Predominantly single notes. Good finger study. Intermediate difficulty.

110

One Handed Walzer, Op. 43 No. 3. 3 p. E-flat major. Gentle waltz tempo. Ternary form with contrasting sections, some chordal and others continuous eighths. Lower intermediate difficulty. Lied, Op. 43 No. 4. 2 p. C major. Flowing eighth notes surround a half note melody. Fingering marked. Lower intermediate difficulty March. (For the Left Hand Alone), Op. 43 No. 5. 5 p. F major. Ternary form with a contrasting legato middle section in continuous eighth notes which are double stemmed for melodic interest (B-flat major). Opening has a fanfare quality with "quasi" trumpet passages. Moderately difficult. Pedaling and fingering provided. Available in The B. M. Co. Digest of Piano Pieces for t Left Hand Alone [A3] and in The University Course of Mus Study, Junior Graduate (Grade Three) Division Chapter XXVIII, prepared by the National Academy of Music, New York: c. 1919. In this volume the composer is mistakenly identified as Johann Nepomuk Hummel (1778-1837).

L238P.

Hyde, Miriam (1913- ) Australia *Susan Bray's Album: Come and Play in My Sand-Patch; The Cuckoo; The Rain Is Falling; Lullaby; The Happy Hen; Two on a See-Saw; The White Daisy Field; The Trumpets Are Sounding; A Cloudy Day; The Dancing Bird. Melbourne, Australia: Allans Music Australia Pty. Ltd., c. 1984. 10 p. F major. Written at the request of Mr. Ken Bray father of Susan who had been born without a right hand. Each piece is about one page in length and tonally conceived. Each is preceded by a short, entertaining poem written by the composer to stimulate the child's imagination. Articulations, dynamic levels, and fingerings are given. No pedal is required. The introductory notes give the story behind the composition of this set of pieces. Practically all single notes. This group was originally published for two hands by Palings. Elementary level. [A32p]

L239P.

By the Lily Pond, from A Mountain Holiday (5 Piano Solos Melbourne: Allan & Co., Pty. Ltd., c. 1950. Available only as an authorized archival photocopy from the company. The entire set is dedicated to "The children I have enjoyed examining." By the Lily Pond is the only solo for one hand from this set. 2 p. An elementary waltz in F major. A gently flowing, pleasant melodic line with occasional accompaniment chords added. Some remarkably interesting harmonies in this diminutive piece. Finger-

Left Hand Alone

111

ings and pedalings marked. Hyde includes a poem before the piece: When lazy noon has opened all the lilies, I wander by the pond with softest tread, To see the goldfish flashing in the sunlight And watch the rippling water-circles spread. L240.

Intermezzo (for piano). Grosvenor Place, Australia: Australian Music Center, PO Box N690, NSW 2000 (no date on score), 1985. Reproduced from the composer's autograph. 2 p. This upper intermediate solo is full of thick chords, which require excellent top note voicing, supported by interspersed single bass notes and octaves. A brief cadenza area prepares the return of the opening material. Overall the work is quiet and lyrical with areas of drama and passion. Requires skill with thick chords and chords greater than an octave span. A few fingerings given. Pedal needed, but not marked.

L241.

Ide,J.A. Ballade for Piano for the Left Hand Alone. Baltimore: George Willig. c. 1884. 6 p. B-flat major. Sectional work which may also be played with two hands. The composer changes tempos and moods frequently as if there are small scenarios to create for the listener. Interesting historically more than musically. Upper intermediate. (LOC)

L242p.

Johnson, E. L. Great Britain Eight Little Left Hand Pieces. Lengnick. (National Music and Disability Information Service List [B57]) (INS)

L243.

Jungmann, Albert (1824-1892) Germany Will O' The Wisp Capricietto, Op. 217, No. 5. McKinley Publishing, Co. Moderately difficult. (INS)

L244.

Kaiser, Alfred de (1872-1917) Belgium/Great Britain Ballade from Melodious Studies. London: Enoch & Sons, 1905. Edited by R. H. Bellairs. (National Music and Disability Information Service List [B57]) (INS)

L245.

Kalkbrenner, Friedrich (1785-1849) Germany Four-Voiced Fugue (Vierstimmige Fuge fur die linke Hand allein). 2 p. Famed for being the first fugue for the left hand alone. A rhythmically driving subject in G major with some

112

One Handed clever diminished chords. Although technically in four voices, the counterpoint is not clearly heard, since all voices are simple and form chordal harmonic structure. Fingerings marked. Intermediate difficulty. [A9 and A10].

L246.

Karkoff, Maurice (1927) Sweden Drei Klavierstiick fiir die linke Hand (3 Pianostycken for vansterhand), Op. 46. Impromptu; Intermezzo cappricioso; Elegie for vansterhand. Available in manuscript from Svensk Musik: the Swedish Music Information Center, Sandhamnsgatan 79, Box 27327, S-102 54, Stockholm, Sweden. 6 p. Duration: ca. 6:00. Composed in 1959. Dedicated to Cor de Groot. These three pieces are very cerebral and atmospheric. Rarely more than one or two notes sounded at a time, they cover the entire keyboard range and evoke strong emotions and passion. Static rhythms and pointillistic textures give a sense of standing still but at the same time being hypnotically drawn into a powerful force. Karkoff has marked the works painstakingly for dynamics, articulations, and pedal. Fingering is left to the performer. Technically they are only moderately difficult, but require mature musicianship.

L247.

Fantasia for the Left Hand, Op. 193. Da Capo Music Ltd. This was written for the Swedish poet, Tomas Transtroemer. A dramatic and challenging piece utilizing a wide keyboard range. Karkoff gives many precise directions on how to perform the work to the produce the type of sound he wanted. Playing instructions change from measure to measure and dynamic markings and articulations are also very precise and continually changing. Program notes are appended.

L248.

Kauffmann-Jassoy, E. (1877) Germany Anschlagstudie fiir die linke Hand allein, Op. 41 No. 3. Dresden: J. Gunther. (HOF 1919-1923:55) (INS)

L249p.

Kay, Don (1933) Tasmania For Shirley Harris (Two Short Piano Pieces for left hand). Melbourne, Australia: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 2 p. I. Slow, solemn and expressive. 1 p. II. Quick and lively. Meticulous fingering, dynamic levels, and articulations are indicated in the score. Finger slides are employed as well as much sustaining of one finger while articulating the other fingers. Two-voice writing throughout. "These two piano

Left Hand Alone

113

pieces represent the first for me in trying to make music for players with a particular handicap. I have tried to rise to the musical challenges posed and hope they provide some reward for the effort put into playing them." The second of the pieces is more difficult technically and involves mature understanding of meter changes, voice leading, and implied counterpoint. Intermediate difficulties. [A32p] L250.

Kessler (Kotzler), Joseph Christoph (1800-1872) Germany Zwei Savoyarden-Weisen: Etude pour la main gauche, Op. 92 #2. Leipzig: Max Brockhaus. Paris: Maison J. Hamelle. Leipzig: Max Brockhaus. Solid study works that have some aural appeal as well. [A 12]

L251.

Kessler, Minuetta (1914) USA Evocation: for the left hand alone, Op. 158 No. 3. Belmont, MA: Musical Resources, c. 1987. 6 p. Awarded the first prize in the National contest for a left hand piano piece by the National League of American Pen Women at their 1988 Biennial Convention. An effective, sectional work that elicits many moods and emotional responses. Improvisatory in nature, but rooted in tonality. The drama unfolds through quickening rhythms and changing textures. It builds to a walloping climax. Very effective. Some fingerings and pedaling suggestions given. Moderately difficult. (Southern Baptist Theological Seminary)

L252p.

Ketterer, Ella (1889-1981) USA * Valse Melodique (for either Right hand or Left hand alone). Philadelphia: Theodore Presser, c. 1951. 1 p. "To Barbara Blanck." The waltz is printed two times, once fingered for the left hand and once fingered for the right hand. Gentle, pedagogically conceived work. Arpeggiated first section in G major contrasts with the chordal middle section in D major before the da capo. Some closed position four note chords. Simple melody supported by the chords and arpeggios. Upper elementary. (LOC)

L253.

Kjelso, Hugo A. (1862) 15 Etuden mehrheitlich fur die linke Hand, Op. 292. Offenbach a.M.: J. Andr6. (INS)

114

One Handed

L254p.

Kimball, Jacob Jr. (1761-1826) USA Warblings of the Birds. McKinley Publishing, Co. Early elementary teaching piece. (INS)

L255.

Kirchner, Leon (1919) USA For the Left Hand. New York: Associated Music Publishers (G. Schirmer), 1995. This work is available only in manuscript from the rental library in Chester, NY. Duration: 7:00. Written for Leon Fleisher who premiered it in Carnegie Hall on December 6, 1995. Bernard Holland described the work in his New York Times review as "beautifully organized, but implying freedom... passionate yet highly civilized."

L256p.

Kirkby-Mason, B. (1910) Great Britain Right Hand - Left Hand. EMI Music Publishing, Ltd. (INS)

L257.

Klauwell, Otto (1851-1917) Germany Drei Stiicke fiir die linke Hand allein, Op. 34: Impromptu; MSlodie; Scherzino. Cologne: vom Ende. Leipzig: Leukart. (HOF 1900:180:21) (National Music and Disability Information Service List [B57]) (INS)

L258.

Knorr, Ernst-Lothar von (1896-1973) Germany *Etude. 1 p. A lively, galloping work in 6/8 meter. Mostly single notes with a few sustained pedal points printed on one staff. Can be played by either hand. Lower intermediate difficulty. [A5]

L259.

*Serenade. 3 p. A quiet, contemplative work. The mournful melody emerges above a recitative-like chordal accompaniment. Sectional form with a feeling of rubato and freedom throughout. Elements of jazz in the harmonies and melodies. Can be played by either hand. Musically mature, intermediate difficulty. [A5]

L260.

Koch,Erland (1910) Sweden Nocturnal Etude for left hand (or with added notes in parentheses) both hands, Stockholm: Gehrmans Musikforlag, c. 1983. Dedicated to Esther Bodin. 6 p. Available from Svensk Musik: the Swedish Music Information Center, Sandhamnsgatan 79, Box 27327, S-102 54, Stockholm, Sweden. 6 p. Composed in 1973. (INS)

Left Hand Alone

115

L261p.

Koehler, John Melody (Study for the left hand). New York: G. Schirmer, 1908. 6 p. Respectfully dedicated to Miss Belle Le Gallez. Written as a study for the left hand exclusively, it consists of three parts: the first or principal part and two variations. Lots of arpeggiated chords. All sections present the same difficulties. Dated sounding. Fingering and pedaling given. Upper elementary/lower intermediate difficulty. (LOC)

L262p.

Kohler, Louis Christian Heinrich (1820-1886) Germany Schule der linken Hand, (School of the Left Hand), Op. 302. SEE [A 10] [LA73p]

L263p

Exercise in arpeggio, (from the School of the Left Hand). 1 p. Kohler composed this to train the left hand in rolling four note chords in various sixteenth note patterns. Moderate difficulty. [A9andA10].

L264p.

Gavotte fiir die linke Hand allein. (from the School of the Left Hand). 1 p. A minor. Binary form. Simple chordal style with melody sometimes above and sometimes below the other members of the chord. Fingering, pedaling, and articulations given. Moderately easy. [A 10]

L265p.

Rhythmic Studies (from the School of the Left Hand). 1 p. for both. Drills in chord playing and inversions. Simple melodies emerge from the tops of the chords. Intermediate difficulty. [A9 andAlO.

L266p.

Three Folk Songs (from the School of the Left Hand). 1 p. for all three. These really are exercises in chord voicing for the left hand. The melodies are supported by blocked chords. Fingerings and articulations are suggested. Moderately easy. [A9 and A10].

L267p.

Zehn Etiiden zur Ausbildung der linken Hand. Four of these studies are in Crosse Vol. 5. [A 12] They concentrate on the mechanical training of the left hand in scale and arpeggio patterns.

L268p.

Etude in A major. 3 p. Sentimental melody supported by broken chords and inversions. The minor tonal center in the middle section concludes with two lines of cadenza material which prepares for the return of the opening theme. Fingerings, pedal markings and articulations supplied. Could be expressively per-

116

One Handed formed and would be a good tone study. Upper intermediate level difficulty. [A 12, Vol. 5]

L269p.

Kleine Etiiden und Stiickefiir die linke Hand allein, Op. 233. (Petites etudes). Offenbach a.M.: J. Andre. One of these mechanical studies is published in Crosse II [A 12].

L270p.

Wellen-Melodie: Etude, Op. 86, c. 1865. (HOF 1860-1867) (INS)

L271.

Kohs, Ellis Bonoff (1916) USA Ten Two-Voice Inventions for Piano. (October, 1949, c. 1954). Nos. 2 and 9 are for the left hand alone. Unpublished manuscript. New York: American Composers Alliance, 170 W. 74th St. All of these Inventions derive their ideas from the J. S. Bach two-part inventions. Both are one page in length. They are carefully edited for articulation and dynamic levels. No pedal is needed. No fingerings given. Not technically more than upper intermediate difficulty, but they require a mature musical mind. (AMC) No. 2 is loosely centered around the tone of C#. It is highly chromatic and has a forceful ending. Kohs says: "Monotonal, binary form, use of motives, technical problems, e.g. fingering." No. 9 is written "in the two mutually exclusive whole tone scales." The compound meter signature indicates groupings of 5+4+3 eighth notes in every measure. The opening section is presented in inversion and retrograde, here with the meter of 3+4+5 eighth notes in every measure. Kohs asks: "Polyscalar, variations?"

L272.

Korchmarev (Korchniarov or Kortschmareff), Klimentu Arkadevich (1899-1958) Russia Preliud dlia odnoi levoi ruki dlia fortepiano (Prelude pour la main gauche seule, pour piano). Moscow: Gosudarstvennoe Izdatelstvo Muzykalnyi Sektor (State Publishing Company), 1924. 5 p. A broad, sweeping and melancholy melody in Csharp minor supported by arpeggiated figures. Marked "Moderato contristezza." The center section becomes more passionate with thicker chords and accompanying figures reinforced by octaves. Quiet, peaceful ending. A moderately difficult concert prelude in the style of early Scriabin. (Eastman School of Music)

Left Hand Alone

117

L273.

Krause, Anton (1834-1907) Germany Zehn etiiden fur das pianoforte zur ausbildung der linken hand, Op. 15. Two books. Leipzig: Breitkopf & Haertel. New York: Carl Fischer. (INS)

L274.

Krause, Eduard (1837-1892) Germany School for the left hand (Schule der linke Hand: Ubungen und Etiiden fiir hohere und hochste Ausbildung), Op. 80. Two books. New York: Carl Fischer. Zurich: Gebrueder Hug. (HOF 1880-1885:336) (INS)

L275p.

Krentzlin, Richard (1864-1956) Germany Three Pieces, Op. 105 Theodore Presser, 1925. All are goodnatured melodies set against various types of accompaniments. Useful individually and as a group. Nothing remarkable in this salon music. Fingering and pedaling marked. Intermediate difficulty. (LOC) No. 1. Romance. 2 p. F major. No. 2. Voices at Even. 2 p. E-flat major. No. 3. Festival Polonaise. 3 p. G major.

L276p.

Krogmann, Carrie Williams [pseudonym for Paul Ducelle] ( -1943) USA Valse-Serenade, Op. 99 No. 1. Berceuse, Op. 99, No. 2. Boston: Oliver Ditson, 1912. 6 p. F major. Intermediate. Both are sentimental but nicely conceived. Fingering and pedaling marked. (LOC)

L277p.

Trois Morceaux, Op. 90. Boston: B.F. Wood, 1911. All are ternary forms with contrasting middle sections. They are easier than the other Krogmann pieces listed, however. Fingering and pedaling are provided. (LOC) 1. Valse Viennoise. 5 p. F major. 2. Marche Heroique. 3 p. C major. 3. Poeme d'Amour. 3 p. A-flat major.

L278p.

Two Waltz Episodes, Op. 81. Boston: B.F. Wood Music Co., 1910. New York: G. Schirmer, c. 1937. Both are dedicated to Mrs. Minnie Little Longley. Lower intermediate sentimental, salon-style pieces. Sectional forms with each part providing a necessary dramatic contrast. Flowing melodies brought out by flying appoggiaturas with standard waltz rhythm accompaniments above. Rather pleasant works, although dated in sound. Finger-

118

One Handed ings, pedalings, and dynamics carefully noted. (Milwaukee, Wisconsin Public Library and LOC) No. 1. L'Ingenue — Valse for left hand alone. 4 p. G major. Larger chords. No. 2. La coquette—episode de bal. 7 p. E-flat major.

L279.

Kronke, Emil (1865-1938) Germany Bagatelle fiir die linke Hand. Number 2 from Klavier Kompositionen. Dresden: Richter & Hopf Verlag. (HOF 1893: CXLL19) (INS)

L280.

Kulla, Hans *Variationen iiber: "Verstohlen geht der Mond auf." Theme and Variations in D minor on this quiet folk melody. 4 p. Each of the three variations becomes more complex. They require a large reach or broken attacks in a number of spots. Mentally engaging. Intermediate difficulty. Fingering given for either hand. Some pedal marked. [A5]

L281.

Kundinger, Rudolf (1832) Germany Vierzehn Klavier-iibungen fiir die linke Hand m. besonderer Beriicksichtigung des 3, 4, und 5 Fingers. (Fourteen piano exercises for the left hand alone). Leipzig: Rahter, c. 1890. New York: Carl Fischer. (HOF 1900:180:21) (INS)

L282p.

Kunzer, Elizabeth Melodie for Left Hand Alone. New York: E. Schuberth & Co., 1926. "To my pupil Tessie Bloom." F minor. 1 p. with repeats. Gentle expressive Andante. Uses arpeggios, trills, chords, octaves. Fingering and pedaling given. Lower intermediate. (LOC)

L283.

Lack, Theodore (1846-1921) France Douze etudes spiciales pour la main gauche, Op. 75. Paris: Editions Durand & Schoenewerk Cie. (HOF 1887: CXXIIL20) Numbers 6 and 12 are found in Etudes and Pieces for the Left Hand Alone [A6]. These are slightly interesting, lyrical studies for the upper intermediate student. They are constructed around pleasant, heartfelt melodies with interspersed accompaniment chords. No. 6 Andante cantabile presents the melody above the chords and No. 12 Allegretto tranquillo inverts the process. Each is two pages in length. Fingerings and pedalings are marked.

Left Hand Alone L284p.

119

Valse, Op. 118. New York: Carl Fischer and G. Schirmer. (INS)

L285.

Lacombe, Louis Trouillon (1818-1884) France Etudes No. 3 pour la main gauche. Paris: Gallet. (INS)

L286.

Lang, Walter (1896-1966) Switzerland Sonatine in E-moll fiir die linke Hand allein, Op. 4. Berlin: Ries und Erler, 1950. 10 p. Finished May, 1918 in Zurich. A finely crafted, moderately difficult concert work in four movements (I. Allegro moderato; II. Andante con moto; III. Allegretto grazioso; IV. Allegro ma non troppo e con molto precisione.) Thin textures with frequent meter changes. Tonally centered with chromatic inflections, shifting modern harmonies, traditional forms, big climaxes. Thoroughly edited with fingerings and pedal suggestions. A musically mature and interesting work that deserves performance. (University of Maryland)

L287.

Zehn Klavier Etttden, Op. 1 A. Zurich: GebrUder Hug, 1974. Of the ten, only number 5 is for the left hand. (INS)

L288.

Langgaard, Siegfried (1852-1914) Denmark Suite fiir die linke hand. Leipzig: Wilhelm Hansen. (HOF 1900: 180:21) (INS)

L289.

Langley,H The Mill. Chicago: Brainard. (INS)

L290.

Langlois, Th<§o (1909) Belgium A une main — for the left hand alone. Paris: Max Eschig. New York: Associated Music, c. 1936. 7 p. Arpeggio etude. Andante followed by a scherzo. Moderate difficulty. (National Music and Disability Information Service List [B57]) (INS)

L291p.

Last, Joan (1908) Great Britain Right hand, Left hand: a course of training in independence of touch when playing with one hand. Brighton: H. Freeman & Co., c. 1967. Easy works. (National Music and Disability Information Service List [B57]) (INS)

L292p.

Introduction to the Suite. Bosworth. Easy. Kennard. (National Music and Disability Information Service List [B57]) (INS)

(1895-

)

USA

120

One Handed

L293p.

Rhythmic Reading. Bosworth. Easy. Kennard. (National Music and Disability Information Service List [B57]) (INS)

L294.

Lazarus, Gustav (1861-1920) Germany Studie fur die linke Hand (auch fur 2 Hande), Op. 18 # 5 from Fiinf Vortragsstiicke in Etiidenform fiir pianoforte. Liepzig: Dietrich, c. 1888. (HOF 1893: CXLL19) (INS)

L295p.

Leask, Jeffrey (1944- ) Australia *Fifths and Thirds. Melbourne, Australia: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 2 p. C major. Vigorous allegro that contrasts low open fifths with middle range thirds. Clever rhythms and syncopations. Legato fingering required. Pedaling suggested. Upper elementary level. [A32p]

L296p.

Lebar, Elaine (1928) USA Scherzo Chromatico (A piano solo for left hand alone). Florence, Kentucky: The Willis Music Company, 1994. 4 p. Playful upper elementary (mid-intermediate according to the publisher) level study in short chromatic scales and staccato. Contrasting legato middle section in D minor and two short cadenza-like passages. Only single notes or two note chords. Edited carefully withfingerings,articulations, dynamics, and pedal as needed.

L297.

Le Beau, Luise Adolpha (1850-1927) Germany Improvistata: Klavierstudie fur die linke Hand allein, Op. 30. Hamburg: Cranz, c. 1883. (HOF 1887: CXXIIL20) (INS)

L298.

Leeuw, Ton de (1926-1996) The Netherlands '"Linkerhand en rechterhand voor piano (Left and Right Hand). Amsterdam: Donemus, c.1976. (Photograph of manu-* script at NYPL-Lincoln Center). Reproduced from manuscript. 3 p. "in opdracht van de Rotterdamse Kunstichting." Although written for two hands, the right hand alone can easily perform the work. [R63]

L299p.

Lemont, Cedric Wilmont (1879-1954) March. Philadelphia, PA: Theodore Presser. (INS)

L300p.

Lichner, Heinrich (1829-1898) Germany Drei Romanzen, Op. 267. Leipzig: C. E. W. Siegel's Musikalienhandlung, c. 1886. New York: Carl Fischer. No. 1 (En-

Canada

Left Hand Alone

121

treaty, Romance) is also published by Theodore Presser. Three trite character pieces with traditional melodies and harmonies. No. 1 is in C major. No. 2 in G major, and No. 3 in E-flat major. They are sectional in form and utilitarian in nature. Pedaling and fingering given. Lower intermediate difficulty. (Cleveland, Ohio Public Library and LOC) L301.

Lipatti,Dinu (1917-1950) Rumania Sonatine (1947) pour piano (main gauche seule). 11 p. Paris: Editions Salabert, c. 1953. Completed in August, 1947. 10 p. Three movements: Allegro; Andante espressivo; Allegro. Chiefly linear writing. Employs few chords or octaves. Doublestemming points out notes of melodic importance. Tonally centered with free use of dissonances and unusual scales. Dynamic markings throughout. Occasional pedal marks. No fingerings. Traditional forms for each movement. Third movement reminiscent of Mozart K. 311 third movement. This moderately difficult concert work deserves to be heard more frequently. Lipatti tells the story of the work's inception. The fellow students in his composition class in 1940 were to each write a piece of music for their teacher, Mihail Jora, as a birthday present. Lipatti had not brought enough manuscript paper, so he wrote a piece that required only one line of manuscript. It was a bad joke, because Jora had only one leg. (University of Wisconsin-Madison) [D27a-d]

L302.

Liszt, Franz (1811-1886) Hungary Ungarns Gott (Hungary's God), "Hinweg Kleinmuthige." 1881. Budapest: Taborsky & Parsch. Leipzig: J. Schuberth & Co. After the poem by Alexander Petoefi. 4 p. This is a transcription of the Liszt's penultimate song in an arrangement for Count G£za Zichy. It is suggestive of many "Hungarian" works, sectional in form, interesting harmonic shifts, passagework of a declamatory, cadenza-like nature. Large chords, octaves, and a sense of drama are necessary. Moderate difficulty. [A9] [D29a]

L303p.

Loeschorn, Albert (1819-1905) Germany Left hand study in G minor. London: Augener. (INS)

L304.

Lopez de la Rosa, Horacio (1933) Argentina Tango para la mano izquierda, Op. 52. Buenos Aires, Argentina: Editorial Argentina de Compositores, c. 1985. Reproduced from the composers's manuscript. 3 p. Dedicated to Luis Ascot.

122

One Handed This is a slow and atmospheric work. The dark and gloomy chromatic chords support a bitter and mournful melody above. Some meter changes, many modulations, and thorny dissonances. Pedaling marked. Moderately difficult. (Indiana University)

L3 05.

Lorenzen, Hans (1911) Germany Klaviermusik fiir Einhdnder allein und mit Partner. Formerly available from Herr J. Albers Presse & Publizistik, Stiftung Rehabilitation Heidelberg, Bonhofferstrasse, Heidelberg, Germany. Three books. Permanently out of print. (INS)

L306.

Louvier, Alain (1945) France Etudes pour agresseurs: Etude 37 pour piano, pour la main gauche. Paris: Alphonse Leduc, c. 1973. 11 p. Duration: ca. 11:00. Dedicated to Lelia Gousseau [L334]. This etude is like a catalogue of unusual pianistic effects, sounds, colors, and techniques. It requires the five fingers, one palm, one fist, and one arm. The unusual and non-traditional notation is described in English, French, and German in the "Chart of notations" for performance and at the end with "Remarks." These instructions are absolutely indispensable because of the highly complex construction of this concert etude, very avant-garde and intellectually demanding. Practically each note is marked with nuance or inflection. A marking for elapsed seconds above the section demarcations keeps the work moving along at the desired tempo. Only for the stouthearted. (College of St. Catherine, St. Paul, MN)

L307p.

Lovell, Joan Isabel Great Britain The Circus: Six Pieces for the left hand alone. London: Augener, Ltd., 1957. "To Mother." Some finger and pedaling suggested. Mostly single line or small chords. These teaching works are each about one page in length. Could be effective student recital pieces because of the character aspect. (LOC) 1. Trapeze Artists 2. Bare-Back Rider 3. Tight-Rope Walker 4. The Elephant's Waltz 5. Dancing Bear 6. The Clown and the Bicycle

L308.

Luck, C. Gedanken der Sehnsucht from Melodisches Klavierstiick fiir die linke Hand. Juchen: Brandt. (HOF 1893: CXLL19) (INS)

Left Hand Alone

123

L309.

Ludwig, Ernst Austria Klavierstiidien zur Forderung der Gewandtheit und Ausdrucksfahigkeit der linken Hand. Two volumes. 24 studies. Vienna: Doblinger and Universal. (INS)

L310.

Lukomsky, Leonid USSR There are three works by this composer found in the anthology Etudes and Pieces for the Left Hand Alone [A6]. Autumn Song, Etude, and Valse. Each is two pages in length and very interesting harmonically and melodically. The Autumn Song is quiet, dark, peaceful, and lyrical. The Valse is lighter in nature and thinner in texture, somewhat like a Tchaikovsky waltz for the piano. And the Etude, perhaps the best of the three, is a study in continuous triplets with a double-stemmed melody that is filled with wonderful "Rachmaninoff like harmonies. Edited with fingerings and pedal marks. Autumn Song and Etude were reprinted in Clavier, April, 1978, pages 19-22. Intermediate difficulty. [B40].

L311p.

Lynn, Litta USA A Night Song: for the left hand alone, Op. 10. Boston: B.F. Wood, c. 1913. Dedicated to Bertha Moll Hupp. 4 p. C major. A pleasant and sentimental melody with accompanying arpeggiated triplet figures. Contrasting chordal middle section requires facility with large chords and builds to a rather interesting climax using some creative harmonies. Fingerings, pedaling, and dynamic contrasts marked. Lower intermediate difficulty. (University of Alabama, Birmingham)

L312.

Lysberg, Charles-Samuel Bovy (1821-1873) Switzerland Etude de la main gauche seule pour piano Op. 20, Leipzig: Frederic Hofmeister, c. 1848. 5 p. "a Mr. Prosper Plougoulm." A gentle and amiable melody surrounded by accompanying chords and octaves. Ternary form. The middle section is more dramatic with thicker chords and octave passages, modulating from the opening A-flat major to B major. The return of the "A" section is slightly more embellished by triplets and ends with a florid cadenza and many A-flat arpeggios. Requires good skill with four-note chords, large reaches, and above average technical facility. Moderately difficult. Pedaling and fingering given. (University of Texas at Austin)

One Handed

124 L313.

Maler, Wilhelm (1902-1976) Germany *Praludium und Fuge. Written for Lothar Quast. 4 p. Tranquil prelude with a meter signature that alternates between 3/4 and 4/4 every other measure. Rich octaves and interesting counterpoint between voices. Clear three voice fugue written in a very accurate and academic fashion. Pedaling and fingering provided. Effective writing. Moderately difficult. [A5].

L314.

Malherbe, Charles-Theodore (1853-1911) Petite Etude. Paris: Durand et fils. (INS)

L315p.

Mareo, Eric Two Left Hand Studies for the Pianoforte. London: Elkin & Co., Ltd., c. 1924. Lower intermediate. (LOC) I. Lament. 2 p. "For Nora." A minor. Pensive, simple and heartfelt. No large reaches or broken chords. A few piquant harmonies. Pedaling and fingering marked. II. Scherzo. 3 p. "For Nora." Gently, brilliant with sparkle. Mildly modern harmonies. Big finish. Pedaling and fingering suggested.

L316p.

Two Bagatelles. London: Stainer & Bell, Ltd., 1926. Good student works. Could be used together or separately. No 1 (4 p. F major) is slightly easier than No. 2 (5 p., G minor). (LOC)

L317p.

Two Diversions. London: Augener, Ltd. Kennard, 1925. No. 1, D-flat major, 4 p., lyrical. No. 2, G major, 5 p. Musically more immediately appealing than the Bagatelles. Good contrast between the moods. Zippy. Intermediate difficulty. (LOC)

L318p.

Markiewicz6wna, Wladyslawa (1900) Poland Coloured Pictures (Kolorowe obrazki). Polsie Wydawnictwo Muzyczne, 1979. Available through Universal Editions. Six charming and sweet pieces, somewhat in the style of Bart6k, using local folk music and extraordinarily clever drawings by Barbara Brzozowski. Only two of the six are for one hand. Pastuszek (The Shepherd Boy) is for right hand alone [R67p] and Zniwiarze Etiuda Na Prawa Reke (The Harvesters Etude for the Left Hand) is for left hand alone. In the footnotes to these pieces the instructions are reversed, but the fingering indicates which piece is for which hand. Each is 2 pages long and upper elementary in difficulty. The scores are carefully edited and ped-

France

Left Hand Alone

125

aling and fingering is indicated. (University of Illinois at Champaign-Urbana) L319p.

Martyska, Barbara USA Popcorn for Breakfast. Miami, FL: Belwin Mills, c. 1992. Belwin Banner Series. 2 p. Elementary level piano solo in C major. "This piece is meant to be played by the left hand only. Allow your right hand to be resting in your lap throughout the entire piece." The composer, a music teacher in Allentown, Pennsylvania marked this as "Jauntily." A cute elementary level solo. Fingering given. No pedal needed. [R68p]

L320.

Marxsen, Eduard (1806-1887) Germany Etiiden fiir die linke Hand allein (en six pieces caracteristique dediees a Henselt), Op. 40. Hamburg, Leipzig: Schuberth, c. 1844. (HOF 1874-1879:360) (INS)

L321

Trois Impromptus: Hommage a Dreyschock, Op. 33. Leipzig: J. Schuberth. No. 2: La Ricordanza is in Lewenthal [A9]. 2 p. Four measures of introduction followed by the Andante "A" section in F minor; the middle "B" section is in F major and marked Allegretto and then a return of the "A" section concludes the work. A moderately difficult salon piece with a poignant, gentle melody. Some large and arpeggiated chords. No fingering or pedaling provided.

L322.

MatidiC, Janez (1926) Slovenia (Born Ljubljana) Tri etude za levo roko (Three studies for left hand). Ljubljana: Edicije DruStva slovenskih skladateljev, 1956 and 1987. 15 p. Oversize. Composed 1956, Re-issued 1987. I. Allegro moderato. II. Lento tranquillo. III. Vivace. Written on two staves and seemingly much more suited for two hands, these difficult etudes are fingered for the left hand alone and include the composer's pedaling suggestions. At certain spots, they are almost unplayable as written. They require exceptional skill and control in double notes, octaves, and chords with ease in large and frequent jumps. They are tonally conceived with pungent dissonances. (University of Wisconsin-Milwaukee)

L323.

Maurat, Edmond France Per la Sinistra from Le Premier Livre des Preludes, Op. 4 #9. Paris: Editions Max Eschig, c. 1951. Available from Associated Music Publishers, Inc. Of these twelve preludes, all musically

126

One Handed very interesting and somewhat impressionistic, only Number 9 is for one hand alone. 2 p. Inscription by Pindare: "Le feu le plus ardent est celui qui se consume le plus vite" (The strongest fire consumes the most quickly). Dedicated to the memory of Andre G^dalge. This carefully edited, short work is representative of the late Romantic style. It is chromatic with touches of Impressionism. There is much fluctuation of tempo and a need for freedom and rubato as it declaims the brief musical/poetic ideas. Unfortunately rather short to stand alone. Moderately difficult. (Eastman School of Music)

L324.

Maxson, Frederich (1862-1934) USA Reverie: solo for left hand. Philadelphia: F. A. North & Co., c. 1888. "To Miss Clara T. Crawford." 3 p. F major. Trite salon melody with contrasting dramatic middle section. Old-fashioned. Octaves and larger chords. Some fingering and pedaling marked. Lower intermediate. (LOC)

L325p.

McArtor, Marion Emmett (1915- ) USA Study (for the left hand alone). #25b from Book 3 of Piano Technic in the Frances Clark Library for Piano Students. Evanston, ILL: Summy-Birchard Company, c. 1955. Selected and correlated by Frances Clark. Edited by Louise Goss. 3 lines long. C major. An upper elementary study in sustained and moving voices in one hand. An alternation of sustaining the thumb or fifth finger while playing the other fingers in legato fashion. Fingering given.

L326p.

McGrath, Joseph John (1889-1968) USA Little Miss Serious (a slow dance). New York: G. Schirmer, 1929. One of a group of three pieces written by this composer of many pedagogical piano pieces, organ works, and masses. Leapfrog and Nimble Fingers are the other two from this group. Cover title: "Playful and pensive." 5 p. An elementary, teaching piece. (INS)

L327.

Medori, A. Monolog: Capriccio. Milan: Carisch & Janichen. (HOF 19091913:502) (INS)

L328.

Mehul, Etienne Henri (1763-1817) France Etude de Melodie. 1 p. Andantino, C major chorale-style melody with arpeggiated chord accompaniment, upper note voicing.

Left Hand Alone

127

Simple and attractive. Pedaling and fingering suggested. Intermediate level difficulty. [A 10 and Al] L329.

Meier, Timothy. (1959) USA Piece for One Hand Alone: No. 1. Unpublished. 4 p. c. 1988. Piece for One Hand: No. 2. Unpublished. 5 p. c. 1988. These two solos along with others that engage the right hand to a limited extent are available from the composer at 960 Clifton Road, Bethel Park, Pennsylvania 15102. No. 1 begins as a lyrical, melancholy melody in B minor sung over undulating eighth note accompaniment patterns which grow more agitated and finally turn into dramatic arpeggiated triplets ending in E-flat minor. No. 2 is based on the interesting rhythmic problem of two against three. Meier has organized it in five sections of G major alternating with A major and ending quietly in G major. Both have minimal editing (no pedaling or fingering given) and could be effective upper intermediate level solos. [B46]

L330.

Melendez, Alfonso (1930) Chile Arpegio para la mano izquierda (en la bemol menor), Op. 15, no. 2. Santiago, Chile: Casa Amarilla, 1949. 2 p. Dedicated to Don Juan Orrego Balas. Sparse texture often reinforced by octaves. Includes statements of thematic material punctuated by many arpeggio passages as the title suggests. The tempo, Allegro con brio, provides the fiery impetus for this dramatic work. Highly edited with frequent fermatas and rubato suggestions. Mel&idez says this is reminiscent of a happier epoch. Some fingerings provided. Moderately difficult . (Indiana University)

L331.

Mertz, Paul Rhythmic Etude for left hand. Manuscript, 1934. 3 p. Jazzy with expanded harmonies and lots of syncopation. Arm clusters. Would be effective work if published and readily available. No fingering or pedal marks. Intermediate. (LOC)

L332p.

Mettke, Hans Sweet Sixteen: A piano piece for left hand alone. Cincinnati, OH: The John Church, Co., 1893. 3 p. E major. "To Miss Sally Gibbs." Like a slow waltz. Single line melody with chords or arpeggios as accompaniment. Middle section contrasts in C-sharp minor and is slightly faster. Pedal and some fingering marked. Lower intermediate difficulty. (LOC)

128

One Handed

L333.

Middleton, Robert Earl (1920) USA Movement from a Suite for the Left Hand from Inventions on the Twelve Notes for Piano. Composed in 1961. Score is a reproduction of the manuscript by the composer, c. 1963. Dedicated to Marie M. Waller. This is No. II in this set of twelve pieces. All of the others are for two hands. No. II is 2 pages in length. Duration: 3:42. A slow, snake-like, meandering, and almost ostinato-type, eighth note accompaniment supports a poignant and at times dissonant melody. Although written on two staves, the composer's note says: "Under no circumstances should this piece be divided between two hands. The two types of break that must occur are illustrated. The melody is always on the beat." Large stretches and difficult voicing make this a challenge to the pianist. Some pedal is marked. Upper intermediate difficulty. (AMC)

L334.

Mihalovici, Marcel (1898-1987) Rumania/France Passacaille pour la main gauche, Op. 105. Paris: Editions Salabert, c. 1982. 16 p. Duration: 16:00. Dedicated to Lelia Gousseau [L306]. A complex and important concert work. The eight measure "Grave-Mesto" opening ground bass is transformed through a series of 18 introspective variations. This transformation takes many forms from rhythmic alterations, to transposition of the line, to placing it in the soprano, and to using it as a canon against itself. A French/English table of symbols including clusters, various tempo fluctuations, pauses, and pedaling effects printed at the beginning helps the pianist understand the sometimes unusual notation of the composer. Careful pedaling is required because of the frequent use of broken attacks and sustaining of lines below the line of motion. This is a very serious, esoteric work which demands complete pianistic skills. (Illinois State University)

L335p.

Miller, Carolyn (1941) USA Aria for Left Hand. 2 p. Florence, Kentucky: The Willis Music Company, c. 1994. D major. Simple, graceful, cantabile melody over arpeggiated chords. Contrasting middle section based on triad inversions. Pedaling and fingering suggested. Upper elementary level.

L336.

Mineo, Enrico Autumn Leaves (Foglie d'autunno). Boston: Oliver Ditson Co., c. 1928. Dedicated to Graziella Consoli. 4 p. Brief intro-

Left Hand Alone

129

duction to a tonal, salon-style waltz. Agitated "B" section with double-stemmed sixteenths. "Weepy" chromaticism in F major and A minor. Requires facility with sixteenths, chord inversions, octaves, and larger chords. Intermediate difficulty, but needs a feeling for flair and drama. (Arizona State University) L337.

Mompou, Federico (1893-1987) Spain Sixieme Prelude (pour la main gauche) from Six Prdludes. Paris: Editions Salabert, c. 1952. These Preludes are numbered in an odd fashion. Instead of Numbers 1-6, they are numbered VX. 15 pages total. Number VI is 3 pages long, marked Moderato - Cantabile expressivo. An attractive concert work written primarily in single notes with long melodic phrases that extend over a wide range of the keyboard. It is a quiet and flowing piece given to freedom and subtle shadings because of the harmonic vocabulary used and the absence of bar lines which is typical of Mompou. No fingerings, but very careful pedal markings. (Wayne State University) [D33a, b]

L338.

Montani, Pietro (1895-1967) Italy Sei studi in forma di variazioni sopra una nenia poplare (per la mano sinistra). Milan: G. Ricordi, 1931. Only available on microfilm from the New York Public Library or the National Register of Microform Masters. This is the only one-handed work from his Studi caratteristici per pianoforte. (INS)

L339.

Montecino, Alfonso (1924) Chile Composicion en 3 movimientos para la mano izquierda sola: I. Allegro ben ritmato; II. Andante (Interludio); III. Allegro molto vivace, l i p . Duration: 10:00. New York, April, 1951. Manuscript with no fingerings or pedal markings. Montecino was a pianist and faculty member of the School of Music of Indiana University. The three movements work together like a threemovement sonata. The first movement is written to be played without an ending (sine a la fine) and the second movement proceeds attacca to the last movement. Frequent meter changes and irregular rhythmic groupings abound. Linear texture with few chords and some wide leaps. Requires complete flexibility and control. Colorful and intense concert work. Somewhat reminiscent of the Lippatti Sonatine. (Indiana University) [D34a]

L340.

Montsalvage, Bassols Xavier (1912- ) Catalan, Spain Tres obras para le mano izquierda'. Si, a Mompou; Berceuse a

130

One Handed la memoria de Oscar Espla; Una pagina para Rubinstein. Madrid: Union Musical Espanola, 1988. 16 p. Composed in 1985. All three pieces are free-flowing, improvisatory, recitativelike works. A wide keyboard range is employed with frequent cadenza-like passages. Intriguing sonorities and piquant dissonances. Pedaling sometimes indicated. These concert works are technically only moderately difficult, but musically they require careful shading and phrasing of the musical ideas. They could be programmed individually. Very reminiscent of Mompou aurally and visually. (University of Kansas)

L341.

Morrow, Robert A. Concert Study for the Left Hand Alone. New York: Breitkopf & Hartel, c. 1914. 4 p. A conventional salon-style concert work. Because of the technically clumsy writing, the pianist needs real efficiency with chord inversions, parallel sixths, chromatic scales, and arpeggios. Three part form, based on simple harmonic chord progressions. Moderately difficult. Fingerings and pedalings are provided. (Carnegie Library of Pittsburgh, PA)

L342

Moszkowski, Moritz (1854-1925) Germany Douze Etudes pour la main gauche seule, Op. 92. Paris: Enoch & Cie, 1915. Dedicated to Harold Bauer. These are technical studies in the style of Mendelssohn. Most are perpetual motion with fluid sixteenths throughout. All contain fingering suggestions and pedal marks. Moszkowski understood the hand and its possibilities very well. These studies have charm and musical depth. They cover a wide spectrum of moods and technical problems. Difficult and technically advanced. (Philadelphia, PA Free Library) [B38, B43, A9, D54a] No. 1 Allegro energico. 4 p. C major. Richly textured, double stemmed melody is supported by an interesting chord progression. No. 2 Allegro ma un poco moderato. 5 p. A minor. Solid, single lin of scalar sixteenths with occasional double-stemmed notes for color. Chords only occur at the final cadence. No. 3 Allegro ma non troppo. 4 p. A minor. Study in double notes. No. 4 Allegro moderato. 4 p. E minor. Arpeggiated chords in mostly single line texture. [A9] No. 5 Andante expressivo: Animato e deciso. 5 p. A lyrical G major introduction is followed by scherzo-like chordal section in g minor. No. 6 Presto. 4 p. G minor. Gigue-like, whirling sixteenth note triplets of broken thirds and sixths.

Left Hand Alone

131

No. 7 Allegretto scherzando. 6 p. G major. A playful and amusing chord study. Interesting harmonic procedures and several sections marked by a variety of tempi. No. 8 Veloce. 5 p. G minor. Perpetual and dramatic sixteenths. No. 9 Tempo animato. 3 p. E-flat major. Study in pairs of repeated notes. No. 10 Veloce et con leggierezza. 3 p. A-flat major. Arpeggiated an scalar 32nd notes and repeated notes. No. 11 Moderato e cantabile. 5 p. D-flat major. Salon-style waltz. No. 12 Allegro impetuoso. 4 p. B-flat minor. Dramatic octave and fo note chord study. L343.

Moter, Carl (1864) Germany Romanze. Philadelphia: Theodore Presser, c. 1917. 2 p. A-flat major. A sentimental melody above a chordal accompaniment. Andante con espressione. Many broken chords. Uninspired. Fingering and pedal marked. Lower intermediate. (LOC)

L344p.

Murrow, Christine A. (1945- ) USA * Sounds for One Hand: Five Lyric Studies for Either Hand Alone: September Waltz (A-flat major); Circus (C major); Mayday March (G major); Toe Dance (E minor); Bees (C major). Florence, KY: Willis Music, 1986. Dedicated to Lola Christiansen Dunn. Each is two pages long and of upper elementary to lower intermediate difficulty. Pedagogically conceived to fill the gap in literature for young students with only one hand. They contain cheerful and creative writing for youngsters. The Circus and Toe Dance are especially effective and inviting. Murrow says: "While one-handed piano students such as mine may be rare, there are often occasions when a student has a finger, hand, or arm temporarily incapacitated. These pieces, fingered for either right or left hand, will be helpful at such times, or at any time, for developing the dexterity of either hand alone." Fingering is provided for either hand and pedaling is indicated where needed. All five of these pieces are included on the One Hand Piano Music list for the National Federation of Music Clubs, Junior Music Festival, 1995-2000. [R72p]

L345p.

Nagy, Maryanne USA *One handed solitaire: No. 1, No. 2 (Peacefully), No. 3 (Martial). New York: Lee Roberts Publications (Recital Series for Piano), Agent G. Schirmer, c.1970. 6 p. Dedicated to Laurie. Three short pedagogical pieces of varying moods which may be played

132

One Handed with either hand or both hands according to the composer. These are excellent, carefully prepared, and charming upper elementary level works with tinges of modern colors. Pedaling and fingering precisely marked. [R73p]

L346.

Nepomuceno, Alberto (1864-1920) Brazil Nocturnes for Left Hand Alone, Op. 33. New York: G. Schirmer, 1917. Rio 1907. Both of these Nocturnes are dedicated to and written for Nepomuceno's daughter, Sigrid, who was born without a right arm. Both works are charming and a step above salon music. Number One: 6 p. Duration: 5:30. Begins as a quiet barcarole in C major with a hint of the Schubert Ave Maria just before it moves to a dramatic C minor center section using butterfly technique of octaves and thirds in sixteenths. The opening tempo returns but flows to a quiet close in sixteenth notes. Rather a nice and pleasing sound. Very peaceful and endearing. Fingering and pedaling marked. Intermediate. (LOC and Smith College) Number Two. G major. Duration: 5:30. A strong emotional melody declaimed over a chordal accompaniment. Neither as dramatic nor as difficult as Number One. Rather square in structure and sound. [D35a, b] (National Music and Disability Information Service List [B57]) Cinco pequenas pegasfor the Left Hand (Five Little Pieces for Left Hand). Barcarola; Melodia; Dan^a; Brincando; Polca. Composed in 1906 for his daughter, Sigrid. Duration: 9:00. Somewhat didactic in nature. Sigrid Nepomuceno first performed the pieces in August of 1907 at the Auditorio Colegio Sion in Petropolis. This is a likable group of student works. There are few surprises, but some winning moments. Lower intermediate level difficulty. [D35a, b]

L347p.

Nevin, Mark USA Southpaw Waltz (for left hand alone). New York: Schroeder & Gunther, c. 1971. 2 p. G major. A pedagogical study piece that presents a simple, legato melody under accompanying dyads. Fingerings marked and pedal only necessary in the last measure. "Special care should be taken to play each note of the melody (on the lower staff) with greater pressure than the notes of the accom-

Left Hand Alone

133

paniment, which should be played with a light, soft touch." Some chromaticism in the harmonies. Early elementary. L348p.

Newstead Pieces for the Left Hand Alone, Op. 63. London: B. F. Wood. Dream Hours; Sunlit Joys; In the Fading Sunset; Plantation Dance; Sea Flowers; Wayside Gardens. (National Music and Disability Information Service List [B57]) (INS)

L349.

Niemann, Rudolf (1838-1898) Germany Drei kleine Konzertstiicke, Op. 40. Romanze; Alia Gavotte; Presto (Perpetuum mobile). Leipzig: Kistner, 1896. Dedicated to Count Geza Zichy. (HOF 1900: 180:21) (INS)

L350.

Concert-Walzer in A, Op. 36. Braunschweig: Litolff. Moderately difficult. (HOF 1900: 180:21) (National Music and Disability Information Service List [B57]) (INS)

L3 51.

North, Isabel Stewart SEE: Stewart-North, Isabel [L475]

L352.

Ohana, Maurice (1914-1992) France Main gauche seule from Six etudes d9interpretation (Douze etudes d9interpretation, Livre I). Duration: 6:19. The other movements are for two hands. Agitated bursts of sound alternate with motionless, floating sections. Covers a wide keyboard range and requires excellent finger technique and some glissandi. Keenly rhythmic with a sense of direction and forward motion. Quiet ending. Could stand alone as a concert work. [D37a]

L353p.

Oldenburg, Elizabeth USA ^Monologue: Etude. Westbury, L. I., New York: Pro Art Publications, 1957. 3 p. A study piece in solid, perpetual sixteenth notes. Tenutos mark the notes with melodic interest. A few interesting chord progressions. Fingering is given for both hands. Pedal marked. Lower intermediate difficulty. (LOC)

L354p.

Olson, Lynn Freeman (1938-1987) USA *Entr'Acte 1 p. *Serenade 2 p. Two upper elementary level solos from Single Handed (Exploring the Piano with One Hand composed Olson. [A33p] [B75] Careful pedal marks are given, but the fingering is absent. Olson

134

One Handed has intended these works to be suitable for either right or left hand. Entr'Acte has been included on the National Federation of Music Clubs Junior Festivals Selections for 1995-1997 (Moderately Difficult Class).

L355p.

*Bumblebee Toccata. New York: Carl Fischer, c. 1983. 2 p. Commissioned by the Jefferson City Area Music Teachers' Association. Conceived as an elementary solo for two hands, this is easily adaptable for one-handed performance and has been included on the National Federation of Music Clubs Junior Festivals Selections for 1995-1997 (Elementary Class III). Olson himself states: "As a special exercise this piece may be played with one hand alone, providing practice in chromatic patterns and quick thumb shifts." Fingerings will need to be adjusted from the printed version. Pedal marks are given as strategic spots. It is a cute study in "buzzing" chromatics.

L356.

O'Neill, Julia A. Musing for Left Hand Alone. London: B. F. Wood Music Co., c. 1932. 3 p. E-flat major. Top note melody with chords for support. Freely expressive with traditional harmonies. Ternary form with a contrasting minor middle section. Salon-style. Lower intermediate difficulty. Pedal and fingering marked.

L357.

Orthel,Leon (1905-1985) The Netherlands Sonatine No. 5, Op. 44. (Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, c. 1963. 10 p. Dedicated to Cor de Groot. Composed in 1959. Three movements: I. Poco Allegro (Ternary form, rhythmic, march-like, percussive); II. Molto tranquillo e rubato (lyrical, wide range of notes and dynamic markings, free and dramatic); III. Allegretto (perpetual motion with running sixteenth notes, middle section contains loud open-fifth chords in streams. This is highly attractive concert work that spans a wide range of rhythmic excitement and dynamic nuance. Pedaling suggested. [A7]

L358.

Osieck,Hans (1910- ) The Netherlands Tema con Variazioni. Amsterdam: Donemus, c. 1960. 10 p. Dedicated to Cor de Groot. Four variations on this tranquil chordally structured theme plus a finale. The chorale-like theme is apparent in each of the variations. This work is more traditionally tonal than the others in this volume and requires more grand-scale

Left Hand Alone

135

technique. Large climaxes, dense chords and thick textures. Difficult. [A8] L359.

Paap, Wouter (1908-1981) The Netherlands Danse Gauche. Amsterdam: Donemus, c. 1959. 2 p. Dedicated to Cor de Groot. A brisk, 6/8 meter marked "Vivace." Some rather large-scale leaps are involved. Good facility with thirds, sixths, and octaves is a must. Builds to a big climax. Would make a charming encore piece. Moderately difficult. [A8]

L360.

Pauer, Ernst (1826-1905) Austria Suite pour la main gauche in E-Flat, Op. 72. London: Augener/Stainer & Bell, 1890. Moderately easy. (HOF 19091913:593) (National Music and Disability Information Service List [B57]) (INS)

L361.

12 Etudes caracteristiques pour la main gauche seule, Op. 73. London: Augener & Co. (Augener's Edition No. 8332), 1892. Dedicated to Monsieur le Professeur A. Loeschorn. Prelude; Pastorale; Appassionata; Calmness; Scherzo; Capriccio; Arpeggio; Evening Song; The Brooklet; Cheerfulness; Tremolo; Eroica. These twelve studies are technically difficult and musically interesting in a late-nineteenth century sort of way. They were obviously designed to train the pianist in many aspects of left hand playing. Careful editing provides fingering, articulations, and pedaling as required. Most are between 2 and 4 pages in length. Some could be interesting and appealing in concert or as encore works because they have the nature of character pieces. The titles show the programmatic influences. (Philadelphia, PA Free Library)

L362p.

The Culture of the Left Hand. London: Augener/Stainer & Bell, 1907. Published in four books. Books I, II, and IV are for the left hand alone while book III is for two hands. (National Music and Disability Information Service List [B57]) (INS)

L363p.

Payne, Cora Sadler USA On the Lake. New York: G. Schirmer, c. 1943. 2 p. Always single notes. Melody in the center of the piano with accompanying notes interspersed on off beats in the lower range. Ternary. Pedal and fingering marked. Pleasing. Upper elementary. (LOC)

136

One Handed

L364p.

*One-Hand Serenade. Mequon, WI: Schaum Publications, Inc., c. 1984. 2 p. C major. An elementary level pedagogy solo, single notes only. Contains fingering for either hand. Pedal marked. Thumb-over crossing necessary for the left hand. Some legato keyboard shifts are aided by the use of pedal. The cover design shows a young lady playing the piano with her left arm in a sling.

L365p.

Perdew, Ruth USA Glacier Range (for the left hand alone). Boulder, CO: Myklas Press, P. O. Box 929, c.1982. F major. 2p. Useful upper elementary level repertoire. Mostly two note chords and arpeggiated passages. A melody is declaimed under chordal accompaniment. "Play the bass clef notes louder than the treble clef notes except for the last three measures." Pedaling and fingering provided. This work has been included on the National Federation of Music Clubs Junior Festivals Selections for 1995-1997 (Primary Class IV).

L366.

Perlet, Herman (1864-1916) Danse grace, Op. 15 No. 3. New York: Witmark & Sons, 1911. (INS)

L367.

Perny, Pierre (1824) Surprise: MSlodie, Op. 78. Milan: Ricordi. (HOF 18521859:196) (INS)

L368p.

Peter, Darrell (1918) USA Prelude in E minor for the left hand alone. St. Louis: Art Publishing Society, (Catalogue No. 418-2), c. 1960. 3 p. "For Alan." This publication contains a short biography, general information, formal analysis, and ideas for study and interpretation. An upper elementary solo with mostly two notes at a time in the beginning. Somewhat in the style of a Sarabande with occasional use of the Phrygian mode. Ternary form. The return of the "A" section is thicker and more spread over the piano. Quiet ending. (LOC)

L369.

Petyrek, Felix (1892-1951) Czechoslovakia/Austria * Zwei Tanzstucke #2. 3 p. B major. Rather full sounding waltz with tinges of "modern" harmonies. Quiet ending. Requires ease in chord playing and keyboard shifts. Fingering and pedaling suggested. Moderately difficult. [A5] [R80].

Left Hand Alone L370p.

L371.

137

Philipp, Isidor (1863-1958) France The New Gradus ad parnassum: Academic Edition of Selected Studies for the Pianoforte. Philadelphia: Theodore Presser Co., 1911. Revised and compiled by Isidor Philipp. Preface concerning practice techniques. Book I: Left Hand Technic. Most of the works are for both hands with special emphasis on developing the left hand. There are four exceptions: Exercises #4 and #5 by Tappert [L487p]; Exercise #17 by Kalkbrenner [L245 and A12] and Exercise #20 by Carl Philipp Emanuel Bach [LAI] [A5 and A9]. (Lawrence University Library, Appleton, WI) Deux etudes pour la main gauche seule d9aprte Mendelssohn et Paganini. Paris: Alphonse Leduc, c. 1910. "a Paul Silva Herard." Both lie in the upper part of the keyboard. Carefully edited difficult works. (LOC) Perpetuum mobile. 4 p. Mendelssohn. Prestissimo in C major. Continuous sixteenth notes. Almost entirely single notes. Fingered. Moto perpetuo. 5 p. Paganini. Allegro vivace. C major. Solid sixteenth notes. Fingered.

L372p.

Pietsch, Edna Frieda (1894) USA * Waltz in C major. New York: G Schirmer, 1957. (Milwaukee, WI, Wisconsin Conservatory.) (INS)

L373.

Pirkhert, Edouard (1817-1881) Austria Theme for the left hand alone: Salon Etude, Op. 10 #5 from Douze Etudes de salon pour le piano. Vienne: P. Mechetti, c. 1844. New York: G. Schirmer, c. 1906 and 1934 (Edited and fingered by James H. Rogers). 2 p. A rich D-flat major, salonstyle concert etude that is moderately difficult. Grand, choralestyle, arpeggiated, fat chords supported by octaves. "La melodia ben pronunziata." Harmonies are straightforward with sighing chromaticism. Complete control of chords and chord voicing required. Pedaling and fingering suggested. (Milwaukee, WI Public Library)

L374p.

Poe, John Robert (1926) USA Look Ma, One Hand: Pieces for One Hand Alone. San Diego, CA: Neil A. Kjos Company, c. 1990. Twelve single line, mostly one page, early elementary solos. Six for each hand alone. Dedicated to Jessica, who smashed her thumb. For Left Hand: High Fly to Left Field; Don't, Go Left; Eyes Left!; To the Left of Venus; Fishing from the Left Bank; Left Alone. No fingerings

138

One Handed were provided to stimulate the student's involvement. Circles are to be filled in with the correct fingerings. Tempos are to be determined by the performer. All pieces lie within a five finger position. Only one pedal is marked. Articulations and dynamic markings are provided. [R82p] Several of these works have been included on the National Federation of Music Clubs Junior Festivals Selections for 1998-2000 in the Pre-Primary, Primary I and Primary II Classes). [B75]

L375.

Pohl, Vladimir (1880) Russia Pofcme: pour la main gauche, Op. 17. Leipzig: M.P. Belaieff, 1938. New York: Boosey and Hawkes, Inc. Dedicated to Mile. Marguerite Sahlberg. Very difficult and potent concert selection. Flowing Andante tempo with some meter shifts. Thick texture with rich chords, frequent octaves, chromatic, nineteenth century harmonies, and wide keyboard range. Big climaxes and quiet ending. Ternary form with contrasting middle section. B major to F# minor and back to B major. Brief cadenza passage before the final cadence. A few fingerings and pedal marks provided. (Eastman School of Music)

L376.

Valse impromptu, Op. 19 No. 1. Paris: M. P. Belaieff, 1947. 6 p. Dedicated to Mr. Leon Mouravieff. A concert waltz with various contrasting sections. Some cadenza-like material. Because of the large leaps, the pianist must have ease and gracefulness. Moderately difficult. (LOC)

L377.

Valse romantique, Op. 19 No. 2. Paris: M. P. Belaieff, 1947. 6 p. Dedicated to Mr. Paul de Conne. In a similar vein to the Valse impromptu above, but livelier. Sectional with a variety of key areas. Large jumps. Big C major ending. Pedaling and fingerin given. Moderately difficult. (LOC)

L378.

Pollini, Francesco Giuseppe (1762-1846) Austria Exercices pour la main gauche seule. Hamelle catalogue. (IN

L379.

Ponce, Manuel Maria (1882-1948) Mexico Malgre Tout: (A pesar de todo) danza para la mano izquierda. Mexico City: Repertorio Musical Menzel, 1900. 2 p. Written when Ponce was just a teenager. This pleasant, provocative melody and accompaniment in F# minor uses the habafiera rhythm. Large leaps, thumb projecting the melody, guitar figuration, and grace notes. A very colorful piece. Inspired by a

Left Hand Alone

139

sculpture created by Jesus Contreras (1866-1902), a fellow Mexican, born in Ponce's hometown. He titled the sculpture "Malgre tout," (Inspite of everything) because he had created this work after losing his right arm in an accident. Ponce wrote this dance to honor his friend, Contreras. Pedaling and fingering marked. Moderately difficult. (University of Texas at Austin) [D38a] [B38andB68] L380.

Prelude et fugue pour la main gauche seule (Preludio y fuga para la mano izquierda solo; sobre un tema de Handel). Mexico: Ediciones C. M. de Ponce, c. 1953. New York: Southern Music Publishing Co. 9 p. Composed in 1931. This may have been written for Paul Wittgenstein. Included are two leaves of notes and errate by Carlos Vazquez who lives in Mexico City. Biographical and bibliographical notes in Spanish are appended. Linear writing in the Prelude with implied melodic interest given by double stemming. The serious fugue centers on A minor and is somewhat like Cesar Franck, highly chromatic and with a "sighing" motif. It ends with a big chordal presentation of the subject. Guitar-like writing at times. Difficult. Pedaling and fingering suggested. (University of Wisconsin-Superior) [D39a, b, c]

L381.

Porter, Frank Addison (1859-1941) USA Etude Melodique, Op. 33. Boston: Boston Music Co., 1912. 4 p. D-flat major. Salon piece in ternary form. Middle section requires the use of the sostenuto pedal for a pedal point. Cloying chromatic harmonies. Pedaling and fingering marked. Lower intermediate difficulty. (LOC)

L382p.

Portnoff, Mischa (1901) Russia/USA Metronome for the left hand alone from Trilogy: suite for piano solo. 2 p. New York: Mesquite Music Corp., 31 West 54th Street, 10019, c. 1968. The first movement of the suite is for right hand alone [R84p] and the third movement (Mobiles) is for both hands together. Moderato, cut-time, upper elementary teaching piece. Metronome marking = 88 per half note. C major. A study in staccato and slurred conjunct pairs of thirds. Articulations and fingerings given. No pedal required. Composed for teaching purposes to solve students' needs and problems. A short biography of Portnoff is included. (University of WisconsinMadison)

140

One Handed

L3 83.

Qualliotine, Armand Guy Pezzi sinistre: for piano left hand. 28 p. Manuscript, c. 1989. This is a complex, large-scale set of six works. Each is filled with long arpeggiated lines, flowing in asymmetric rhythmic groupings over the keyboard. Wild rushes of notes and giant contrasts of dynamic markings (sfff to ppppp). The score is meticulously marked down to the smallest detail. He has used precise and somewhat unusual terms for nuance. A few of the more interesting terms are: "fluente; ipnotico; allegrissimo, vago e rubato." Complete technical control is needed to perform these difficult works and complete dedication is needed to absorb the intricacies. (Brandeis University) Rhapsody. 5 p. Waltham, MA. March 5-21, 1989. Danza. "to Leonard Bernstein at 70." 2 p. Dec. 23, 1988-Feb. 4, 1989. Waltham/Franklin Square. Arabesque. 7 p. "to Oliver Knussen." Nov. 8-Dec. 6, 1988. Walthan/Lenox. Intermezzo, "to Leon Fleisher at 60." 4 p. July 19-24, 1988. Stockbridge. Paranoic Astral dirge and chant. "Dali in memorium." 3 p. Jan. 24-31, 1989. Waltham. Toccata. 7 p. Feb. 7-Mar. 4, 1989. Waltham.

L384.

Ragni, Valentino Mosaiken: fiir eine Hand (1. Kleine Rhapsodie; 2. Farben; 3. Melodie; 4. B.A.C.H.; 5. Hommage a Usher [Edgar Allan Poe]; 6. Feuerspiele). Zurich: Hug, c. 1982. 15 p. This work won the Premier prix de composition de la Societe Suisse de Pedagogie Musicale. French and German Instructions for performance along with 2 pages of non-traditional symbolic notations are provided. Movements 2 and 5 are for left hand alone; movements 1 and 6 are for right hand alone; and either hand may perform movements 3 and 4. The Instructions for performance are absolutely essential. Ragni uses traditional as well as nontraditional notation. Some movements use bar lines for rhythmic organization while others do not. Copiously marked with musical indications, durations, and frequent metronome changes. Some formulated improvisation is asked of the performer. Minimalist in texture and sound. Some of the movements would be more easily prepared than others. Pedaling is prescribed. Concert music. (Northwestern University) [R85]

Left Hand Alone

141

L385.

Ravanello, Oreste (1871-1938) Italy Variazioni in forma de Esercizii per la sola mano sinistra sopra un tema de Domenico Scarlatti, Op. 109. Milan: G. Ricordi, 1918. A large-scale concert work with sixteen variations plus a coda. Wide variety in the styles of the variations. All based on one of Scarlatti's F minor sonatas, L. 383. Fluency in scales, thirds, octaves, broken chords, and trills required. This is a work of sufficient scope to make it a tour de force on a concert and where the musical impetus falters, the pianist can rely on the excitement of one-handed playing. Pedaling marked. No fingerings. Difficult. (LOC)

L386.

Ravina, Jean-Henri (1818-1906) France Isolde! Reverie, Op. 92. Mainz: Schott, c. 1883. New York: Carl Fischer. (HOF 1887: CXXIIL20) (INS)

L387.

Reese, Minnie USA Fantasy on Lilly Dale for left hand alone. Nashville, TN: Jesse French, 1874. Dedicated to Miss Julia Safford. 3 p. Melody proclaimed over whooshing two and three octave arpeggios. Moderately difficult but not profound. (LOC)

L388.

Reger,Max (1873-1916) Germany Vier Spezialstudien: fiir die linke Hand allein, fur Pianoforte (Four Special Studies). 1. Scherzo 2. Humoreske. 3. Romanze. 4. Prelude and Fugue. 11 p. Leipzig, Munchen: Jos. Aibl, c. 1902; re-issued Universal Edition, 1984. These four character pieces are typical of the piano music of Max Reger. They employ standard forms, chromatic harmonies, thick textures, wide keyboard range, many thirds, and need great skill by the pianist. Each stands by itself or could be grouped with others. The Prelude and Fugue, fourth movement, is remarkable for the fullness of sound and intensity of composition. A great work in its own right. Articulations, pedaling, and musical nuances are marked. Reger did not provide fingerings. Scherzo and Romanze are reprinted in [A6]. The Prelude and Fugue is found in [A5] and all four are found in [A9]. Each of these publications assigns differing fingerings and pedal markings. [D8a, D23a, D43a, D63a] [B38]

L389.

Reinecke, Carl (1824-1910) Germany Eine Klaviersonate fur die linke Hand allein, Op. 179. Leipzig: C.F. Peters, 1884. C minor. 21 p. A moderately difficult,

142

One Handed carefully crafted work in four movements. This is one of the few large scale works from the 19th century that can really stand on its own and serve as a major portion of a recital program. The slow movement, a florid andante, is a set of variations based on a folk melody. Fingerings, pedaling, and articulations are indicated. Traditional forms for each of the movements. Nineteenth century harmonies, typical of this composer. The sonata is worthy of concert use. Crosse Vol. 6 contains the second movement [A 12] and Lewenthal [A9] contains the last movement that might be used a separate recital piece or encore. (Vanderbilt University)

L390.

Zwei Charakterstiicke und eine fuge, op. 1. Hamburg: Verlag Cranz. (INS)

L391.

Reinhold, Hugo (1854-1935) Austria Drei Klavier-Etuden in Form von Vortragestucken, Op. 61. Vienna: L. Doblinger, 1907. Interesting program pieces, typical of this composer and his skillful approach to composition. Chromaticism throughout. As good as many from this period. Pedal and fingering given. Moderately difficult. (LOC) (HOF 1900408: 117: 22) I. Tanz-Poem. 3 p. F minor. Staccato throughout. 3/8 meter. II. Nocturne. 3 p. G-flat major. Lyrical melody in a chordal structure. III. Etude. 3 p. E-flat minor. Powerful melody trumpeted over arpeggiated chords.

L392.

Renfer, Anna Klavierstudien fiir die linke Hand, Op. 37. Zurich: Kommissionsverlag Hug, 1969. 8 p. Dedicated to Frau Professor Kurth. Eight dance movements that form a suite in the Baroque style. Gaillarde; Rondeau; Allemande; Menuetto; Sarabande; Bourse; Air; Gigue. Twentieth century harmonic structures with Baroque ornaments and rhythms. Carefully edited musically. No fingerings or pedal markings. Most of the movements lie in the middle of the keyboard. Immediately intellectually absorbing to the pianist, but perhaps not as interesting aurally for an audience. Moderately difficult. (Eastman School of Music)

L393.

Resimont, Emilie Altner de Redowa (Klavierstuck fiir die linke Hand allein), Op. 6. Berlin: Otto Wernthal (no date). 4 p. Fantasia type piece with a recurring theme in various sections, different tempi, and dramatic

Left Hand Alone

143

elements. Good pianistic control is needed throughout. Fingering and pedaling are marked. Intermediate level. (LOC) L394.

Rheinberger, Josef Gabriel (1839-1901) Germany Pianofortestiidien fiir die linke Hand allein oder auch fur z Hande: Capriccio, Menuetto, Fughetta, Mazurek, Romanze, Gavotte, Op. 113. Munich: Jos. Aibl, 1930. (No date printed on the music.) Vienna: Universal Edition. 23 p. Published in two sets of three pieces. Serious character pieces with aural interest and musical drama. Chromatic harmonies typical of the nineteenth century and of the organ music of Rheinberger. Pieces lie in the center of the keyboard and do not explore the extremities. Pedaling, dynamics, and articulations given. Could be played individually or in a group. Moderately difficult. (The first three from Boston University. The second set from the Cleveland, Ohio Public Library)

L395p.

Riccardi, Joseph (1928) * Elementary Piano for One Hand [A15p] [B75]

L396.

Richter, Alfred (1846-1919) Germany Perpetuum mobile fiir die linke Hand, Op. 3 Leipzig: Siegel. (HOF 1893: CXLL19) (INS)

L397p.

Rocherolle, Eugenie Katherine Ricau (1936) USA Hands separately. San Diego, CA: General Words and Music Co., Neil A. Kjos Music Co. Distributor, 4380 Jutland Drive, c. 1989. The volume contains four pieces. Two for each hand alone. [R88p] Pedagogically conceived works that are tuneful and harmonious and rhythmically alive. Adagio for the left hand (E-flat major), 3 p.; Fantasia for the left hand (A major/minor), 5 p. The Adagio is quiet and fluid with sensitive rubato needed and the Fantasia has a Spanish flavor and is composed in several metrically different sections for dramatic contrasts. Pedaling andfingeringsuggested. Clever learning experiences for the intermediate level student. [D44a]

L398p.

Rogers, Ethel Tench (1914) USA Evening Air. Myklas Press, P. O. Box 929, Boulder, CO 80306, c. 1989. G major, Moderato. 2 p. Upper elementary solo which "may be played by the left hand alone." Simple legato melody (very reminiscent of Schumann's Traumerei) with two note

USA

144

One Handed chordal accompaniment. Especially pleasing closing cadential formula. Pedaling and fingering suggestions included.

L399.

Rohmeyer, Klara Intermezzo. Schanze: J. Akkorde, c. 1921. (HOF 1925:132) (INS)

L400p.

Rollin, Catherine USA Nocturne for the Left Hand. Van Nuys, CA: Alfred Publishing Co., 1990, The Alfred Signature Series. 2 p. G major. "With motion and rubato." Pedagogically devised as a study in chord voicing. The melody emerges from the tops of the chords. Pleasant sounding. Fingering and pedaling indicated. Upper elementary level. Nocturne has been included on the National Federation of Music Clubs Junior Festivals Selections for 1995-2000 (Elementary Class IV). [B75]

L401.

Rolling, H. Grand Caprice pour piano pour la main gauche, Op. 3. Mainz: Schott. (HOF 1887: CXXIII:20) (INS)

L402.

Rose, Alfred Walzer fiir die linke Hand, Op. 9 #10. Berlin: c.1901. (HOF 1906:XXIV:21) (INS)

Hoffheinz,

L403p.

Rovenger, Leopold Walter (1888) Dancing Fairy. Chicago, IL: Rubank, Inc., c. 1939. 2 p. C major. "Care is required to hold notes with both stems their proper time so as to create the idea of two voices; correct fingering is essential." A bouncy 6/8 pedagogy solo that lies in the middle of the keyboard. Sixteenths and grace notes. No large chords. No pedal needed. Upper elementary. (LOC)

L404p.

Rowe, Daniel (Pseudonym for George L. Spaulding) (1864-1921) USA March of the Midgets. Bryn Mawr, PA: Theodore Presser, c. 1915. 3 p. Upper elementary pedagogical solo. Melody at first below and then above the chordal, triplet accompaniment pattern. Three note chords and double stemming. [SEE Spaulding, George L. L454p] (LOC)

L405p.

Rowley, Alec (1892-1958) Great Britain Colla sinistra. Nine easy piano pieces for the left hand. Shanty;

Left Hand Alone

145

The Professor; Minuet; Gavotte; Goblins; Pastoral; Pipe Tune; Bells; Jig. 12 p. London: Boosey & Hawkes, c. 1928. Tuneful, pedagogical material. Single line or two notes at a time for the most part. Five of the pieces are less than one page in length. Fingerings and interesting markings abound, such as "Rather dry and somewhat stodgy" for The Professor. Clever dissonances and scales give quaint, atmospheric color to Goblins. Pastoral and Jig are the two pieces most suitable student recital works. L406.

Rubens, Franz Caprice fiir die linke Hand, Op. 29. Berlin: Hoffheinz, c.1906. (HOF 1906: XXIV.21) (INS)

L407p.

Ruthardt, Adolf (1849-1934) Germany Studienwerke fur Pianoforte, Op. 62. Heft I. Leipzig: Otto Forberg, c. 1925. There are 21 studies in all ranging from intermediate difficulty to difficult. None are more than one page in length, and some are very musically satisfying. Mostly single line construction. (LOC)

L408p.

StuckefUr die linke Hand allein, Op. 62. Heft II. Leipzig: Otto Forberg, c. 1925. These ten pieces are the follow up to the above volume from the same opus. They range in length from one to two pages. All are extremely musical, well developed, and satisfying for the performer and listener. Ruthardt gives some information in the footnotes about specific problems. Pedal and fingering mark-ed. Moderately difficult. (LOC) Das Madchen Klage (based on a German folksong) Waldesfrieden Duettino aus Don Juan von Mozart (La ci darem la mano) Gondellied auf dem Genfersee Lebewohl (German folksong) Gavotte Recitativ und Arie der Agathe (Leise, leise fromme Weise) Der Galante Lied an den Abendstern aus Tannhauser von Richard Wagner Die Nachtliche Scharwache

L409.

Menuett fiir die linke Hand, Op. 47. Leipzig: Otto Forberg, c. 1906. (HOF 1904-08: 117:22) (INS)

146 L410.

One Handed Zwolf Klavier-Etiiden fiir die linke Hand, Op. 48. (HOF 190408: 117:22) (INS)

L41 lp.

Rybicki, Feliks (1899-1978) Poland Etiudy (Etudes), Op. 54. Warsaw: Polski Wydawnictwo Muzyczne, 1962. Three volumes for children published in the early to mid-1960's. (Rybicki has written many volumes of teaching pieces for children. (LOC)

L412.

Saint-Marcoux, Micheline Coulombe (1938-1985) Canada Kaleidoscope: Piano Solo (pour la main gauche). Montreal, Quebec: Centre de musique canadienne, 1972. Reproduced from manuscript. 2p. 34 measures. Duration: ca. 2:00. A series of connected musical ideas. Each is given a different metronomic marking. Some are lyrical while others are dissonant and harsh. A few rhythmic motives recur to unify the ideas. Quiet beginning and violent ending. Moderately difficult.

L413.

Saint-Saens, Camille (1835-1921) France Six etudes pour la main gauche seule, Op. 135 1. Prelude 2. Alia Fuga 3. Moto Perpetuo 4. Bouree 5. Elegie 6. Gigue. Paris: Durand & Cie., c. 1912. Wien: Verlag Ludwig Doblinger, 1963. 31 p. Dedicated to Madame Caroline de Serres. SaintSaens wrote these about 1912 and shows an interest in the historical French dances similar to Ravel and Debussy. These fine concert works form a suite although they may be played individually or in various groupings. They require more than adequate pianistic skill, but are not as difficult as some of the most challenging left-hand repertoire. All are written with a linear, implied counterpoint and need little chord playing ability. Fingerings and some pedal markings are suggested. As their titles imply, they present a variety of tempos and moods and because of SaintSaens's compositional finesse, they form an important addition to this literature. The Bouree seems most appealing and accessible to an audience. Lewenthal [A9] has Movement III ~ Moto perpetuo, a floating single line of sixteenths without pedal until the end. Some fingerings and pedalings are provided. Difficult. (University of Texas at Austin) [D12a,D23a] [B38]

L414.

Samazeuilh, Gustave Marie Victor Fernand (1877-1967) France Serenade (pour la main gauche seule) from Esquisses pour le Piano. Paris: Durand & Cie., 1945. 4 p. (The Souvenir from this suite is for the right hand alone and the other two movements

Left Hand Alone

147

are for two hands. [R90]) Dedicated to Jean Doyen. Although fingered for the left hand alone, Samazeuilh mentions in the footnote that a less technically equipped pianist may play the movement with two hands. The movement has many rubato effects and imitates the guitar in the accompaniment passages. Lots of drama in miniature. Somewhat reminiscent of Debussy. Quiet ending. Moderately difficult to difficult. (Eastman School of Music) L415.

Sancan, Pierre (1916) France/Morocco Caprice romantique, pour piano (main gauche seule). 9 p. Paris: Durand & Cie, 1949. Dedicated to Madame Voskochaki. Overall like a grand waltz painted with broad, brush strokes. Various sections and tempi. Agitated rhythms and octaves in the middle section. Some black key glissandi. Requires ease in keyboard shifts, chords and octaves. Flexible rubato feeling. Modern harmonies. Good concert work. Moderately difficult but very useable. (Philadelphia, PA Free Library)

L416p.

Sartorio, Arnoldo (1853-1936) Germany Left Hand Proficiency: Twenty Original Study Pieces and Transcriptions for the Pianoforte for Left Hand Alone. Philadelphia: Theodore Presser, c. 1921. 43 p. All are upper elementary to lower intermediate works with pleasing melodies and slight accompaniments. Uncluttered and straightforward. One to three pages in length. Fingering and pedaling are marked. Utilitarian study pieces for the progressing student. (Los Angeles, CA Public Library) [A20p] Original Works:

L417p.

Lonesome Hours 3 p. C major. Twilight Song 2 p. F major. Hear Wishes 2 p. C major. Repartee 2 p. F major. Voice of Spring 2 p. C major. Playfulness 2 p. C major. Home Memories 3 p. B-flat major. Golden Times of Youth 2 p. C major. Exuberance 2 p. A minor. Starlight 3 p. E-flat major.

Melodic Studies for the Special Development of the Left Hand, Op. 1092. Philadelphia, PA: Theodore Presser. (INS)

148

One Handed

L418p.

Studies for the Left Hand Alone, Op. 1103. Philadelphia: Theodore Presser, c. 1915. Twelve 2 to 3 page pieces for training the left hand, written for technical purposes rather than musical. Each is different in character, and most are melody and accompaniment or top note melody over chords. No titles, but they seem like character pieces. A variety of tempi and keys. (LOC)

L419p.

Ten Melodious Study Pieces for the Left Hand Alone, Op. 1136. Philadelphia: Theodore Presser, c. 1919. 19 p. All are original, upper elementary to lower intermediate level character pieces with a turn-of-the-century flavor. Most are trite, simple in form and substance. The composer provided interesting fingering and pedaling suggestions. Reasonable study material for the advancing student. (Bowling Green State University) On Wings of Love C major Little Folksong F major Wildfire F major More, Haste, Less Speed C major Always on the Go A minor In Evening Shadows B-flat major Country Joys G major Air Castles B-flat major May Sounds: Gavotte G major Hunting Memories D major

L420.

Sauer, Emil von (1862-1942) Germany Waldandacht: Konzert-Etude fiir die linke Hand allein No. 28. Mainz: B. Schott, c. 1917. Written for Count G&za Zichy. Poignant theme in A-flat major. Late Romantic harmonies in a basically homophone texture. Some double stemming for melodic interest. Ternary form. The return of the "A" section is fleshed out with larger chords and octaves. There is triplet agitation in the "B" section. Some ossia passages. Well constructed and carefully conceived. Difficult. (LOC)

L421p.

Sauter, Maya (1910) Switzerland *Klaviermusik fiir eine Hand allein. Improvisationen zum Transponieren, Nos. 1-8; Ein- oder mehrstimmigen Studien, Nos. 1-12: Impromptus, Nos. 1-5. Zurich: Musikverlag Zum Pelikan, c. 1971. According to the composer, all of the pieces may be played by either hand and are fingered accordingly. Most seem more comfortable for the left hand because of the location on the keyboard. They range in difficulty from upper ele-

Left Hand Alone

149

mentary to intermediate. The specific technical problems studied include transposition, staccato, appoggiaturas, firmness of attack, legato, broken chords, octaves, extension, black keys, inversions, and diminished seventh chords. Most of the writing is single note at a time with only occasional chords. Fingerings and pedal usage are marked. The Impromptus are given titles: 1. Sennentanz; 2. Allegro; 3. Ping-Pong; 4. Der Hampelmann; 5. Andantino. These are inviting, tonal works that would be suitable for student recitals. L422.

Saxton, Robert (1953) UK Chacony. Written for Leon Fleisher. 1988. Duration: ca. 7:00. Commissioned by the Aldeburgh Festival. First performed by Leon Fleisher on June 20, 1988. This is a sectional work that opens with a halting introduction of declaimed middle and high notes expanding in range as a presentiment of what is to come. The middle section is very active and dramatic with linear passages and implied counterpoint. The opening material returns in a more bold way to conclude the work. [D12a]

L423p.

Scarmolin, A. Louis (1890-1969) USA Marigolds (Melody for the pianoforte for the Left Hand Alone). Philadelphia: Theodore Presser, c. 1929. Some interesting harmonic progressions and a pleasing melody make this teaching piece a cut above some of the others in this typical style. Sustained top note melody with blocked chords under the double stemming. A few larger rolled chords. Pedaling and fingering provided. Upper elementary difficulty. (LOC)

L424p.

Schaum, John W. (1905-1988) USA Left hand Solos for the piano. 2 volumes. Rockville Centre, NY: Belwin, 1951. Some of these works have been included on the National Federation of Music Clubs Junior Festival Selections for 1998-2000. [A23p] [B75]

L425.

Schickele, Peter (1935) USA Two Miniatures: for piano, left hand. Bryr Mawr, PA: ElkanVogl, 1998. 2 p. Duration: 3:00. 1. Lullaby. (Simple, flowing) 2. Boogie. (Boistrous, [sic], driving) For Gary Graffman and Orchestra 2001, James Freeman, Director. From the composer's notes: [James Freeman] spearheads a flexible, fluctuating musical entity called Orchestra 2001 [at Swarthmore College], and the TWO MINIATURES were written for Gary Graffman to play at a

150

One Handed gala shindig for the group. They were completed on July 26, 1996 and that first performance took place on November 17, 1996 at Curtis Hall in Philadelphia. Graffman's family came from Russia, but he grew up playing stickball (in addition to practicing the piano) around the corner from where I now live on the Upper West Side of Manhattan. Perhaps those two facts explain the characters of the two pieces. Or perhaps not." These two intermediate level pieces are clever and quirky and not without charm. They appeal to the listener, are easily learned by the pianist, but don't offer much musical substance. Facility with large intervals and chords is necessary. No fingerings or pedal marks indicated. (University of Wisconsin-Milwaukee)

L426.

Schmidt, Franz (1874-1939) Austria Toccata fiir die linke Hand allein. Wien: Doblinger, c. 1979. 12 p. Preface in German and English. Edited by Johann Sonnleitner. Composed in 1938 and dedicated to Paul Wittgenstein. Suitable for harpsichord as well with a few range adjustments. Has been arranged for two hands. Rambling sectional work which is rather brittle and prickly. Clearly defined melody supported by a continuous sixteenth note rhythmic accompaniment. Wide keyboard range. Strong ending. No pedaling or fingering given. Very difficult. (University of Wisconsin-Madison)

L427.

Schmitt, Hans H. (1835-1907) Czechoslovakia Etiiden fur die linke Hand. Vienna: Doblinger. (HOF 1900: 180:21)

L428.

Schmitt, Jacob (Jacques) (1803-1853) Germany Etude de Chant pour la main gauche seule, Op. 330 No. 4. Hamburg: Schuberth & Co. 4 p. Op. 3330 is entitled Quatres Etudes de Concert. The first two works are for both hands. Number 3, Tremolo, is a study for the left hand, but not alone. Only number 4, Etude de Chant, is for the left hand alone. Flashy fanfare chords and cadenza passages introduce the melody with chordal accompaniment. The middle section is concluded with a cadenza before the return of the original melody. Strong ending to this concert work. Moderately difficult. [Al].

L429p.

Schmitt, Susan (flourished in 1940's) USA Three Easy Left Hand Studies. Boston: Boston Music, Co., c. 1921. 4 p. Easy teaching pieces. Usually one or two notes at a

Left Hand Alone

151

time. Some thirds and sixths and rolled chords. Fingering and pedaling given. (LOC) The Merry Swiss Boy. An arrangement of an old folk song. "To Katharine Hurt Morton." 1 p. G major. Barcarole (Song of the Mermaids from the opera of "Oberon" by Carl Maria von Weber), lp. C major. Tom Thumb Waltz. 2 p. F major. This is the only totally original piece in this set. L430.

Schmitz-Gohr, Else (1901) Germany Elegie (fur die linke Hand allein). Mainz: Schott, 1985. 2 p. Published in Frauen Komponieren: 22 Klavierstucke des 18.-20. Jahrhunderts, Edited by Eva Rieger and Kate Walter. Brief biographical sketch in English and German with photograph of Schmitz-Gohr. Andante sostenuto. A moderately slow and melancholy work, centering on A minor/major. Gentle in nature with interesting chromaticism and a strong central climax. A charming concert piece. Pedaling, musical nuances, and fingerings suggested. Upper intermediate level difficulty.

L431.

Schnecker, Peter August (1850-1903) Germany/USA Three Piano Solos for the Left Hand (Romance in F; Melody in G; Romance in A-flat). Boston, Oliver Ditson, c. 1904. This is a set of expressive salon pieces with lyrical melodies, traditional harmonies built upon blocked chords and arpeggios. Each solo is 3 pages in length. Pedal andfingeringmarked. Lower intermediate difficulty with some demands for octaves and double notes. (Columbus, OH Metropolitan Library)

L432.

Schulhoff, Erwin (1894-1942) Austria 3. Suite (Piano Left Hand), Op. 35. Mainz: Schott, c. 1983. Distributed by European Music Distributors Corporation. Composed in 1926 for Otakar Hollmann who lost the use of his right arm during the First World War. Hollmann gave the premiere in Belgrade, Yugoslavia in November of 1927. Preface notes and bibliographic information by Josef Bek. 16 p. Five movements: Preludio; Air; Zingara; Improvisazione; and Finale. An excellent and challenging work filled with wit, color, vitality, fascinating harmonies, and zestful rhythms. Thoughtfully marked for effective performance. Concert music but only moderately difficult. Truly a wonderful addition to the repertoire.

152 L433p.

One Handed Schytte, Ludvig Theodor (1848-1909) Denmark Melodic studies for the left hand, Op. 75. Book VII. Leipzi Hanson. New York: Carl Fischer. (HOF 1900: 180:21)

L434.

Poeme erotique (Liebesgedicht): Caprice pour la main gauche seule, Op. 86 #2. 6 p. Introductory cadenza which settles into a moderately lilting 6/8 theme. The middle section becomes thicker with the addition of rich chords and longer arpeggios and after another cadenza, the opening material returns and brings the work to a quiet close. Salon piece. Pedaling andfingeringgiven. Intermediate difficulty. (LOC)

L43 5.

Scriabin, Alexander (1872-1915) Russia Prelude Op. 9 #1. Leipzig: M. P. Belaieff, 1895. 2 p. A fine example of early Scriabin dating from the late Romantic period. Very similar to other two-handed Preludes by this composer. Available in many anthologies including Einhdndig [A5], Lewenthal [A9] Etudes and Pieces [A6] and the BMCO [A3]. A touching melody opens this wonderful little miniature. It is a carefully crafted work that is really one of the gems of onehanded literature. Moderately difficult technically, but requires mature musicianship. Fingering and pedaling provided. [D8a, D12a,D23a,D51a,b,candD54a] [B38]

L436.

Nocturne, Op. 9 No. 2. Leipzig: Belaieff, 1895. Also available in BMCO [A3] and Lewenthal [A9]. 4 p. D-flat major. An expansive, poignant, and beautiful work. Well written lyrical melody and accompaniment (sometimes below and sometimes above) requiring good chord technique and great nuance. Cadenza passages in the upper register prepare the return of the opening material and the ending phrase. Big climax in the center with a calm ending. Fingering and pedaling generally provided in most editions. More difficult than the Prelude from this group. Lewenthal has provided an important page of drills that help the performer conquer the cadenza. [D8a, D12a, D23a, D50a, b, c, d, D54a] [B38] Scriabin composed these two works because of an injury to his own right hand which lasted and recurred for several years. This may have been the result of overuse and serious straining during his own practice.

Left Hand Alone

153

L437.

Selden-Goth, Gisella [Gizella] (1884) Hungary Quattro Brevi Studi per la mano sinistra. Tel Aviv: Israeli Music Publications; Leeds, c. 1958. 11 p. Dedicated "to the pianist who hurt his right hand." These four difficult, modern concert studies (Vivace', Vivo, energico; Sostenuto assai; and Allegretto giocoso) demand good control from the pianist. They cover the entire keyboard, employ large skips, thick chords, facile fingers, biting harmonies, asymmetric rhythms and, moreover, need mature musical ideas to carry them off. They form a fine group for recital but could be performed individually. Musical nuances are carefully suggested, but no pedal marks or fingerings are provided. (University of Colorado at Boulder)

L438p.

Shaw, Ella One-hand Piano Methodfor Beginners. [A31 p]

L439p.

Simmons, Rennie Three Little Dances for Left Hand Alone: Minuet, Gavotte and Musette, Gigue. Allan & Co. (INS)

L440.

Skerjanc, Luciajan Marija (1900-1973) Yugoslavia Sest klavirskih skladb za eno roko (Six pieces pour piano k une main seule). Ljubljana, Yugoslavia: Sloveska akademija znanosti in umetnosti, 1952. Composed in 1950. This large work written with late Romantic harmonies and sounds is divided into two sections with three pieces for each hand in each section. Tri skladbe za levo roko (Trois pieces pour la main gauche). 12 p. Etude; a perpetual motion of thirty-second notes in B-flat minor from which a double stemmed melody emerges. Arpeggiated figures fly all over the keyboard. Complete technical control necessary. Canzonetta; sighing chords tinged with dissonance. Rubato and subtle nuances needed. An expressive and sentimental work. Scherzo; Bubbly and animated. March-like at the beginning. Contrasting sections and textures with a cadenza area before the return of the opening material. Pianissimo ending. Some fingerings suggested. There are three other pieces for the right hand [R94]. Effective writing; good concert works. (Illinois State University)

L441.

Smith, Gerrit (1859-1912) USA Valse, Op. 26. Leipzig: Arthur P. Schmidt, c. 1905. Also published in [A21p] edited by Charles Dennee. 5 p. A fanfare introduction is followed by an uninspired waltz in B-flat major with a

154

One Handed middle section in G-flat major. Octaves, agile chord playing, and quick shifts are required. Showy and rather festive in its way. Pedal and fingering marked. Intermediate difficulty. (Columbus, OH Metropolitan Library)

L442.

Smith, Warren Storey (1885-1971) USA Impromptu-Valse, Op. 23. Leipzig/Boston: Arthur P. Schmidt, 1917. Also available in [A21p] edited by Charles Denn6e. 5 p. Moderato. Three part form: G major-C major-G major. Light and charming early twentieth century waltz. Parlor music. Slightly chromatic. Requires some flexibility and a large stretch for the chord structures. Edited and fingered. Intermediate difficulty. (LOC)

L443.

Soli-Devere, Leon Legende Livonienne (transcrite pour piano pour la main gauche seule). Brussels: Schott, c. 1889. (HOF 1893: CXLI: 19) (INS)

L444.

Sosa, Raoul (1939) Argentina/Canada Capriccioso (sur un theme de Paganini). Montreal, Quebec: Centre de musique canadienne, 1995. Score reproduced from manuscript. 12 p. This is a set of variations some of which are connected with "attaca" while others are separated by distinct tempo and mood changes. One of the latter is a "Berceuse chinoise" played entirely on the black keys. There is a powerful ending to this concert work. The composer has demanded much technically of the artist principally in the use of large leaps, thick chords, intricate voicing, and great distances to travel over the entire keyboard range. Sosa first played this work in the Winnipeg Arts Gallery on November 19, 1995.

L445.

Deux etudes. Montreal, Quebec: Centre de musique canadienne, 1984/1985. Score reproduced from manuscript. Duration: 2:00. First performed by Sosa on February 2, 1988. (INS)

L446.

Etude-toccatina. Montreal, Quebec: Centre de musique canadienne, 1994. Score reproduced from manuscript. 2 p. (INS)

L447.

Pofcme. Montreal, Quebec, Centre de musique canadienne, 1988. Score reproduced from manuscript. Premiered by Sosa on June 16, 1988. (INS)

Left Hand Alone

155

L448.

Premiere Sonate pour Piano (pour la main gauche seule). "A la memoire de mon beau-pere, Maitre Charles-Edward Leduc." Montreal, Quebec: Centre de musique canadienne, 1984-1986. Manuscript score. Duration: ca. 20:00. A three-movement work: Andantino; Elegie (Adagio); Toccata (Allegro Vivace). This is his first composition for the left hand alone. Neo-classical in style. From the compact disc notes: "The inspiration of the first movement, which is in sonata form, is rather romantic, while the second and third reflect oriental influences...The principal themes of each movement of the Sonata are based on the interval of a fifth, and the three movements are E, F and G major, respectively." This is a fine concert work filled with drama, pathos, and ardent expression. It is a work of originality and earnestness of purpose. First presented on March 7, 1986 by the composer. [D54a]

L 449.

Six Etudes. Montreal, Quebec: Centre de musique canadienne, 1984/1985. Score reproduced from manuscript. Dedicated to Franz Tournier. From this group of studies, there are two for the right hand, two for the left hand [R95] and two for two hands together. V. "pour la main gauche seule: Andante." 3 p. Flexible, with frequent meter changes, fermatas, register shifts, and textural colors. Wide use of the keyboard range and interesting tremolo effects. Quiet overall and atmospheric in a pensive, recitative-like manner. VI. "pour la main gauche seule: Allegro." 4 p. Bristling passage work in a continuous flow of sixteenth note groupings with chords grabbed beneath the hand shapes. It sweeps over the entire keyboard and thunders to a close with fat descending chords. Difficult.

L450.

Sonate de chambre. Montreal, Quebec: Centre de musique canadienne, 1984/1985. Score reproduced from manuscript. 15 p. Duration: ca. 12:00. First presented by the composer on February 2, 1988.

L451.

Troisieme Sonate pour piano (Sonate-fantaisie). Montreal, Quebec: Centre de musique canadienne, 1987. Score reproduced from manuscript. 14 p. Duration: 14:00. Dedicated to his wife Claude. Sosa premiered the work in Montreal on February 2, 1988. A rather sparse, frenetic work that is divided into sections by contrasting tempo markings. Frequent meter changes punctuate the score. Quick keyboard shifts and extended hand positions make the work very difficult.

156

One Handed

L452.

Valse "35". Montreal, Quebec: Centre de musique canadienne, 1984/1985. Score reproduced from manuscript. Duration: 2:00. (INS)

L453.

Spalding, Eva Ruth ( -1969) Great Britain Etude pour la main gauche, pour piano. Paris: Editions Maurice Senart, c. 1923. Written in 1919. 3 p. "h Beatrice Mary Hall." Spalding marks this Tempo rubato and suggests that i should be played "dans un sentiment d'inquietude et d'agitatio A slowly flowing series of eighth note groupings in alternating meters of 9/8 and 12/8. Many tempo fluctuations are marked, thick chords and octaves, constant chromaticism, rich sonorities, and a great feeling of ebb and flow for dramatic purposes. Moderately difficult, but requires a rather large stretch for the recurrent extended five note chords which are greater than an octave. No pedal orfingeringmarked. Should be a highly effective, but short concert piece. (Philadelphia, PA Free Library)

L454p.

Spaulding, George L. (1864-1921) USA All of the pieces below by George Spaulding are useful for technical training but lack musical depth. These are pieces written for a purpose, but with little inspiration. [SEE Rowe, Daniel. L403p] (LOC) 1. 2.

The Artist's Dream. Witmark & Sons, 1912. 3 p. F major. Waltz. Triumphal March. 3 p. C major. Student works of slight value. Lower intermediate difficulty. New York: No pedal marked. Some fingerings provided.

L455p.

Valse Sentimentale for Left Hand Alone. Philadelphia: Theodore Presser, c. 1915. 2 p. F major. Pedaling and fingering marked. Upper elementary.

L456p

Fairie's Nuptial March for Left Hand Alone. Philadelphia: Theodore Presser, c. 1915. 3 p. C major. Some pedal marked. Lower intermediate difficulty.

L457p.

Waltzing Nymphs for Left Hand Alone. Philadelphia: Theodore Presser, c. 1915. 3 p. F major. Pedal and fingering given. Lower intermediate difficulty.

L458p.

Monarch of all for Left Hand Alone. Philadelphia: Theodore Presser, c. 1917. Pedal andfingeringgiven. Lower intermediate difficulty.

Left Hand Alone

157

L459.

Spencer, Allen (1870-1950) USA Etude. Chicago: H. T. Fitzsimons Co., 1935 4 p. "To Louis Laughlin." Allegro molto. This is a soaring work with perpetual sixteenths and some walloping climaxes. Interesting harmonic progressions (added sixth in the last chord) and rhythmic devices. Would make a good addition to recital program or as an encore. Pedal and fingering marked. Moderately difficult. (LOC)

L460.

Spindler, Fritz (1817-1905) Germany Drei Romanzen, Op. 156. Leipzig: Siegel, c. 1864. Reprint Carl Fischer, c. 1910. In 1918 G. Schirmer published the first two together. Dedicated to Mathilde Hochstetter. (LOC) No. 1. Romance (for the Left Hand Alone). 6 p. A-flat major. Also available in the BMCO volume [A3]. This is more difficult than the Romance in G major below. The opening theme is presented in thirds and sixths with chordal accompaniment. The middle section grows more dramatic, strengthened with octaves, and slightly more inspired. The chordal first section changes to running sixteenths upon its return. Musically interesting in a "salon" way. Quiet ending. Pedaling and fingering provided. Upper intermediate level of difficulty. No. 2. Romance (for the Left Hand alone). 3 p. G major. Also available in The University Course of Music Study, Junior Graduate Division Chapter XXVIII, prepared for the National Academy of Music, New York, c. 1919. Clearly defined melody tinged with chromaticism and given a variety of accompaniment figures. The middle section is more interesting harmonically and the return of the opening material presents the theme reinforced in octaves. Thirds, scales, broken chords, and octaves are all employed. Quiet ending. Pedaling and fingering provided. Intermediate level. No. 3. Romance. 6 p. B major. Lyrical melody emerges from long eighth note chord tones. The middle section consists of agitated, running sixteenth notes which are also used to the close the work. Quiet ending. Similar to the other Romances. Pedaling and fingering given. Upper intermediate difficulty.

L461.

Drei Brilliante Klavierstucke: Landler (D major); Trauermarsch (B minor); Tarantelle (Wilder Jubel) (A-flat major), Op. 35. Leipzig: Siegel, c. 1883. Reprinted by Carl Fischer, c. 1910. Similar to the Romances above in difficulty and technical

158

One Handed requirements. (LOC)

Stylized character pieces with gentle charm.

L462.

Serenade. Published in the Left Hand Album edited by Charles Dennee. [A21p] 3 p. A-flat major. A chordal first section changes to running sixteenths which recur in the coda. Some large chords and wider keyboard range in this dramatic work. Pedal and fingering given. Upper intermediate difficulty. (LOC)

L463.

Sponholtz, Adolph Heinrich (1803-1851) Germany Deuxieme bouquet musical. Scherzo, Op. 14 No. 4. Leipzig: Schuberth & Co. (HOF 1860-1867:256)

L464.

Sporleder, Charlotte (1836-1915) Germany Die Cascaden von Wilhelmshohe: Idylle fiir die linke Hand allein, Op. 19. Leipzig: Behrens. (HOF 1904-1908: 117:22) (INS)

L465.

Impromptu pour la main gauche, OP. 18 Leipzig: Behrens. (HOF 1904-1908: 117:22) (INS)

L466.

Spross, Charles Gilbert (1874-1961) USA Album Leaf. Cincinnati: John Church Co., c. 1913. 6 p. D-flat major. Ternary form. Salon piece. Some large chords. The use of rubato aids in making this a graceful and appealing piece. Upper intermediate difficulty. (LOC)

L467.

Song Without Words. Cincinnati: John Church Co., c. 1913. 5 p. A-flat major. Uses broken octaves and arpeggiated chords. Upper intermediate difficulty. (LOC)

L468.

Stallaert, Alphonse (1920-1955) France Deuxcroquis: 1. Pour la main gauche. Paris: Editions Musicales Transatlantiques, c. 1962. Available from Theodore Presser. 1 p. Dedicated to Daniel Wayenberg. Slow thick chords build to a dramatic and agitated octave climax and then die away. A low "F" pedal point throughout. Perhaps most like a prelude to the Toccata that follows which is for two hands. Only this movement is for one hand alone. Moderate difficulty. (Eastman School of Music)

L469.

Stein, Leon (1910) USA Toccata #3 for piano: (for the left hand). New York: Ameri-

Left Hand Alone

159

can Composers Edition, 170 W. 74th Street. 5 pages of manuscript, 107 measures. March 26, 1981. Commissioned by Norman Malone. [B41]. A three measure Adagio opening based on three note chords is followed by an Allegro of continuous cascading sixteenth note scale patterns which fit conveniently under the hand for the most part. Short triadic chord passages punctuate and conclude the work. A variety of interesting sound and color possibilities. Moderately difficult. (AMC) L470p.

Steiner, Eric (1911- ) Austria/USA SEE: *One Hand only for the Young Pianist. [A30p]

L471p.

Stepnitz, W. In the Greenwood: Valse-Idyll. Boston: Arthur P. Schmidt, 1922. 4 p. E major. Slow waltz. Thumb melody with simple waltz accompaniment. A few larger chords in the center section. Fingering and pedaling given. An upper elementary study piece. (LOC)

L472p.

Stevens, Everett ( -1959) USA Twilight Waltz. New York: Carl Fischer. Permanently out of print. (INS)

L473p.

Stevens, Halsey (1908-1989) USA For the left Hand Alone from Seventeen Piano Pieces. Cincinnati: Westwood Press, sole distributor: Greenwood Press, c. 1968. 1 p. Duration 0:45. Composed on April 14, 1953. "For Kit." This is the only one of the seventeen pieces in this volume written for one hand. Predominantly two-voiced writing. An expressive, poignant miniature with delicate modern harmonies suitable for teaching purposes. Pedaling marked. Upper elementary. (University of Denver)

L474.

Stewart-North, Isabel The Fable, Op. 19. Bradford, PA: North Publishing Co., 1912. "Dedicated to Mrs. Shirley Belle Hastings, Indianapolis, Ind." 6 p. A program piece, really a little musical drama. Ms. StewartNorth sets the scene in prose before the piece begins and then tells the tale in notes following. Very sectional with many contrasts. Pedaling and fingering given. Quite a true period piece. Upper intermediate difficulty. (LOC)

160

One Handed

L475.

Stoye,Paul (1879-1971) USA Concert Valse for the Left Hand Alone. Des Moines, IA: Youngerman Music, Co., c. 1925. 7 p. "To Florence Brinkman, Chicago, 111." Exuberant period waltz. Frequent use of octaves, quick jumps, and large chords. Pedaling and fingering marked. Intermediate difficulty, but meant for concert use. (LOC)

L476.

Strategier, Herman (1912-1988) The Netherlands Tema con Variazioni. (Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, c. 1963. 4 p. Dedicated to Cor de Groot. Composed in 1959. Five variations plus a coda on an eight measure melody. Varying tempos, meters, and textures. Some big climaxes and a quiet ending. Modern sonorities, asymmetric rhythms, linear writing with only a few chords. Difficult. [A7] [D56a]

L477.

Stravinsky, Sviatoslav Soulima (1910-1994) Switzerland/USA Sonatina Terza. New York: C. F. Peters Corporation, c. 1967. This is one of six Sonatinas for Young Pianists by Soulima Stravinsky. Movement III, Epilogue, is marked Tranquillo. 1 p. Free flowing triplets with double stemming for melodic interest. Single notes only. This movement concludes the Sonatina. The first movement is for the right hand alone [R99] and the second movement for two hands, but might possibly be managed by one hand. Pedal necessary. Intermediate difficulty, easiest of the three movements.

L478p.

Strimer, Joseph (1881-1962) Russia/USA Gavotte. Boston Music Co., 1953. 1 p. F major. Dance form. Upper elementary teaching piece that lies in the center of the keyboard. Two voices primarily with the use of ties and sustained notes. Strimer wrote a large amount of piano music for pedagogical purposes. The holographs are housed at the Lincoln Center Library for the Performing Arts in New York City.

L479p.

Sturkow-Ryder, Theodora (flourished in 1940's) USA Tarantelle from Easy Pieces in Difficult Keys. McKinley Publishing, Co. Early elementary teaching piece. (INS)

L480p.

Sulpizi, Fernando (1936) Italy Contrappunto per la mano sinistra a tre voce from Album per secondo Daniela. Ancona: Edizioni Berben, c. 1975. There are seven pieces in this volume. Five are for two hands, one for the

Left Hand Alone

161

right hand alone [RlOOp] and the Contrappunto per la mano sinstra a tre voce for the left hand alone. 1 p. White and black note heads indicating the pitches are freely placed on one staff sometimes in the bass and sometimes in the treble clef. There are only three time values given which are approximately long, medium, and short. The composer marked the three voices with connecting lines. Intellectually stimulating for the adventuresome intermediate level student. No fingerings given. L481.

Swartz, Steven (1956- ) USA Signature (for piano left hand). Manuscript, 1978. 4 large pages. Written at Swarthmore College. A rather, puzzling and stark work. No note values faster than the quarter note with the exception of grace notes and most of the notes are "white-faced." Almost never are there more than two notes sounded at a time. Intricately, perhaps mathematically, conceived. Each measure has a different meter signature. Some are traditional and others are unusual, such as 1/4 +3/8. Dynamic levels lie between piano and forte with changes often occurring from one measure to the next. Note patterns are frequently repeated. Pedal is to be used only where indicated. Lower intermediate difficulty technically, but musically this work would require an inquisitive and adventurous mind to bring about a convincing performance. (Swarthmore College)

L482p.

Swinstead, Felix Gerald (1880-1959) Great Britain Six Studies for the Development of the Left Hand. London: W. Rogers, 1928. Only number 1 is for the left hand alone. The others are for two hands. Elementary difficulty. (National Music and Disability Information Service List [B57]) (INS)

L483.

Takacs,Jeno (1902) Hungary *Toccata and Fuge fiir die linke Hand, Op. 56. Wien: Verlag Ludwig Doblinger, 1963. 8 p. Duration: 6:50. Edited by Kenneth Bruscia. Dedicated to Peter Girardoni. Interestingly modeled after J. S. Bach's Chromatic Fantasy and Fugue. This is quite a remarkable work, well written for the left hand, and very gratifying for the performer as well as the audience. It is a free, sectional work, tonally conceived, but not tonality centered. Carefully edited and marked for articulations and dynamic nuances. Demands virtuosity and large keyboard range. Builds to a dramatic, "molto allegro con fuoco" ending with final cadence chord that stretches over 5 octaves. Very lively and rewarding

162

One Handed concert work. (University of Cincinnati, College-Conservatory of Music) [B27] [D12a]

L484p.

Tanner, Hilda Hulbert USA One Can Tango! (for left hand only). Myklas Press, P. O. Box 929, Boulder, CO 80306, c. 1982. 3 p. "for William L. Gillock." D minor. Upper elementary level study piece. Clever harmonies with a diversion to the parallel major. Habanera rhythm throughout. Fingerings suggested and pedaling recommended. [B75]

L485p.

Patrick's Blues (A Left Hand Piano Solo). Myklas Press, P. O. Box 929, Boulder, CO 80306, c. 1982. 2 p. "for Patrick Cummings" C major with lots of "blue" notes. "Singing, expressive melody, slightly rubato." Lower intermediate level study piece. Brief, but very pleasant. Pedaling necessary and fingering provided.

L486p.

Shadow Waltz (for left hand only). Myklas Press, P. O. Box 929, Boulder, CO 80306, c.1982. 2 p. "for Kathryn Hulbert Hall" C major. Lower intermediate level study piece. Many harmonic suspensions and frequent use of the flatted submediant chord. More chord playing is involved in this than either of the two preceding works by the same composer. Pedaling required and fingering provided.

L487p.

Tappert, Wilhelm (1830-1907) Germany 50 Exercises for the Left Hand. Revised and fingered by Wilhelm Scharfenberg. Books 1 and 2. New York: G. Schirmer, 1892. 37 p. From single line drills these develop into rather elaborate concert etudes. The large studies need complete skills with agile chords and octaves. Each volume begins with the less complex and expands in scope. Exercise #50 is entitled Grande Scene. It is 3 pages in length filled with dramatic declarations, tremolos, scales, pauses, and cadential formulas. (Washington University) Raymond Lewenthal [A9] includes Nos. 22 and 45. Both have lyrical melodies supported by chordal harmonies. Useful for study or student recital, but not sufficiently profound for concert use. They require fluency with chords, inversions, and arpeggiations. Fingerings and pedalings marked. Moderately difficult.

Left Hand Alone

163

Isidor Philipp includes two of the single line drills in his New Gradus ad Parnassum [L369p]. One is a study in turns and the other a study in melody and accompaniment. L488.

Taubert, Carl Gottfried Wilhelm Canzonetta in D-flat major.

(1811-1891) Germany London: Ebend, 1861. (INS)

L489.

Canzonetta in G: Fata Morgana. (HOF 1817-1844) (INS)

L490.

Douze Etudes de concert pour la main gauche en 2 livres, Op. 40. No. 1 pour la main gauche. Paris: Lemoine. (INS)

L491.

Tavarez, Manuel Gregorio (1843-1883) Puerto Rico Vals de la mano izquierda. Composed around 1859. Tavarez studied composition with Auber and piano with D'Albert in Paris as a young student. His right arm became partially paralyzed and was the reason for this composition. After returning to Puerto Rico, he settled in Ponce and became a piano teacher, dying prematurely at the age of 40. This Vals de la mano izquierda is one of the works on a recording featuring the pianist, Elisa Tavarez, the composer's daughter (1879-1960). The recording is distributed by the Instituto de Cultura Puertorriquena: Serie de Compositores del Siglo XIX. [D60a]

L492.

Tesoriero, Gaetano Australia *Bells. Australia: Albert Edition, 1969. 2 p. Two separate pieces; one for each hand. (INS)

L493p.

Teutscher, Josef Ein-finger-iibungen, Op. 91. Dresden-Weinbohla: Verlag Aurora (HOF 1914-1918:465) (INS) Zwei-finger-iibungen, Op. 92. Dresden-Weinbohla: Verlag Aurora. (HOF 1914-1918:465) (INS) Skalen-Vorstudien, Op. 93 No. 2. Dresden-Weinbohla: Verlag Aurora. (HOF 1914-1918:465) (INS)

L494.

Thibault, A. Charles ( -1853) France/USA L'Ora Santa: Etude de Concert, Op. 8. Mainz: Schott, c. 1828. 6 p. C major. Dedicated to Henri Herz. A sectional concert piece. Some cadenzas and double note glissandi. Primarily grand-scale melodies surrounded with florid arpeggiation. Requires advanced pianism. Fingering and pedaling are given in

164

One Handed this edition. CXXIIL20)

L495.

Moderately difficult.

(LOC)

(HOF 1887:

L'Invocazione: Etude caracteristique de Concert pour la main gauche, Op. 9. Mainz: Schott, c. 1882?. Reviewed in NeueZeitschriftinl849(Ganz) (HOF 1887: CXXIIL20) (INS)

L496p.

Thome, Francis (1850-1909) France Barcarolle pour la main gauche from 20 Pieces dyenfant. Paris: Lemoine. (INS)

L497p.

Thompson, John Sylvanus (1889-1963) USA For Left Hand Alone. Several of these selections have been included on the National Federation of Music Clubs Junior Festivals Auditions List for 1998-2000. [A18p]

L498p.

Nocturne (For the Left Hand alone). Found in John Thompson 's Modern Course for the Piano, The Fourth Grade Book. Cincinnati, Ohio: The Willis Music Co., c. 1937. 2 p. E-flat major. An attractive, gratifying piece useful as a study for the left hand or as a student recital work. Pleasing melody and accompaniment with a contrasting middle section in C minor. Fingerings and pedalings supplied. Intermediate level.

L499.

Thouvenot, Jacques Sonatine pour la main gauche. Southport, Merseyside: Almaviva Resources, c. 1990. 24 pages of manuscript. A large scale concert work that requires all techniques for the performer including glissandi. Highly edited and marked for performance. The Composer's suggestions guide the performer almost line by line. Such markings as: "dans une brume chaleureuse"; "rubato avec inquietude"; "puissant et lugubre"; "ff presque brutal." Thorny score with frequent mood shifts. (NYPL)

L500p.

Tobin, John (1891-1980) Great Britain *One Hand Pieces (Prelude; Caprice; Barcarolle; Night March; Nocturne). London: J. Curwen & Sons, Ltd., c. 1941. A set of pieces to provide practice for the left hand, but can be used if the left hand suffers an accident as well. Each piece is two pages long. All use triads and inversions to support the single line melodies. Better than many sets of teaching pieces. The fingering for both hands is given. Upper elementary. (LOC)

Left Hand Alone

165

L501.

Tomasek, Jaroslav (1896-1970) Bohemia/Czechoslovakia Sonata per pianoforte, per la sola mano sinistra, Op. 7. Padova: Edizioni G. Zanibon, c. 1970. Sole agents: C.F. Peters Corp., New York. "II brucanio." 22 p. Foreword by Ronald Koningsveld in English, Czech, and Italian. Written for Otakar Hollmann whose right hand was severely injured during the first World War. The sonata was dedicated to the memory of Hollmann's first wife. Two movements. The first begins Maestoso lugubre and agitates to an Allegro con brio which dies away to "ppp" at the ending. The second movement, Allegro appassionato, contains some declamatory and cadenza-like passages and ends with sffffz triads played as quickly as possible and allowed to ring out. This is a work written in a contemporary idiom that demands much of the performer in stamina and facility. (University of Illinois-Chicago) [D61a]

L502.

Turnbull, Percy Purvis (1902-1976) Great Britain Two Studies in Allemande Style. No. 1 is for left hand alone. London: Augener/Stainer & Bell. (National Music and Disability Information Service List [B57]) (INS)

L503p.

Turner, Alfred Dudley (1854-1888) USA Four melodious studies for left hand only, Op. 29. Boston: Arthur P. Schmidt, c. 1884, and c. 1912 Frank P. Turner. 7 p. These four works contain musical ideas that are immediately appealing, but Turner didn't develop them enough to make them musically very satisfying. In the tradition of the salon character piece, these works require ease with rich chords (arpeggiated and blocked), octaves, and scales. They would make good study material for an advancing student who has temporarily lost the use of the right hand. No. 1 is entitled Barcarolle, No. 4, Nocturne. Nos. 2 and 3 are not titled. Fingering and pedaling are marked. Upper intermediate difficulty. (Columbus, OH Public Library)

L504p.

Valdemar, Paul (pseudonym for Cuthbert Harris) (1870-1932) Great Britain SEE [L202p] Melody. Philadelphia: Theodore Presser, c. 1913. 2 p. F major. Thumb melody with chord inversion accompaniments. Broken attacks in practically every measure creates a hiccough effect after a while. Damper pedal marked and necessary. (LOC)

166

One Handed

L505.

Valse Caprice. Philadelphia, PA: Theodore Presser, c. 1913. (INS)

L506.

Vamos, Grace Becker USA A Memory: Piano left hand solo. 3 p. San Francisco, CA: Vamos Publications, 1268 17th Ave, 94122, 1986. (INS)

L507p.

Vandall, Robert D. (1944) USA Left's Turn Only. Available as a solo and in The Bass Clef Book edited by Mary Elizabeth Clark and published by Myklas Press, P. O. Box 929, Boulder, CO 80306, c. 1981. C major, 2 p. Slightly jazzy and playful upper elementary level solo. Written entirely on the bass staff. Two note chords and single line, syncopated melody. Pedaling and fingering provided. [B75]

L508p.

Nocturne For Left Hand. Available as a solo and in The Bass Clef Book edited by Mary Elizabeth Clark and published by Myklas Press, P. O. Box 929, Boulder, CO 80306, c. 1981. (Also printed in Piano for the Developing Musician fPDMIJ third edition, Martha Hilley and Lynn Freeman Olson, Minneapolis, MN: West Publishing Company, c. 1993, p. 216-217.) G major, 2 p. Gentle and flowing upper elementary level solo. Arpeggiated figures out of which a melody emerges. Slightly "pop" in sound. Lies entirely on the bass staff. Fingering and pedaling provided.

L509.

L510. L511p.

Van Slyck, Nicholas (1922-1983) USA Laments and Processional Music (for piano, left hand alone). 10 folded leaves of manuscript. December, 1960. Available from the American Music Center. The score uses primarily the bottom half of the keyboard and begins with the lowest notes. The somber, brooding opening grows in dynamics and metric speed until the march tempo is reached on p. 3. This freely sectional piece incorporates passages of the lament and contrasting thoughts with areas that are march-like. It is a highly compelling work with a depth of expression and power of musical thought that is not found in many one-handed scores. This is a fine concert piece. Toccata, 1967. Duration: 2:00. (INS) Vantyn, Sidney (1868-1937) Zwolf Etiiden, Op. 15. New York: M. August von Benham, 1895. (INS)

Left Hand Alone

167

L512p.

Etude. (Probably one of the Zw51f Etiiden, Op. 15). 7 p. A minor. Solid busy sixteenth notes. Some double stemming. Three part form. Some interesting chromaticism with a modulation to E-flat major for the middle section and the final cadence in A major. [A 12]

L513p.

Finger Exercises, Op. 16 No. 1. New York: Carl Fischer and Berlin: Schlesinger, 1894. Two books. (HOF 1900: 180:21) (INS)

L514.

Funf Capricen, Op. 16. Berlin: Schlesinger'sche Buch und Musik Handlung, 1894. (HOF 1900: 180:21) (INS)

L515p.

Vella, August. (1907Elementary Piano for One Hand [A 15p]

)

L516p.

Virgil, Antha Minerva Patchen (1855-1945) USA The Wandering Fiddler, Op. 98. New York: A. M. Virgil, The Virgil Piano School, Co., 1922. An original work by this composer. Pedaling and fingering marked. Carefully edited teaching piece. Three note chords and some arpeggiation required. Upper elementary.

L517.

Vlahopoulos, Sotireos (1926) USA Petite Sonatine. Three contrasting movements: I. Ronde (Allegretto); II. Serenade (Cantabile); III. Fugue (Allegro). Available from the composer: 657 Cyprus Way East, Naples, FL 33942. c. 1987. 14 p. Duration ca. 7:00. Commissioned by George Kelver who had suffered a stroke that paralyzed his right side and partially paralyzed his left side. From the Notes by Charles Dexter: "To adhere to Kelver's after-stroke left hand capabilities, Vlahopoulos designed the Petite Sonatine with a concinnity of music vocabulary and rhythm and with tempi options for technical control. The three movements of the Petite Sonatine are intrinsically pianistic and contain direct and unconstrained musical expressions. Sadly, Kelver suffered a second stroke, a brain operation, and went into decline...the Petite Sonatine was premiered by pianist Christine Paraschos at the Auditorium Rainier III in Monte Carlo on November 29, 1988." This is a moderately difficult work of obvious appeal and vigorous energy. Mostly linear writing with implied counterpoint. The thin lines yield a remarkably full sound. Pedaling marked.

168

One Handed

L518.

Voss, Charles (1815-1882) Germany Kriegerbraut, Improvisation, Op. 38. Whistling. (INS)

L519.

Wachmeister, Axel Raoul (1865-1947) Sweden Trois Morceaux (Glaedje [Joie]; Sorg [Douleur]; Ateruppvaknande [Reveil]). Copenhagen: Wilhelm Hansen, 1929. Dedicated to Oscar Nissen. Single staff, chordal sound throughout. Very little polyphony. Rich textures with thick chords and octaves. Mostly right under the hand with little jumping around. Late Romantic harmonies. Designed for concert use but only moderately difficult. (LOC)

L520p.

Wagness, Bernard USA Nocturne for the Left Hand. Found in Bernard Wagness Piano Course Book Three, Book Three. Bryn Mawr, Pennsylvania: Oliver Ditson, 1939. 3 p. F major. "This useful recital piece for the left hand is a supreme test of good pedaling and skillful control of arm weight." Pleasant and obvious melody with accompanying chords above. Three part with a contrasting middle section in D minor. Fingerings and pedalings marked. Lower intermediate.

L521.

Wahlberg, Rune (1910) Sweden Caprice for vanster hand. Edition Suecia mansuskriptserien. Available from the Swedish Music Information Center. Box 27 327, S-102 54, Stockholm, Sweden. Composed in 1977. 2 pages of manuscript. Duration: 4:15. This tonally conceived work begins and ends with a heartfelt, cello-like melody that is contrasted in the middle section with dramatic scales, arpeggios, and octave passagework. A touching work that moves the listener and appeals to the romantic emotions in all of us. No fingerings or pedal marks provided. Moderately difficult concert piece.

L522.

Walker, Ernest (1870-1949) India/Great Britain Prelude for Left Hand, Op. 61. London: Augener, Ltd., c. 1935. 2 p. Calm, slow, expressive work. Very well suited to one hand performance. Rich harmonies and a quiet ending. No fingering, but the pedal is marked. Intermediate.

L523.

Study for Left Hand. London: Augener, Ltd., c. 1931. 6 p. Study in chords, octaves, and register shifts. Awkward second

Left Hand Alone

169

theme with great leaps for the melody tones. Interesting and useful, however. Intermediate difficulty. L524.

Ward-Steinman, David (1936) USA What's left (for the left hand alone). Manuscript, c. 1987. 7 p. Duration: 3:40. Completed in Alexandria, Louisiana. Written primarily on three staves. This recital piece is slow and free with spurts of color and sound, a variety of twentieth century high and low textures, and some interesting percussion effects such as rapping with the knuckles on top of the fallboard, slapping the bottom of the keyboard, tapping the fingernails on the fallboard, slapping with the heel of the palm, forearm clusters, and even a glissando "a la Chico Marx." Ward-Steinman has painstakingly marked the score for nuance and pedal including the sostenuto pedal. The entire work can be performed by one hand, but some of the percussion effects are suggested for the right hand if the performer desires. (University of California-San Diego)

L525.

Weegenhuise, Johan (1910- ) The Netherlands Suite voor de linkerhand. 8 p. Amsterdam: Donemus, c. 1976. Allemande; Sarabande; Gavotte; Gigue. 8 p. (INS)

L526.

Wellman, Samuel (1951) USA Eight Waltzes for Left Hand (or for the right hand, ifyou insist), Op. 75. c. 1992. 5 pages of extremely precise and clear manuscript. Duration: ca. 8:00. All of the waltzes are written on one staff with traditional harmonies, affable melodies, and plain, unadorned waltz accompaniments. Sometimes the melody is above the accompaniment pattern and sometimes below. Wellman creates a variety of moods and styles. No fingering or pedaling marked. Intermediate level difficulty. (AMC)

L527.

West, Arthur Henry Valse. London: Reynolds & Co./Keith Prowse. (National Music and Disability Information Service List [B57]) (INS)

L528.

Weiss, Herman (1946) USA Scherzo Fantastico. Unpublished manuscript from the composer (All rights reserved by Herman Weiss, BMI). Composed in September 1992. Dedicated to Leon Fleisher. 22 p. Duration: ca. 5:00. This piece was first performed at the New England Conservatory on October 12, 1992 by Leon Fleisher at a "Composers in Red Sneakers" concert. [B4]. A sectional work in the style of a

170

One Handed toccata that demands much of the performer. Jagged linear passagework which is often supported by pedal tones, frequent meter and tempo changes, brilliant writing contrasted with quiet, murmuring sections. This busy, buzzing, perpetual motion work ends gently with what might be labeled a musical question. Interesting, demanding and suitable for concert performance. (According to Weiss, he is planning to expand this Scherzo into a three movement Sonatina.)

L529p.

Weybright, June (1903) USA Nocturne for the Left Hand Alone. Rockville Centre, Long Island, NY: Belwin, Inc., c. 1954. 2 p. B-flat major. Andante. A slow pleasant study for sustaining melodic tones with the pedal while interspersing accompaniment notes. Only one note at a time is sounded. Upper elementary. Pedaling and fingering suggested.

L530p.

To an Iceskater. Rockville Centre, Long Island, NY BelwinMills Publishing Company. 2 p. G major. Marked "Gracefully." A gentle waltz with sustained middle-register notes providing a melody over simple accompanying figures. No more than two notes played at a time. Slightly easier than the Nocturne above. Elementary level. Pedaling and fingering marked.

L531.

Wieck, Marie (1832-1916) Drei Etiiden (forzugsweise fiir die linke Hand). Hoffarth. (HOF 1874-1879: 635) (INS)

Germany Dresden:

L532.

Wiggins, May (1904-1974) USA Midnight: Prelude for left hand. American Music Edition (INS)

L533.

Wilkinson, Philip George (1929) Great Britain Suite: Left Hand, Right Hand. London: Ascherberg, Hopwood & Crew, Ltd., 1966. Polka; Menuet; Bourse are for the left hand. The other three pieces are for the right hand. [R106p]. "To Cyril Smith, who prompted the idea." Each is about one page in length and all three last under 5 minutes. Thin textures with not many chords. Some clever pedal usage. Distinct characterization. Tonal with tinges of biting harmonic colors. Articulations are precise. The Polka is very comical and the Bouree is slightly easier than the others. Intermediate. (LOC)

Left Hand Alone L534p.

171

Wilkinson, Rebecca (1975) USA Ms. Wilkinson has created four pedagogy solos for four different levels of student study. They show wit and innovation and are highly suitable for student assignments and recital performance. Tom-toms and Timpani. Computer generated score available from the composer. 1 p. F minor. Elementary level teaching solo. All notes in a five finger pattern. The composer piques the student's interest with descriptions of the drums.

L535p.

Variations on a Star. Computer generated score available from the composer. 6 p. G major. Upper elementary teaching solo. Theme and five variations. Variety of moods and techniques required for each variation. The student plays materials which are basically derived from five finger patterns and elementary primary chord inversion. The composer asks the student to write his or her own variation. Because of the length and interesting structure, this could be a very effective recital work. Pedal is necessary.

L536p.

Sonatine. Computer generated score available from the composer. 4 p. E major. An early intermediate level pedagogy solo. One movement in sonata-allegro form which is explained in the prefacing materials. Catchy themes, interesting harmonies, bright rhythms make this an excellent student work that could easily provide a fine recital solo for a developing student. Some double stemming in the second theme which also has a catchy rumba rhythm. Fingerings and pedalings are marked. This composition placed first in the Advanced Category of the 1997 Lynn Freeman Olson Composition Awards contest sponsored by the National Federation of Music Clubs.

L537p.

Wind Song. Computer generated score available from the composer. 4 p. G minor/major. Upper intermediate level. The most difficult of the four works by this composer with its thicker textures and more complex rhythms. A sectional work that modulates in each section and brings back the opening theme as a closer. Pedal is necessary.

L538.

Williams, Grace (1906-1977) Wales Sarabande for Eiluned (Piano Solo - Left Hand; Unawd Piano - Llaw Chwith). University of Wales, College of Cardiff, Cardiff, Wales: Welsh Music Information Centre CF1 1XL, c.

172

One Handed 1991. 4 p. Editorial Note by A. J. Heward Rees: "Grace Williams wrote this short elegiac piece in 1958 for her friend the pianist and composer Eiluned Davies, who had temporarily lost the use of her right hand as the result of an accident." The title was added when the piece was published in 1991. Some performance suggestions are given for tempi and arpeggiation. The work demands ease with broken chords and careful attention to voicing for melodic purposes. The stately first section with its rather subtle dissonances and strong climax alternates three times with rambling,free-flowingsixteenth note passages. The work ends with the material from the beginning returning in an embellished and more spacious presentation. Wide keyboard range. Moderately difficult technically, but musically mature. (University of Cincinnati)

L539.

Winding, August Henrik (1835-1899) Denmark Trois Morceaux de piano: Capriccio, 2 p.; Canzonetta, 3 p.; Finale, 6 p. Op. 27. Leipzig: Wilhelm Hansen, around 1901. Each piece could be used alone, but they make a very nice grouping. Demanding on the pianist, somewhat in the style of Schumann. Wide keyboard range. Good solid compositions that are formulated as concert music. Fingering and pedaling marked. Moderately difficult. (LOC) (HOF 1893: CXLL19)

L540.

Wissmer, Pierre (1915-1992) Switzerland Etude pour la main gauche from Trois etudes pour piano. Paris: Editions M. R. Braun, c. 1968. 6 p. Edited by Gerard Billaudot. Duration: 3:45. There is also one etude for the right hand alone [R107] and a third etude for both hands together. The Etude pour la main gauche begins with a rough and jagged opening, flinging dissonant chords and rhythmic figures all over the keyboard. The middle section is lyrical and expressive but still biting. The momemtum builds until the opening material returns and brings the work to a dramatic ending. Written with colorful sounds and interesting twentieth century harmonies. This could stand alone as a concert work, but would be nicely grouped with the other two studies as well. Carefully edited with precise tempi and fingerings. Moderately difficult concert work that is extremely effective.

L541.

Wittgenstein, Paul (1887-1961) Austria School for the Left Hand. 3 volumes. Vienna, London: Universal Edition, 1957. [AllandB41]

Left Hand Alone

173

L542.

Wolf, Oscar Aphorism, Op. 7 No. 5. Leipzig: Arthur P. Schmidt Co. (INS)

L543.

Wolff, Bernhard (1835-1906) Germany Four Short Studies for the Left Hand, Op. 257. Leipzig: A. P. Schmidt, 1905. The fourth piece in this set is found in [A21p] edited by Charles Dennee. He has given it the title of Melody. 1 p. A-flat major. Chordal progressions support a stately, lyrical melody embellished by turns. Some wide broken chords. The melody is always on top. This is an expressive, quiet lower intermediate piece. Pedaling and fingering are given. (LOC) (HOF 1904-08: 117:22)

L544p.

Wright, N. Louise (1879-1958) USA Prelude in F major, Op. 25 No. 5. From the set of Twelve Preludes for the Pianoforte. New York: G. Schirmer, c. 1915 as #15 in Schirmer's Scholastic Series, renewed 1944. 2 p. F major. Tempo marking of "Moderato." Gentle melody with accompaniment. Calm ending. Moderate difficulty. The remaining preludes are for two hands.

L545p.

Wurm, Mary (Marie) (pseudonym for Mary Verne) (1860-193 8) Great Britain 40 Daily Exercises, Op. 51 No. 1. 6 p. Leipzig: Robert Forberg, 1911. Dedicated to her sister, Tilly. Each is a single line long and should be practiced chromatically up and down the whole keyboard. These are difficult drills that are carefully fingered (sometimes with alternate fingerings as well) and conceived to train the left hand to play all sorts of advanced techniques including, arpeggios, double notes, trills, finger crossings, grace notes, fingering shifts, octave displacements, and voicing.

L546.

Etude fur die linke Hand, Op. 42 No. 1. A-flat major, c. 1905. [R108forOp.42#2] (HOF 1904-08: 117:22)

L547.

Wurmser, Lucien France Le Gradus Moderne, Volume No. 2: Main gauche seule. Associated Music Publishers, Inc. Schott. (INS)

L548.

Wylie, Ruth Shaw (1916) USA Soliloquy For Piano, Left Hand, Op. 23. Plainview, L. I., NY: Harold Branch Publishing, Inc. 42 Cornell Drive, c. 1976. Re-

174

One Handed produced from a signed holograph. 5 p. Duration: 4:00. Commissioned by George Osius. Premiered by Osius at Lawrence University, Appleton, WI, 1966. Now reprinted in The Contemporary Piano Series No. 1 (A volume that contains other previously printed contemporary piano works.) Plainview, NY: Accentuate, 1989. Wylie states "freely recitative; with bitter introspection." A series of caustic dissonant outbursts, notated in complex rhythms and meter signatures. Many nuances are suggested in dynamics and tempo fluctuations. Quiet ending. Requires mature musicianship. Difficult and very serious. (AMC)

L549p.

Yeager, Jeanine (1938) USA *A Bit of Bop. San Diego, CA: Neil A. Kjos Company, 1989. 2 p. "To Ben Merrill." Designed to be played by both hands, but easily works for left hand alone. Charming, early intermediate level student repertoire that employs "blue" notes, staccato, "jazzy" accents, and the twelve-bar blues formula. From an anthology: Just for Fun. (This anthology was written for student pianists who have limited use of their right hand because of injury. Most of the pieces require one finger or a couple knuckles, or a thumb.) Also see Especially for You. [R109p] [B75]

L550.

Zabrack, Harold Allen (1929-1995) USA Elegy For Left Hand. One of eight pieces from Contours (for Piano). Westbury, New York: Kenyon Publications, c. 1979. The other pieces in this collection are for two hands. 2 p. Slow, expressive work that builds to a dramatic, powerful and very passionate climax. Melody marked with double stemming. Full use of keyboard with many chord shifts and very thick textures. Quiet ending. Shifting tonal centers; ends in E major. Concert work. [D64a]

L551.

Zichy, Count Vasony-Keo Geza (1849-1924) Hungary Deux Morceaux de Piano pour la main gauche seule: Serenade; Divertimento. Paris: A. Durand et fils, (no date). 4 p. Moderately difficult uninspired works. Thick textures, big chords, lots of arpeggios. Requires many broken attacks. No fingering or pedaling. (LOC)

L552.

Quatre etudes pour la main gauche seule. Wien: J. Guttmann, 1885; reprinted Universal Editions, 1921. These works are mainly interesting because of Zichy's prominence in one-handed literature. They illustrate Zichy's complete command of the piano and

Left Hand Alone

175

his ease with chords and octaves. Written on two staves and appearing more like traditional two-handed music than one-handed scores, it would seem that Zichy must have employed many, many broken attacks. Moderately difficult to difficult. (Oster Nationalbibliothek, Vienna, Austria) No. 1: Etude de concert. 5 p. E major. Thick chorale-style melody presented in chords with a strong and substantial octave accompaniment figure. Buildsfroma quiet beginning to a terrific climax at the end. Pedalings are marked. No. 2: Capriccio. 3 p. A-flat major. A sturdy octave reinforced melody is presented with full chordal accompaniment. Somewhat in the style of Schumann. Demands many arpeggiated chords and broken attacks. Highly chromatic middle section. No. 3: Allegretto grazioso. 2 p. D-flat major. Brief flowing sentimental melody with sagging chromaticism. Many parallel sixths and long arpeggiated chordal attacks. [Al]. No. 4: Wiener Spasse (Viennese Pranks). 3 p. A-flat major. Dedicated to the Countess Irma Erdody. A study in staccato chords and legato octaves. A waltzing Allegretto with some cute, unexpected accents. Rather problematic breaks are apparent in the second section. [A9]. L553.

Six etudes pour la main gauche (d^dtees a Franz Liszt). Paris Au M&iestrel, Henri Heugel, 1900. 42 p. All of these works are technically difficult and at times very clumsy with many large leaps and split attacks. They would appear to be written for two hands because they make no allowances for a one-handed performer. Pedalings and somefingeringsuggestions are marked. At the time of their publication, Zichy was President of the Conservatoire de Musique in Budapest. As an introductory message, the publisher has included a letter from Zichy to Liszt in which he explains his desire to continue playing the piano since he lost his right hand and the dedicatory remarks concerning Liszt's artistry. The reply from Liszt to Zichy shows Liszt's gratitude for the dedication and states that the etudes are "...tasteful, stylish, and more effective than many compositions he hears for two or four hands." (University of Arizona) Serenade: 4 p. Three part form, A major-F major-A major. Many parallel sixths in this gentle waltz. Frequent, sagging chromatic melody tones give this a very dated sound. Allegro vivace: 3 p. E major. Butterfly technique and many large intervals. Undistinguished melody.

176

One Handed Valse d'Adfcle: (Also published separately by New York: G. Schirmer, c. 1919 and by Philadelphia: Theodore Presser, 1910.) 7 p. B-flat major. A thin, textured lilting waltz with a few large chords and octaves. Wide keyboard range. Pedaling and some fingering marked. Liszt arranged it for two hands. (LOC) Etude: l i p . Eb major-B major- Eb major. Three part form. The opening and closing sections consist of a simple chorale melody proclaimed over yards and yards of filigree thirty-second notes. The contrasting middle section is thinner in texture and quite a bit shorter. Rhapsodie hongroise: 7 p. F minor. This sectional work is more fiery and dramatic than the others in this set. Capturing the Hungarian flare and pathos so effectively might make this a real barnburner in concert. Le roi des Aulnes (Schubert's Erlkonig): 10 p. G minor. A test of endurance for two hands makes this almost unplayable as a one-handed work. In Zichy's attempt to include as much as possible from the original, we end up with a rather lamentable exhibition piece.

L554.

Sonate fiir Pianoforte fiir die linke Hand allein. Hamburg: D. Rahter, c. 1887. 15 p. G major. Three movements: Allegro; Andante serioso; and Allegro. Extremely thick, almost uncomfortable writing. (HOF 1893: CXLL19) (INS)

L555.

Ziegler, Hans Germany * Klage and Larghetto. 2 p. Klage is 16 measures and serves as a sort of prelude to the Larghetto. Both works are slight, but pleasant. The Larghetto, a flowing 6/8 meter, is significantly more difficult than Klage. Some interesting chromatic harmonies. Landmark fingerings and a few pedalings are marked. Intermediate difficulty. [A5]

L556.

Zilcher, Hermann (1881-1948) Germany *Praludium. 4 p. An interesting and appealing work with a clearly defined melody and distinctly laid out formal plan. Can be played by either hand. Beginning and ending sections are in D minor and the quieter middle section is in D major. Requires good control of chords and octaves. Fingerings and some pedal marks given. Moderately difficult. [A5]

L557.

Zimmer, Friedrich August (1826-1899) Nocturne, Op. 1. New York: Carl Fischer. (INS)

Germany

Left Hand Alone L558.

177

Ziring, Vladimir USSR Prelude, Op. 28 #1. Available in [A6]. 2 p. A lovely miniature and a real gem. Ziring has composed a haunting melody which is supported by some very unusual arpeggiated, harmonic progressions. Similar in style to the Scriabin Nocturne but shorter and less difficult. Upper intermediate level difficulty. Pedaling and fingering are provided.

This page intentionally left blank

Chapter 3

Music Arranged or Transcribed for One Hand Alone The compositions listed here are arranged alphabetically by composer's last name. "LA" numbers identify works arranged for one hand alone. Number designations that include a "p" are assigned to works arranged for one hand for pedagogical uses. Reference numbers in brackets at the end of citations, e.g. [A12], refer the reader to entries in other chapters. An asterisk (*) before a listing indicates a work that has been edited/fmgered for either hand. LAI.

Bach, Carl Philipp Emanuel (1714-1788) Germany *Solfeggietto for left hand W.l 17:3. This work is published by many different companies including Carl Fischer and G. Schirmer. It is also available in various anthologies including Einhandig [A5], Lewenthal [A9], and Philipp [L370p]. All of these publications differ slightly one from another. Some include the original as well as the left hand arrangement. Fingerings are usually provided. Some judicious pedal helps in the one-hand version. This work has had great popularity with two-handed pianists and proves even more exciting when played by one hand. Adjusting the fingering would make this suitable for either right hand or left hand. [B75]

LA2.

Bach, Johann Sebastian (1685-1750) Germany Chaconne von J. S. Bach fiir die linke Hand allein bearbeitet. Leipzig: B. Senff, 1879. Available from many publishers. 12 p. Transcribed from the last movement, Ciaccona, of the Second Partita for unaccompanied solo violin, BWV 1004. Brahms had special fondness for this great work. His transcription was made coincidentally at the time when Clara Schumann had suffered an injury to her right hand. It is a literal and faithful transcription only putting the notes down one octave. Brahms adds many ar-

180

One Handed ticulations and dynamic nuances, but otherwise remains true to the original. This is very different from other transcriptions of this work by Philipp, Raff, Wittgenstein, and Zichy. [D8a, D12a, D53a,]

LA3.

Chaconne. 13 p. Paul Wittgenstein uses the Brahms transcription of the Bach Chaconne as a point of departure for his work. He made massive alterations by adding octaves and technically difficult passage work, making the texture much thicker, extending the range up and down on the keyboard and adding pedal tones. He even radically changed Brahms's dynamic markings and indicated more use of the damper pedal. Wittgenstein states: "I have taken the liberty to make rather extensive changes in this piece, of course not in the contents but only in the piano arrangement...he [Brahms] probably did not care very much [about] it." This is a grand virtuoso piece in the style of great showman pianists of the 19th century. Difficult. [All] [D63a]

LA4.

Chaconne from Sonata in D minor for Solo Violin. Arranged by John Railton, Greenaway Lodge, Ashburton, Devon, United Kingdom TQ13 7DE. 11 p. Unpublished manuscript. Railton has done some fattening up of the original textures. The effect is a very satisfying concert work. A few fingering suggestions are given. Difficult.

LA5.

From Bach's CMajor Cello Suite. Prelude, Sarabande, Bouree I, Bourse II. Unpublished edition by Stefan Bardas. Individual movements were published in the Clavier magazine in February, 1963 and March-April, 1964. (Photo of the artist included). The March-April issue also contains performance suggestions from this fine pianist. Bardas played this suite many times on recital programs, not changing a note from the original work. In editing the work, he has added articulations and, in keeping with his pedagogical philosophy, marked creative fingering for every note. Interesting study material. These are great suites for the cello and with careful attention to shading, tone color, and nuance can be effective for the piano. Moderately difficult. [B38] The Sarabande from this suite has also been arranged as a solo by John Railton, Greenaway Lodge, Ashburton, Devon, United Kingdom TQ13 7DE. Transposed to G major and harmonized. 1 p. Pedaling, including half pedals, marked. Moderately difficult.

Arranged or Transcribed

181

LA6.

Gavotte in E major. New York: E Schuberth, c. 1880. New York: Carl Fischer. 4 p. Transcribed for the left hand by Rafael Joseffy. From the Partita in E major for solo violin. Some harmonic changes from the original and Joseffy's 19th century realization of Bach's ornaments. Moderately difficult and rather attractive. Primarily single notes with some octaves and arpeggiated chords. Fingering and pedaling suggestions provided. [A9].

LA7.

Gigue from the Partita in B-flat. 2 p. The notes of the original have been fingered for the left hand by Wittgenstein. A tempo marking, complete articulations, dynamic levels, pedal marks, and one octave are added to the original. Requires quick register shifts. It might be deduced from the tempo marking that Wittgenstein supplied, Allegretto con molto ed espressivo, that he has intended the one-handed performer to play this considerably slower than originally intended and with more rubato to help execute the large shifts. [All] This Gigue has also been arranged by John Railton, Greenaway Lodge, Ashburton, Devon, United Kingdom TQ13 7DE. 1 page of manuscript available from the arranger. True to the original. Pedaling suggested. Upper intermediate difficulty.

LA8.

*Kleines Praludium in C minor. 3 p. A literal transcription of the short Bach Prelude in C minor. Georgii suggests using the pedal to bind the harmonies where large leaps are involved. It has been fingered for either hand. A most dramatic work and a welcome transcription for one hand. Intermediate. [A5]. The same work, now entitled Prelude No. 3 from the "Small Preludes for Beginners" has been edited and fingered by Paul Wittgenstein and included in his School for the Left Hand Volume III: Transcriptions. 2 p. Dynamic nuances and articulations are given. No notes have been changed or added from the original. [All]

LA9.

Prelude I from Wohltemperiertes Klavier. 2 p. Wittgenstein has edited the original text and added only one extra note. He has carefully supplied fingering for the left hand and suggests pedal on each change of harmony. Dynamic nuances are included. This is a completely usable work for one hand. Moderately difficult. [All]

182 LA 10.

One Handed Quatre etudes pour la main gauche seule, d'apres J.-S. Bach (Vier Etuden a. d. Geigen-Suiten). Four studies based on Bach's solo violin sonatas and suites arranged by Isidor Philipp. London: Augener. Paris: E. Fromont, 1903. These transcriptions are dedicated to Moritz Rosenthal and provide interesting and difficult material for study and performance. Because of the quality of the original works, the transcriptions are effective and appealing both for the listener and the performer. Philipp suggests positioning oneself to the right of the keyboard. l.*Prelude, E major. 4 p. This is the transcribed and arranged Pr6ambule from the Sixth Violin Partita, BWV 1006. Perpetual motion sixteenth notes with a few passages in double sixths. Double stemming for melodic interest. Because of the location on the keyboard, this work would be even more suitable for a right handed performer. 2. Bourse, B minor. 2 p. From the Second Violin Partita, BWV 1002. Many large rolled chords, octave passages, and larger intervals, ninths and tenths. Frequent register shifts. 3.*Presto, G minor. 2 p. From the First Violin Sonata, BWV 1001. Perpetual motion sixteenth notes with occasional lower voices added for harmonic interest. Suitable for either right or left hand. 4. Chaconne, D minor. 10 p. Transcribed from the last movement, Ciaccona, of the Second Partita for unaccompanied solo violin, B 1004. This is yet another arrangement of the same work that was used by many other composers. Philipp extends the range over the keyboard and incorporates more register shifts. This is the most technically difficult of these four studies. [LA161]

LAI 1.

Sicilienne (G minor) from the 2nd Sonata for Flute and Piano, 5. 1031. 2 p. This is a wonderfully expressive work that places many demands both technically and musically upon the onehanded performer. Wittgenstein has edited and arranged the movement by adding tempo marking, articulations, fingerings, and dynamic nuances. He has suggested some alternate solutions to the thickest passages. The pianist will have to work hard to separate the melody from the dense accompaniment and to gently and easily play the rolled chords. Difficult. [All] [D62a]

LA12.

Two Bourses from the Third Cello Suite. Unpublished manuscript of arrangements made by and available from John Railton,

Arranged or Transcribed

183

Greenaway Lodge, Ashburton, Devon, United Kingdom TQ13 7DE. True to the original cello works. Each is one page in length. Pedaling marked. Intermediate difficulty. LA13p.

*Willst du dein Herz mir schenken (from the Notebook for Anna Magdalena Bach). 1/2 page. E-flat major. Arranged for either left hand or right hand solo by Schultze-Biesantz. Basically a single line melody with incidental chordal accompaniment. Upper elementary difficulty. [A29p] SEE also Sosa, Raoul [LA 127 and LA 129] in this chapter.

LAM.

Bach-Gounod Meditation. 3 p. Wittgenstein has included this famous "Ave Maria" in volume III of his School for the Left Hand. With his fine adjustments and because the work has such universal appeal, this becomes an excellent study or concert piece. There are a few variant passages that might assist in the more clumsy areas. Overlapping of the accompaniment and melody and some awkward rolled chords could pose problems. Difficult. [All]

LAI5.

Bardas, Stefan (1914) Germany/USA From Bach's C major Cello Suite. Prelude, Sarabande, Bourse I, Bouree II. [LA5]

LA16p.

Bayly, Thomas H. (1797-1839) USA Long, Long Ago. SEE One-hand Piano Method for Beginners. [A31p]

LA 17p.

Beethoven, Ludwig von (1770-1827) Germany *Adagio from Septet, Op. 20. Arranged for either left hand or right hand solo by Schultze-Biesantz. 4 p. A-flat major. Single staff throughout. Many broken chords. Pedal markings help sustain the harmonies. This is a more satisfying and attractive arrangement than most in this anthology. [A29p]

LA18p.

* Adagio from Sonata, Op. 27 #2 "Moonlight." Arranged for either left hand or right hand solo by Schultze-Biesantz. 2 1/2 pages. Cleverly situated on one staff. Gives a rather convincing account of this work. Pedaling marked and necessary to sustain harmonies. [A29p]

184

One Handed

LA 19.

Allegro assai from Sonata, Op. 57. This is a two page study of arpeggios and broken chords derived from material in the first movement of this sonata. Wittgenstein has provided the fingerings. Difficult. [All]

LA20.

Largo from Sonata, Op. 10 #3. Arranged for the left hand alone by Wittgenstein. 2 p. The movement has been shortened and is included in the second volume of his School for the Left Hand as an Etude. Meticulously edited and fingered. There is an alternative fingering given for the middle section. Difficult. [All]

LA21p.

Minuet in G. McKinley Music, Co. Upper elementary arrangement of the original minuet. SEE also De Cola, Felix. [LA31p]

LA22.

Bellini, Vincenzo (1801-1835) Italy SEE Bonamici [LA25], De Croze [LA32], Fumagalli [LA38], and Hasert [LA55]

LA23.

Blakely, W. Arthur Home Sweet Home for the Left Hand Only. London: Weekes & Co., c. 1892. 6 p. D-flat major. Very dense transcription. Highly florid with melody re-enforced in chords and octaves below lots of small-note filigree. Truly a salon piece. Difficult.

LA24p.

Boccherini, Luigi (1743-1805) Italy •Minuet from String Quintet in E. Arranged for either left hand or right hand solo by Schultze-Biesantz. 1 1/3 pages. A single staff presentation of this famous minuet and trio. Pedaling marked. Intermediate difficulty. [A29p]

LA25.

Bonamici, Ferdinando (1827-1905) Italy Capriccio sulPopera "La Straniera." This aria from the Bellini opera is arranged by Ferdinando Bonamici. Milan: Ricordi. (HOF 1860-1867:141) (INS)

LA26.

Brahms, Johannes (1833-1897) Germany Variation 7 from Variations, Op. 21. 1 p. Wittgenstein has arranged this Variation as a study in quick hand shifts over the extreme registers of the piano. The pianist needs easy and light facility over the entire keyboard. [All]

Arranged or Transcribed LA27.

185

Waltz in A-Flat, Op. 39 #15. Philadelphia: Theodore Presser, c. 1940. Arranged by Sara Woods. 3 p. Fingering and pedaling marked. A satisfactory and useful arrangement. Maintains the integrity of the original. A few wide arpeggiated chords. Intermediate. (LOC)

LA28.

Cass, Ronnie Songs of the Thirties. [A34p]

Great Britain

LA29p.

Chopin, Frederic (1810-1849) Poland/France •Prelude in Db Op. 28 #15 "Raindrop." Arranged for either left hand or right hand solo by Schultze-Biesantz. 2 p. A good attempt at arranging this work for single staff. Frequent use of broken chords which must be sustained with the pedal as indicated. Intermediate difficulty. [A29p] For additional Chopin arrangements see De Cola [LA31p], Godowsky [L165 and LA44 and A9], Jiranek [LA68], Leo [LA77], Mathias [LA85], Wittgenstein [LA 151-156], Wurm [LA157], Zichy [LA158]

LA30p.

LA31p.

Cola, Felix De (1906) South Africa/USA Left Hand/Right Foot Book. Evanston, IL: Summy-Birchard. C. 1961. Nine solos arranged by De Cola for upper elementary/lower intermediate level piano students. Each is rather attractive and surprisingly full sounding. They require efficient chord playing and quick facility in moving around the piano. Pedaling and fingering are provided for each. (University of Wisconsin-Madison) [A22p] *A Round of Old Tunes (Based on Three Blind Mice, Mary Had a Little Lamb, Mulberry Bush, Pop! Goes the Weasel) - 4 p. * Handicapped Haydn ~ Theme from the Surprise Symphony 2 p. *Left-Handed Liszt - Theme from Liebestraum 1 p. *Long, Long Ago ~ Old English Air 1 p. * The Merry Widow ~ Lehar 2 p. *Drink to me only with thine eyes — Old English Air 1 p. * Funeral March of a Marionette -- Charles Gounod 2 p. * Two Guitars — Russian folk tune 2 p. *Come back to Sorrento ~ Ernesto De Curtis 2 p. Four unpublished arrangements for left hand solo plus an informative article by De Cola are found in Clavier, March, 1967. [B14]. Each is lower intermediate level of difficulty. Some fin-

186

One Handed gerings are provided. The article is very helpful and gives many "tricks" for successfully executing left hand repertoire. The Merry Widow Waltz -- Lehar Prelude in C minor — Chopin Prelude in A major -- Chopin Minuet in G ~ Beethoven

LA32.

Croze, Ferdinand de Etude chromatique on the march from "I Puritani" by Bellini. New York: Carl Fischer. St. Petersburg: Buettner. (HOF 18521859:131) (INS)

LA33.

Dean, C. C. II Penseroso by Stephen Heller arranged for the Left Hand Alone, Op. 45 #16. Chicago: Clayton F. Summy Co., c. 1916. 4 p. This nice arrangement maintains the integrity of the original piece. It is a fine piece for two hands and just as good and interesting for one. Fingering given. Intermediate. (LOC)

LA34.

Dickinson, Edward B. (1853-1946) USA Kathleen Mavoureen: Transcription for the Left Hand Alone. Brooklyn, NY: A. G. Slade, c. 1881. 12 p. After an arpeggiated introduction to the dominant of A-flat, the melody is presented simply and with eighth note accompaniment. A series of variations follow where, as one might expect, the note values become smaller and smaller. Requires ease with chromatic octaves, sixths, passagework, and chords. A difficult concert transcription.

LA3 5.

Donizetti, Gaetano (1797-1848) Italy SEE: Fumagalli [LA41], de Grau [LA45], Leschetizky [LA78], Perny [LA102], Romano [LA108], Smith [LA126].

LA36p.

Foster, Stephen (1826-1864) USA Come where my love lies dreaming. St. Louis, MO: Art Publication Society, c. 1935. 3 p. Edited by Louis Victor Saar (18681937). Includes biographical sketch and glossary. Fingering, phrasing, pedaling, general information and instructive annotations on interpretation by the arranger. (University of Pittsburgh)

LA37p. LA38.

Old Black Joe. SEE: Maxim [LA86p] Fumagalli, Adolph (Adolfo) (1828-1856) Italy One of four brothers who were all composer-pianists. Adolfo's

Arranged or Transcribed

187

skill for playing with the left hand alone, a great novelty at the time, helped earn him the reputation in Europe of "the Paganini of the piano." "Casta Diva che inargenti..." nell Opera NORMA di Bellini Transcrito per pianoforte per la sola mano sinistra, Op. 61. Milano: Giovanni Ricordi and Leipzig: Hofmeister. 1851. Reprinted in Clavier October, 1986: 17-22. 5 p. D-flat major. Dedicated to Signora Maria Tomasini. Rich, full, octave-laden transcription of this great soprano aria. Cadenza sections, many arpeggiated chords, thick textures, and wide keyboard range. Fingerings and pedalings indicated. Advanced concert transcription. [B17] LA39.

Etude Transcendentale: Mi manca la voce, de l'Opera Moi'se by Rossini, Op. 100 No. 19. Milan: Ricordi. (HOF 18521859:143) (INS)

LA40.

Grande Fantaisie sur Robert le Diable de Meyerbeer, Op. 106. 22 p. Leipzig: Hofmeister. Dedicated to Franz Liszt. (HOF 1852-1859:143) (INS)

LA41.

Studio da Concerto: nell'opera Lucia di Lammermoor. Op. 18, No. 1. Milan: Giovanni Canti. (INS)

LA42.

Studio da Concerto: coro nell'opera I Lombardi di Verdi "o Signore ! del tetto natio," Op. 18, No. 2, Milan: Giovanni Canti. (INS)

LA43p.

Gluck, Christoph Wilibald (1714-1787) Germany *Aria from the Opera Armida. Arranged for either left hand or right hand solo by Schultze-Biesantz. 1 1/2 pages. Basically a single line melody written on one staff with frequent rolled chords for the harmonic progressions which must be sustained by the pedal. Lower intermediate. [A29p].

LA44.

Godowsky, Leopold (1870-1938) Germany 53 Studien iiber die Etiiden von Fr. Chopin. Berlin: R. Lienau: V. Schlesinger and New York: G. Schirmer. c. 1903-c. 1914. Introduction and composer's remarks in German, English, and French. Five volumes of music based on 26 etudes of Chopin. 22 are transcriptions for piano left hand. These Chopin Etudes include: Op. 25 #11; Op. 10 #11; Op. 25 #3 combined to one study; Op. 10 #5, first version; Op. 10 #5, second version; Op. 10

188

One Handed #5, third version: Tarantella; Op. 10 #5, fourth version: Capriccio; Op. 10 #5, fifth version: Inversion for the left hand; Op. 10 #5, sixth version: Inversion for the right hand; Op. 10 #5 and Op. 25 #9 combined to one study: Badinage; Op. 10 #2, second version: Ignis fatuus; Op. 25 #1, third version; Op. 25 #1, second version. [L165] [D16a, D53a]

LA45.

Grau, Edouard Durand de Ange si pur: Romance de l'Opera La Favorite de Donizetti. Mainz: Schott, 1864. Arrangement. (HOF 1860-1867:174) (INS)

LA46p.

Greulich. F. W. (1796-1837) Germany Long, Long Ago. Philadelphia: Theodore Presser, Co. An elaborate version of the old folk song. Salon-style. Intermediate difficulty.

LA47.

Grieg, Edvard (1843-1907) Norway Little Bird, (Voglein). 2 p. True to the original score with fingerings for the left hand by Wittgenstein. Many awkward intervals and rolled chords. But could be effective as a recital piece. Moderately difficult. [All]

LA48.

The Butterfly, (Der Schmetterling). 2p. Wittgenstein has had to alter this slightly from the original, but he has maintained as much as is humanly possible. Using his fingerings make playing this for one hand feasible at all. Moderately difficult. [All]

LA49.

Elegy. 2 p. With Wittgenstein's fingerings and editing, this becomes a rather charming and usable piece for the left-handed pianist. Many register shifts must be negotiated. Fewer problems exist with broken and rolled chords than in many other of his arrangements. Perhaps the easiest of the transcriptions in this third volume of the School for the Left Hand. Moderately difficult. [All]

LA50.

Melancholy. 2 p. While not as easy as the above Elegy, this arrangement works well and provides fewer physical obstacles than many of the Wittgenstein transcriptions. There are a few spots that need some careful manipulation of large chords, but overall this is a very usable work. Moderately difficult. [All]

Arranged or Transcribed

189

LA51p.

*Lyrische Stucke fiir die rechte oder linke Hand allein, arr. by Fritz Teichmann. Leigpzig: C. F. Peters. Op. 12, Nos. 2, 3, 5, and 8; Op. 58 No. 1; Op. 43, No. 2; Op. 57, Nos. 2 and 3; Op. 65, No. 4; Op. 68, No. 2. Effective arrangements. (HOF 19141918:145) (National Music and Disability Information Service List). (INS)

LA52p.

Handel, George Frederick (1685-1759) Germany •Largo from the Opera Xerxes. Arranged for either left hand or right hand solo by Schultze-Biesantz. 1 1/2 pages. Single line melody with oodles of rolled chords for accompaniment. Without the bass line present, we feel rather ungrounded. Pedaling marked. Lower intermediate. [A29p].

LA53p.

Suite for a Musical Clock. Found in Handel: An Introduction to his Keyboard Works, edited by George Lucktenberg. Sherman Oaks, CA: Alfred Publishing Co., Inc., c. 1975. 3 p. Four movements: Prelude; Menuet; Air; Gigue. All movements are in C major or A minor. This miniature work appeared in the "Aylesford" pieces. And although not originally written for one hand, it certainly fills the need for the advancing student pianist. Requires some flexibility with tenths. Lucktenberg suggests playing the entire work "one octave higher than written, with plenty of pedal for 'music-box' effect." Lower intermediate difficulty.

LA54p.

Hanmer, Ronald ( -1994) Great Britain/Australia Waltzing Matilda and Click Go the Shears (for the left hand). Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Center of the keyboard with larger chords, grace notes, and octaves needed. No pedaling or fingering given. Clever, friendly arrangements of these two folk songs. Lower intermediate. [A32p]

LA55.

Hasert, Rudolf (1826-1877) Germany Fantaisie de Bravour sur l'Air "Casta Diva" de Bellini, Op. 2. Offenbach: Andre, c. 1855. (HOF 1852-1859:152) (INS)

LA56.

Hatch, Frederic L. ( -1926) USA Traumerei for the Left Hand Alone by Robert Schumann. Philadelphia: Theodore Presser, c. 1920. 2 p. Transposed to Dflat major from the original of F major. A number of broken attacks, but overall maintains the integrity of the original work. Because of the key it has a very rich sound. The last chord is

190

One Handed changed to a 4-3 suspension. Pedaling and fingering marked. Intermediate difficulty. (LOC)

LA57.

Haydn, Franz Joseph (1732-1809) Austria Adagio from the Sonata in A-flat. 4 p. One of Haydn's greatest slow movements. It contains much polyphony between parts and almost Baroque ornamentation. Wittgenstein has simply reprinted the entire movement adding the necessary fingerings for the left hand alone. Many broken and rolled chords are used to keep the original texture. He suggests some alternative methods of playing certain passages. This is a difficult challenge for any pianist, but would be a most effective and moving for the onehanded performer. [All]

LA58.

Second Movement from the Quartet, Op. 76 No. 3. 1 p. Wittgenstein has given the pianist a polyphonic study for voicing and sustaining the melody while it is surrounded by sixteenth note accompanying figures. This is the first variation from this movement. Fingerings are essential and pedal is carefully prescribed. Upper intermediate. [All]

LA59.

Second Movement from the Quartet, Op. 64 No. 5. 4 p. This is a highly complex and intricate transcription. Wittgenstein tried to remain faithful to the score of the original and included every possible note, making the texture thick and requiring the breaking of many chords. Many alternate suggestions are made for some of the passages. Naturally, he has carefully fingered every note, provided the pedaling, and helped in every way possible. More difficult than either of the two above. [All]

LA60p.

* Serenade from the Quartet Op. 3 #5. Arranged for either left hand or right hand solo by Schultze-Biesantz. 2 p. Single staff. Harmonies incorporated as possible. Pedaling marked. Lower intermediate. [A29p].

LA61.

Heller, Stephen (1813-1888) Hungary Etude sur le Freischutz, No. 2 des Quatres Etudes. Arranged. Paris: Hamelle. (INS)

LA62.

Henry, Marcella A. Gem from Flotow's "Martha." Philadelphia: Theodore Presser, c. 1913. 3 p. C major. Pleasant arrangement and typi-

Arranged or Transcribed

191

cal of the period. Chords, rolled chords, some octaves and leaps. Fingering and pedal marked. Intermediate. (LOC) LA63p.

Annie Laurie (C major) and Robin Adair (B-flat major). Philadelphia: Theodore Presser, c. 1915. 1 p. each. Published together. Some keyboard experience is necessary. Upper elementary. Rolled chords present the biggest problem. Fingering and pedaling are indicated. (LOC)

LA64p.

Home, Sweet Home (For the Left Hand Alone). Philadelphia: Theodore Presser, c. 1916. 3 p. G major. Theme with one slightly embellished variation. The rolled chords that support the theme become arpeggiated accompaniment figures in the variation. More difficult than the other pieces described above. Some fingerings given and pedal marked. Worthwhile and entertaining intermediate level arrangement. (LOC)

LA65.

Henselt, Adolph (1814-1889) Germany Love Song (Etude Op. 5 No. 11). 3 p. Wittgenstein has taken this Etude, which presents a lyrical melody with the accompanying harmonic chords on the off-beats, and fingered it for the left hand alone. This requires quick register and "quality of sound" shifts as well as careful voicing. Some rolled chords and many broken intervals mar the effectiveness of the work. Moderately difficult. [All]

LA66.

Hoffman, Richard (1831-1909) Great Britain Venetian Serenade for left hand alone (O Sole Mio). Philadelphia, PA: Theodore Presser, c. 1907. 2 p. A-flat major. Guitar effects in the accompaniment patterns. Some free scalar cadenza areas. Because of this good, traditional melody, the piece has a lot of charm. Lower intermediate.

LA67.

Jelmoli, Hans (1877-1936) Germany Menuett fiir eine Hand allein. Arrangement of a Schubert work. D major. Zurich: Holzmann. (INS)

LA68.

Jiranek, Alois (1858-1940) Czechoslovakia Zwei Etudenfur die linke Hand, Op. 10 Nos. 2, 7 of Frederick Chopin. Arranged. Prague: Fr. A. Urbanek. (HOF 1900:179:21) (INS)

One Handed

192 LA69.

Jones, Daniel To the Evening Star: Introduction, Recitative and Romance from the Opera "Tannhauser" by Richard Wagner. St. Louis, MO: Stattinger Piano & Music Co., c. 1920. 7 p. B major to Aflat major. One of many arrangements of this work. This time the entire scena from the opera is included. Tremolos, chord inversions, arpeggios, broken chord attacks. Useful if you need to play this work. Fingering and pedaling given. Moderately difficult. (LOC)

LA70.

Joseffy Rafael SEE Bach [LA6] and [A9]

LA71.

Kley, Fritz Gem from Flotow's Martha arranged for left hand alone. Washington D. C : John F. Ellis, c. 1870. 2 p. A dramatic introduction followed by the theme presented in chordal fashion. Some cadenza material. Large awkward chords and octaves. Fingering and pedaling indicated. Intermediate. (LOC)

LA72.

Knoth, Alexander "Ah! I have sighed to Rest Me" from Verdi's Opera "II Trovatore" for the Left Hand Alone. New York: A. Buchbaum, c. 1913. 3 p. A straightforward presentation of this aria. Printed with larger and smaller notes to make it clear which is most important. Requires octaves and quick keyboard register shifts. Intermediate difficulty. Pedaling and fingering marked. (LOC)

LA73p.

Kohler, Louis Christian Heinrich (1820-1886) Germany Zwei StuckefUr die linke Hand allein. 2 p. Both of these pieces are based on folk songs. The first is a theme with one variation on a Russian folk song (Minka). It explores arpeggiated chords, chord voicing, double notes, arpeggios, and chord inversions. The second is a gentle presentation of an English folk song (Long, long ago). Here Kohler is training the hand in arpeggiated chords, chord inversions, and chord voicing. Lower intermediate level. Pleasant and usable works. Pedaling and fingering given.

LA74p.

Volksmelodieen alter Nationen der Erde: als Ubungsstucke fur das Pianoforte vom ersten Anfangs als Unterrichte an in stufenweiser Folge bis zur holieren Ausbildung. [A36p]

(1852-1915)

Hungary/USA

Arranged or Transcribed

193

LA75.

Koeppler, Albert C. Romance from Evening Star for Left Hand Alone. Chicago: A. C. Koeppler, c. 1911. 4 p. A-flat major. Rich arrangement with large chords, octaves, long arpeggios, thirds, and sixths. Carefully done, but not musically very satisfying. Fingering given. Upper intermediate. (LOC)

LA76.

Kunkel, Charles (1840-1923) Germany/USA Grand Concert Pieces. St. Louis: Kunkel Bros. Music Co., c. 1901. "To my dear Friend Ernest R. Kroeger." Photograph of KunkePs left hand on the front of the volume. All were designed for his personal use and for pedagogical purposes. They exhibit grand scale showmanship with all the stops pulled out for the pianist. Very challenging. Fingerings and pedalings are marked. (LOC) Sextet from Donizetti's Lucia di Lammermoor Quartet from Verdi's "Rigoletto" Miserere from Verdi's "II Trovatore" Home, Sweet Home (Bishop) The Banjo: Caprice Ethiopian (using the same, familiar theme as Gottschalk) Old Black Joe (Theme and Variations) Old Folks at Home (Foster)

LA77.

Leo, G. Etude pour la main gauche, Op. 25 #11 by Frederic Chopin. St. Petersburg: Bessel & Co. Arranged. (HOF 1893: CXLL19) (INS)

LA78.

Leschetizky, Theodore (1830-1915) Polish/Austrian Andante-finale from "Lucia de Lammermoor," Op. 13. "Chi mefrena in tal momento." 1 p. Philadelphia: Theodore Presser, 1906. Arranged. The same published by New York: Century Music Pub. Co., c. 1917. 5 p. Edited and fingered by M. Greenwal; New York: G. Schirmer. c. 1906. 7 p. Edited and fingered by Louis Oesterle; New York: G. Schirmer in Pianoforte Compositions of Theodor Leschetizky. c. 1906; Cincinnati: Willis, c.1910 edited by R. de Roode; and in BMCO [A3] edited by Felix Fox. Sextette: Andante-Finale from "Lucia di Lammermoor," for the Left Hand Alone. Op. 13. Revised, edited and fingered by Anthony Stankowitch. Bryn Mawr: Theodore Presser, c. 1906.

194

One Handed Published as one of the Standard Concert Etudes for Advanced Study especially adapted as a continuation of W. S. B. Mathews' Standard Graded Course (and all other graded courses). 5 p. D-flat major. This fine, interesting transcription was very popular in its day. It appeared in many editions and in many anthologies. Leschetizky gives it his own introduction and cadenza areas. Donizetti's beautiful melodies coupled with Leschetizky's fine skill at the piano and his love for rich sounds make this a difficult, but appealing work, well suited to the left hand. Most publications have fingerings and pedal marked. [D62a]

LA79.

Andante finale from "Lucia de Lammermoor," Philadelphia: Hatch Music Co., c. 1911. Exactly like the Leschetizky arrangement but surprisingly transposed to C major.

LA80.

Lowmiller, Donald D. Old Black Joe for the Left Hand only. St. Louis: Thiebes Piano Co., c. 1913. 7 p. (INS)

LA81.

Liszt, Franz. For arrangements and transcriptions of music by Franz Liszt, see: Schubert-Liszt [LAI 17 and LAI 18] and Wagner-Liszt [LA 146].

LA82.

MacFadyen, Alexander (1879-1936) USA Believe Me, if All Those Endearing Young Charms (arranged for the left hand alone). Chicago: Badger Music Publishing, 1929. "To Miss Nellie Donnelly (viri digni memoria)." 2 p. Dflat major. Straightforward arrangement. Chords with off-beat harmonic fill-ins. "pppp" ending. Small cadenza area. Some pleasant chromatic tones and altered harmonies. Fingered. Intermediate level. (Milwaukee, WI Public Library)

LA83.

Evening Star from "Tannhauser" arranged for the left hand alone. Cincinnati: John Church Co., c. 1915. 4 p. This is an effective transcription that captures the Wagnerian mood and lyricism of the aria. Technical demands are not as obvious as the musical demands made on the pianist. Pedal and fingering suggested. Intermediate difficulty. (LOC)

LA84.

Mantia,Aldo (1903- ) Italy Profond Sommeil by Gioacchino Rossini. Rome: Edizioni della Officina D'Arte, c. 1934. 2 p. B minor. "A Dino Ancona."

Arranged or Transcribed

195

This melody is No. 7 in Book 7 from Peches de Vieillesse (Sins of Old Age). A beautifully expressive melody played by the fourth and fifth fingers with arpeggiated chords above. Straight forward transcription. Fingering and pedaling marked. Lower intermediate difficulty. LA85.

Mathias, Georges (1826-1910) France Deux etudes d'apres Chopin: Etude, Op. 10 #5 and Prelude, Op. 28 #17. Arranged. Paris: Leduc. (INS)

LA86p.

Maxim, George Pratt Bonnie Eloise by John Rogers Thomas (1829-1896) USA. Boston: Boston Music Co., c. 1939. Transcribed for the pianoforte left hand alone by George Pratt Maxim. 3 p. Single and double note melody. Creatively arranged and carefully edited with fingerings and pedal markings. Nice study piece. Intermediate difficulty. (LOC)

LA87p.

Old Black Joe by Stephen C. Foster. Boston: Boston Music Company, c. 1939. 2 p. Carefully done. Almost like a meditation on this melody. Needs good chord voicing. No fingering. Intermediate level. (LOC)

LA88.

Mendelssohn-Bartholdy, Felix (1809-1847) Germany Lied ohne Worte Op. 67 No. 1. 3 p. Almost an exact refingering for the left hand of the original work. The thick textures that Mendelssohn can achieve and the difficulty of announcing the melody over the busy accompaniment is exacerbated by the use of only one hand. Wittgenstein suggests fingerings and a few alternate methods of execution. Difficult [All]

LA89.

Lied ohne Worte Op. 67 No. 3. 2 p. True to the original score, Wittgenstein edits this work with his left hand fingerings. A study of these fingerings provides insight into the flexibility of Wittgensteins' hand and to the size of its structure. Due to the nature of this particular Song without Words, it may be easier to achieve a successful performance than in the one above. Moderately difficult. [All].

LA90.

Moto Perpetuo for Piano by Felix Mendelssohn-Bartholdy. Transcribed for the left hand alone by I. Philipp. New York: G. Schirmer, Inc., c. 1931. 6 p. "For Marvine Maazel." Printed on a single staff. Some double stemming. The melody is from the

196

One Handed original (Sonata III, last movement) with chords that can be grabbed at strategic points. Upper part of the keyboard. Some large intervals. Lies comfortably within an octave span, however. Fingerings given. Difficult. (LOC)

LA91.

Nocturne from "Midsummernight's Dream." 5 p. This is truly a beautiful work and in this Wittgenstein transcription it provides a difficult chord study for the left handed pianist. As with most of his arrangements and transcriptions, the pianist needs complete ease with register shifts, rolled chords, and voicing. Some variants are provided. Difficult. [All]

LA92p.

*Song Without Words No. 4 and Song Without Words No. 9. Arranged for either left hand or right hand solo by SchultzeBiesantz. [A29p]. Each is one page in length. Arranged on one staff. Arpeggiated chords sustained by the pedal help fill in the omitted harmonies. Both give the feeling of something lacking, however. No fingerings. Intermediate difficulty. For additional Mendelssohn arrangements: Olson [A33p], Philipp [LA104], Sartorio [LAI 12p], and Wurm [LA157]

LA93p.

Mero, W. P. (Pseudonym for Preston Ware Orem) (1865-1938) USA Believe me, if all those endearing young charms. Philadelphia, PA: Theodore Presser, c. 1915. 1 p. C major. Straight-forward presentation of this beautiful melody with arpeggiated chords as accompaniment support. Intermediate level difficulty. Fingering and pedaling suggested. Theodore Presser published this along with many other arrangements and easier pieces for left hand study. (Texas Womans University)

LA94.

Meyerbeer, Giacomo (1791-1861) SEE Fumagalli [LA40] and Wittgenstein [LA 151]

LA95.

Mozart, Wolfgang Amadeus (1756-1791) Austria Adagio from Wind Serenade K. 375. 4 p. Wittgenstein has given the left-handed pianist an intricate and challenging transcription of this movement. It is filled with broken and rolled chords, large intervals, challenging leaps, and difficult voicings. The fingerings are very clever and unusual. Many passages have alternate executions in the footnotes. While this is intended as a

Germany

Arranged or Transcribed

197

concert work, I doubt that it would be very musically satisfying. Difficult. [All] [D62a] LA96p.

* Minuet from the Opera Don Giovanni. Arranged for either left hand or right hand solo by Schultze-Biesantz. 1/2 page. Simple, single line presentation of the theme and necessary harmonies. Pedaling marked. Upper elementary. Also see One-hand Piano Methodfor Beginners. [A29p].

LA97p.

*Minuet from Symphony No. 39 in E-flat. Arranged for either left hand or right hand solo by Schultze-Biesantz. 1 1/2 pages. Single staff gives a thin texture. Pedal helps sustains harmonies under the melody. No fingering. Intermediate difficulty. [A29p]. For more Mozart arrangements see: Olson [A33p]; Ruthardt [L407p]; Sartorio [LA112p]; Shaw [A31p]; Steiner [A30p]; and Wittgenstein [All];

LA98p.

Muffat, Gottlieb (1690-1770) Austria *Kleines Menuett C major. 1 p. A small binary form Baroque dance, mostly chordal in structure. Never more than three notes at a time. Some ornamentation necessary. Lies in the center of the keyboard only. Fingering suggested. Upper elementary difficulty. [A5]

LA99p.

Olson, Lynn Freeman (1938-1987) USA •Londonderry Air 2 p. *She Wore a Yellow Ribbon 1 p. Two upper elementary level solos from Single Handed (Exploring the Piano with One Hand) arranged by Olson. Careful pedal marks are given, but the fingering is absent. Olson has intended these works to be suitable for either right or left hand. She Wore a Yellow Ribbon has been included on the National Federation of Music Clubs Junior Festivals Selections for 1995-1997 (Elementary Class II). [A33p]

LA100.

Orem, Preston Ware [LA93p] (1865-1938) USA Deep River (for the Left Hand Alone). Philadelphia: Theodore Presser, c. 1929. Traditional Negro Spiritual. 2 p. D-flat major. Chordal, rich sound. Convincing and appealing. The arranger says: "This deeply emotional Negro spiritual lends itself splendidly to left hand treatment. A judicious handling of the chords

198

One Handed marked to be rolled will produce many delightful effects." Lower intermediate difficulty. Pedaling and fingering marked.

LA101.

Sextet from Donizetti's "Lucia" by G. Donizetti for the Left Hand Alone. Philadelphia: Theodore Presser, c. 1919. 3 p. This arrangement is slightly easier than and very different from the Leschetizky transcription. Good pianistic skills are still required, however. Moderately difficult. [LA78]

LA102.

Perny, Pierre (1824) Quatuor de Lucie de Lammermoor by Donizetti, Op. 81. Milan: Ricordi, c. 1848. Arranged. (HOF 1852-1859:196) (INS)

LA103.

Pfeiffer, Georges-Jean (1835-1908) France Miserere de l'Opera "Trovatore" by Giuseppe Verdi, Op. 16. London: Bote&Bote (HOF 1876: XCV:19) (INS)

LA104p. Philipp, Isidor Edmond (1863-1958) France Exercices et etudes techniques de piano pour la main gauche seule, d'apres Bach, Chopin, Czerny Kessler, Kreutzer, Mendelssohn, Schumann, et Weber. Paris: Durand, c.1895. 41 p. Lengthy and helpful preface in French by Georges Mathias. These difficult exercises and etudes distill problems from the twohanded works by the above composers and give them to the left hand alone. There are etudes based on many Czerny, Kessler, and Kreutzer studies as well as the C. P. E. Bach Solfeggio, the Schumann Toccata, Op. 7, Chopin Prelude Op. 28 No. 16, various Chopin Etudes including Op. 10, Nos. 1 and 2 and Op. 25, Nos. 6, 8, and 14, Mendelssohn Fantasia, Op. 28, Hummel Sonata, Op. 79, and von Weber Concertstiicke, Op. 81. Most are not complete works, but all are carefully fingered and edited for study but not for performance. [L370] LA105.

Puccini, Giacomo (1858-1924) Italy Sailor's Chorus from "Madame Butterfly." 2 p. Wittgenstein has given the left handed pianist an interesting transcription of this work. With facility in chord playing and register shifts, the pianist is able to perform this quite easily. Extremely soft dynamic markings and significant use of the fifth finger pose the only problems. Moderately difficult. [All]

Arranged or Transcribed

199

LA106.

Richter, Ferdinand Tobias (1649-1711) Austria *Toccatina in D minor. 3 p. D minor. An appealing transcription of this Baroque work. Opens with a free recitative-like introduction which is followed by a moto perpetuo section consisting of traditional Baroque harmonic progressions and sequences and then after a quiet chordal passage ends with a bright traditional cadence formula. Fingerings and pedal markings provided. Georgii has suggested a few facilitations. Upper intermediate difficulty. [A5].

LA107.

Robyn, Alfred George (1860-1935) USA Annie Laurie: transcription for the left hand alone. St. Louis, MO: Balmer & Weber Music House, c. 1887. 4 p. "Respectively inscribed to Miss Anna Wright, St. Louis, Mo." One page of introductory arpeggios leading to the dominant-ninth of E-flat major, then this agreeable melody is introduced simply in chordal fashion. The second presentation of the theme is more elaborate with enhanced accompaniment decoration and arpeggiation. The important melody notes are engraved with larger note heads and the accompanying patterns are given small notes. Very typical of salon-style writing of the period. Upper Intermediate level of difficulty, requiring facility with chord inversions and arpeggios. Fingering and pedaling suggested. (Milwaukee, WI Public Library and LOC)

LA108.

Romano, J. Sextour: Andante finale from Donizetti's Opera "Lucia di Lammermoor," Op. 206. Arrangement. London: Hutchings & Romer. (INS)

LA109.

Rossini, Gioacchino (1792-1868) Italy SEE Fumagalli [LA39], Mantia [LA84], Strakosch [LA134].

LA 110.

Rubinstein, Anton (1829-1894) Russia Etude on False (Wrong) Notes. 10 p. This is an enormously difficult study for two hands, but here Wittgenstein edited it for the left hand alone. [All]. It requires complete control of arpeggios, large chords, thirds, sixths, octaves, and quick keyboard register shifts. Wittgenstein provided some alternate modifications for the most difficult passages. There are several large chordal passages where the chords must be rolled and here Wittgenstein states that these arpeggios should be played downward as

200

One Handed noted in the original composition. Only the most accomplished performer could successfully execute this work.

LAI lip.

Melody in F. SEE: One-hand Piano Method for Beginners. [A31p]

LA112p. Sartorio, Arnoldo (1853-1936) Germany Left Hand Proficiency: Twenty Original Study Pieces and Transcriptions for the Pianoforte for Left Hand Alone. Philadelphia: Theodore Presser, c. 1921. 43 p. All are upper elementary to lower intermediate works with pleasing melodies and slight accompaniments. Uncluttered and straightforward. One to three pages in length. Fingering and pedaling is marked. [L416p] [A20p] Arrangements: Barcarolle - D. F. E. Auber March from Tannhauser - Richard Wagner Aria from the Magic Flute — W. A. Mozart Aria of Eurydice from Orpheus ~ Chr. W. Gluck Pilgrim's Chorus from Tannhauser - Richard Wagner Minuet from Don Juan with Variations - W. A. Mozart On Wings of Song — F. Mendelssohn-Bartholdy To the Evening Star from Tannhauser ~ Richard Wagner Bridal Song from Lohengrin — Richard Wagner Trau merei — R. Schumann LA113p.

Lovely Dorothy, Vien qua Dorina bella by C. M. v Weber. Philadelphia: Theodore Presser, c. 1916. 4 p. Straightforward. Alberti accompaniment. Fits the hand well. Intermediate difficulty. Not very useful. Pedaling andfingeringsuggested. (LOC)

LA114p.

Souvenir de Handel: Introducing "The Celebrated Largo" for the Left Hand Alone. Philadelphia: Theodore Presser, c. 1922. 4 p. Arioso-like original theme accompanied by chordal sixteenths in Alberti style. Alternates two times with the Largo in chorale style. Requires agile third, fourth, and fifth fingers of the left hand. Intermediate difficulty. Fingering and pedaling suggested. (LOC)

LA115p.

Schaum, John W. (1905-1988) USA Left Hand Studies for the Piano. Rockville Centre, New York: Belwin, Inc. c. 1951. Two volumes of arrangements, simplifications, and transpositions each 23 pages in length. [A23p]

Arranged or Transcribed

201

LA116p. Schubert, Franz Peter (1797-1828) Austria •Serenade. Arranged for either left hand or right hand solo by Schultze-Biesantz. [A29p]. 2 p. Single staff arrangement of this classic. Pedaling marked is an absolute necessity to sustain the thin harmonies that are given. Additional Schubert arrangements see: Jelmoli [LA67]; Olson [A33p]; Schaum [A23p]; Steiner [A30p]; Thompson [A18p] and Zichy [LA159] LAI 17.

Schubert-Liszt. Du bist die Ruh. 2 p. Liszt arranged this great Schubert lied for the piano and here Wittgenstein hasfingeredthe same arrangement for the one-handed pianist. This is a fine study in voicing. The many broken chords might tend to detract from the peaceful atmosphere. The German text by Riickert is printed above the staff. Difficult. [All] [D62a]

LAI 18.

Meerestille. 2 p. An arpeggio study derived from the Liszt arrangement of this Schubert lied. Wittgenstein gives fingering suggestions. Could be very effective as a recital work. The German text by Goethe is printed above the staff. Moderately difficult. [D63a]

LA 119.

Schumann, Robert (1810-1856) Germany Bunte Blatter Op. 99 No. 1. 2 p. Wittgenstein has slightly adjusted this work for the left-handed pianist. It has become even more challenging than the original. Making the melody distinct against the accompaniment is awkward and the need to use such extended pedals causes more dissonance than might be desirable. Moderately difficult. [All]

LA120.

Melancholy from Bunte Blatter, Op. 99 No. 7. 2 p. A slow, poignant work which here becomes with the Wittgenstein fingerings a study in chords and one-handed polyphony. Requires a large span and ease withfivenote chords. Moderate. [All]

LA 121.

Little Study from Album for the Young. 2 p. The exact original work fingered for the left hand by Wittgenstein. Would make a fine study for achieving grace in shifting from low to high registers and studying broken chord structures. Moderate difficulty. [All]

202

One Handed

LA122.

Melody from Album for the Young. 1 p. Wittgenstein edits the original with left hand fingerings. This seems rather easy, but the pianist must have a large span or frequently break intervals. Moderate difficulty. [All]

LA123p.

*The Merry Peasant from The Album for the Young. Arranged for either left hand or right hand solo by Schultze-Biesantz. 1/2 page. Presented on a single staff with the chords adjusted for performance with one hand. A bit clumsy. Pedaling marked. Lower Intermediate. [A29p]

LA124p.

*Sechs Stticke aus dem "Album ftir die Jugend." The six works chosen are Erster Verlust, Kleine Romanze, Reiterstiick, * * *, Mignon, and Matrosenlied. 7 p. Some of these transcriptions are literal and others have been slightly simplified. All have the original feel and mood and would be excellent in recital or for study. Georgii has providedfingeringsfor either hand. Intermediate level of difficulty. [A5] For additional transcriptions of Schumann works see Hatch [LA56], Philipp [LA104], Sartorio [LA112p], Wurrn [LA157]

LA125p. Shawcross, Frank ( -1990) Great Britain Shawcross arranged several anthologies for the disabled. These are all available from the Disabled Living Foundation: Music Advisory Service, 380-384 Harrow Road, London, W9 2HU. He stated in the introduction to one of the volumes: "Since my retirement as a professional musician in 1979,1 have had an illness which has deprived me of the use of one hand. After a period of musical inactivity I became interested in the idea of arranging suitable music for one hand only. This has provided me with a great deal of interest and pleasure. The added bonus is the fact that I am able to share my music with others who have a similar handicap." SEE: [A17p, A25p, A26p, A27p, A28p] LA126.

Smith, Sidney (1839-1889) Great Britain Com'e gentil: fantaisie-etude d'apres la melodie de Donizetti. New York: G. Schirmer, c. 1869. Arrangement. (NYPL) (INS)

LA127.

Sosa,Raoul (1939) Argentina/Canada Fantaisie chromatique et fugue en r£ mineur (BWV 903). Montreal, Quebec: Centre de Musique Canadienne, 1989. Score reproduced from manuscript. 26 p. This Johann Sebastian Bach

Arranged or Transcribed

203

work was transcribed by Raoul Sosa in 1989 for his own performance. Sosa first performed it on March 15, 1990. It is a very complete and powerful work with very little omitted as concession to playing with only one hand. [D54a] LA128.

II Lamento d'Orfeo (d'apres Christoph Willibald Gluck). Montreal, Quebec: Centre de Musique Canadienne, 1997. Score reproduced from manuscript. 3 p.

LA129.

Invention en si bemol (d'apres J. S. Bach). Montreal, Quebec: Centre de Musique Canadienne, 1988. Score reproduced from manuscript. 2 p. Duration: 2:00. Sosa premiered this arrangement on February 2, 1988.

LA 130.

La valse (D'apres Ravel). Montreal, Quebec: Centre de Musique Canadienne, 1993. Score reproduced from manuscript. 32 p. Duration: 16:00. First performed by Sosa on March 6, 1994.

LA131.

L'Oiseau de feu (d'apres la version 1919). Montreal, Quebec: Centre de Musique Canadienne, 1996. Score reproduced from manuscript. Modelled on the 1919 version of the Stravinsky ballet. 22 p.

LA132.

Variations of the Engelkonzert of Paul Hindemith. Montreal, Quebec: Centre de Musique Canadienne, 1988. Score reproduced from manuscript. 20 p. Duration: 17:00. An interesting work based on this theme from Mathis de Maler. After suffering a severe injury to his right hand, Sosa continued his concert career as a one handed pianist. He transcribed and recorded several works for his own use. He teaches at the Montreal Conservatory of Music. Sosa premiered this work on November 23, 1989. [D53a]

LA133p.

Steiner, Eric USA One Hand Only for the Young Pianist: Fifteen Selections to played with One Hand Only. Selected, Edited, and Arranged by Eric Steiner. Rockville Center, NY: Belwin, Inc., 1962. 31 p. These upper elementary study pieces are all one page in length with fingerings and pedaling provided. There are two original works by Steiner plus others based on folk songs and standard classical themes from well-known composers. [A3Op]

LA134.

Strakosch, Maurice (1825-1887) Austria/France Prayer from "Otello (Deh! calma O ciel)" by Rossini. New

204

One Handed York: William Hall & Son, c. 1848. Boston: Oliver Ditson Co., c. 18—. Edited by Strakosch. "Respectfully dedicated to Miss Laura Gibbs." 5 p. For concert performance. One page of introductory arpeggios to the dominant of A-flat, then the aria is presented in long broken chords (as many as 16 notes) with interspersed fioratura and arpeggiated figures. Control of arpeggios and thick chords a music. No fingerings or pedal markings given. Certainly of the period and not very appealing. (Eastman School ofMusicandLOC)

LA135.

Strauss, Johann (1825-1899) Austria Morgen Blatter and Mein Lebenslauf ist Lieb' und Lust. 1 p. These are short studies for developing facility in playing fifths and sixths contrived from two works by Strauss. Wittgenstein says: "Morgenblatter Variations are included in Walter Bricht's 'Fantasy on Themes by J. Strauss.'" These are exercises for practice and not for performance. [All]

LA 136.

Teichmann, Fritz. SEE: Grieg, Edvard [LA51p]

LA137.

Telemann, Georg Philipp (1681-1767) Germany *Leichte Fuge in D minor. 2 p. Moderately difficult transcription of one of the Telemann Twenty Little Fugues. Two voices throughout. Crossing of voices makes it a little difficult to always delineate between these lines. Some ornaments. Fingering provided. Can be played by either hand. [A5].

LA138p. Thompson, John Sylvanus (1889-1963) USA Bill Grogan's Goat (Humoresque for Left Hand alone). 1 p. G major. Elementary level. Based on a familiar folk song with words printed in score. Found in John Thompson's Modern Course for the Piano, The Second Grade Book. Cincinnati, Ohio: The Willis Music Company, 1937. SEE [LA140p] LA139.

Thompson, William Huskisson (1902) USA Londonderry Air for Left Hand Alone: Old Irish Melody. Philadelphia: Theodore Presser, c. 1943. 2 p. E-flat major. "To my pupil Gerald Peel." Warm pleasing rich transcription. The large chords, cadenza fills, and arpeggios aid in the decption of whether this is being performed by one or two hands. Intermediate difficulty. Fingering and pedaling given. (LOC)

Arranged or Transcribed

205

LA140p. Vandall, Robert D. (1944) USA Bill Grogan's Goat and Wayfaring Stranger. Available as solos and in The Bass Clef Book edited by Mary Elizabeth Clark and published by Myklas Press, P. O. Box 929, Boulder, CO 80306, c. 1981. These two folk songs are simply arranged for the upper elementary student. Each is one page long and contains fingerings and pedal marks. SEE [LA138p] LA 141.

Vilanova, Ranieri Romanza nell'Opera Mignon dell Maestro Amb. Thomas. Ridotta per la Mano Sinistra. New York: Ranieri Vilanova, c. 1877. "all'Sig. Woodbury G. Langdon, pegno di vera amicizia e distintissima considerazione." Six pages of tremolo, melody with chordal accompaniment, octaves and chord inversion. Not very appealing. Moderately difficult. (LOC)

LA142p. Virgil, Antha Minerva Patchen (18557-1945) USA In the Gloaming, Op. 91. New York: A. M. Virgil, The Virgil Piano School, Co., 1922 . Dedicated to Margaret Euphemia Feast. 3 p. F major. Carefully edited teaching piece and pleasant arrangement of this well-known work. Three note chords and some arpeggiation required. Pedaling and fingering marked. Upper elementary. (LOC) LA143p. Wagner, Richard (1813-1883) Germany *Bridal Chorus from the Opera "Lohengrin." Arranged for either left hand or right hand solo by Schultze-Biesantz. 1 1/2 p. Arpeggiated chords sustained by the damper pedal supply the harmonies that support this single staff arrangement of the melody. Lower intermediate difficulty. [A29p]. LA144p.

*Lohengrin's Arrival. Arranged for either left hand or right hand solo by Schultze-Biesantz. 1 p. "My thanks be thine, O trusty Swan!" Single staff arrangement. Thin texture that is not very appealing. Pedaling marked. Intermediate difficulty. [A29p].

LA145p.

*Pilgrim's Chorus from the Opera "Tannhauser." Arranged for either left hand or right hand solo by Schultze-Biesantz. 2 p. This single staff arrangement loses some of the power of the original work. But through a clever manipulation of the triplet figures, the use of much pedal, and the thick chords, a satisfactory presentation can be achieved. No fingering. Intermediate. [A29p].

206

One Handed For other Wagner arrangements see: Jones [LA69], MacFadyen [LA83], Ruthardt [L407p]; Sartorio [LA112p]; Wittgenstein [LA 155], and Zichy [LA 160]

LA 146.

Wagner-Liszt. Isolde's Love Death. 10 p. Surely this has to fit in the category of "just because I can." Wittgenstein has taken one of the most formidable of Liszt's operatic transcriptions and adjusted it for the left hand alone. The work expands from its quiet beginning to an extensive chord study on four staves and a final chord that extends over the entire range of the keyboard. The challenges are enormous especially for the results that would be realized. Very difficult. [All] [D62a]

LA147p. Weber, Carl Maria von (1786-1826) Austria Melodie von C. M. v. Weber fiir die linke Hand allein. 2 p. A major. Kohler has presented this melody in a simple style sung out over accompanying chord inversions. Fingerings, pedalings, and articulations given. Lower intermediate difficulty. [A 10] LA148p.

Melodie von C. M. v. Weber fiir die linke Hand allein. 2 p. Aflat major. This melody is an aria from the opera Der Freischutz. A very expressive work and effectively transcribed by Kohler. The melody soars above rich blocked and sweeping arpeggiated chords. Requires good facility in these techniques. Fingerings and pedal marks given. Intermediate. [A9 and A10] For other arrangements of von Weber see: Heller [LA61], Kohler [A10]; Lewenthal [A9]; Philipp [LA104; Ruthardt [L407p]; Sartorio [LAI 12p]; and Schmitt [L427]

LA149.

Wehli, James M. Home, Sweet Home. 9 p. Grand exhibitionism, oodles of cadenzas, arpeggios, scales, trills, octaves, double notes, double note trills. Wehli pulled out all the stops and tricks. There are three different publishers for this work. It must have been very popular. New York: A. Pond & Co., (last century), 9 p. Boston: Oliver Ditson & Co., c. 1870. This edition is much simpler and more contained. 5 p. The third edition is Philadelphia: Theodore Presser, c. 1907. It is exactly the same as the transcription published by Pond. The interesting thing about this puzzle is that the Ditson publication states: "This is the correct copy of my tran-

Arranged or Transcribed

207

scription of 'Home Sweet Home' for the left hand, written for the American public." (LOC) LA150.

Willmers, Heinrich Rudolph (1821-1878) Germany Transcriptions pour pianoforte, Op. 2. Hambourg; New Yo Schuberth. c. 1849. Two transcriptions of vocal works. The first work, Freudvoll und Leidvoll is transcribed for piano left hand and is based on J. F. Reichardt's (1752-1814) Goethe Lieder, Oden, Balladen und Romanzen. The second is based on KSrner's Schlachtgebet von Himmel but is not for one hand alone. Freudvoll und Leidvoll. Hambourg: Schubert & Comp; Philadelphia: Theodore Presser, c. 1951. The Presser publication is edited by Franko Goldman. 4 p. Goldman knew this work because his mother had played it in recital. It is a slow tone poem based on the Reichardt song. There is a lengthy introduction before the entrance of the theme that is simply presented followed by two variations where the theme is surrounded by arpeggiated chords. The work then concludes with material from the introduction. Requires firm control of chord playing (blocked and rolled), octaves, and arpeggiated figures. Rich thick arranging. A most pleasant and beautiful work. Only moderately difficult. Fingering and pedaling given. (LOC and University of Texas at Austin)

LA151.

Wittgenstein, Paul (1887-1961) Austria Bather's Chorus from the "Hugenots." 3 p. Wittgenstein has created a challenging study in double notes, scales, and melody versus accompaniment from this Meyerbeer opera chorus. Probably interesting to explore and study, this work has little concert appeal. Difficult. [All].

LA 152.

Etude in C minor, Op. 10 #12 "Revolutionary." Chopin adapted for the left hand by Wittgenstein. 5 p. This arrangement relies on the chromatic and scalar use of the fourth and fifth fingers with octave displacements to fill in the texture. Some "ossia" passages are given. Only for the most accomplished pianist. Difficult. [AH].

LA 153.

Etude in C minor, Op. 10 #12 "Revolutionary." Same as above but in double notes. 6 p. As if the above arrangement were not difficult enough, Wittgenstein thickens the texture with fourths,

208

One Handed fifths, and sixths throughout. Naturally, his fingering is indispensable. Some passages in large chords as well. This arrangement seems to be more of a study rather than an actual work that would be performed in public. Incredibly difficult. [All]

LA 154.

Etude, Op. 25 #11 in double notes "Winter Wind." 10 p. True to the original Chopin as far as possible. Many "ossia" passages in footnotes. As with most of the pieces arranged by Wittgenstein, they seem to be designed with his particular technical abilities in mind. The fingerings are clever and necessary. Not for the faint hearted. [All]

LA155.

Quintet from the "Meistersinger." 3 p. Treacherously complex transcription of this thick operatic ensemble. Wittgenstein demands excellent facility with chords (thick, rolled and broken), double notes, voicing, register shifts, and just about everything else that the pianist can muster. Difficult. [All]

LAI56.

Scherzo 1, Op. 20. 2 p. Wittgenstein contrived a study based on the opening of this Chopin Scherzo. Needs quick register shifts and frequent breaking of notes that occur on the same beat because of the great intervals involved. Probably not intended for concert use. [All]

LA157.

Wurm, Mary (Marie) (pseudonym for Mary Verne) (1860-1938) Great Britain Piano-studies forthe lefthandalone, Op. 51. 5 volumes. Leipzig: Rob. Forberg #6281, c. 1911. v.l. Vierzig tagliche Studien = Forty daily exercises. [L545p] v.2. Lied ohne Worte, Op 51 #2. (INS) v.3. Idylle, Idylls Op. 51 #3. (INS) v.4. Traller-Liedchen, Little Songs. Op. 51 #4. (Based on Schumann's piece from the Album for the Young) (INS) v.5. Nocturne Op. 9 #2 by Chopin, arranged for the left hand alone. Dedicated to her sister Adela. 4 p. Wurm has worked hard to be as true to the original Chopin as possible. Many melody tones are brought out by delaying their attacks or breaking chords. Sometimes the melodic line is given to the fourth or fifth fingers underneath the accompanying chord or to the middle fingers within the chord structure. Overall this makes the piece more of a technical problem to solve rather than a satisfying concert work. Meticulous fingering is provided. (University of Colorado at Boulder)

Arranged or Transcribed LA158.

209

Zichy, Count Vasony-Keo Geza (1849-1924) Hungary Polonaise fiir die linke Hand, Op. 40 # 1 by Frederic Chopin. Arrangement. Budapest: Razsavolgyi. (HOF 1887: CXXIIL20)

LA 159.

Le Roi des Aulnes (Erlkonig). Arrangement of a Schubert lied. Paris: Heugel. [L553]

LA 160.

Fantasie iiber Motive aus R. Wagner's Tannhauser. New York: C.Fischer. (HOF 1887: CXXIII:20)

LA161.

Chaconne in D minor arranged from J. S. Bach's Partita in D minor for violin. Hamburg: D. Rahter, c. 1863. (HOF 18801885) [LA2]

"Whatsoever thy handfindeth to do, do it with thy might." Ecclesiastes IX: 10

This page intentionally left blank

Chapter 4

Concerted Works for One Hand The compositions listed here are arranged alphabetically by composer's last name or by title if the volume is an anthology. "C" numbers identify concertos for right or left hand. "CH" numbers identify concerted works for voice or other instruments with piano one hand. "CE" numbers were assigned to ensemble pieces, piano duet, piano trio, etc. Number designations that include a "p" indicate works that have pedagogical purposes. Reference numbers in brackets at the end of the citations, e.g. [L3], refer the reader to entries in other chapters of the book. An asterisk (*) before a listing indicates that the work has been edited/fmgered or composed for either hand.

PIANO AND ORCHESTRA Cl.

Arnold, Malcolm (1921) Great Britain Concerto for Two Pianos (3 hands) and Orchestra, Op. 104. (Also called Concerto for Phyllis and Cyril). London: Faber Music Ltd., c. 1990. 55 p. Duration: 13:00. This Concerto was commissioned by the BBC, and first performed by Phyllis Sellick and Cyril Smith with the BBC Symphony Orchestra conducted by the composer in the Royal Albert Hall on 16 August 1969 as part of the 75th season of Henry Wood Promenade Concerts. "For Phyllis and Cyril with affection and admiration." This is a sparkling three movement (Allegro moderato; Andante con moto; Allegro) mini-concerto that should prove to be immediately appealing to both listeners and performers. There is a nice contrast between energetic, zestful, and rhythmically active writing and cantabile melodies. Piano I is written on the right side of the keyboard predominantly and often reinforces the right hand line of Piano II. At times, however, Piano I contains very lyrical and

212

One Handed important solo lines. Neither part is extremely difficult. Written for traditional orchestral instrumentation with some additional percussion instruments for color. (Grand Valley State University, Michigan) [D3a-b]

c2.

Bax, Sir Arnold (1883-1953) Great Britain Concertante for the Left Hand. London: Chappell & Co., Ltd., c. 1949. Composed for Harriet Cohen (1895-1967) when a household accident permanently limited the use of her right hand. When writing this work for his friend, not only was Bax restricted by writing for the left hand alone, but Cohen had a small hand span and could not reach over an octave. Three movements.

C3.

Bliss, Arthur (1891-1975) Great Britain Concerto for two pianos, three hands, Op. 17. 1968. Duration: 12:00. This work has had many lives. It was originally for tenor, piano, strings, and percussion, then re-composed for two pianos and orchestra for Cyril Smith and Phyllis Sellick. Finally it was arranged for two pianos, three hands with orchestra by Clifford Philips and Arthur Bliss. (Four hand version London: Oxford University Press, 1924). Scored for double wood-wind plus third flute (piccolo) and cor anglais, 4 horns, 3 trumpets, 3 trombones, tuba, timpani (2 players), percussion (3 players), and strings. One continuous work with many tempo and meter changes comprising basically three movements united by brief pauses. (Allegretto giusto-Larghetto tranquillo—Allegro molto). Because this is really a showpiece for the soloists, the pianists are busy most of the time. No cadenza areas, however. In the Larghetto, the orchestra is almost non-existent. There are some grand Romantic themes, but over all it is a shimmering work with many repeated patterns that are used as background color accompaniments. It builds to a big climax with the use of these repeated patterns and chords. When it was arranged for Smith and Sellick, Bliss added more low strings. The score for the three-handed version is only available in manuscript. The parts are on loan from Oxford University Press. (NYPL) [D5a]

C4.

Bolcom, William (1938) USA Gaea. New York: E. B. Marks, 1996. Score 124 p. Duration 19:00. Composed in 1995. A sequence of three piano concertos, two left-handed concertos that can then be played simultaneously as a two-piano "super-concerto." Commissioned by David Zinman and the Baltimore Symphony for Gary Graffman and Leon

concerted Works

213

Fleisher. Neo-classical idiom in the style of Milhaud and Hindemith. "The opening movement is scherzo-like in Concerto No. 1 [The Sky], more solemn and expansive in No. 2 [The Sea]. The second movement is, by turns, lugubrious and songful. The finale in both pieces is a set of quicksilver fiigal variations on the notes G-A-E-A [Air and Water]." The title has many references including Gaea, the Greek name for Earth, a choice inspired by reading William Blake's The Marriage of Heaven and Hell. World premiere April 28, 1996 by Graffman and Fleisher with the Baltimore Symphony conducted by David Zinman in Carnegie Hall. (Review by Alex Ross in the NY Times, Tuesday, April 30, 1996 p. B3. "Characteristically Mr. Bolcom has found brilliant entertainment...Mr. Graffman and Mr. Fleisher delivered polished, vigorous performances.") The orchestral writing is interesting because the full instrumentation is divided in two so that the groups can be combined into one body when the concertos are played together. C5.

Bortkievich (Bortkevich or Bortkiewicz), Sergei Eduardovich (18771952) Russia Concerto No. 2 in E-flat major, Op. 28. Leipzig: D. Rahter. Composed for Paul Wittgenstein; premiered January 11, 1929. Permanently out of print. Manuscript facsimile at NYPL. (INS)

C6.

Braun, Rudolf (1869-1925) Austria Piano Concerto in F minor for Left Hand. Vienna: Doblinger. Permanently out of print. Composed for Paul Wittgenstein; first performed October 31, 1927. (INS)

C7.

Britten, Benjamin (1913-1976) Great Britain Diversions for Piano (left hand) and Orchestra, Op. 21. New York: Boosey & Hawkes, 1988; Original copyright in manuscript of the full score 1941. Score 118 p. Reduction for two pianos, 1955. Two-piano score 55 p. Duration: 30:00. Composed for Paul Wittgenstein; originally called Concert Variations; performed for the first time on January 17, 1942 with the Philadelphia Orchestra under Eugene Ormandy. Wittgenstein complained about the thick orchestration, but Britten did not change a thing. Ten variations and finale on an original "maestoso" theme. A wide variety of moods and tempos is created with each variation having a subtitle: Recitative, Romance, March, Arabesque, Chant, Nocturne, Badinerie, Burlesque, Toccata I and II, Adagio, and Finale-Tarantella. Notably, Variation I is a recitative for solo

214

One Handed piano, orchestra tacit. (There is a meter error in the piano part for the Finale-Tarantella. The meter should be 3/4, rather than 3/8, to match the rest of the orchestra and the piano's rhythmic groupings.) Part of the score contains music adapted from the Ballet of the Secretaries from the incidental music which Britten had composed the previous year for Priestly's Jordan over Jordan. Difficult work that requires complete and sure technique. (University of Wisconsin-Madison) [B3] [D7a-h]

C8.

Cliquet-Pleyel, Henri (1894-1963) France Concerto. For right hand and orchestra. Jobert. Duration: 21:00. (INS)

c9.

Curtis-Smith, Curtis O. B. (1941- ) USA Concerto for Left Hand and Orchestra, 1990. Full score available from the composer, a professor at Western Michigan University in Kalamazoo, Michigan. Commissioned for Leon Fleisher by the Irving S. Gilmore Keyboard Festival and premiered there by Leon Fleisher in 1991. Score 149 ages. Duration: 30:00. I. Lento agitato~^//egro con fuoco; II. Larghetto; III. Moto Perpetuo. This work has been performed in Kalamazoo, Detroit, Tokyo, Japan, and Carnegie Hall. It is a large-scale and musically affecting work that places incredible demands on the pianist. Solo piano opens the work. Each movement builds dramatically. The first is rhythmic and exciting with many tempo changes marked. While the orchestral part provides a taut tapestry of sound, the piano thrashes around like a caught fish on the deck of a ship. A large-scale cadenza occurs in the middle of the movement and prepares the return of the opening motives. The second movement begins with a free piano declamation and then calmly maintains an air of tension and suspended drama. Movement III is expansive and builds to a powerful climax through the use of sound of tolling bells. There are many colors and lush, interesting orchestral effects, sometimes with the piano in dialogue and most often with the piano serving as an integral part of the timbre. From the composer's notes: "The timbral [sic] metaphor of the Concerto is the sound of a struck bell. In the beginning, the piano's tolling B-flats, tolling as a bell, give rise to the themes and motives of the Concerto. The idea of repetition forms (and informs) all of the Concerto's material...Related to the idea of repetition is an idea suggested by the left hand imitation: the concept of a central pitch surrounded by complimentary gestures

Concerted Works

215 from above and below, but always returning to the central pitch. This idea is manifested at various levels: from local gestures to global structures...The bell metaphor becomes more literal in the third movement. Here, the melodic material is based on the English tradition of change ringing. Change ringing can be done on anywhere from three bells (singles) to 12 bells (maximus)...Change ringing was popularized by Dorothy Sayers in her novel The Nine Tailors. The title refers to the nine strokes on the tenor (the largest bell), signifying the death of a man (hence the expression 'Nine Tailors make a man'--'tailors' is a corruption of 'tellers.')...Tempo and rhythmic relationships are important. There are a number of metric modulations, and at crucial points in the structure there are simultaneous overlays of one tempo on top of another..."

C10.

Cll.

Demuth, Norman F. (1898-1968) Great Britain Concerto. 1947. Composed for Harriet Cohen. Unpublished manuscript. (INS) Legend. 1949. Composed for Harriet Cohen. manuscript. (INS)

Unpublished

C12.

Foss,Lukas (1922- ) Germany/USA Piano Concerto for the Left Hand. Commissioned by the Boston Symphony Orchestra to honor Leon Fleisher, who has served as director of the Tanglewood Music Center since 1986. Premiered July 23, 1994 with Fleisher and Seiji Ozawa conducting the BSO at Tanglewood. Written in three movements, each mediating between two genres: Recitative/Toccata; Lullaby/Scherzo; Sonata/ Fugue. Some interesting color effects in the first movement with percussion outbursts and wind glissandos, jazzy effects in the Scherzo and traditional forms in the last movement including the conventional dialogue between solo piano and orchestra. A solo piano cadenza links the last two movements. There is a full battery of percussion including an anvil and a whip. Foss's direction: "For premiere performances, orchestra, shout into the quarter-rests the following words: 'Here's to L. F. from L. F.'" [B16]

C13.

Groot, Cornelius Wilhelmus de (1914-1993) The Netherlands Variations-imaginaires pour la main gauche et orchestre. Amsterdam: Donemus, c. 1962. 51 pages. Duration: ca. 22:00. In honor of Johan Wagenaarstichting. (Piano principal avec

216

One Handed deuxieme piano pour reduction de Vorchestre). Reproduced from the composer's manuscript. Composed between 1960-1962. Movements: Introduction; Nocturne; Scherzo; Quasi walzer; Burlesque; Evocation; Finale: Presto. The movements are performed in groups 1-3; 4-5; 6-7 by use of attaca instructions. Thin textures even for the solo piano part which has no large chords an only a few octaves. There are many changes in tempi, color, and articulations. A bright, active, sparkling concert work. Pedal marked. (NYPL)

C14.

Hindemith, Paul (1895-1963) Germany Klaviermusik (Konzert fiir Piano und Orchester), Op. 29. Composed in 1924 for Paul Wittgenstein. Four movements. Unpublished. From a letter to Wittgenstein from Hindemith, May 4, 1923: "...I would be really sorry if the piece didn't please. Perhaps, at first, it will sound a bit unusual to you. I've written it with great affection and like it very much." A few weeks later Hindemith writes again: "Here are the last three movements of your work, and I hope that your fears will be allayed after looking through the score. It is a simple...completely unproblematic piece and I surely believe that it will give you pleasure in due course. (Perhaps you will be a bit upset at first, but that really won't matter for long.) In any case you will understand the piece-if you have any doubts, I am always ready to give you further assistance..."

C15.

Jacob, Gordon Percival Septimus (1895-1984) Great Britain Concerto for Three Hands on One Piano. Novello, 1969. Duration: 20:00. Written for Cyril Smith and Phyllis Sellick. [D21a] (INS)

C16.

Kastle, Leonard (1929) Concerto. Written for Paul Wittgenstein. (INS)

C17.

Korngold, Erich Wolfgang (1897-1957) Austria Klavierkonzerte: Piano Concerto for Left Hand in C-sharp minor, Op. 17. Mainz: B. Schotts Sohne, c. 1926. Composed in 1923 for Wittgenstein; performed September, 1924 in Vienna. Oversize manuscript score. 87 p. Scored for full orchestra including harp and celesta. The piano enters immediately. I. Mdssiges, Zeitmass, heldisch, mit Feuer und Kraft. Several tempo changes and quickening to the end. II. Reigen: Sehr mdssige ganze Takt, schwebend, mit Anmut, zdrtlich. There are no clear

USA

Concerted Works

217

movement demarcations, but many tempo changes. Very thick aggressive writing throughout. Extremely well-written for the piano. (Denver, CO Public Library) [D24a] C18.

Labor, Josef (1842-1924) Bohemia/Austria Concert Piece in form of variations for pianoforte left hand and orchestra. Composed for Wittgenstein by this blind composer. Performed December 12, 1916 only two years after his injury. (INS)

C19.

Concert Piece in B-flat minor for pianoforte and orchestra. Vienna: Universal Edition, c. 1914. Second piano reduction made by Carl Friihling, 1936. 37 p. score. Sectional one movement concert work. Varied tempi. Probably re-worked for Paul Wittgenstein from an earlier work. (LOC)

C20.

Concert piece in F minor for pianoforte and orchestra. Composed for Wittgenstein. Performed October 26, 1936. (INS)

C21.

Leimer,Kurt (1920-1974) Germany KlavierKonzert fiir die linke Hand und Orchester. 1940. 91 page manuscript full score. Many meter changes indicate "movement" sections, but the piece is really one continuous work. (Allegro moderato; Andante; Doppio movimento; Alia Marcia; Allegro moderato; Andante; Giocoso; Doppio movimento). The solo piano begins the work with thick, low register chords. There are some cadenza-like passages that bridge various tempo changes. The piano writing is linear with the exception of the occasional passagework in four-note chords. It ends with a large glissando. The orchestral texture is thinner than some concertos. (The manuscript score at the Philadelphia Free Library had been used and rather colorfully marked to insure precision at the tempo changes.) This is a fine concert work, but not one that is readily available for performance. [D26a, b]

C22.

Martinu, Bohuslav (1890-1959) Czechoslovakia Divertimento: pro klavir levou rukou a maly orchestr, For piano (left hand) and chamber orchestra. Prague: Panton, 1976. Miniature score (85 pages). Composed in 1926. Duration: 20:00. Composed for the one-handed pianist, Otakar Hollmann (18941967), who was injured during the First World War. [CH11]. Introduction by Jaroslav Mihule in Czech, with Russian and German summaries. Three movements: I. Allegro moderato; II.

218

One Handed Andante; III. Allegro con brio. Bright, flashy and technically difficult piano writing supported by thin orchestral textures. Each movement contains cadenzas and requires skill and stamina for the soloist. The second movement opens with a beautiful and warmly expressive piano solo. (University of WisconsinMadison) [D31a]

C23.

Prokofieff, Sergei (1891-1953) Ukraine Concerto No. 4 in B-flat major, Op. 53 for piano (left hand) and orchestra. International Music, Co. Two-Piano score c. 1967, 53 p. Composed in 1931 in Paris. It was written under commission from the Austrian pianist, Paul Wittgenstein who never played it and sent it back to the composer saying: "My thanks for the concerto, but I don't understand a single note of it and I will never play it." The world premiere was given on September 5, 1956 by Siegrfried Rapp, a young German pianist who had lost his right arm during World War II. Four movements: Vivace; Andante; Moderato; and Vivace. While not on a par with the other solo piano concertos of Prokofieff, this work offers a solid, wellconceived and gratifying concert work that is challenging and rewarding. It contains much of the sarcasm and wit that is a signature of the composer. The majority of solo measures are single line passages, written for the most part in constant sixteenth notes. Barbara Nissman wrote about this concerto and the techniques involved in playing it in the Piano Today journal. [B3 and B53] [D40a-k] (Milwaukee, WI Public Library)

C24.

Ravel, Maurice (1875-1937) France Concerto pour la main gauche seule, D major. Paris: Durand et Cie, c. 1937. 97 page score. This is probably the most famous work for the left hand and one of Ravel's greatest masterpieces. In preparing to write this composition for Paul Wittgenstein, Ravel studied many works written for the left hand alone including those by Alkan, Saint-Saens, and Godowsky. It is written in one movement with four contrasting sections: lento, andante, allegro, and lento. A wonderfully colorful work containing superb solo passages and cadenza areas. After a disagreement over the work at the premiere, the dedication was reassigned after Wittgenstein's monopoly which lasted six years had expired. The first performance was given privately in Vienna at Wittgenstein's home with Walter Bricht at the second piano and Ravel in attendance. [B3andB39] [D41a-iandD63a]

Concerted Works C25.

219

Rorem,Ned (1923) USA Piano Concerto for Left Hand and Orchestra, Concerto No. 4. Boosey & Hawkes, c. 1993. "for Gary Graffman." Manuscript full score. From the composer's notes: "...perhaps Concerto is too grand a title, connoting as it so often does a virtuosic struggle between soloist and orchestra. Rather, this is an 'entertainment' shaped like a suite. The eight movements are channeled into three larger sections: Opening Passacaglia, Tarantella and Conversation, each rapid and glittering, comprise the first section, performed with scarcely a pause. All are based on the same 12-note motive-G, C#, F#, D, Eb, Bb, Ab, C, B, A, E, F-and its permutations. (Let me quickly add that this is indeed a motive, not a row in the Schoenbergian sense. My music is profoundly tonal, and so to my ear is all music, tonality being a law of the universe.) Hymn, Duet and Vignette, each slow and moody, form the second section. Hymn is a tune in chords played throughout by the soloist, eventually counterpointed by all the violins in unison, and no one else. Duet stars a single cello accompanied by the piano. Vignette, a single line of the keyboard, is accompanied by winds. Medley and Closing Passacaglia make up the last section—a free-form cadenza based on most of the preceding material merging into a ground-bass (G, Db, F#) proclaimed by the timpani, and growing gradually from a whisper to a roar. The Concerto was composed in twelve weeks, from January 22 to April 20, 1991 in Nantucket and New York City, and orchestrated during the following autumn for two flutes, two oboes, two clarinets in B-flat, two bassoons, two horns in F, two trumpets in C, two trombones, timpani (in the 8th movement only), bass drum, snare drum, tenor drum, tom-toms, triangle, gong, glockenspiel, anvil, metal plate, cymbals, chimes, slapstick, vibraphone, celesta, harp, and strings." Imaginative percussion battery. Thin orchestration. This is a wonderfully interesting and unified work that holds the listener's attention through all of the movements. Written for Gary Graffman and premiered in 1993. The commissioning of the concerto by the Curtis Institute of Music was made possible by grants from the Irving S. Gilmore International Piano Festival, the National Endowment for the Arts, and the Stockton Rush Bartol Foundation. (LOC) [D45a]

C26.

Schmidt, Franz (1874-1939) Austria Concertante Variationen iiber ein thema von Beethoven fiir

220

One Handed Klavier mit Begleitung des Orchesters. Wien: Konzertdirektion Georg Kugel, c. 1926. Score is 95 p. Dedicated to Paul Wittgenstein who premiered the work on February 2, 1924. This difficult work requires complete technical control from the pianist. There is a wide variety of tempos for the variations with a slow introduction preparing the entrance of the scherzo theme taken from the third movement of the "Spring" Sonata, Op. 24 #5. Important and passionate cadenza passages. Quiet ending. (The orchestral theme of this work is excerpted in the Appendix of Volume I of Paul Wittgenstein's Schule fiir die linke Hand.) (University of California at Santa Barbara) [D47a]

C27.

Klavierkonzert, E-flat. Piano Concerto No. 2. One hand version published in manuscript, 1934. Two hand version by Friedrich Wtihrer. Vienna: Universal Edition, c. 1952. 38 minutes. 112 p. Dedicated to Paul Wittgenstein who gave the premiere on February 10, 1935. Three movements: I. Allegro moderato un poco maestoso; II. Andante: III. Vivace. This is a very aggressive, passionate work requiring secure technique and bold presentation. The harmonic structure is that of the late Romantic period or early twentieth century, somewhat reminiscent of Richard Strauss. Standard concerto forms with a double exposition in the first movement, lyrical and chromatic second movement, and a bristling third movement with a long cadenza. (University of Maryland)

C28.

Schuller, Gunther (1925) USA Concerto for 3 Hands. Written for Lorin Hollander and Leon Fleisher on a commission from the Springfield Symphony Association. Premiered 1990. Five movements which are performed without pauses between. Foss states: "The two pianists are accompanied in the five movements first by percussion alone, in the second movement woodwinds, in the third strings, the fourth brass, and in the fifth movement, at the very end, the full orchestra...The fifth movement is in effect a cadenza for the left-handed pianist."

C29.

Schutt, Eduard (1856-1933) Austria Paraphrase fiir pianoforte linke Hand und Orchester. Performed on June 27, 1929 by Paul Wittgenstein. (INS)

C30.

Skerjanc, Lucijan Marija (1900-1973) Slovenia Konzert za levo roko in orckester. Ljubljana, Slovenia:

Concerted Works

221

Drustvo slovenskih skladateljev, 1967, Full score 125 p. A fine concert work in four movements: I. Lento, begins with the piano in the first measure; II. Calmo e sentito; III. Allegretto; IV. Moderato rapsodico—allegro ruvido, the piano part begins "improvisando" in the style of a Hungarian Lassan and ends with a lot of pizzazz. Each movement contains some free cadenza-like material. The textures are thin for the orchestra as well as the piano. Light scoring predominates. The solo part is linear rather than filled with thick chords and octaves. Chromatic writing, but with tonal direction. Not as difficult as some of the other concertos for left hand and orchestra. (University of Wisconsin-Milwaukee) C31.

Sosa, Raoul (1939) Argentina/Canada Concerto pour la main gauche et orchestre h cordes. Montreal, Quebec: Centre de musique canadienne, 1989. Score reproduced from the manuscript. 85 p. Duration: 28:00. Three movements: I. Allegro molto; II. Adagio; III. Allegro. First presented on February 2, 1992 by I Musici de Montreal and with the composer at the piano.

C32.

Strauss, Richard (1864-1949) Germany Panathenanzug: Sinfonische Etuden in Form einer Passacaglia fiir Klavier (linke Hand) und Orchester, Op. 74. London: Boosey & Hawkes, c. 1953. Score is 168 p. Duration: 25:00. There is a Maestoso introduction followed by a cadenza and then a set of 11 joined variations all with the same continuously repeating bass line and each marked by a tempo change. Strauss created a rich tapestry of color and texture, but the work is enormously difficult and laborious in length for the pianist. It was not dedicated to anyone, but was performed by Wittgenstein and recorded by Leimer. (San Jose State University) [B3] [D57a, b]

C33.

Parergon zur Sinfonia domestica fiir Klavier linke Hand und Orchester, Op. 73. London: Boosey & Hawkes, c. 1964. Score 109 p. Duration: 18:00. Dedicated to Paul Wittgenstein. "Parergon" appears to be a word that Strauss invented himself from the Greek roots which means an "off-shoot." This is a multisectioned, one movement work. A slow, Langsam und schleppend, introduction with piano cadenza leads to the main body of the work which is constructed with a series of alternating tempos: Frohlich bewegt—Sehr lebhaft—Frohlich bewegt—Sehr schnell. Each section involves a meter change as well. Strauss refers to a theme from his Sinfonia Domestica. Requires complete control.

222

One Handed Once the piano enters, it plays almost continually. The orchestration is thick and includes some doubling of the piano themes. This is a bold and rhythmically exciting work with a strong ending. (Philadelphia, PA Free Library) [B3] [D58a-e]

C34.

Tansman, Alexandre (1897-1986) Poland/France Concert Piece for Pianoforte Left Hand. Written for Paul Wittgenstein, c. 1943. Wittgenstein states in a May 2, 1994 article in Musical America: Before I commissioned this work I made sure that the style of the composer would be congenial to my own method of performance. I found that Tansman's modernism of the more conservative type, made me feel at home. During the period of its creation we studied the music thoroughly. We got to understand one another very well. In fact, I feel that I have absorbed the composer's idiom thoroughly and am confident that the public will find the work very interesting."

C35.

Weigl,Karl (1881-1949) Austria Concerto for the left hand. New York: American Composers Alliance, 170 W. 74th Street, New York, N. Y. 10023, c. 1924. Two-piano reduction. 55 p. Reproduced from manuscript which is very difficult to read. Three movements: Allegro; Adagio; and Rondo: Allegro. Cadenza in the first movement. The second movement accelerates into the third without stopping. Traditional harmonies and forms. The solo part contains many octave passages in bravura style as well as octave passages where the melodic interest is reinforced for augmented depth of sound. A bold and difficult concert work with a walloping ending.

C36.

Zichy, Geza (1849-1924) Hungary Konzert in E-flat major. Wien: Albert J. Gutmann. New York: G. Schirmer, 1895. Two piano score. 49 page score. Dedication: u Ihrer Kaiserlichen und Koniglichen Hoheit Durchlauchtigsten Frau Erzherzogin Isabelle — in tiefster Ehrfurcht gewidmet." Three movements: I. Energico; II. Andante al Ongarese; III. Allegro con brio. This is presumably the first concerto composed for one hand and orchestra. Large in scale and enormous in virtuosic demands on the pianist. There are many passages of solo writing for the piano in all three movements. And while the orchestra often accompanies the piano, in many ways, this is more of a dialogue between the two. The second movement is fascinating, "al Ongarese" Passages of instrumental color perhaps imitating the gypsy violin or cymbalon. The last movement is a

Concerted Works

223

rollicking 6/8. Throughout Zichy uses thick chords, broken often between the clefs, tons of octaves, and athletic virtuosity. Very difficult. (Oster Nationalbibliothek, Vienna, Austria)

PIANO AND OTHER INSTRUMENTS INCLUDING VOICE CHI.

Aguila, Miguel del (1957- ) Uruguay/USA Fantasie for cello and piano, Op. 10. 1986. (INS)

CH2.

Burlesque for flute and piano (for the left hand). American Music Center, 30 W. 26th Street, Suite 1001, New York, New York 10010-2011. 15 pages of not-so-clear manuscript, 1986. A multi-sectional work with many tempo changes, interesting timbres, driving rhythms, tricky unison passages, wide dynamic levels, and clever dialogue between the instruments. Both parts require expertise and complete control. The piano part lies predominantly in the bottom half of the keyboard and utilizes many glissandi, clusters, synthetic scales, and ostinato patterns. This is an adaptation of the Fantasie for cello and piano. A moderately difficult and interesting concert piece.

CH3.

Appleton, Michael J. Sonata for viola and piano (left hand). Anglian New Music Series 8. London: Thames Publishing, 14 Barlby Road, London, W10 6AR, c. 1973. Score 8 pages and viola part. Reproduced from manuscript. Composed in 1967. G minor. Basically twopart writing with each part conversing one with the other. There are also some melody and accompaniment passages and some cadenza areas. Frequent meter and tempo changes within movements which flow from one to the next without stopping. A slowfast-slow-fast arrangement of tempos with many gradations in between. Complicated meters and rhythmic groupings. Large dynamic contrasts from/? - ffff. Nominally in G minor, but with many interesting deviations such as in the middle "movement" where the two parts are written in different keys. Pedaling and half-pedaling needed. An interesting and useful concert work. (Northwestern University)

CH4.

Bach, Johann Sebastian (1685-1750) Germany Sonata in F minor for Violin and Piano: Third Movement. 6 p. This slow movement has been transcribed by Wittgenstein for

224

One Handed violin and piano left hand. He has carefully provided fingerings and pedal suggestions. This would be a challenging but very satisfying chamber work. [All]

CH5.

Brahms, Johannes (1833-1897) Germany An die Nachtigall, Op. 4 #4. 4 p. This great lied is printed with the original German text and an English translation by Paul England in the Wittgenstein School for the Left Hand. It has been edited so that the accompaniment can be performed by the left hand alone. Wittgenstein gives careful fingering suggestions and pedal marks. It is true to the original and could be satisfactorily performed by a very experienced pianist. [All]

CH6.

Bricht, Walter (1904-1970) Austria/USA Bricht was a professor at Indiana University. As a young student he was the assistant to and "musical son" of Franz Schmidt. [C26, C27, CH27-29] Variations on a Folk Song for piano, flute, and cello, composed 1942. Written for Paul Wittgenstein. Not published. (INS)

CH7.

Calabro, Louis (1926-1994) USA In(ter)vention. For piano right hand and timpani. Written for Lionel Nowak. (INS)

CH8.

Chopin, Frederic SEE Voytek Matushevski [CH20]

CH9.

Escot, Pozzi Olga (1933) Peru/USA Interra II: for piano left hand and pre-recorded pianoforte. Cambridge, MA.: Publications Contact International, 1980. Reprinted Bryn Mawr, PA: Hildegard Publishing Co., c.1992. 9 p. Duration: 6:00. Commissioned by John Felice and dedicated to Basia. "Live" and simultaneous tape performance, recorded ahead and to be balanced with the live performance. This second printing has 11 pages of performance score with an additional 10 pages showing the work in its original graphic notation, the original score. Intriguing. (Cincinnati Conservatory of Music)

CH10.

Gil, Hans (1890-1974) Austria/Scotland Quartet for piano and strings, Op. 13. Performed by Wittgenstein in 1928? (unpublished). Also arranged for two hands and strings and published in Berlin by N. Simrock. B major. Four

Concerted Works

225

movements: I. Allegro energico, un poco sostenuto; II. Andante con moto; III. Agitato; IV. Allegro vivace. A thickly textured, complex work in late Romantic sound, harmony, and style. Solid effective composition from a thoroughly trained musician. (LOC) CH 11.

Janacek, LeoS (1854-1928) Czechoslovakia Capriccio pro klavir (levou rukou) a dechovy soubor. Prague: Sratni Nakladatelstvi Kr&sne Literatury, Hudby a Umeni. Second publishing: Prague: Supraphon, 1979. Also available in miniature score from the same publisher. 53 p. This edition has background notes about the work and Jan&cek by Jarmil Burghauser. Composed in 1926 and then first published in 1953. Scored for flute (alternating with piccolo), trumpet I-II, tuba, trombones I-III and piano (67 pages) and 7 parts total. Duration: 17:00. Dedicated to the Czech pianist Otakar Hollmann who during the first world war returned from the front with his right arm paralyzed [C22]. Janacek did not want to write a special work for Hollmann, but finally consented. First performed by Hollmann and members of the Czech Philharmonic Orchestra, conducted by Jaroslav Ridky on March 2, 1928 in Smetana's Hall in Prague. Four short movements: Allegro, Adagio, Allegretto, and Andante. Each is technically difficult for the pianist and treats all of the instruments equally as a true concerted chamber work. The scoring could be clumsy and difficult to balance, though. Some passages are printed with optional small notes because of the technical demands written for the pianist. A welcome concert work with lots of sparkle and interesting sounds. (University of Kentucky) [D22a-h]

CH12.

Knorr, Ernst-Lothar von (1896-1973) Germany * Intermezzo for piano and violin. 3 p. An original work for violin and piano one-hand. A peaceful, three-part work. Traditional harmonies. The middle section is slightly more agitated. The return of the first section is amplified by a thicker accompanying part. Important accompaniment figures support the melodic line in the violin. Fingering suggested for left or right hand. Intermediate level. [A5].

CHI3.

Koetsier, Jan (1911- ) The Netherlands Introduction et follatrerie; avec un theme pour flute, hautbois, clarinette, basson, et piano pour la main gauche (Sextuor), Op. 31 No. 5a. Amsterdam: Donemus, c. 1961. 19 p. Dedicated to

226

One Handed Cor de Groot. Reproduced from the composer's manuscript. The Introduction is solemn, strong and powerful. Chordal writing in the instrumental parts is contrasted with arpeggiated cadenza-like passages for the piano. The Theme, stated in single tones by the piano, is quiet and free, marked "Liberamente, quasi improvisandoP The follatrerie is one continuous section punctuated by frequent tempo and meter changes with each segment marked attacca to the next. The work builds to a resounding maestoso climax. Most of the piano writing is linear in texture and very busy. The pianist frequently serves as the soloist in the various sections, but not to the exclusion of considerable interplay between all of the parts. This is an interesting and substantial contribution to the ensemble literature. (Michigan State University)

CH14.

CH15.

Korngold, Erich Wolfgang (1897-1957) Austria/USA Suite fiir 2 Violinen, Violoncell und Klavier (linke Hand), Op. 23. Mainz: B. Schotts Sohne, c. 1930. Score 68 pages. Dedicated to Paul Wittgenstein. Duration: ca. 38:00. Five movements: I. Praludium und Fuge, the solo piano declaims the opening with dramatic, jagged passagework, building to a climax where the strings enter and then quiet things down just before the beginning of the somber, chromatic, twisting D minor fugue subject . This potent movement ends with reminiscences of the opening Praludium. Movement II. Walzer is a three-part form, Viennese in sound and poetic in nature with its moderate, flexible waltz tempo. III. Groteske is a scherzo and trio. It is rhythmically exciting, with frequent meter changes, a biting, quirky theme, and high level driving emotion. The trio section affords a strong tempo and mood contrast. IV. Lied, in F-sharp major, is peaceful, introspective, and very profound. It grants a calm respite from the driving emotions of the other movements. V. Rondo-Finale (Variationen), the folksong-like theme undergoes a number of transformations and builds to a joyous, noble ending. Throughout the entire work the writing is technically demanding for the pianist, but well suited to each instrument. Korngold precisely marks dynamics, articulations, and musical nuances. Suggestive of the style of Max Reger. This is a powerful, finely crafted work that completely involves the performers and listeners. (Denver, CO Public Library) [D25a and D55a] Piano Quintet in E major, Op. 15. Mainz: B. Schotts Sohne, c. 1924. Written for Paul Wittgenstein. (The two-handed version is dedicated to Gustinus Ambrosi). Three movements: I. Mdssiges

Concerted Works

227

Zeitmas, mit schungvoll bliihendem Ausdruck; II. Adagio; III. Finale. The second movement is a set of free variations on "Lieder des Abschieds, Op. 14" Brahmsian in texture, but more adventuresome harmonically. Big powerful and very demanding. (LOC) CH16.

Labor, Josef (1842-1924) Austria Piano Trio in E minor for viola, clarinet and pianoforte. First performed January 25, 1932. Written for Paul Wittgenstein. (INS)

CH17.

Piano Quartet in C minor, Op. 6. Written for Paul Wittgenstein and first performed January 9, 1917. (INS)

CHI8.

Divertimento for pianoforte, flute, oboe, viola, and cello in C minor. Written for Paul Wittgenstein and first performed March 18, 1932. (INS)

CHI9.

Sonata in E major for pianoforte and violin. Written for Paul Wittgenstein and first performed January 9, 1917. (INS)

CH20.

Piano Quintet in D major, Op. 11. No date. (INS)

CH21.

Matushevski, Voytek (1939) Vocalise for mezzo-soprano (or a dramatic soprano) and piano (left hand alone). A self-published manuscript reproduced from the holograph, 1990. 2 p. This is an arrangement of the Frederic Chopin Nouvelle Etude No. 1 in F minor. Somewhat reminiscent of the Rachmaninoff Vocalise. (LOC)

CH22.

Nowak, Lionel (1911-1995) USA Seven Songs from The Diary of Izumi Shikibyu (10fh-llth century). For medium voice and piano. Translation by Willis Barnstone. Written for my wife, Laura, on the occasion of her birthday anniversary. February 25, 1982. 12 pages of composer's manuscript. No titles, but each has a tempo and metronome marking: I. Slowly and quietly; II. With inward restlessness; III. Freely, but not hurried; IV. with questioning assurance; V. ca. 120 for the quarter note; VI. Disturbedly; VII. Measured. Each song is brief and very sparse in texture. Nowak seems to have effectively captured the Oriental feeling using a minimum of means and a simple, clear starkness. He marks some fingerings and sug-

228

One Handed gests pedal as well. The piano part is written on a single staff and never requires more than two notes at a time.

CH23.

Nowak, Alison (1948) USA Setting out: for two violins and piano (r.h.). 7 p. Composers Facsimile Edition. New York: American Composers Alliance, c. 1985. Duration: 5:00. Contemporary in style. Three individual instrumental parts with some interplay and dialogue. Includes occasional unison playing for the two violins. Wide keyboard range. Accidentals apply only to the measure where they occur. Pedaling marked. Intermediate difficulty but with many intricate rhythms.

CH24.

Patero, Jean France Quatre-vingts etudes-ddchiffrages: pour la flute en cinq cahiers progressifs avec accompagnement de piano ad libitum, main gauche seulement. Paris: A. Leduc, 1974. Five volumes. [80 sight-reading studies for flute in five progressively arranged books with piano accompaniment ad libitum, left hand only.] Patero was Professeur a I 'Ecole Rationale de Musique de Troyes. The one-handed accompaniments supply, at times, chordal structures and harmonies and at other times, imitative dialogues with the flute lines. The exercises are never more than two pages in length. The flute part is printed by itself and also as a part of the grand staff in the piano book. A few of the lengthier studies could be used as short program pieces. The accompaniments are never more than lower intermediate difficulty. No fingerings or pedal markings are given. (University of Arkansas)

CH25.

Petersen, Dori (1860-1944) Germany *Au clair de la lune. Unpublished. For woman's voice with accompaniment for right hand (or left hand) alone. 1 p. The words are attached. Petersen was pupil of Franz Liszt. This work is among the papers of the Carl V. Lachmund Collection at the New York Public Library for the Performing Arts. Lachmund, also a pupil of Liszt and a diarist of his experiences, kept this fragment which had been torn into 3 pieces. On the manuscript are two notes: Variations de la celebre pianiste Dori Petersen ad libitum. F. Liszt.: and "Premier essai de copie de la meme celebre pianiste Dori Petersen"

CH26.

Popp, Wilhelm (1828-1902) Germany Bagatelle for flute and piano (one player). New York: Oxford

Concerted Works

229

University Press, c. 1980. Edited by John Solum. 2 p. Dedicated to Eugene Weiner. The flute line is played with left hand; piano line is played with right hand. But could be done by two players. Written at the end of last century. Simple and engaging gavotte-like melody with chordal accompaniment in G minor. Notes concerning the work, the composer, and the instructions for performance are added by John Solum. Lower intermediate difficulty with some larger chords, long scale passages and arpeggios. (Indiana University) CH27.

Schmidt, Franz (1874-1939) Austria Quintett fiir Klavier, 2 Violinen, Viola, und Violincell. G major. Unpublished. Dedicated to and commissioned by Paul Wittgenstein. Duration: ca. 38:00. Two-hand version by Friedrich Wtihrer. Vienna: J. Weinberger, c. 1954. Score 76 pages. Written in 1926, then premiered in 1929. Four movements: I. Lebhaft, dock nicht schnell; II. Adagio; III. Sehr ruhig-Lebhaft; III. Sehr Lebhaft. Rich, intricate writing in the style of Reger or Brahms. Finely crafted and filled with interesting melodic and harmonic material. There is intense interplay and dialogue as well as interdependence between the quartet and the piano. This is a beautiful and thoroughly absorbing work. (University of Illinois at Champaign-Urbana) [D48a and D55a]

CH28.

Quintett fiir Klavier, Klarinette, Violine, Viola und Violoncello. Wien: Josef Weinberger Ltd., c. 1959. Score 109 p. A major. This work, originally written for the left hand only, was dedicated to Paul Wittgenstein. The one handed version is not in print. The arrangement for two hands was made by Friedrich Wtihrer at the special request of the composer. I. Allegro moderato; II. Intermezzo: lento (for piano solo only, quartet tacet); III. Scherzo: Molto vivace; IV. Adagio; V. Variationen iiber ein Thema von Josef Labor. Allegretto grazioso. Carefully written work. Late Romantic in flavor and harmonic structure. Demanding technical requirements for all instruments. The Second Movement, Intermezzo, could be a fine solo piano work by itself (7 p.). This movement presents a chorale-style theme that is embellished with triplet figuration above and below. (Indiana University)

CH29.

Quintet in B-flat for Piano, Clarinet, Violin, Viola, and Cello. Wien: Josef Weinberger Ltd., c. 1954. Score 72 p. Originally dedicated to Paul Wittgenstein. The arrangement for two hands

230

One Handed was made by Friedrich Wuhrer. I. Andante tranquillo; II. Lento-Allegro vivace—Lento—Allegro vivace—Lento; III. Allegro ma non troppo. A highly interesting work and another major contribution to the literature. (University of Washington)

CH30.

Schroeder, Hermann (1904-1984) Germany Capriccetto for piano and violin. 2 p. An original work for solo violin and one-hand piano. A good humored and quite entertaining dialogue between the two instruments. Fingerings suggested for either hand. Pianist needs easy facility over the entire keyboard. Intermediate level. [A5].

CH31.

Schuller, Gunther (1925) USA Sextet for Left Hand Piano and Woodwind Quintet. New York: Associated Publishers, Inc., 1994. Manuscript score reproduced from holograph. 49 p. Four movements: I. Prelude; II. Arioso; III. Scherzo (Plaisanterie); IV. Toccata. This is a largescale, concert work in which the piano acts most often as a member of the ensemble, but occasionally has solo cadenza passages that lift if from this ensemble texture. Much of the writing is linear and thin with single notes and instrumental-like lines. Overall a complex piece that would require expert instrumental and pianistic resources to perform. (Bowling Green State University).

CH32.

Sosa, Raoul (1939) Argentina/Canada Sonate pour violon et main gauche. Montreal, Quebec: Centre de Musique Canadienne, 1992. Score reproduced from the manuscript. 28 p. First performed by Martine Desroches, violin with the composer at the piano on October 23, 1992. Sonate pour violoncelle et piano main gauche. Montreal, Quebec: Centre de Musique Canadienne, 1995. Score reproduced from the manuscript. (INS)

CH33.

Unger, Hermann (1886-1958) Germany Romanze. Violine und Klavier zu 1 Hand. 3 p. A quiet, expressive Andante centering around G minor/major. Traditional harmonic structure with some chromaticism. This is an original work for this instrumental combination. The accompaniment requires easy facility in playing thirds, sixths, and chords, as well as fluency in moving quickly all over the keyboard. The piano accompaniment is important and beautifully conceived. Builds to a powerful climax. Upper Intermediate difficulty. [A5].

Concerted Works CH34.

231

Walker, Ernest (1870-1949) Great Britain Variations on an Original Theme for Pianoforte, Clarinet and String Trio. Composed in 1933 for Paul Wittgenstein and first performed on March 8, 1935. Unpublished? (INS)

ANTHOLOGIES - THREE HAND, FIVE HAND, SEVEN HAND CElp.

An All-American Gathering. Eleven Play Along Songs Arranged for the Elementary Pianist with Lots of Helpers. New York: Carl Fischer, Inc. c. 1983. Good-naturedly arranged by Lynn Freeman Olson. Most of these pieces require at least three pianists and three other musicians to play various rhythm parts with triangle, tambourine, drum, finger cymbals, wood block, cymbals, sand blocks or suggested substitutions for these instruments. The pianists may all sit at one piano if necessary. Each arrangement has two piano parts that can be managed by the one-handed pianist. Length of pieces is between 2 and 4 pages each. All parts are shown on each page. Some include lyrics. Only a few suggestions forfingeringare provided. Upper elementary. Down by the Station Home on the Range Yankee Doodle Hush, Little Baby Camptown Races ~ Stephen Foster You're a Grand Old Flag - George M. Cohan Hawaiian Boat Song America ~ Carey When the Saints Go Marching In Red River Valley El Capitan ~ John Philip Sousa

CE2p.

Bach for Piano Ensemble. Rockville Centre, NY: Belwin/Mills Publishing Corp. c. 1971. This is a supplementary volume to the David Carr Glover Piano Library Level Four. These are clever arrangements by George Lucktenberg in collaboration with David Carr Glover of some well-known Bach favorites from the Notebook for Anna Magdalena Bach. "This version may be performed by two players, each reading both parts on a page; or three, the teacher or a more experienced pupil at one piano and two players at the other; or as quartets with one player for each part. In the last case (four or more), stems up

232

One Handed mean Right Hand, stems down mean Left Hand." While these are designed for two-handed pianists, a one-handed pianist can play all parts. Each contains suggested fingerings, articulations, and rehearsal numbers. Upper elementary difficulty. Musette D Major Minuet IG Major Minuet II G Minor Minuet III G Major Minuet IV A Minor Minuet V C Minor Polonaise G Minor

CE3p.

Dances of the Young Republic. Chapel Hill, NC: Hinshaw Music, Inc. c. 1977. Arranged by Anne McClenny Krauss and Maurice Hinson. This volume contains, among other pieces, four Trios and two Quartets that have at least one part which is playable by one hand alone. These are simple dances in simple forms based on lively tunes with elementary harmonizations. Between two and four pages each. Each has some suggested fingerings and the annotated Table of Contents contains brief program notes by the arrangers. Upper elementary to lower intermediate difficulty. The Constitution - Alexandre Reinagle The Chesapeake — Alexandre Reinagle The Virginia Reel — Anonymous Paddy Carey ~ Anonymous Cotillions: Set 7: March in Rob Boy Country -- Francis Johnson The Campbells Are Comin' — Anonymous

CE4p. A Folk Gathering. 15 Play-along Songs arr. for the Elementary Pianist with Lots of Helpers. New York: Carl Fischer, Inc. c. 1982. Dedicated to Mary Louise Reilly. Enjoyable arrangements for students by Lynn Freeman Olson. Each requires three pianists (all of whom may play on one piano) and three musicians to play the various rhythm parts with triangle, tambourine, drum, finger cymbals, wood block, cymbals, sand blocks or suggested substitutions for these instruments. All are between 2 and 4 pages in length. Two of the three piano parts are manageable by the one-handed pianist. Some include lyrics. Only a few suggestions for fingering are provided. This Old Man The Ash Grove Donkey Riding Morning Has Broken Clap-hands Dance

Concerted Works

233 Kum-ba-yah Train's Off the Track Sakura 'Round Her Neck She Wore a Yellow Ribbon Rowing Medley Four in a Boat Down in the Valley The Yellow Rose of Texas On Top of Old Smoky Love Somebody

CE5p.

Paraphrasen iiber ein einfaches Thema: 24 Variations & finale on "Chopsticks" for piano, 3 hands. C£sar Cui, Anatol Liadov, and Nikolai Rimsky-Korsakov. Frankfurt: M. P. Belaieff, c. 1959. Edited by Alexander Tcherepnin. Also available in The Complete Works of Nicolai Rimsky-Korsakov: Piano Ensembles, Volume, New York: Belwin-Mills Publishing Corp., c. 1981. 8 or 10 p. This edition contains lengthy and interesting quotes from Rimsky-Korsakov and notes about the work in the introductory pages. uDediees aux petits pianistes capables d'executer le theme avec un doigt de chaque main.''' The theme, for the Primo part, is the same 4 measures repeated over and over again, somewhat like Chopsticks. "Repeated over and over again, this motif was intended, so to speak, for some one who is unable to play piano, while the accompaniment called for a real pianist." The duple meter theme and each variation is 8 measures long. There is a wide variety of moods, tempos, and harmonies. Variations 1, 2, 6, 11, 12, 13, 16, and 19 were composed by Rimsky-Korsakov. Variations 3, 5, 8, 17, 18, and the Finale were composed by Cui. Variations 4, 7, 9, 10, 14, 15, 20, 21, 22, 23, 24 were composed by Liadov. These three composers wrote intriguing duet parts. They build to a big climax and then die away to the close. Each of the variations is identified by composer name. The Secondo part needs complete pianistic skills and a two-handed pianist. Surprisingly the effect of the two parts together is really very musically satisfying. [SEE Borodin, Cui, Liadov, RimskyKorsakoff, and Stcherbatcheff in this chapter.]

COMPOSER ENSEMBLE MUSIC - THREE HANDS, FIVE HANDS CE6.

Alkan, Charles Henri Valentin (1813-1888) France Impromptu sur le choral de Luther, "Un fort rempart est notre Dieu," piano k pedales ou a trois mains, Op. 69. Nouveau

234

One Handed edition by Elie Miriam Delaborde (the son of Alkan) and Isidore Philipp. 35 p. Paris: Costallat.

CE7. Treize pri&res pour orgue: piano h 3 mains ou clavier k pedales, Op. 64. Nouveau Edition from the series Oeuvres choisies revue par Philipp and Delaborde. Elie Miriam Delaborde and Isidore Philipp. 77 pages. Paris: Costallat, 18??. CE8.

Preludes et Prteres. Choisis et arranges pour orgue by C6sar Franck. Ten works in three books. Gerard Billaudot, Editeur. Paris: Costallat, 189?. All of these works are really only organ or pedal piano scores. The catalogues say they are for organ, pedal piano, or piano three hands, but the effect is basically that of playing organ music with the one handed performer playing the pedal part which for most of the time is relatively uninteresting. This is the same situation as in the Robert Schumann Skizzen [CE78] and Studien [CE77]. The music is similar to much of the late Romantic French organ school writing, such as Franck, Guilmant, or Dubois. (Smith College, Werner Josten Library, Northhampton, Massachusetts 01063)

CE9p.

Alt, Hansi Magdalen (1911- ) Austria/USA The Cat Sat on a Chair of Gold (Ensemble Folk Music for Group Piano). (The Cat Sat on a Chair of Gold; Lady Jane; The Lark; Song of the Sun; The Grasshopper; Oh, Dear Mammy!; Jonathan Jones; The Pot of Beans; King Dagobert; Skip to My Lou. Arrangements and English Translations by Hansi Alt. Philadelphia: Theodore Presser, c. 1972. "To Doris Chase." Drawings by Gail Mercey, Assistant Curator of Decorative Arts, William Penn Memorial Museum, Harrisburg, Pennsylvania. This is a pedagogical ensemble anthology of ten ensembles for one to three pianos and four to twelve hands. Each ensemble is 2 pages in length. In all of them at least one part is playable by one hand and in several, three of the parts are usable by the one handed pianist if the interval of an octave can be played. All of the ensembles can be performed by five hands. Written especially for children for use in group piano instruction, the texts for each of the folk songs is printed above the melody line for singing or other study. Somefingeringsuggested. Upper elementary level. (University of Illinois at Champaign-Urbana)

Concerted Works

235

CE10.

Bach,P.D.Q. (1807-1742) USA Liebeslieder Polkas for Mixed Chorus and Piano Five Hands, S 2/4. Lovingly edited by Prof. Peter Schickele. Composed 4/17779, Brooklyn, Calgary, Denver, TWA 388, Woodstock. Revised 7 September 1979. Program notes included. Each is published separately in folio by Theodore Presser, Philadelphia with the exception of numbers 8 and 9 which are published together, c. 1981. 66 pages of manuscript. "The discovery of this work was commissioned by the California University, Hayward University Singers." There are ten polkas in this work. Nine of the polkas have texts based on Andrew Marvel, Robert Herrick, Christopher Marlowe, Sir John Suckling, William Shakespeare, Ben Jonson, and John Dryden, which have been adapted by P. D. Q. Bach. To His Coy Mistress; To the Virgins, To Make Much of Time; The Passionate Shepherd to His Love; Why So Pale and Wan?; It was lover and His Lass; The Constant Lover; Song to Cecilia; Interlude; Farewell, Ungrateful Traitor; Who is Sylvia? In all of the works the fifth hand is marked by a circled number 5 sometimes on the primo staff, sometimes on the secondo staff, and sometimes on a staff of its own. The fifth hand belongs to a third pianist who also turns the pages and moves around as necessary to play the upper or lower registers of the piano. In Number 5 the fifth hand plays a birdwhistle and cowbell and in Number 7 the pianist plays a glockenspiel. This would be a wonderfully fun work to perform with singers. Number 8, Interlude, is a rollicking work, useful as a piano ensemble with no singers involved and could stand alone. Intermediate level. (Swarthmore College) [D46a]

CE11.

Beethoven, Ludwig van (1770-1827) Germany *Yorckscher Marsch. 2 p. A transcription for three hands of this March from 1809. Primo part is performed by one hand. Fingerings provided for either hand. Solid, stately march. Would be very effective as a duet. Requires good octaves and thirds. Lower intermediate difficulty. [A5].

CE12p.

Beaujean, J. Das Erste Bach-Buch, fiir Gruppenunterricht und geselliges Spiel am Klavier. Heinrichshofen. Easy arrangements. (INS)

CE13p.

Bertini, Henri Jerome (1798-1876) France Walse pour pianoforte £ 1 1 Doigts ou a Trois mains. Paris: Omont. (HOF 1828:514) (INS)

236

One Handed

CE14p.

Bialas, Gttnter (1907-1995) Germany Klavierbuch: fiir drei bis sechs Hdnde. 32 p. Basel: Barenreiter Kassel, c. 1988. Written over a period of years between 1937 and 1987. Duration: 15:00 total. Twelve gentle, clever pieces for teaching. Only ten of the works are suitable for a one-handed pianist without some adjusting. Nos. Ill Landler and No. VII Dudelsack require two handed performers. A wide variety of styles and rhythms. Upper elementary to lower Intermediate difficulty. No fingerings or pedalings marked. (NYPL) I. Polka, 1 p. C major. Primo 1 hand (octaves only), Secondo 2 hand II. Melodie, 1 p. C major. Same as above. IV. Kleiner Marsch, 1 p. F major. Single notes. V. Walzer, 2 p. For four hands, 2 on Primo and then two one handed parts below in the accompaniment. VI. Geschwindmarsch, 3 p. Octaves only in Primo, 1 or two hands, Secondo, two hands. VIII. Perpetuum mobile, 2p. Same as above. IX. Gelaut (eine rhythmische Etude), 1 p. Primo, one hand single notes. Secondo, two hands. Larger range; more difficult than the others. X. Marsch, 3 p. C major. Two single handed Primo parts and a twohanded Secondo. XI. Grosses Gelaut (rhythmische Etiide), 2 pages. Primo, twohanded with two one-handed Secondo parts below. XII. Galopp, 5 p. A two-handed Primo with two one-handed Secondo parts below.

CE15p.

Billings, William (1764-1800) USA Chester arranged by Phyllis Gunther for Two Pianos—Eight Hands or Multiple Keyboards and Performers. Melville, NY: Belwin Mills Publishing Corp., c. 1975. Gunther includes a brief biography of Billings and the three-stanza text of Chester. Each part is three pages in length. While not specifically designed the for one-handed performer, this work can easily be adapted. The Primo-piano I part is completely playable if the performer can manage moderate-tempo octaves. The three other parts could be divided between the staves. A different performer playing each staff. All are only upper elementary difficulty. Some fingerings and pedalings (damper and una cordd) are given.

Concerted Works

237

CE16.

Borodin, Alexander (1833-1887) Russia Polka 2 p; Marche Funebre 1 p; Requiem 2 p; Mazurka 1 p. Frankfurt: M. P. Belaieff, c. 1959. The theme, for these very easy Primo parts, is the same 4 measures repeated over and over again, based on the children's song, the Cutlet Polka resembling our Chopsticks. The rhythms and notes never vary even if the meter is different in the Secondo part. The Secondo part for each of these pieces is interesting and colorful and requires a twohanded pianist. The effect of the two parts in concert is surprisingly satisfying. The music for the Polka and Mazurka are printed along with an article by Joseph Smith recounting the story of these pieces in the music journal, Keyboard Classics and Piano Stylist (July/August, 1994): 51-54. Katonah, NY: 223 Katonah Avenue. [Paraphrasen CE5p and Rimsky-Korsakov CE66]

CE17.

Brahms, Johannes (1833-1897) Germany *12 Walzer. 15 p. total. Three-hand transcriptions of some of the Waltzes from Op. 39 placed in a slightly different order. All except No. 3 require a two-handed Secondo player. No. 3 has the one-handed part arranged for the Secondo part. Fingerings are suggested for either hand. These would be just as convincing in performance as the original four-hand duets and need all of the skill of the originals. Upper Intermediate difficulty. [A5]

CE18p.

Brand, Theo Das Gassenbub und was Er elebt fiir Klavier zu drei und vier Handen. Koln: Musikverlag Hans Gerig, c. 1958. 4 p. This is a set of easy student variations on the theme known in the United States as Lightly Row. There are seven two-line pieces. Some of the variations (I, II, III, IV, V, VII) can be managed with one hand if the student performer can manage an octave. All of the Secondo parts need two hands. No pedal is given. Some pedaling is marked. Differing moods. Some fun rhythms. Upper elementary. Similar to the ensemble by Dietrich Erdmann. (NYPL) [CE31]. I. Huepfend II. Nachdenklich III. Eigensinnig IV. Freeh V. Rechttraurig VI. Sehr sonderbar VII. Ausgelassen

238

One Handed

CE19p.

Vogelhochzeit. Koln: Musikverlag Hans Gerig, c. 1958. 4 p. A set of easy student variations based on a cute folk melody. The words are printed under the theme. A chorus, the Vogelchor, is interspersed between the variations. The Primo is within one octave so it could be managed with one hand. All Secondo parts require two hands. Some fingerings are provided. A variety of moods. Upper elementary. Similar to the ensemble by Dietrich Erdmann [CE31] (NYPL). I. Die Nachtigall II. Die Amsel war die Braute, trug linen Kranz von Rauten III. Brautmutter war die Eule, nimmt Abschied mit Geheule IV. Die Lerche, die fuhrt die Braut zur Kerche (four hands) V. Der Auerhahn, das war der wurdge Herr Kaplan (four hands) VI. Der Viedehopf, der schenkt der Brautnen Blumentopf VII. Die Ganse ude die Anten, das sind die Musikanten Schlussgesang — Chor (four hands)

CE20p.

Cafaro, Sergio Per un gruppo di allievi: raccolta di brani. For one or two pianos, 2-4 hands. Rome: Edi-Pan Musicisti Contemporanei, 1982. 41 p. Preface: "Per un gruppi di allievi e una raccolta di brani destinata agli studenti del corso inferiore di pianoforte...Questo libro e affidate soprattutto all spirito di collaborazione fra insegnante e allievo." A group of fourteen different pieces of lower intermediate level difficulty in manuscript. Only five of the pieces can be used by one-handed pianists and one of these five is a solo piece. [R20p] (NYPL) Piccolo preludio a tre mani, 2 p. A minor. Tonal. Pedal marked. No fingering. Primo is for one hand with just single notes. The Secondo needs two hands. Interludio Spagnolesco, 3 p. This is a two-handed piano solo in Spanish style that imitates the strumming of a guitar. But a onehanded performer can play the accompanying line for castanets. Musica de Corte, 5 p. This requires two two-handed pianists and another one-handed performer to play the percussion accompaniment.

Concerted Works

239

Officina, 2 p. This is for three one-handed pianists at one piano. A series of free trills, tremolos, glissandi, and short declamatory notes. Pedal marked. CE21.

Clovis,John The Last Five Minutes. New York: Mills Music, Inc., c. 1952. 3 p. A comical composition for students. The Primo plays a C major five finger pattern ascending and descending (eighth notes) in quarter notes over and over, never changing for the three pages. No bar lines for the Primo. The Secondo part (teacher) is a waltz accompaniment which adds charming and pleasing harmonies below. Elementary. There is a program outline by Esme Nelson. "The time was 5:55 p.m. on Saturday. The last lesson of the week would end at 6:00. The piano had been sounding forth with dull, thumpy five-finger exercises all day, every day of the week. Finally, the teacher could stand it no longer, so stopped teaching and became a human being with a musical imagination-just for the last five minutes." (LOC)

CE22.

Collins, Hilary The Three Friends: a March for 3 players at one piano. Paterson (National Music and Disability Information Service List) (INS)

CE23.

Corticelli, Gaetano (1804-1840) Italy Grande fantasia sopra diversi temi favoriti di Rossini, per pianoforte a tre mani. 27 p. Milano: Ricordi, 1832 or 1833. Locked case at the University of California-Berkeley. Copy lost. (INS)

CE24.

Cui, Cesar (1855-1918) Russia Valse. Frankfurt: M. P. Belaieff, c. 1959. 5 p. The theme, for this very easy Primo part, is the same 4 measures repeated over and over again, based on the children's song, Chopsticks. The rhythms and notes never vary. The Secondo part is interesting and colorful and requires a two-handed pianist. The effect of the two parts in concert is very satisfying. [CE5p and CE66]

CE25.

Czerny, Carl (1791-1857) Austria Zwei Romanzen fiir Klavier drei Handen, Op. 111. From the collection Decameron musical. Unbekannte Werke der Klassik und Romantik #153. Munchen-Grafelfing: W. Wollenweber, c.1988. 7 p. The first is Andantino (G minor) and the second

240

One Handed Allegretto (E-flat major). For both pieces, the secondo part requires two hands and is considerably more difficult than the primo which plays the melodic lines. The accompaniments are mostly broken chords and arpeggiated figures. Pleasant, singing works of upper elementary level and unusual lyric beauty. Czerny designed these so that the first is intended to be played by the right hand and the second by the left hand. The other duets in the Decameron musical are for four hands. (University of Kansas)

CE26.

Dalberg, Johann Friedrich Hugo Reichsfreiherr von (1760-1812) Germany Sonata a Cinque Mani per il pianoforte (Sonata for Five Hands), Op. 19. Paris: chez H. Simrock, professeur, marchand de musique et d'instruments, Rue du Mont Blanc N° 373 Chaus6e d'Antin pres le Boulevard, (no date). A very old printed score at the Library of Congress, locked case. 43 p. "a Bonna." "La parte di sopra si suona con la man dritta del terzo sonatore." The upper part (really the melody throughout) is more elaborate and more embellished with trills and fioratura than the two handed parts below. The upper two parts are printed on the right hand page and lower part on the left page causing close quarters for the performers. Very classical in sound, Alberti accompaniment patterns, and traditional harmonies. Many fermatas for dramatic emphasis, especially in the Finale. Interesting and frequent dynamic shifts. Lower intermediate difficulty. (LOC) I. Lento, 6 p. C minor ending on the dominant. Attacca— II. Allegro, 15 p. C major. III. Menuetto, 4 p. C major. IV. Menuetto Secondo, 4 p. F major. Then da capo il Menuetto Primo with an added Coda that ends on the dominant for the Finale. V. Finale: Prestissimo, 6 p. C major.

CE27p.

Dennys, Phil Fantasy Dance for Piano, three players. London: Novello and Company Ltd., c. 1989. 5 p. Three equal intermediate level parts, however, part 3 probably would be most comfortable played by a two-handed pianist. The music may be played by one hand only for each player, or by any number of hands up to six. Very cheerful, duple meter dance with some bright harmonies. Tossing of the melody between the top parts adds to the fan. Ease with octaves and thick chords is a necessity. No fingerings or pedalings provided. Very cute cover graphics.

Concerted Works CE28p.

CE29.

241

Three Way Stretch for piano, three players. London: Novel and Company, Ltd., c. 1985. 8 p. I. Three-way Stretch. II. Clowning around. III. Bumpy Road. "Three pieces for three players at one piano. Much of the music may be played by one hand only for each player, or by a number of hands up to six." Similar to the Fantasy Dance above but slightly less difficult. These three equally difficult lower intermediate level parts contain some clever, jazzy rhythms and tricky interplay. Part three in the second movement needs a two-handed player, however. These character pieces would be great fan for high school age students and are a cut above much typical, pedagogically conceived music. No fingering or pedaling marked. Clever cover graphics. Doppmann, William (1934) USA Distances from a Remembered Ground (...fantasy piano variations for left hand on the last Mazurka of Chopin). 11 pages of manuscript printed by Gunmar Music, Inc., 167 Dudley Road, Newton Centre, MA 02159. March, 1982 at Browns Pt. WA. Commissioned by the Lucille Barrett Trust in memory of Larry Catsworth Barrett. Tape or offstage piano and solo left hand piano. Duration: ca. 12:00. This is not strictly a work for one hand, but might be possible if there is any use of two hands at all. The Chopin Mazurka (Op. 68 #4) is played off-stage or is recorded before hand and played by a tape off-stage. Doppmann says: "In this work, timbral [sic] responsibilities are assigned and maintained consistently for each hand: the left hand plays only on the keys; the right hand assists by producing effects only on the strings or on the outside frame. The following accessories are also employed by the right hand: A hollow metal tube...is used in Variation VI...in the same variation, two lumps of "sillyputty'...are used to mute the strings of two treble pitches at the far bridge..." He gives many more specific details and suggestions for performance. The left hand notation is not always traditional, no regularly occurring bar lines, many articulations and dynamic markings, and mostly free rhythmic groupings. All three pedals are needed for specific effects in this tapestry of textures and sounds. This is a highly complex, intriguing, and difficult work that would be very interesting for the audience. (University of Washington)

242

One Handed

CE30p.

Dussek, Johann Ladislav (1760-1812) Bohemia Two is Company (Duet for two left hands). Rockville, Centre, Long Island, New York: CPP/Belwin, 1951. 2 p. Upper Elementary level duet arranged by John Schaum [A23p]. Fingering provided for both parts. Pedaling marked on the Secondo page.

CE31.

Erdmann, Dietrich (1917) Germany Thema und Variationen. Koln: Musikverlag Hans Gerig, 1958. 4 p. A theme (20 measures) and five variations. Different meters, moods, and modes. Primo needs two hands. The Secondo is for one hand throughout. Intermediate difficulty. This is very similar to the ensembles by Theo Brand. [CE19p] (LOC)

CE32.

FaunS, Gabriel (1845-1924) France Dolly Suite, Op. 56. Duration: ca. 17:00. Arranged from the original four hand version for three hands by Cyril Smith. Unpublished. Because of Smith's large hand span, very little had to be done to make it playable. The notes of the four-hand work were simply re-distributed between the three hands. Only truly redundant notes were eliminated. This was recorded by Phyllis Sellick and Smith on Nimbus Records Limited, July, 1974 just before Smith died in August. Re-issued on compact disc in 1989. [D10aandD52a]

CE33.

Feldman, Morton (1926) USA Piano (three hands). New York: C.F. Peters, c. 1962. Duration: ca. 2:00. 2 p. Dedicated to Lulla. Reproduced from holograph. Composed December 1, 1957. There are no bar lines. Fermatas signal musical pauses. All notes values are whole notes. The top line is played two octaves higher than written throughout. Mostly single tones and never more than two at a time. Feldman says on the score: "Very slow. Soft as possible. All beats almost equal." The effect is that offree-floatingatonal chords. Easy technically. Esoteric musically. Score contains interesting program notes and autobiographical information by Feldman. (University of Illinois atChampaign-Urbana) [Dlia]

CE34.

Franck, C^sar (1822-1890) France Prelude, Chorale and Fugue. Duration: ca. 19:00. Unpublished. Arranged from the original solo piano version by John Odom for the two-piano team of Phyllis Sellick and Cyril Smith. Recorded on Nimbus Records Limited, in July, 1974, one month before Smith's death. Re-issued on compact disc in 1989. [D13a]

Concerted Works

243

CE35.

Glaser, Karl Ludwig Traugot (1747-1798) Sonata for three hands. Schott, Vermischte Handstuckte. (INS)

CE36p.

Griffis, Elliot (1893-1967) USA Tunes for 2, 3 and 4 Hands: a Book of Duets for a Beginner and an Experienced Player. Flushing, New York: D. L. Schroeder, c. 1943. 53 simple arrangements with none over one page in length. Griffis has designed this as a tool to enable the inexperienced player to learn to read notes more efficiently. He states, "The pieces may be roughly divided into three classes: a) Simple melodic lines in the soprano, with accompaniment; b) Simple melodic lines in the bass, accompanied, and c) Two-line duets ranging from the simple to the advanced—for two, three or four hands." Fingerings are supplied. He prefaces the pieces with some instructions for success and his mnemonic devices for remembering the line and space notes of the clefs. For treble clef, he suggests: "Every Fine Girl And Boy Can Do Easy Fingering." For the bass clef: "Grit And Brains Can Direct Every Fellow Getting Ahead." Each piece carries a different dedication to various colleagues, friends, and students including Frank W. Asper, Mr. And Mrs. Hans Barth, and ***• (Kent State University) Up the Road and Home Again Dancing Game Gardens Sixths A Little House The Demon Lover Barbara Allen Interlude Sunday Morning Valentine Cuckoo Paean Inside the Pyramid Scotch Melody A Pause Waltz in A minor Cheer the Team! Married and Single Life Theme in £ minor A Quiet Afternoon Crusaders' Hymn Folk Song The Girl I Left Behind Prelude to Initiation Madrigal Lambkin Melody in B minor Warrior's Song How Can I Leave Thee? Primrose Hill Sourwood Mountain Peasant Dance For He's a Jolly Good Fellow! Jitterbug Waltz March for Mr. Treble Lament Brown Eyes Eccentric Festivity All the Birds Have Come Again A Waltz Trifle Dramatic Moment A Stroll

244

One Handed Lord Lovel Salute to Morning In Seaport Town Talisman Rose A Little Gossip English Folk Song

Meditation Promenade Irish Folk Song The Gingerbread Man Bonhomme & Bemiston

The biographical information written by Dr. James Spencer at the end of the volume is much appreciated. The reader learns, among other things, that Griffis won a Pulitzer Prize in 1931 and received an honorary doctorate from the New York College of Music in 1937. He was a person of many interests and accomplishments. CE37.

Groot, Cornelius Wilhelmus de (1914-1993) The Netherlands Eighty-one seconds (in eighty-one bars) for J. S. for piano (two or three hands). Amsterdam: Donemus, c. 1983. 5 pages reproduced from manuscript. Duration: 1:21. "For Ton Westerbaan." De Groot demands a strict tempo of quarter = 184, "exact!" After ten measures of octave introduction, an ostinato waltz accompaniment pattern begins in the treble clef and continues throughout the entire work. The uppermost part fiddles around with the B-A-C-H motive in a lively manner. The division of parts would seem to be that the two-hands play the waltz accompaniment and the single hand plays the upper part, but even the lower part could be manipulated by a one-handed pianist. Brief, clever, and fun. Intermediate level. (University of Maryland) [B73]

CE38.

Hambourg, Mark (1879-1960) Russia/Great Britain "Jesu, Joy of Man's Desiring": Chorale from Cantata No. 147, by J. S. Bach. London: Oxford University Press, 1935. The elementary one-handed part is the melody line with the secondo part plays the accompanying triplet patterns and chordal structure. (LOC)

CE39.

Hassler, Johann Wilhelm (1747-1822) Germany Zwei Sonaten fiir Klavier zu drei Handen. 1. Sonate fiir Klavier zu drei Handen aus Sechs leichte Sonaten, Erfurt: 1786, Teil I, No. 6. C major. Riga: Chez J. F. Hartknoch, 1793. Neueausgabe von Martin Gloder. Hannover: Verlag Adolph Nagel, c.1928. Reprinted as No. 98 in the series Unbekannte Werke der Klassik und Romantik published in Munchen-

Concerted Works

245

Grafelfing: W. Wollenweber, c. 1971. 6 p. Composed at the request of the Duchess Anna Amalia von Sachsen-Weimar whose right hand was more highly trained than her left. One Allegro, binary, cheerful, sonata-allegro movement. Clear and pleasant preclassical keyboard writing. Uses ornaments from the Empfindsamkeit Stil. Some imitation between parts. The work becomes a test for ensemble with the frequent use of parallel thirds, sixths, trills, and ornaments between parts requiring careful rhythmic matching. The single line, Erster Spieler, may also be played by flute or violin. Upper intermediate difficulty. (University of Northern Colorado) [D17a,b] CE40.

Hennessey, Swan SEE[L211]

(1866-1929)

Ireland/France

CE41.

Herz, Henri (1803-1888) Austria/France Introduction et Variations Concertantes sur la Chansonnette favorite de "L'Enfant du Regimen." Arrangees pour le piano a trois mains (la main gauche principale) par F. Mockwitz. Leipzig; Kistner. [HOF 1834:96] (INS)

CE42p.

Hewitt, James (1770-1827) USA born Great Britain Early American Suite Arranged by Phyllis Gunther for 2, 3, or 4 performers at 2 pianos. Melville, NY: Belwin Mills Publishing Corp., c. 1975. 8 p. According to the arranger: "This suite may be performed by two players, each reading both parts on a page; or three, the teacher or more advance student at one piano, two performers at the other; or four, with each performer playing one part. It is also suitable for multiple performers playing on multiple pianos." There are three movements in this gentle, tuneful suite. The first movement, Washington March is the only movement by Hewitt. The second movement, Fitzjames, is by an unknown composer and the third movement, Rondo is by Raynor Taylor. Lower Intermediate difficult. No fingerings or pedalings marked.

CE43.

Hodkinson, Sydney P. (1934) Canada Habanera melancolica (for piano 3 hands). Manuscript available from the composer a faculty member of the Eastman School of Music in Rochester, New York. February 1984, arranged November 1990. 4 p. Duration: ca. 3:00. Commissioned by the International Tango Collection, New York, N. Y. Written for Rebecca Penneys. Composer's program note: "The HABANERA

246

One Handed MELANCOLICA is a short, pensive and predominantly wistful work partaking of the echoes- the shadows, the 'gauze' - of the given dance characteristics. It was composed for the American pianist Rebecca Penneys to be a part of the 1985 International Tango Collection.'"' Hodkinson says, "This short piece should b played with the utmost sensitivity, leisurely, and very freely with respect to tempi; an 'echo' of the dance only. Particular care should be taken with the dynamics." Frequently changing meters, complex rhythmic groupings, and extravagant articulation and dynamic markings make this three-staved score a musical as well as a technical problem. The lower two staves are printed for a two-handed performer and the upper staff is for a "friendly 3rd hand." Some pedaling marked. Highly atmospheric and sensual. Moderately difficult. [D18a]

CE44.

H6ffer,Paul (1895-1949) Germany Kirmesmusik (Church Festival Music). 4 p. An original work for three hands. The Primo is for the one handed performer, probably the right hand, but Georgii [A5] has given some landmark fingering for either hand. A saucy, fast, perpetual motion work. The Primo has a melody that emerges as a result of double stemming. Biting harmonies. Three-part form. Upper Intermediate difficulty. No pedal until the final cadence.

CE45.

Hoffmann, H. A. Drei Deutsche und Drei Englische Tanze fiir das Pianoforte zu DreiHanden. Bonn: Simrock. [HOF1828:516] (INS)

CE46.

Johnson, Francis (1792-1844) Dances of the Young Republic. [CE3p]

CE47.

Kagel, Mauricio (1934) Argentina Der Eid des Hippokrates fur Klavier zu drei Handen (The Hippocratic Oath). Frankfort; New York: H. Litolff s Verlag/C.F. Peters, c. 1984. Duration: ca. 2:30. 4 p. For 3 pianists at one piano, 1 hand each; may also be performed by 2 pianists. This brief piece is a minutely edited cyclopedia of sounds and textures. With the exception of 11 pitched notes, the top piano part has a rhythm notation that indicates that the player should strike an arbitrary spot on the case of the instrument using the open hand, fingertip, fingernail, or knuckle while seated. The middle part plays thick, staccato chords and the lowest player employs the sostenuto and damper pedals pedal and the low range

Martinique/USA

Concerted Works

247

notes. For the last measure, the three players are to look constantly at the music and overlap playing hands above the keyboard with the palms down and give a long pause. Careful editing of tempos, pedal marks, and dynamic levels plus the inclusion of instructive footnotes provides the performers with the necessary information to properly perform this work. (University of North Carolina) CE48.

Killmayer, Wilhelm (1927) Germany Paradies: fiir Klavier zu drei Handen oder fiir zwei Klaviere. Mainz: B. Schott's Sohne c. 1977. 15 p. Composed in 1972. Written on two, sometimes three staves, (two treble and one bass). The bass line has an ostinato dotted quarter/eighth rhythm throughout the entire work. Sparse texture with single notes, consonant octaves, and a few dissonant chords. The piece begins piano, then crescendos and thickens steadilyfrombeginning to end. Although only moderately difficult, the uninterrupted growth from the outset to the close makes this an interesting and somewhat mesmerizing work. No pedal orfingeringsindicated. (University of Georgia)

CE49p.

Kohler, Louis * Volksmelodien aller Nationen der Erde. [A36p]

CE50.

Koehler-Heberlein, Clara Polka-Mignonne, Piano Duet for Two Left Hands. Philadelphia: Theodore Presser and Co., 1911. 4 p. C major. Unusual combination. The Primo is slightly more difficult than the Secondo. Clever, student work of lower Intermediate difficulty. Fingering given.

CE51p.

Kraehenbuehl, David (1932) USA The Wayfaring Stranger (arranged for three players at one piano). Evanston, Illinois: Summy-Birchard Publishing Company, c. 1961. 4 p. Published as a supplementary piece for the Frances Clark Library for Piano Students. A white-key arrangement o this American folk song. Either of the upper two parts are playable with one hand. The third part is for the teacher and involves the use of the pedal. Fingerings given. The text of the folksong is printed below the second part which sings the melody. Elementary level.

248

One Handed

CE52.

Liadov, Anatol (1855-1914) Russia Valse 3 p; Galop 2 p; Gigue 1 p, Cortege Triomphal. 3 p. Frankfurt: M. P. Belaieff, c. 1959. The theme, for the very easy Primo part, is the same 4 measures repeated over and over again, the children's song, Chopsticks. The rhythms and notes never vary even if the Secondo part is in a different meter. The Secondo parts for each of these pieces are interesting and colorful. The concerted effect of the two parts is really quite surprising. [CE5p and CE66]

CE53.

Liptak, David (1949) USA Piano roll blues for seven hands. Unpublished manuscript. Duration: ca. 4:00. This is a one movement program work for four pianists. Three of the pianists are seated at the keyboard and the fourth, the one-handed pianists, needs to "approach" the instrument and reach between the others. The one-handed pianist has little music to play and has to do a bit of pantomime in addition. The third part, the bass side, has a slightly less difficult part. In correspondence Mr. Liptak has stated that he would like to complete the manuscript for publication in the near future. [D28a]

CE54p.

Lorenzen, Hans (1911) Germany Klaviermusik fiir Einhdnder allein und mit Partner. Formerly available from Herr J. Albers Presse & Publizistik, Stiftung Rehabilitation Heidelberg, Bonhofferstrasse, Heidelberg, Germany. Three books. Permanently out of print. (INS)

CE55.

Margola, Franco (1908-1992) Italy Sonata Pianistica per due mani destre. For two right hands at one piano. I. Con brio; II. Doloroso; III. Vivace. Bologna: Edizioni Bongiovanni, c. 1969. 16 p. "al Duo Pastorino~An li Pong." Duration: 10:00. Written as a one-handed score. Linear, thin textures. Quirky themes. Often imitative between hands. Classical forms, clearly laid out. Modern harmonies. Carefully edited. Some fingerings suggested. Effective concert work. Rhythmically exciting. (LOC) [D30a]

CE56.

Martinu, Bohuslav (1890-1959) Czechoslovakia Avec un droigt pour piano trois mains. Paris: Max Eschig; La Sir&ne Musicale, c. 1930. 2 p. Dedicated to Jean-Pierre Dillard. A clever, syncopated Fox-trot is accompanied by single, repeated, staccato quarter notes in the treble clef (A, B, C, D, E, G above the staff only). These single notes, played by one finger, could

Concerted Works

249

easily be learned by a child of any age. Martinu suggests that the dynamic nuances and articulations may be decided upon at will. Very elementary level upper part and intermediate level twohanded part. Interesting cover art taken from a stone carving by Poulbot. (University of California at Berkeley) CE57.

Mazzinghi, Joseph (1765-1844) England A second set of three airs for three or two performers on the pianoforte. London: Goulding, Phipps, D'Almaine, 180?. (Bound with Les trois Mains: a selection of favorite airs arranged and varied for three hands on the piano forte or piano forte and keyed harmonium. London: Chappell, 71810, 1819). 15 p. Primo and Secondo four hands with an additional single line above the Primo part. I. March: Pomposo, F major. 6 p. Sectional. Many repeated phrases becoming more florid as the piece progresses. II. Larghetto: C major, 2 p. Lilting 6/8 meter. III. Andantino: Spiritoso, F major. 6 p. More ornamented and with a more difficult Secondo part than the others. Some articulations and some dynamics. Parlor music of the time. Lower Intermediate. (LOC)

CE58p.

Mellichamp, Nell Vaughan (1890-1981) USA Three Clocks. New York: Century Music Publishing, Co., c. 1912. 2 pages, only eight measures in length. The Treble player and the Middle player require two hands. The Bass player, which imitates the striking of the clock, can be performed by one hand. Some fingerings and pedalings suggested. Lower elementary and not very useful or appealing.

CE59.

Mendelssohn-Bartholdy, Felix (1809-1847) Germany Allegro Brilliant, A major, Op. 92. Duration: 8:45. Arranged from the original solo piano version by John Odom for the twopiano team of Phyllis Sellick and Cyril Smith. Unpublished. Recorded on Nimbus Records Limited in July, 1974, one month before Smith's death. Re-issued on compact disc in 1989. [D32a]

CE60p. Mishell, Kathryn (1940) USA *Scherzo for Three Hands, c. 1992. Written for pianist Danielle Martin. Duration: 4:30. 17 p. A self-published manuscript, easily obtainable from the composer, 1406 Ridgecrest Drive, Austin, TX 78746. The Primo is for a one-handed pianist and may be played by either hand. Because of the treble location of the part, it might be best played by the right hand. The Secondo is for a

250

One Handed two-handed pianist. A rollicking and light-hearted 6/8 with piquant harmonies and almost satirical dissonances. Some fun interplay between the parts. Sectional form. Pedal suggested but not marked. No fingerings given. Intermediate difficulty.

CE61.

Petyrek, Felix (1892-1951) Czechoslovakia Humoreske. 2 p. An original work for three hands. Since it is written on three staves, it could be executed by having the one handed player perform the top line or the bottom line. Petyrek probably meant for the one hand part to be the top line. Modern harmonies and clever rhythms. Requires careful ensemble work because many tempo nuances are indicated. Upper intermediate difficulty. No fingerings given. [A5]

CE62.

Phillips, Robert Three Pieces for Two Left Hands at Two Pianos (Chase; Nocturne for a Birthday; Hommage a Scriabin). New York: See Saw Music Corp., c. 1973. Ossining, NY, July-August, 1969. 12 pages of Manuscript. Often written on three staves. Linear and scalar, with some broken chords. Very tricky interplay between hands with range and "crossings." Very much like a dialogue. Tempos given. Frequent meter changes. Fast-SlowFast arrangement between movements. The first two movements are easier than the third. The second piece, Nocturne for a Birthday, is for Blake Jamal Pitchford. Pedal indicated, but no fingerings. Upper intermediate difficulty. (LOC)

CE63p.

Poe, John Robert (1926) USA Folk Songs for 3. San Diego, CA: Neil A. Kjos Company, c. 1992. "These settings are for three people to play on the piano, keyboard, synthesizer, other instruments, or a combination of any instruments. If played on one piano, some top parts will need to be played an octave higher...No fingering has been indicated because some students will play one line with one hand while others will divide one line between the hands." Each of the five folksongs is arranged simply with three single staves and up to three pages in length. All parts can be played by one hand. Most of the lines are single notes with never more than three note chord inversions. Poe has included the lyrics for each of the songs and provided program notes about them in the Table of Contents. Useful, pleasant, and entertaining. Upper elementary to lower intermediate.

Concerted Works

251 A-Roving The E-ri-e Canal Every Time I Feel the Spirit A Frog Went Courtin' Working on the Railway

CE64.

Ravel, Maurice (1875-1937) France Frontispiece: For Two Pianos, Five Hands. Paris: Editions Salabert, c. 1975. 4 p. Introduction by Arbie Orenstein: "This littleknown work for two pianos, five hands, was written in 1918 and first printed in Les Feuillets d'Art (1919, No. 2). It was composed at the request of the Italian poet Ricciotto Canudo, whose S.P. 503 Le Poeme du Vardar is a collection of philosophically oriented reflections based upon the author's combat experiences in World War I. Ravel's composition captures some of the exoticism, water images, and evocations of nature found in the poetry. This edition is based upon the autograph, which is presently in a private collection in New York City." A slow, impressionistic work with quiet dynamics, complex rhythmic structure and meters of either 15/8 or 5/4 for the three parts. The part for onehand, which imitates a birdsong, is less difficult than the other two. [D42a-I]

CE65.

Reinagle, Alexandre (1756-1809) USA born Scotland Dances of the Young Republic. [CE3p]

CE66.

Rimsky-Korsakov, Nikolav (1844-1908) Russia Berceuse (Lullaby) 2 p; Fughetta on B-A-C-H 1 p; Tarantelle 3 p; Menuet 1 p; Carillon 2 p; Fugue grotesque 1 p. Frankfurt: M. P. Belaieff, c. 1959. Also available from The Complete Works of Nicolai Rimsky-Korsakov: Piano Ensembles, Volume 3, New York: Belwin-Mills Publishing Corp., c. 1981. This volume contains several pages of very interesting notes about these works often quoting Rimsky-Korsakov. The theme for these very easy Primo parts, is the same 4 measures repeated over and over again, the children's song, Chopsticks. The rhythms and notes never vary even if the Secondo part is a different meter. The Secondo part for each of these pieces is interesting and colorful and requires a two-handed performer. A very basic part for the Primo player, but with these exceptional Secondo accompaniments, the works become very good.

252

One Handed Carillon is for five hands. Under the Chopsticks theme is a four hand accompanying part. All the parts fit on one keyboard.

CE67.

Variations on Misha's Theme. 2 p. From The Complete Wor ofNicolai Rimsky-Korsakov: Piano Ensembles, Volume 3, York: Belwin-Mills Publishing Corp., c. 1981. Composed by Rimsky-Korsakov on a theme written by his oldest son Misha. From Misha's memoires: "When I was probably 5 or 6 years old [1878 or 1879], I sang a quite harmonious theme of my own invention, which N.A. wrote down and harmonized on one page a sweet little composition for piano." The Primo line is an easy single line melody. The Secondo is a lower intermediate twohanded accompaniment. Three "stanzas" of the pleasant theme with varied harmonizations. [CE5p]

CE68.

Roxbury, Ronald (1946-1986) USA Brou-haha or Free For all for Two Pianos, "for Leon Fleisher." Manuscript, 4 p. of 17X22 paper. Non-standard notation. Piano I - left hand. Piano II - 6 hands with percussion. A concert work. Roxbury gives the following directions for performance: —the median line indicates the middle of a performer's range, —all time is proportional —all boxed time indicates random use of the enclosed material —all vocal sounds should have a quasi-oriental accent —all dynamics are relative to size and in more specific cases are expressed

For this chance composition, he has a chart of symbols and what they mean. This includes such sounds as black and white tone clusters, mixed chords, glissandi (black and white simultaneously), hand claps,fingersnaps, and pursed lips. (NYPL) CE69.

Scheidler, Johann Davie Sonata for Three Hands. (INS)

(1748-1802)

Germany

CE70.

Schickele, Peter SEE P. D. Q. Bach [CE10]

CE71.

Schroeder, Hermann (1904-1984) Germany *Rondino. 6 p. An original work for three hands. The primo part is for one hand and Georgii [A5] has providedfingeringfor either right or left hand. A fine, robust, neo-Baroque work with some

(1935- )

USA

Concerted Works

253

ornamentation. Clever harmonic twists. Requires some skill with octaves and sixths. Big ending. Intermediate difficulty. CE72.

Schubert, Franz (1797-1828) Austria Fantasie in F minor, D. 940. Arranged from the four-hand version for Cyril Smith and Phyllis Sellick. Unpublished. Recorded on Nimbus Records Limited in July, 1974, one month before Smith's death. Re-issued on compact disc in 1989. [D49a]

CE73.

Marche Heroique, Op. 27 # 1. 6 p. Three part form, MarchTrio-March. A transcription for three hands of this March originally for four-hands. The Secondo part is for the one-handed performer. Triumphant, noble character with delightful Schubertian harmonic progressions. Some double stemming, some octaves, and some repeated bass patterns. Fingering suggested for either hand. Lower Intermediate difficulty. [A5].

CE74.

Sonata in B-flat, D. 617. Arranged from the four-hand version for Cyril Smith and Phyllis Sellick. Unpublished. Recorded on Nimbus Records Limited in July, 1974, one month before Smith's death. Re-issued on compact disc in 1989. [D49a]

CE75.

Schumann, Robert (1810-1856) Germany *Abendlied, Op. 85 # 12. 2 p. An original work for three hands. The primo part is for one hand. A quiet, expressive melody with chordal accompaniment, something like Schumann's famous Traumeri. D-flat major. Moderately difficult. Fingering provided for either hand. [A5]

CE76.

*Davidsbiindlertanz. 2 p. A transcription of the Davidsbiindlertanz, Op. 6 #12. The Primo part is for the one-handed performer. While Georgii [A5] has given fingerings for either hand, he states in the footnote that it would be easiest to perform this work with the right hand alone. A terrific work and worthy of three-handed performance. Intermediate difficulty.

CE77.

Studienfiir den Pedal-Fliigel, Op. 56. 1845. 22 p. New York: Edwin F. Kalmus. Dedicated to J. G. Kuntsch. There are six studies in a variety of tempi and keys.

CE78.

Skizzen fiir den Pedal-Fliigel (Esquisses: pour piano a pedalier ou a 3 mains), Op. 58. 1845. 18 p. New York: Edwin F. Kalmus. Dedicated to Pauline von Abegg. There are four

254

One Handed Sketches all of which are on the fast side. Both of these groups were originally written for pedal piano. The footnote states: "When these pieces are played not on a Pedalier, but on an ordinary pianoforte by two performers, the second player should play the pedal-note with its lower octave, wherever possible; but in certain cases, guided by the requirements of the upper part, he should take the lower note only." The score looks like an organ score with the pedal part written on a separate staff. The upper staves require advanced playing while the pedal line is relatively easy but would require some skill in synchronization with the other part.

CE79.

*Valse noble. 2 p. A three-hand transcription of the Valse noble, from the Carnaval, Op. 9. The Primo part is for the one-handed performer. Fingerings are suggested for either hand. Requires good legato octaves. Intermediate difficulty. [A5].

CE80p.

Sheftel, Paul USA Waltz. Sherman Oaks, CA: Alfred Publishing Co., Inc., c. 1986. Found in Sight Reading Folk Songs from Around the World: Level IB. 2 p. G major. A Czech folksong arranged for student and teacher duet so that the left hand of the student crosses over the right hand of the teacher. Lower elementary difficulty. No fingering or pedal marks.

CE81p.

I Ride An Old Paint. Sherman Oaks, CA: Alfred Publishing Co., Inc., c. 1986. Found in Sight Reading Folk Songs from Around the World: Level 3. 2 p. F major. A cowboy song arranged for student and teacher duet. The student chooses one of the two bass clef parts and the teacher plays the other two parts. Elementary difficulty. No fingering or pedal marks.

CE82.

Smith, Cyril (1909-1974) Great Britain These are unpublished arrangements for three hands on one piano. Smith either arranged them for Phyllis Sellick and himself or had them arranged. Recorded on [D52a]. Some of these arrangements may be available from John Railton, Greenaway Lodge, Ashburton, Devon, United Kingdom TQ13 7DE. [B67] Handel: Arrival of the Queen of Sheba. Arr. Easdale & Lane Bach: Jesu, Joy of Man's Desiring. Arr. Hess and Smith Bach: Rejoice, beloved Christians. Arr. White Bach: God's time is best. Arr. Odom

Concerted Works

255 Mendelssohn: Scherzo from Midsummer Night's Dream. Arr. Rachmaninov and Smith Mendelssohn: The Bee's Wedding. Arr. Hayson Field: Rondo in E major. Arr. Penny and Lane Bizet: Galop from the Jeux d'enfants. Arr. Odom Faure: Berceuse from Dolly Suite. Not arranged. Ravel: Pavanne pour une infante defunte. Arr. Gritton. Walton: Popular Song. Arr. Seiber and Butterworth Albeniz: Navarra. Arr. Smith Carmichael: Bahama rumba. Arr. Smith Milhaud: Brazileira. Arr. Smith

CE83.

Stcherbatcheff, Nikolai (1889) Russia Bigarrures. Frankfurt: M. P. Belaieff, c. 1959. 7 p. Written as a supplement to Paraphrasen [CE5p], the theme, in the very easy Primo part, is the same 4 measures repeated over and over again, based on the children's song, Chopsticks. The rhythms and notes never vary even if the meter is different in the Secondo part. The Secondo part for each of these pieces is interesting and colorful and requires a two-handed pianist with very good pianistic skills. The effect of the two parts in concert is very satisfying. This is a much more large-scale work than any of the others written in this compositional exercise by his fellow countrymen. The variations are quite different in mood and tempo.

CE84.

Steibelt, Daniel (1765-1823) Germany/Russia Walses k Trois mains. Paris: A. Meissonier. [HOF1829:1201] (INS)

CE85.

Stravinsky, Igor (1882-1971) Russia/USA Three Easy Pieces for Piano Duet (Left Hand Easy): March; Waltz; Polka. London: J & W Chester Ltd., c 1917. 7 p. Each of these duets is written for a two-handed Primo performer and a one-handed Secondo performer. The Primo part for each duet is significantly more complicated and carries the weight of the piece. The Secondo part is basically limited to small repetitive, ostinato patterns. The March is dedicated to Alfredo Casella and requires only three different notes from the Secondo performer. The dedicatee of the Waltz is Erik Satie and has an alternation of six different notes, and the Polka bears a dedication to Serge Diaghilew and needs only four notes for the secondo part. These are delightful and funny duets with lots of humor and touches of sarcasm. (Washington University) [D59a]

256

One Handed

CE86.

Five Easy Pieces for Piano Duet (Right Hand Easy): Andante, Espaiiola, Balalaika, Napolitana, Galop. London: J. W. Chester, 1917. 19 p. The title is sometimes stated as "Easy Treble Part" which is more logical for not all of these duets are easily playable by a two-handed and a one-handed performer. The Primo part for all five pieces is basically in octaves and can only be possible if the Primo player can manage octave passages quickly. The Secondo part always requires two hands because it has the bulk of the important accompaniment material and provides the colorful backgrounds for the simple melodies in the Primo. Lovable works, but not profound. (University of Wisconsin-Milwaukee) [D59a]

CE87.

Szymanowska, Maria Agata Wolowska (1789-1831) Poland Le murmure: nocturne pour le piano compost et arrange a trois mains. St. Petersbourg: Lithographie de Schmitzdorff (No. 127), no date. Dedicated to the empress of Russia (Imperatrice de toutes les Russies). Originally for piano, two hands. A-flat major. 7 p. A gentle and lyrical 6/8 Allegretto. The florid melodic line is written on a single staff, mostly to be played one octave higher than written. The other part is for a two handed performer and is printed on a grand staff. It consists of broken chord accompaniments in the right hand and single, supporting bass notes for the left. The work seems most easily played by the right hand alone, but could be adjusted for the left hand with some physical shifting of the two handed player. Both parts are intermediate level difficulty. No fingerings or pedalings marked. (University of Wisconsin-Milwaukee)

CE88.

Quatres Valses (for three hands). Published in Music for piano/Maria Szymanowska. Bryn Mawr, PA: Hildegard Publishing Co. c. 1991. Edited by Sylvia Glickman. 13 p. Dedicated to the Countess Sophie Plater for her birthday. Four simple, yet charming waltzes. The third hand plays the solo melodic line printed on a separate staff. The accompanying part occasionally provides interesting countermelodies and duet lines. Dynamic markings and articulations reprinted from the original publication. No surprises in these salon pieces. This edition contains a portrait of Szymanowska as well. Intermediate level.

CE89.

Taylor, Raynor (1747-1835) USA Early American Suite Arranged by Phyllis Gunther for 2, 3, or 4

Concerted Works

257

performers at 2 pianos. Melville, NY: Belwin Mills Publishing Corp., c. 1975. 8 p. According to the arranger: "This suite may be performed by two players, each reading both parts on a page; or three, the teacher or more advance student at one piano, two performers at the other; or four, with each performer playing one part. It is also suitable for multiple performers playing on multiple pianos." There are three movements in this gentle, tuneful suite. The first movement, Washington March, is by James Hewitt. The second movement, Fitzjames, is by an unknown composer and the third movement, Rondo, is the only one by Taylor. Lower Intermediate difficult. No fingerings or pedalings marked. CE90p.

Tcherepnin, Alexander (1899-1977) Russia/USA Exploring the Piano (12 Duets for Beginner and TeacherPianist). New York: C. F. Peters Corporation, c. 1959. These little works are dedicated to Tcherepnin's father and while they were not specifically written for a one-handed pianist, they are very easily performed in this way. Tcherepnin states that his aim in composing these duets "was to introduce the child to the piano in the same way my father introduced me. The young artist is to play either in the treble or in the bass, or sometimes in the middle of the piano, and not only to perform the repeated patterns but also to explore various dynamics. I have written twelve duets, progressing from no key signature to six sharps to let the child hear the quality of twelve different tonalities and to let him see their signatures, even though he is not yet prepared to understand them." Each duet is two pages in length. The Student part always consists of a repeated note and rhythm pattern that can be learned by rote. The Teacher part is highly creative and offers a wide variety of interesting chord progressions, rhythms, and moods. These are carefully devised gems. Very easy one handed parts. Processional Hopscotch Dreamy Donna Tommy Talent Pandora Busy Bill Poor Paula Math-Whiz Kill-Joy Gina and Gino

258

One Handed Hurried Harry Jimmy Chang

CE91.

Treloar,W.M. Sweet Childhood Waltz. Mexico, 1887. (INS)

CE92p.

Vandall, Robert D. (1944) USA Theme and Six Variations on Skip to My Lou (Arranged). Park Ridge, IL: General Words and Music Co., c. 1977. Each part is 8 pages in length. The six staves printed on a score with six separate lines may be played by six individual performers. A spicy, cheerful presentation of this folk song with lots of line passing between the parts. A highly suitable student or recital work. Landmark fingerings given. Intermediate level difficulty.

CE93.

Wilson, Joseph (dates unknown, active 1800-1825) USA Grazioso. Number Two in A Collection of Airs For Two or Three Performers. Available in Ensemble Music of the Capital City: a collection of keyboard pieces and songs performed in Philadelphia during the early days of the young republic. Selected and edited by Maurice Hinson and Anne McClenny Krauss. Miami, FL: CPP/Belwin, 15800 N.W. 48th Ave., c. 1990. The Philadelphia Series, Vol. 3 of the David Carr Glover Piano Library. This jaunty 6/8 is pleasant and firmly anchored in C major. For five hands, only the third player's part (which is the top melodic line) is suitable for one hand alone. All three parts can be managed on one piano. Intermediate level difficulty. No editing. (Florida State University)

CE94.

Zilcher, Hermann (1881-1948) Germany Tanz-Caprice. 8 p. An original work for three hands. The secondo part is for one hand. This is a strong, Viennese style work, waltz-like in character. Both parts demand secure technique, solid musicianship, and careful finesse. A three part form with a charming Coda. Where fingerings are provided in the secondo part, they are given for either hand. Moderately difficult for the secondo part and more difficult for the two-handed partner. [A5]

Chapter 5

Repertoire Anthologies for One Hand The anthologies listed here are arranged alphabetically by title. "A" numbers are used for reference throughout the entire book. The table of contents for each anthology is given and where appropriate, with reference citations, e.g. [LI5], for more information about specific works in other chapters. Some of the anthologies are collections of strictly pedagogical material or works useful only to students. These anthologies are listed separately at the end of this chapter with table of contents and a few comments. They have been assigned "Ap" numbers. Al.

Album fiir die linke Hand fiir Pianoforte. 23 p. Leipzig: C.F.Peters, (no date) Edited by Adolf Ruthardt (1849-1934). This volume contains works for the left hand alone as well as for two hands. (Boston University) Mehul: Etude de Melodie [L328] Schmitt: Tremolo for two hands Schmitt: Etude de Chant [L427] Greulich: Etude de Salon [L181] Goria: Serenade for one hand at first then two. Zichy: Allegretto grazioso [L552]

A2.

Hochstetter, Caesar. Album fiir einhandige Klavier: Acht Stticke von Bach, Chopin, Schumann, Reger und Zichy fiir die linke oder rechte Hand allein. Leipzig: Breitkopf & Hartel, c.1915. (HOF. 19141918:185). These are all arrangements or editings by Hochstetter.

A3.

The B.M. Co. Digest of Piano Pieces for the Left Hand Alone. Boston: Boston Music Company. Edition no. 347, c.1917. 38 p. Felix Fox edits all of these standard works. (Carnegie Library of Pittsburgh) Spindler, Fritz: Romance, [L460] Hummel, Ferdinand: March, [L237] Hollaender, Alexis; Evening Song, [L222]

260

One Handed Hollaender, Alexis: Hollaender, Alexis: Scriabine, Alexander: Scriabine, Alexander: Donizetti, Gaetano:

The Hunt, [L222] Waltz, [L222] Prelude, [L435] Nocturne, [L436] Andante Finale from "Lucia di Lammermoor" [LA78]

A4.

Concert Album". Piano Compositions for the Left Hand Alone by Leopold Godowsky. New York: G. Schirmer, Inc., c. 1930 & 1931. 27 p. Dedicated to Emile R. Blanchet. These works were originally dedicated to various other pianists. See the individual listings in the solo chapter. Precisely edited by the composer with fingerings and pedal markings. The two page Preface gives very interesting information about Godowsky himself and some ideas about the technical requirements of these works. (Southern Illinois University at Carbondale) Preface: Advice and background by the composer. Meditation, [LI63] Impromptu, [LI61] Capriccio (Patetico), [LI58] Intermezzo (Malinconico), [LI62] Elegy, [LI59] Etude Macabre, [LI60]

A5.

Einhandig: Eine Sammlung von originalen und ubertragenen Kompositionenfiir Klavier zu J Hand undzu 3 Handen so wiefur Klavier zu 1 Hand mit Violine herausgegeben von Walter Georgii mit Forderung des Bundesministeriums des Innern. Roden-kirchen bei Koeln: P. J. Tonger Musikverlag. 106 pages of music plus 3 pages of violin solo parts. The Vorwort, Einfuhrung, and Anhang in German contain extremely helpful introductory information, ideas for execution and specific information about many of the works. While some of the works are specifically written for one hand or the other, they are easily adapted to either hand. Walter Georgii has carefully edited these works and provided fingering for both hands. This is an excellent volume containing useful literature that is not overly taxing, but carefully composed or arranged. (Cleveland Institute of Music) I. Teil: Originalwerke zu 1 Hand. K. P. E. Bach: Klavierstiick in A-dur [R3p & L22p] HansKulla: Variationen [L280] Max Reger: Praludium und Fuge es-moll [L388] Alexander Skrjabin: Prelude Op. 9 No. 1 [L435]

Anthologies

261 Ernest v. Knorr: Hermann Zilcher: Hans Ziegler:

Felix Petyrek: Wilhelm Maler: Hubert Eckartz: PaulHoffer: II. Teil: Ubertragungen zu 1 Hand Ferdinand Tobias Richter: Georg Philipp Telemann: Gottlieb Muffat: Kleines: Johann Sebastian Bach: Karl Philipp Emanuel Bach: Robert Schumann:

Serenade [L259] Etude [L258] Praludium [L556] Klage [L555] Larghetto [L555] Zwei Tanzstucke [R80 & L369] Praludium und Fuge [L313] Capriccio [LI 16] Zwei Etiiden [L219]

Toccatina d [LA 106] Leichte Fuge d [LA 137] Menuett C [LA98p] Kleines Praludium c [LA8] Solfeggio c [LAI] 6 Stticke aus dem "Album fur die Jugend" [LA124p] III. Teil: Originalwerke zu 3 Handen Robert Schumann: Abendlied [CE75] Hermann Schroeder: Rondino [CE71] Hermann Zilcher: Tanz-Caprice [CE94] Felix Petyrek: Humoreske [CE61] Paul Hoffer: Kirmesmusik [CE44] IV. Teil: Ubertragungen zu 3 Handen Ludwig van Beethoven: Yorkscher Marsch [CE11] Franz Schubert: Marche heroi'que [CE73] Robert Schumann: Davidsbundlertanz [CE76] Valse noble [CE79] Johannes Brahms: 12 Walzer [CE17] V. Teil: Originalwerke zu 1 Hand mit Violine Hermann Unger: Romanze [CH33] Ernst-Lothar v. Knorr: Intermezzo [CHI2] Hermann Schroeder: Capriccetto [CH30] Anhang: 1. Zum Studium der einhandigen Originalwerke VII 2. Zur Herkunft der einhandigen Bearbeitungen VIII 3. Zum Studium der dreihandigen Originalwerke VIII 4. Zur Herkunft der dreihandigen Bearbeitungen VIII 5. Zum Studium der einhandigen Originalwerke mit Violine VIII 6. Von der Kunst der Bearbeitung VIII 7. Geschichtlicher Uberblick iiber die originale Literatur zu 1 Hand und zu 3 Handen IX

262

One Handed

A6.

Etiudy ipesy, dlia odnoi levoi ruki, dlia fortepiano (Etudes and Pieces for the Left Hand Alone for Piano). Moscow: Izdatelstvo Muzyka, 1966. Available from the Russian Music Department of MCA Music, 543 West 43rd Street, New York, NY 10036. Compiled and edited by V. Delnova. A part of the Pedagogicheskii repertuar detskoi muzykalnoi shkoly series. (Eastman School of Music) H. Berens: Etude, Op. 89 # 18 [L36p] H. Berens: Etude, Op. 89 #23 [L36p] T. Lack: Etude, Op. 75 #6 [L283] L. Lukomsky: Autumn Song [L310] L. Lukomsky: Valse [L310] L. Lukomsky: Etude [L310] T. Lack : Etude, Op. 75 #12 [L283] V. Ziring: Prelude, Op. 28 # 1 [L558] M. Reger: Scherzo [L388] R. Gliere: Impromptu, Op. 99 #1 [LI56] A. Scriabin: Prelude, Op. 9 #1 [L435] M. Reger: Romanze [L388]

A7.

Mano sinistra: Zes stukken van Nederlanse componisten voor piano linkerhand: (Sei pezzi di compositori Olandesi per pianoforte mano sinistra; Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, c. 1963. Available from C. F. Peters Corp. 40 p. "These pieces have been written during a period in which the Dutch pianist Cor de Groot was temporarily unable to use his right hand. The first piece is by Cor de Groot himself, the nrs 2-6 are dedicated to him by the composers." All works are concert pieces. (University of California at Berkeley) [B73] Cor de Groot: Apparitions, 1960. [LI88] Willem Andriessen: Preludium, 1960. [L18] Leon Orthel: Sonatina No. 5, Op. 44, 1959. [L357] Herman Strategier: Tema con Variazioni, 1959. [L476] Louis Andriessen: Trois Pieces, 1961. [L17] Jan Felderhof: Impression, 1959. [L128]

A8.

Mano Sinistra II: Vijf stukken van Nederlandse componisten voor piano linkerhand (Five pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, c. 1960. 36 p. "These pieces have been written during a period in with [sic] the Dutch pianist Cor de Groot was temporarily unable to use his right hand. The first piece is by Cor de Groot himself, the other numbers are dedicated to him by the composers. (Richmond, VA Public Library) [B73]

Anthologies

263 Cor de Groot: Jurriaan Andriessen: Oscar van Hemel: Hans Osieck: Wouter Paap:

A9.

Apparition No. VI, 1960. [L189] Quattro pezzi, 1961. [LI6] Sonatina, 1959. [L210] Tema con variazioni, 1960. [L358] Danse gauche, 1959. [L359]

Piano Music for One Hand: A Collection of Studies, Exercises and Pieces. G. Schirmer, Inc., c. 1972. Distributed by Hal Leonard Publishing Corporation, 777 West Bluemond Road, PO Box 13819, Milwaukee, WI 53213. 128 pages of music plus 8 pages of notes. Selected and edited with prefatory notes by Raymond Lewenthal. The prefatory writings include a Preface; A Brief Survey of One-Hand Literature; The Education of the Left Hand; and The Practice and Performance of One-Hand Pieces. These essays by Lewenthal are very informative and important to one-handed performance. This scholar/pianist has given much thought to this area of pianism and shares these helpful and wise insights. [B40] Preface A Brief Survey of One-Hand Literature The Education of the Left Hand The Practice and Performance of One-Hand Pieces. Fantasy in A*>, Op. 76 No. 1 [LI3] Alkan: Klavierstiick [R3p&L22p] Bach, C.P.E.: Solfeggietto [LAI] Gavotte in E [LA6] Bach, J.S.: Bart6k, Bela: Etude for the Left Hand [L28] Berens, H.: 9 Etudes {Training of the Left Hand) [L36p] Berger, L.: Etude for the Left Hand, Op. 12 No. 9 [L39] Blumenfeld, F.: Etude, Op. 36 [L57] Bonimici, F.: Etude No. 3, Op. 273 [L61] Chopin, F.: Etude in E b minor, Op. 10 No. 6 [LA44] Czerny, Carl: Etude for One Hand [R22&L103] Ganz, Rudolph: Capriccio in E-Flat, Op. 26 No. 2 [R34] Godowsky, L.: Elegy [LI59] Meditation [LI63] Greulich, F. W.: Etude for the Left Hand, Op. 19 [LI81] Kalkbrenner, F.: Four-Voiced Fugue [L245] Kohler, Louis: Exercise in Arpeggio [L263p] Melody from Weber's Freischiitz [LA148p] Rhythmic Studies [L265p] 3 Folk Songs for the Left Hand L266p] Liszt, Franz: Hungary's God [L302] Marxsen, E.: La Ricordanza [L321]

264

One Handed Moszkowski, M.: Reger, Max: Reinecke, Carl: Saint-Saens, C: Scriabin, A.: Tappert, W.: Zichy, G6za:

Etude, Op. 92 No. 4 [L342] Four Special Studies p. 100 [L388] Finale {Sonata for the Left Hand), [L389] Moto Perpetuo, Op. 135 No. 3 [L413] Nocturne, Op. 9 No. 2 [L436] Prelude, Op. 9 No. 1 [L435] 2 Exercises (No. 22 and 45 from 48 Exercises for the Left Hand) [L487p] Viennese Pranks [L552]

AlO.

Schule der linken Hand, (School of the Left Hand), Op. 302. Leipzig: C.F. Peters, c. 1881. This tutor for the left hand by Louis Kohler contains many two handed studies by Bertini, Cramer, Jensen, Chopin, Clementi, Steibelt, Kalkbrenner, and Rubinstein. In addition to these, there are several pages of succinct left hand drills, more extended exercises, intermediate arrangements of folk songs [A9], some of the standard left hand solo pieces, and a few newly composed pieces by Kohler. The Preface gives Kohler's underlying philosophy and instructional thoughts. There are other interesting observations given throughout the volume on how to practice the exercises and how to use the pedal in one-handed playing. The volume progresses from easy exercises to difficult repertoire and includes the solo pieces listed below. (Milwaukee, Wisconsin Public Library) Melody by C. M. von Weber, for left hand alone — Kohler [LA147p] Zwei Stticke fur die linke Hand allein - Kohler [LA73p] Melodie-Etude fiir die linke Hand allein - von Weber [LAI48p] Salon-Etude fiir die linke Hand allein — Greulich [L181] Gavotte fiir die linke Hand allein - Kohler [L264p] Melodie-Etude fiir die linke Hand allein - Mehul [L328 and Al] Etude fur die linke Hand allein, Op. 12 - Berger [L39] Vierstimmige Fuge fiir die linke Hand allein -- Kalkbrenner [L245] Gelaufigskeits-Etude fiir die linke Hand allein — Greulich [LI81] Etude fiir die linke Hand allein - Greulich [LI81]

All.

Schule fUr die linke Hand (Schoolfor the Left Hand). Wien: Universal Edition, 1957. "To the memory of my teacher, Malvine Br6e." Three volumes of difficult exercises, etudes, and transcriptions by Paul Wittgenstein. Because Wittgenstein had such an important influence on the creation of much of the left-handed literature, his technical studies are enormously important to the left-handed performer. They exercise all aspects of the physical equipment and give keen insight into the workings of the left hand as it attempts the big repertoire. Fingerings are clever and necessary. He invented special symbols to indi-

Anthologies

265

cate specific left hand techniques. [B41] (Saint Joseph's College, Rensselaer, Indiana) Volume I: Exercises. 82 p. Preface of important advice for achieving the desired results and a list of Errata. These are serious, difficult, and important exercises for the concert pianist. They are carefully derived from standard piano technique drills or snippets of piano literature. The Exercises vary from a line or two to a page or two. Each contains fingering suggestions and some contain many fingering alternatives. Exercises for Finger Technique Exercises in Double-Notes Trill Exercises Exercises in Polyphonic Playing Appendix: Eight excerpts from famous compositions including Beethoven's Leonore Overture, No. 3; Coriolanus Overture; & Kreutzer Sonata. Volume II: Etudes derived from standard literature. 56 p. From Beethoven's Sonata Op. 10 No. 3 (Largo) [LA20] From Beethoven's Op. 57 (Allegro assai) [LAI9] A. Rubinstein - Etude on False Notes [LAI 10] Chopin - Etude in C minor, Op. 10 No. 12 [LA 152] Chopin - Etude in C minor, Op. 10 No. 12 [LAI53] Double notes Chopin — Etude in A minor, Op. 25 No. 11 in double notes [LA 154] From Chopin's Scherzo I Op. 20 [LAI56] E. Haberbier - Poetic Studies no. 20 "Tremolo" [LI97] J. Strauss (Walter Bricht) - "Morgenblatter" [LA135] From Jos. Strauss — "Mein Lebenslauf" [LA 13 5] Brahms — Variation No. 7 from the Variations Op. 21 [LA26] Haydn - Quartet Op. 76 No. 3 (Movement 2, Variation 1) [LA58] Brahms - "To a Nightingale" [CH5] Bach — Violin Sonata in F minor (3rd Movement) [CH4] Volume III: Transcriptions Complete works adapted for the left hand alone. Brief Preface and two pages of Errata. 85 p. Bach: Prelude I from the "Wohltemperiertes Klavier" [LA9] Bach: Prelude I from the "Small Preludes" [LA8] Bach: Gigue from the B b Partita [LA7] Bach: Sicilienne from the E b Flute Sonata [LAI 1] Haydn: Adagio from the Ah Sonata [LA57] Haydn: 2nd Movement from the Quartet Op. 64 No. 5 [LA58] Mozart: Adagio from the Wind Serenade K. 375 [LA95] Schubert-Liszt: "Du bist die Ruh" [LAI 17] Schubert-Liszt: "Calm Sea" [LAI 18] Mendelssohn: Song without words Op. 67 No. 1 [LA88] Mendelssohn: Song without words Op. 67 No. 3 [LA89] Mendelssohn: Nocturne from "Midsummernight's Dream"[LA91]

266

One Handed Schumann: Melody [LA 122] Schumann: Little Study from Album for the Young [LA121] Schumann: "Melancholy" (Bunte Blatter, Op. 99 No. 7) [LA120] Schumann: Bunte Blatter Op. 99 No. 1 [LAI 19] Henselt: Love Song, Etude Op. 5 No. 11 [LA65] Grieg: Little Bird [LA47] Grieg: The Butterfly [LA48] Grieg: Elegy [LA49] Grieg: Melancholy [LA50] Meyerbeer: Bathers' Chorus from the "Hugenots" [LAI51] Bach-Gounod: Meditation [LA 14] Puccini: Sailor's Chorus from "Madame Butterfly" [LA105] Wagner: Quintet from the "Meistersinger" [LAI55] Wagner-Liszt: Isolde's Love Death from "Tristan" [LA146] Bach-Brahms: Chaconne [LA3]

A12.

Standard Studies for the Left Hand. Compiled, annotated and edited by Mentor Crosse. Published in Seven Volumes. Cincinnati, OH: The John Church Company, between 1918 and 1920. Crosse saw a need to provide specialized training for the left alone. From the Preface: "The universally acknowledged dearth of distinct studies for the development of the left hand technic and tone and the fact that only a few writers have attempted to remedy this amazing deficit in our pedagogical literature, prompted the author to issue this exhaustive set of Standard Studies for the left hand-the first complete set of its kind ever published." Each volume contains "Preface exercises" which are drills on various techniques, "Demonstrative etudes" which are two-handed works where the left have has been previously excerpted for study in the present volume, and "Original left hand etudes" written by various composers. "The original left hand etudes by the foremost pedagogical composers...are systematically arranged and progressively graded from the most rudimentary to the most difficult in pianoforte literature." Crosse has edited each exercise and study carefully for the student. Vol. 1: Preparatory Vol. 2: Rudimentary. Composers included in this volume are Berens, Bertini, Biehl, Brauer, Concone, Crosse, Czerny, Doring, Gurlitt, Heller, KOhler, Krause, Lemoine, Loeschom, and Vogt. Most of the works are for two hands, but there are also daily exercises in various intervals, triads, and scale passages. Only three pages stand alone as study pieces for one hand: p. 39, 61, and 62. These examples might serve as repertoire for the upper elementary student. (Newark Public Library) Vol. 3: Fundamental Vol. 4: Intermediate

Anthologies

267 Vol. 5: Advanced. 167 p. Composers included in this volume are Clementi, Cramer, Crosse, Czerny, Greulich [LI81], Gurlitt, Hasert, Hollaender, Kalkbrenner, Kessler, KShler, Loeschhom, Mendelssohn, and Vantyn [L512p]. (Delmar College, Corpus Cristi, TX) Vol. 6: Difficult. 157 p. Composers included in this volume are Chopin, Cramer, Mayer, Reinecke [L389], Kessler, and Hollaender [L222]. (Richmond, Virginia Public Library) Vol. 7: Virtuosity

PEDAGOGICAL ANTHOLOGIES FOR ONE HAND A13p.

The Bass Clef Book. Compiled and edited by Maisie Aldridge. London: Augener, Galliard Limited, Galaxy Music Corporation, c. 1965. 25 p. This is basically a training book for students in reading the bass clef. "Ideally, a piano pupil should learn the treble and bass clefs simultaneously, absorbing both with difficulty. There are, however, an increasing number of children and adults, including students at training colleges, who begin piano lessons with a working knowledge of the treble clef but who are entirely ignorant of the bass." Aldridge begins with unadorned one line rhythm, counting, and pitch studies and then proceeds to simple folk and traditional concert melodies in a variety of ranges and keys. Some fingerings are provided. None of the exercises is meant for recital performance. (University of Tennessee, Department of Fine Arts)

A14p.

Colla sinistra. Nine easy piano pieces for the left hand by Alec Rowley. London: Boosey & Hawkes, c.1928 (Winthrop Rogers Edition). 12 p. (Eastman School of Music) [L405p] Shanty The Professor Minuet Gavotte Goblins Pastoral Pipe Tune Bells Jig

A15p. *Elementary Piano for One Hand. Joseph Riccardi (1928) and August Vella (1907- ). Boston: Boston Music Co., c. 1981. 29 p. While this volume contains some literature for one hand, it is basically a method book. The Preface states that the book is "primarily to give

268

One Handed people with the use of only one arm and hand (either right or left) the chance to learn and enjoy playing the piano...and to give these individuals a strong foundation in musical terms and techniques." This guide may be used with either hand; it contains music fundamentals, practice suggestions, original music, and hints to help the handicapped individual feel rewarded in their music study. Most of the pieces are one page long. The tutorial progresses from easy to more difficult. The final two solos, First Americans and Tarantella could serve as student recital works. (Suffolk Co-op Library System) Table of Contents: Fundamentals Keyboard Notes Legato Touch and Phrasing New Notes The Flat Expression Marks Solo - Shadows Falling Non legato Touch The Tie Solo - Tacky Fingers Legato and Non Legato Touch Solo — Summer's Over Solo - Prelude Staccato Damper Pedal New Notes The Sharp Tenuto Solo - Little Waltz New Notes Chords and Broken Chords Using the Damper Pedal The Fermata Solo - Etude No. 1 Solo - Etude No. 2 Solo - Etude No. 3 Solo — First Americans 6/8 Time Signature Solo - Tarantella

A16p. *Either/Or {Nine pieces for left hand or right hand) by Joyce Grill. Miami, FL: Belwin Mills c/o Warner Bros. Publications, Inc. c. 1992. Each is one page in length and suitable for early elementary level stu-

Anthologies

269

dents. No rhythms more complex than eighth notes and never more than one note at a time. The composer has provided some study and performance suggestions. [L184p or R3 8p] Duet for One Hand One-Hand Boogie Reaching Out See-Saw Swinging Trumpet Fanfare Tubas on Parade Waltzing Alone Woodpeckers A17p. * Fifty Popular Hymns. Arranged for one hand by Frank Shawcross. Disabled Living Foundation, Music Advisory Service. (No date on score). These are carefully and clearly printed, never using more than an octave span. The words to the hymns are not included on the score. The editor states that "with the exception of numbers 9, 26, and 41 all are featured in 'Hymns Ancient and Modern New Standard Large Print Edition.'" This volume is available from The Canterbury press Norwich, St. Mary's Works, St. Mary's Plain, Norwich, Norfolk, NR3 3BH. Shawcross has provided names of authors and composers as well as liturgical titles and usage. Each has a printed introduction. No fingerings or pedalings are marked. Intermediate level difficulty. Straightforward and very useful. All Glory, Laud and Honour AH hail the power of Jesus' name All people that on earth do dwell All things bright and beautiful As pants the heart [sic] As with gladness men of old At even when the sun was set Be thou my Guardian and my Guide Bethlehem of noblest cities Blest are the pure in heart Breathe on me breath of God Bright the vision the delighted City of God Come, ye thankful people, come Dear Lord and Father of mankind Fight the good fight Glorious things of thee are spoken Glory to thee, my God, this night

270

One Handed God, that makest earth and heaven Hark! The glad sound! The Saviour comes? He who would valiant be How sweet the name of Jesus sounds Jerusalem the golden Jesus Christ is risen today, alleluya Jesu, lover of my soul Jesus, good above all others Jesus shall reign where'er the sun Lead us, heavenly Father, lead us Let us with a gladsome mind Lord Jesus, think on me National anthem {Same tune as America) New every morning is the love Now thank we all our God Now the day is over O come, o come, Emmanuel! Oft in danger, oft in woe O God, our help in ages past On Jordan's bank the Baptist's cry Onward Christian soldiers O worship the King Pour out thy Spirit Praise, my soul, the King of Heaven Praise to the Holiest in the height Ride on! Ride on in majesty The head that once was crowned with thorns The strife is o'er There is a green hill far away Thou whose almighty Word We plough the fields and scatter When I survey the wondrous cross

A18p.

For Left Hand Alone in Two Volumes composed and/or arranged by John Thompson. Cincinnati, OH: The Willis Music Company, c. 1959 and c. 1962 respectively. 16 p. in each volume. Both volumes are of upper-elementary difficulty although Volume II is slightly more difficult and has more pieces suitable for young student recitals. Those pieces in the following list, marked with a plus sign, seem appropriate for public performance. Some of the studies are original and some are based on familiar themes. Both volumes contain notes in a Foreword on fingering, touch, and use of the pedal. Fingering, pedaling, dynamics, and articulations are given throughout.

Anthologies

271

Volume I: Eleven Melodious Studies for Piano The Beautiful Blue Danube - Strauss Elfin Dance The Southpaw On Parade Midnight Boogie - Foy Echoes from Schubert The Ballet Dancer +On the Old Banjo Farewell to the Piano — Beethoven Meditation In the Hall of the Mountain King -- Grieg Volume II: Nine Melodious Studies for Piano +0'er Hill and Dale Prelude in C minor Solfeggietto ~ C. P. E. Bach (abridged) Arpeggio Study +Valse Chromatique +Home on the Range - Cowboy Song +Prelude in G major +In a Gondola Black Eyes - Gypsy Folk Song A19p.

Left Alone — Right On! (12 Pieces for left hand alone or right hand alone) by Joyce Grill. Miami, FL: Belwin Mills c/o Warner Bros. Publications, Inc. c. 1995. 20 pages. Each is one to two pages in length. Upper elementary to lower intermediate solo piano. The composer states: "These etudes for one-hand alone are valuable even when both hands are in good shape. Each focuses on a specific musical concept; each can be shared as a performance piece. They provide great sight reading material for more advanced students and are excellent as transitional material for transfer students. Everyone will benefit from experimenting with the pedal to help create exactly the right blend of sound." Some have more charm than others and would be more appropriate for student recital performance. [L185p and R39p] One-Way Waltz (lh) Right On! (rh) Inside Out (rh) Rocking Rainbow (lh) Left Alone (lh) Scaling Left (lh) Solitude (rh) Ripples (rh)

272

One Handed Twilight (lh) Melancholy (rh) Little Lively Latin (rh) Wondering (lh)

A20p. Left Hand Proficiency: Twenty Original Study Pieces and Tran scriptions for the Pianoforte for Left Hand Alone. Philadelphi Theodore Presser, c. 1921. 43 p. Arnoldo Sartorio was the composer/ arranger for this volume. All are upper elementary to lower intermediate works with pleasing melodies and slight accompaniments. Uncluttered and straightforward. One to three pages in length. Fingering and pedaling is marked. [L416p and LAI 12p] Arrangements: Barcarolle - D. F. E. Auber March from Tannhaeuser ~ Richard Wagner Aria from the Magic Flute - W. A. Mozart Aria of Eurydice from Orpheus - Christoph Willibald von Gluck Pilgrim's Chorus from Tannhauser -- Richard Wagner Minuet from Don Juan with Variations - W. A. Mozart On Wings of Song ~ F. Mendelssohn-Bartholdy To the Evening Star from Tannhauser ~ Richard Wagner Bridal Song from Lohengrin -- Richard Wagner Traumerei — R. Schumann Original Works: Lonesome Hours Twilight Song Hear Wishes Repartee Voice of Spring Playfulness Home Memories Golden Times of Youth Exuberance Starlight

A21p. Left Hand Album. Boston: Arthur P. Schmidt, c. 1920. Schmidt's Educational Series No. 251. 31 p. Ten compositions edited by Charles Dennee. (LOC) A Little Waltz for the Left Hand: Arthur Foote [L133p] (Melody), Op. 257 #4: Bernhard Wolff [L543] Impromptu, Op. 185 #5 (Really #4): C. Gurlitt [L194p] Prelude: L. Birkedal-Barfod [L47p] Twilight Shadows, Op. 77 #1: W. J. Greentree [L192p]

Anthologies

273 Valse, Op. 26: Gerrit Smith [L441] Serenade: F. Spindler [L462] Melody in F-Sharp minor: G. Eggling [L120p] Impromptu-Valse, Op. 23: Warren Storey Smith [L441] Indian Legend, Op. 77 #2: W. J. Greentree [L193p]

A22p.

Left hand, Right foot book: piano arrangements for left hand alone with pedal. Evanston, ILL: Summy-Birchard, c. 1961. 16 p. Prefatory remarks about these pedagogy pieces by Felix de Cola who arranged these works indicate they were primarily devised to maintain the interest of students temporarily injured during the course of a year's piano study. Most are one or two pages in length. All indicate fingering possibilities and mark pedal as necessary. Some are suitable for public presentation by upper elementary/lower intermediate level students. (University of Wisconsin-Madison) Handicapped Haydn: theme from the Surprise Symphony Left-handed Liszt: theme from Liebestraum Long, long ago: air by Thomas H. Baly +Drink to me only with thine eyes: old English air [LA30p] +A round of old tunes — traditional [LA30p] The Merry Widow ~ Franz Lehar -i-Funeral March of a Marionette ~ Charles Gounod [LA30p] -i-Two Guitars: Russian folk tune [LA30p] +Come back to Sorrento — Ernesto De Curtis [LA30p]

A23p.

Left Hand Solos (and one duet for two left hands). Formerly published as Left Hand Studies for the Piano arranged by John W. Schaum. Rockville Centre, New York: Belwin-Mills Publishing Corp, Inc. c. 1951 renewed 1979. This edition c. 1997. Two volumes of music each 23 pages in length. These pieces are arrangements, simplifications, and transpositions of standard musical literature, sometimes with modified or new titles. All pieces fall in the elementary to lower intermediate range. Fingerings and more than ample pedalings are indicated. Two is Company in Book I is a duet for two left hands. The repertoire is slightly more difficult in Book II. Pieces with a plus sign below are more suitable for recital performance by students rather than just study. Both books are used on the National Federation of Music Clubs Junior Festivals list. Book I: Can't Help Singing - H. Reinhold Silvery Waves — A. P. Wyman Deep Valley - H. C. MacDougall Rolling Along -- P. Hiller Plus and Minus -- R. Schumann

274

One Handed Sunset Waltz -- F. Wieck Out of the Past - C. Czerny Spring Song - F. Mendelssohn Arkansas Traveler — R. Kansaw Serenade -- E. Nevin +Two is Company -- J. L. Dussek Memories of You - G. Gurlitt Doing Things on a Big Scale — A. Biehl The Futile Courtship - J. Brahms Robin Adair — Scotch Air Halo on the Moon - A. Foote Longing -- F. Schubert Cuckoo Clock -- E. Breslaur Farewell to the Piano — L. Beethoven Book ILDream Dust, Op. 7 No. 2 - Charles F. Denn<5e The Gypsy Baron - Johann Strauss Revolving Door, Op. 163 -- H. Maylath Washington's March — Traditional Spiral Staircase ~ A. Krause Evening Sun -- A. Hollander Nocturne, Op. 9 No. 2 — Scriabine The Squirrel and the Acorns, Op. 38 No. 5 -- Loeschhom In the Subway ~ L. Birkedal-Barford Flashes in the Harbor, Op. 125 No. 12 - Stephen Heller Sunken Garden, Op. 97 No. 3 ~ Louis Streabbog +Prelude, Op. 28 No. 6 - Chopin The Silent Rose, Op. 15 No.l - Victor Herbert Album Leaf — Adam Geibel Scotch Poem, Op. 32 No. 2 - Edward A. MacDowell Chorale, Op. 89 -- H. Berens +Sextet from "Lucia" -- G.Donizetti

A24p. *More Left Alone — Right On! (9 Pieces for left hand alone or right hand alone) by Joyce Grill. Miami, FL: Belwin Mills c/o Warner Bros. Publications, Inc. c. 1996. 24 p. They range in length from two to four pages. Lower intermediate difficulty. "Broken finger? Broken arm? Don't save these pieces just for those times. These etudes for one-hand alone are valuable even when both hands are in good shape. Each focuses on a specific musical concept; each can be shared as a performance piece. They provide great sight reading material for more advanced students and are excellent as transitional material for transfer students. Everyone will benefit from experimenting with the pedal to help create exactly the right blend of sound." The infrequent use of

Anthologies

275

chords makes the textures thin and bare at times. Some are more effective and appealing to an audience. [LI86p and R40p] Strolling Right Along (rh) Wishing (lh) Left Alone Rag (lh) Back in the Saddle (lh) Loco-Motion (lh) Stately Dance (lh) I Wish I Knew (rh) Sara's Song (rh) Ah, Spain! (lh) A25p. *Music To Relax To. Twelve songs from the 1930s and 1940s arranged by Frank Shawcross. Disabled Living Foundation, Music Advisory Service, c. NMDIS 1991. 25 p. A booklet of words to all of the songs in large print is also available from the Foundation. Twelve pleasant "pop" arrangements of standards. Shawcross includes composer and lyricist names as well as copyright acknowledgments. Each is two pages in length and clearly printed in legible, barebones manuscript. No lyrics, articulations, dynamic markings, or fingerings are provided. The volume can be used for either hand, so no fingerings were provided. Intermediate to upper intermediate level of difficulty, jazzy and quite effective. Good facility with chords, chord streams, inversions, and quick shifts is necessary. Anniversary Waltz ~ Al Dubin and Dave Franklin Embraceable You - George and Ira Gershwin Dancing in the Dark - Howard Dietz and Arthur Schwartz There's a Small Hotel - Lorenz Hart and Richard Rodgers My Heart Stood Still ~ Lorenz Hart and Richard Rodgers September Song ~ Lorenz Hart and Richard Rodgers Together - B. G. de Sylva, Lew Brown and Ray Henderson Tammy - Jay Livingstone and Ray Evans April in Paris ~ B. G. de Sylva, Lew Brown and Ray Henderson Smoke Gets in Your Eyes - Otto Harbach and Jerome Kern Stairway to the Stars - M. Parish, M. Malneck, Frank Signorelli The Nearness of You - Ned Washington and Hoagy Carmichael A26p. *Nine Carols for Christmas (Piano Music for One Hand). Specially arranged by Frank Shawcross. London: Disabled Living Foundation, Music Advisory Service, 1985 NMDIS. Reprinted in 1993. 9 p. Shawcross included the composers or hymn tune names. No lyrics printed. Mostly written on the treble staff. Printed Introductions supplied before each carol. These are straightforward and useful. Easier

276

One Handed than other volumes arranged for the Disabled Living Foundation. Lower intermediate. No fingerings, dynamic markings, articulations, or pedal marks provided. Angels from the Realms of Glory As with gladness Away in a manger Ding dong! merrily on high Good King Wenceslas Infant Holy I saw three ships Silent Night While shepherds watched

A27p. *Nine More Carols for Christmas. Specially arranged by Frank Shawcross. London: Disabled Living Foundation, Music Advisory Service, 1986. 10 p. Each has an introduction and the composer's name or traditional origin. These are straightforward and useful. No lyrics are printed with the music. Lower intermediate. No fingerings, articulations, dynamic markings, or pedal marks are provided. God Rest Ye Merry Gentlemen God Rest Ye Merry Gentlemen (alternative version) Hark! The Herald Angels Sing O come all ye Faithful O Little Town of Bethlehem Once in Royal David's City See Amid the Winter's Snow The First Nowell The Holly and the Ivy It Came upon the Midnight clear A28p. *Old Time Music Hall Songs. Arranged for one hand by Frank Shawcross. 14 p. London: Disabled Living Foundation, Music Advisory Service, c. 1987 NMDIS. Reprinted 1991. Twelve well-known songs. Written on two staves. Chordal with some cute accompaniment figures and harmonizations. A short musical introduction to prepare for the singing is given for each song. No articulations, dynamic levels or fingerings are supplied. A booklet of words to all the songs in large clear print is also available from the Foundation. Pedal indicated. Moderately difficult. In the shade of an old apple tree - Williams and von Alstyne You made me love you - McCarthy and Monaco Daisy Bell - Harry Dacre Waiting for the Robert E. Lee - Gilbert and Muir

Anthologies

277 After the Ball - Chas. K. Harris Let's all go down the Strand! - Castling and Murphy Swanee - Caesar and George Gershwin Just Like the Ivy - Mills and Castling The man who broke the bank at Monte Carlo - Fred Gilbert Two lovely black eyes - Coburn and Forman At Trinity Church I met my doom - Fred Gilbert Two Little Girls in Blue - Charles Graham

A29p.

One Hand Alone: Album of 17 well-known pieces arranged for either left hand or right hand solo by Schultze-Biesantz. London: New York: Edition Peters No. 7157, c. 1972. 27 p. Intermediate level arrangements. All of these famous works are arranged on a single staff. The harmonies are simplified and the pedal is marked to sustain these harmonies. The arrangements lie in the center of the keyboard for the most part and give the feeling of being suspended in air without a solid bass foundation. They are good arrangements for training the novice one-handed pianist in moving quickly, breaking chords, and using the damper pedal carefully. There is a lot of useful material here, but the arrangements for the most part are not completely satisfying. (Columbus State College, Georgia) Gluck: Aria from 'Armida' [LA43p] Bach: Willst du dein Herz mir schenken [LA13p] Handel: Largo from 'Xerxes' [LA52p] Schumann: The Merry Peasant [LA123p] Haydn: Serenade from Quartet Op. 3 No. 5 [LA60p] Mozart: Minuet from Symphony No. 39 E b [LA97p] Mozart: Minuet from 'Don Giovanni' [LA96p] Beethoven: Adagio from Septet Op. 20 [LA17p] Beethoven: Adagio from Sonata "Moonlight' [LA18p] Boccherini: Minuet from String Quintet in E [LA24p] Mendelssohn: Song without Words No. 4 [LA92p] Mendelssohn: Song without Words No. 9 [LA92p] Schubert: Serenade [LA116p] Chopin: Prelude D b Op. 28 No. 15 'Raindrop' [LA29p] Wagner: Pilgrim's Chorus from 'Tannhauser' [LA145p] Wagner: Bridal Chorus from 'Lohengrin' [LA143p] Wagner: Lohengrin's Arrival 'My thanks be thine' [LA144p]

A30p.

*One Hand Only for the Young Pianist: Fifteen Selections to be played with One Hand Only. Selected, Edited, and Arranged by Eric Steiner. Rockville Center, NY: Belwin, Inc., 1962. 31 pp. "The pieces in this book are for ONE HAND ONLY. Pages 2, 4, 5, 8, 10,

278

One Handed LEFT HAND ONLY; Pages 3, 5, 7, 9, 11, etc., contain the identical numbers for the RIGHT HAND ONLY. They differ in nothing but the fingering." These upper elementary study pieces are all one page in length with fingerings and pedaling provided. There are two original works by Steiner plus others based on folk songs and standard classical themes from well-known composers. Suggestions for creating duets from several of these pairs are given. "The PLAYER ON THE LEFT plays the complete selection with the RIGHT HAND ONLY, transposing all notes AN OCTAVE LOWER THAN WRITTEN. The PLAYER ON THE RIGHT plays the complete selection with LEFT HAND ONLY, transposing all notes AN OCTAVE HIGHER THAN WRITTEN." (Wheaton College, IL) Andante — Mozart Andantino ~ Lemare Autumn Song — Mendelssohn Golden Stars ~ Streabbog Good-bye, Flo ~ Cohan Holiday Procession — Czerny Mountain Brook ~ Lecouppey [sic] Sea Chantey ~ Folk Melody of Finland Song of Grace ~ Beethoven Three Puppies — Concone Victory Bells ~ Steiner Waltz of Nostalgia — Steiner Who Is Sylvia? -- Schubert Who Is the Man? ~ Hymn of the Pilgrims The Young Voyageur — Folk Song

A3 lp. *One-hand Piano Method for Beginners: Stressing the Independent Development of Either the Right or Left Hand by Ella Shaw. NY: Mills Music, Inc., c. 1952. One volume, 30 p. From the Preface: "...due to handicaps, countless thousands have been denied the privilege of expressing themselves through [the piano]...I have written and arranged music which can be played by persons who have the use of only one hand...This book is intended for the beginner and offers the full course of fundamentals for one hand playing..." This "middle C" method begins with the basics of the keyboard structure, the note names, finger numbers, and time counting. Each musical example that follows contains fingering for either hand and is a direct application of some pedagogical concept just presented. No exercise or arranged piece is longer than one page. A few might be used for recital purposes on this elementary level. The volume concludes with a Dictionary of Musical Terms. (State University - Potsdam, New York)

Anthologies

279 Long, Long Ago — Thomas Bayly Home on the Range Silent Night — Franz Gruber Minuet from Don Giovanni — Mozart Melody in F ~ Anton Rubinstein

A32p.

Piano Music for One Hand by Australian Composers. Melbourne, Australia: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. Allans Piano Library #21. Compiled by Shirley Harris. 45 p. Includes pieces for right or left hand alone. Each piece can be played with either hand by altering the fingering. This is an exceptionally well conceived volume that provides "real" music for the young or inexperienced or handicapped. Foreword: Concerning teaching children with physical handicaps, Harris gives many good suggestions and warnings. Notes on the Composers: Brief biographical paragraphs about most of the composers included in the volume. Notes on some of the Pieces. Some of the composers provide notes about the conception of their pieces and ideas for the successful teaching of them. Reverie [R17p&L81p] Colin Brumby: Three Little Piano Pieces [R26p] Ross Edwards: Space Music [R33p] David Gallasch: Three pieces for 5 fingers or 1 hand Eric Gross: [R42p&L191p] Ronald Hanmer: Waltzing Matilda [LA54p] Ronald Hanmer: Click Go the Shears [LA54p] Michael Hannan: Modal Melodies for Single Hands [R43p & L200p] Shirley Harris: Study in A minor [L204p] William R. Hawkey: Playmates and Colours [L207p] Miriam Hyde: Come and Play in My Sand-patch [L238p] The Cuckoo [L238p] The Rain is Falling [L238p] Lullaby [L238p] The Happy Hen [L238p] Two on a See-Saw [L238p] The White Daisy Field [L238p] The Trumpets are Sounding [L238p] A Cloudy Day [L238p] The Dancing Bird [L238p] Study in C minor [R52] Miriam Hyde: Staccato Study in E major [R53] Miriam Hyde: Study on the White Keys [R54] Miriam Hyde: Fifths And Thirds [L295p] Jeffrey Leask:

280

One Handed Jeffrey Leask: Don Kay:

Film Theme [R62p] For Shirley Harris [L249p]

A33p. *Single Handed: Exploring the Piano with One Hand. Original exercises and arrangements by Lynn Freeman Olson. New York: Carl Fischer, Inc., c. 1983. 16 p. Elementary to lower intermediate pieces for the student. Introductory technical remarks and strategies for study. With the exception of the last four, two original works and two arrangements, all are meant as exercises. All of the exercises are carefully fingered for either hand and pedal marks are given when appropriate. Marine's Hymn and Greensleeves have been included on the National Federation of Music Clubs Junior Festivals Selections for 1995-1997 (Primary Class I and Primary Class II respectively). One-handed location (Exercise) Melodies for One Hand, One Finger Marines Hymn for One finger Melodies for One Hand in 5-Finger Positions When the Saints Go Marching In Red River Valley Easy Going Moves Melodies for One Hand with Added Rhythm One Handed Fragments Theme from Symphony No. 4 — Mendelssohn Theme from Symphony No. 40 — Mozart Theme from Symphony No. 8 — Schubert Theme from "Tambourin" — Gossec Ballet Theme from "Alceste" Greensleeves She Wore a Yellow Ribbon [LA99p] Serenade [L354p] Londonderry Air [LA99p] Entr'Acte [L354p] A34p. *Songsfrom the Thirties. Seven jazz piano arrangements by Neil Hobson and notated by Ronnie Cass. London: Disabled Living Foundation, Music Advisory Service, c. 1978 NMDIS. Reprinted 1988, 1991. Copyright credit is given to the copyright holders. Each is about two pages in length and written in a clear and legible, barebones manuscript. No chord symbols, articulations, lyrics, or dynamic levels are given. The volume can be used for either hand, so no fingerings were provided. The performer must also determine the pedal usage. Intermediate to upper intermediate level of difficulty, jazzy and quite effec-

Anthologies

281

tive. A good facility with chords, chord streams, inversions, and quick shifts is necessary. Skylark - Hoagy Carmichael, Johnny Mercer Georgia - Hoagy Carmichael Miss Otis Regrets - Cole Porter Manhattan - Lorenz Hart, Richard Rodgers Foggy Day - George and Ira Gershwin The Folks Who Live on the Hill - Jerome Kern, O. Hammerstein II They Can't Take that Away from Me - George and Ira Gershwin A35p.

Two friends (right hand and left hand). First grade piano studies for equalizing the two hands by Anne Mathilde Bilbro. New York: G. Schirmer — Schirmer's scholastic services, vol. 89, c. 1917 and 1920. This is a suite of twenty-four pieces, eight of which are for the left hand alone while none are for the right hand alone. All are titled and some contain words for singing or chanting. Fingerings are given. Pedaling is not required. Upper elementary difficulty. All of the pieces are between two and five lines in length. (Eastman School of Music) [L46p] Out for a Walk Little Left Hand's Resolution (Left Hand alone) Left Hand Begins Work (Left Hand alone) A Little Ramble At Home (Left Hand alone) A Party A Little Conversation Practice Makes Perfect (Left Hand alone) Something That Happened Stealing Base A Plantation Tale Companions A Boat Ride Lullaby (Left Hand alone) At School The Gypsy's Story Along Walk (Left Hand alone) A Sunny Holiday The Little Spaniards An Excursion (Left Hand alone) A Song of Summer A Happy Heart (Left Hand alone) The Two Singers

282

One Handed

A36p. *Volksmelodieen alter Nationen der Erde: als Ubungsstiicke fur das Pianoforte vom ersten Anfangs als Unterrichte an in stufenweiser Folge bis zur hbheren Ausbildung. Edited and arranged by Louis Christian Heinrich Kohler. Braunschweig: Henry Litolff s Verlag. Boston: Alfred P. Schmidt, (1900). 82 p. This volume contains 150 national folk tunes in easy arrangements. The first thirty are for study by one hand. Each is provided with fingering for either hand and with an accompaniment part for the teacher. No black keys involved for the student. None of the examples are over four lines in length. (Cleveland, Ohio Public Library) Schlaf, Kindchen, schlaf ~ German Schatzchen, Ade!, Scheiden thut weh! ~ Bavarian Sing Gottes Lob im Winter auch, Er ist so treu und gut ~ Silesian Kuckuck, Kuckuck, rufts aus dem Wald — Austrian Veilchen, wie so schweigend, wie so still sich neigend — German Sum, sum, sum! Bienchen sum herum — German Schlaf, mein Kind, schlaf ein, Schliess deine Augelein - Austrian Es ritt ein Herr und auch ein Knecht ~ Silesian Bald gras'ich am Neckar, bald gras'ich am Rhein ~ German Auf den Schnee, folgt der schone Hoffnungsklee — Lusation Der Mond, der scheint, das Kindlein weint ~ German Fahret hin, fahret hin, Grillen geht mir aus dem Sinn! - German Drei Tag, drei Tag, drei Tag gehn mer mit ham - Swabian Alle, die das Ringlein lieben ~ North German Fahr, fahr, fahr auf der Post — German Es steht ein Baum im Odenwald ~ German O Tannenbaum, wie treu sind deine Blatter ~ German Wohlauf, Kameraden, aufs Pferd, aufs Pferd! ~ Hessian Auf! ihr Briider und seid stark, der Abschiedstag ist da ~ Hessian Es kann ja nicht immer so bleiben — German Hier ruhst du, Karl, hier werd ich ruhn — German Komm, lieber Mai, und mache die Baume wieder griin ~ German Willkommen, o seliger Abend ~ German Es ritten drei Reiter zum Thore himaus, Ade! - German Kein schou'rer Tod is auf der Welt ~ German Rosen auf den Weg gestreut — German Mit dem Pfeil, dem Bogen, durch Gebirg und Thai — German Bin i nit a lust'ger Schweizerbu, hab immer frohen Muth « Swiss Soldatenmuth siegt iiberall im Frieden und im Krieg - German Das Volk steht auf, der Sturm bricht los ~ German

Chapter 6

Selected Discography The recordings listed here are arranged alphabetically by the composer's last name or in the case of anthology recordings by the artist's last name. "D" numbers are used to identify each recording. Reference numbers in brackets at the end of citations, e.g. [L12], refer the reader to entries in other chapters. DI.

Absil, Jean WORKS: a.

ARTIST: TITLE: LABEL:

Three pieces for the Right Hand Alone, op. 32. [Rl] Kathleen Vadal, piano. Jean Absil: Selected Piano Works Robbinsville, NJ: Orion: OC 790, 1963.

D2.

Alkan, Charles Henri WORKS Troisgrandes etudes. [LI3] [R2] a. ARTIST: Ronald Smith, piano. NOTES: Ronald Smith. LABEL: Hayes, Middlesex, England: EMI CDM 7 69630 2, pl988 b. ARTIST: Ronald Smith, piano. LABEL: Arabesque: Z6604, 1989. c. ARTIST: Marc-Andre Hamelin, piano. NOTES: Altes Orga. LABEL: Hyperion: CDA66765,

D3.

Arnold, Malcolm WORK: Concerto for Phyllis and Cyril, Op. 104. [Cl] a. ARTIST: Cyril Smith and Phyllis Sellick, piano; City of Birmingham Orchestra, Malcolm Arnold, conductor. TITLE: Concertos for Phyllis and Cyril.

284

One Handed NOTES: LABEL: b.

ARTIST: LABEL:

Gordon Jacob. Odeon:PASD.2612, 1970. HMV Greensleeve: ESD 7065, 1970. David Nettle, piano; Royal Philharmonic Orchestra, Vernon Handley, conductor. Conifer Classics: 75605-51240-2.

D4.

Bergman, Borah WORKS: Three for the Left Hand Alone. [L41] a. ARTIST: Borah Bergman, piano. All music composed by Borah Bergman. Chiaroscuro Records, CR-158, 1977. LABEL:

D5.

Bliss, Arthur WORK: ARTIST: a. TITLE: NOTES: LABEL:

Concerto for Two Pianos (arr. for 3 hands). [C3] Cyril Smith and Phyllis Sellick, piano; City of Birmingham Orchestra, Malcolm Arnold, conductor. Concertos for Phyllis and Cyril. Gordon Jacob. Odeon:PASD.2612, 1970.

D6.

Blumenfeld, Felix WORK: Etude for the left hand alone, Op. 36. [L57] a. ARTIST: Michael Ponti, piano. TITLE: Michael Ponti live at the Newport Festival. LABEL: Newport Classic: NCD 60088, 1988.

D7.

Britten, Benjamin WORK: Diversions, Op. 21. [C7] a. ARTIST: Julius Katchen, piano; London Symphony Orchestra, Benjamin Britten, conductor. TITLE: Prince of the Pagodas LABEL: London: 421 855-2, c. 1989, pi954. b. TITLE: Sinfonia da requiem. ARTIST: Julius Katchen, piano; London Symphony Orchestra, Benjamin Britten, conductor. LABEL: Decca: LXT2981. ARTIST: Leon Fleisher, piano; Baltimore Symphony c. Orchestra, Sergiu Comissiona, conductor. LABEL: Desto: x47168, 1973. TITLE: Concerto for Orchestra ARTIST: Leon Fleisher, piano; Baltimore Symphony

Discography

e. f.

285

LABEL: ARTIST: LABEL: TITLE: ARTIST:

g.

LABEL: ARTIST:

h.

LABEL: ARTIST: LABEL:

D8.

Detlef, Klaus WORKS:

a.

D9.

ARTIST: TITLE: LABEL:

Orchestra, Sergiu Comissiona, conductor. PHCD 122 Phoenix7170, 1974, 1991. Leon Fleisher, piano; Boston Symphony Orchestra, Seiji Ozawa, conductor. Sony Classical: SK 47188, c 1992 Rattle Conducts Britten Peter Donohoe, piano; City of Birmingham Symphony Orchestra, Simon Rattle, conductor. EMI Classics: CDS 754270, 1982, 1991. Siegfried Rapp, piano; Symphony Orchestra of Radio Berlin, Arthur Rother, conductor. Urania: URLP 7101, 1953. Julius Katchen, piano; London Symphony Orchestra, Benjamin Britten, conductor. Eclipse: ECS.799, 1977.

Bach/Brahms: Chaconne. [LA2] Scriabin: Piano Pieces, Op. 9. [L435&L436] Reger: Scherzo from 4 Special-Studien [L388] Bart6k: Etude. [L28] Klaus Detlef, piano. Klaviermusik fur die linke Hand. Rotary Club Essen. 66.22 348,1982. "Einegemeinsame Activity von Rotary und Lions Essen zumWeltjahr des Behinderten."

Eckhardt-Gramatte, S. C. WORK: Piano Sonata VI (1928/1952) E. 130. [LI 18] [R25] a. ARTIST: S. C. Eckhardt-Gramatte, piano TITLE: S. C. Eckhardt-Gramatte performing her own works. A documentary of the composer, violinist and pianist. LABEL: World Records: Discopaedia: WRC1-1597. Sales: DISCOPAEDIA (James Creighton), c/o Recordings Archive, Edward Johnson Music Library, Faculty of Music, University of Toronto, 80 Queen's Park Crescent, Toronto, Ontario, M5S 1A1. b. ARTIST: Diedre Irons, piano TITLE: Music and Musicians of Canada, Vol. XII. LABEL: CBC Radio Canada: International Service: 224-S Stereo

286

One Handed c.

D10.

ARTIST: TITLE: NOTES: LABEL:

Faure, Gabriel WORK: a. ARTIST: TITLE: NOTES: LABEL:

Marc-Andre Hamelin, piano. Piano by Fazoli. S. C. Eckhardt-Gramatte: The Six Piano Sonatas. Michael Pisani The Eckhardt-Gramatte Foundation and Altarus Records Limited, c. 1991. AIR - CD-9052. Dolly Suite, Op. 56. [CE32] Cyril Smith, Phyllis Sellick, piano. Arrangements for three hands on one piano. James Methuen-Campbell. Nimbus Records Limited: NI 5178, 1974, 1989.

D11.

Feldman, Morton WORK: Piano (three hands). [CE33] a. ARTIST: Morton Feldman, Roger Woodward, piano; Ralph Lane, piano. TITLE: Instrumental music. NOTES: Richard Toop. LABEL: Etcetera KTC 2015: Qualiton: CD-4526, 1990.

D12.

Fleisher, Leon WORKS:

a.

D13.

ARTIST: TITLE: NOTES: LABEL:

Franck, Cesar WORK: a. ARTIST: TITLE: NOTES: LABEL:

Takacs: Toccata and Fugue, Op. 56. [L483] Saint-Saens: Six Etudes, Op. 135. [L413] Saxton: Chacony. [L422] Bach-Brahms: Chaconne. [LA2] Blumenfeld: Etude, Op. 36. [L57] Scriabin: Prelude, Op. 9 #1 [L435] Nocturne, Op. 9 #2 [L436] Godowsky: Symphonic Metamorphoses. [LI67] Leon Fleisher, piano. Leon Fleisher Recital. Wolfgang Stahr. Sony Classical: SK 48 081, pi993.

Prelude, Chorale, and Fugue. [CE34] Cyril Smith, Phyllis Sellick, piano. Arrangements for three hands on one piano. James Methuen-Campbell. Nimbus Records Limited: NI 5178, 1974, 1989.

287

Discography D14.

George, Jon WORK: a.

ARTIST: TITLE: LABEL:

Etude No. 2 "For the Left Hand Alone" from Suite No. 4. [L151] Mary Gae George, piano. 4 Modern Suites. Alfred Publishing Co., Inc.

D15.

Godowsky, Leopold WORK: Symphonische Metamorphosen Johann Strauss'scher Themen. [L167] a. ARTIST: Antony Rolle, piano. NOTES: Sorrel Doris Hays. LABEL: Finnadar: 90298-1-E, pl985.

D16.

Godowsky, Leopold WORKS: Op. 25 #3; Op. 10 #5; Capriccio; Op. 25 #1. [L165&L158] a. ARTIST: Benno Schmidbauer, piano. TITLE: Transcriptions of Chopin Etudes. LABEL: Micula: Mic 15 121 155, 1980.

D17.

Hassler, Johann WORK: a. ARTIST: TITLE: b.

Wilhelm Sonate fur Klavier zu drei Handen. [CE39] Rebecca Penneys, piano Hand Progressions: music for one piano, zero to eight hands. LABEL: Eastman School of Music Faculty Showcase. ARTIST: Eugene List, piano. Gary Kirkpatrick, piano. TITLE: Early Sonatas for the Pianoforte. NOTES: Florian Grassmayr. LABEL: Musical Heritage Society, MHS: 733, 1966, 1969.

D18.

Hodkinson, Sydney WORK: Minnie-Rag for right hand, 1990. [R47] a. ARTIST: Rebecca Penneys, piano TITLE: Hand Progressions: music for one piano, zero to eight hands. LABEL: Eastman School of Music Faculty Showcase.

D19.

Hoenderdos, Margriet WORK: Es verjungt sich nach unten. [R48]

288

One Handed a.

ARTIST: TITLE: NOTES: LABEL:

Guus Janssen, piano. Piano Compositions. Program and biographical notes in English inserted in container. Donemus Amsterdam: Composers Voice: CVCD 8703. "DAD" recording.

D20.

Hosenpud, Matthew a. WORK: Etude for the Left Hand [L228] ARTIST: Imelda Delgado, pianist. TITLE: Rediscovering... LABEL: Boston Records: BR1009CD, 1996.

D21.

Jacob, Gordon WORK: a.

ARTIST:

TITLE: NOTES: LABEL: D22.

Janacek, Leo§ WORK: a.

ARTIST:

b.

LABEL: ARTIST:

c.

LABEL: ARTIST:

d.

LABEL: ARTIST:

e.

LABEL: ARTIST:

f.

LABEL: ARTIST:

Concerto for three hands on one or two pianos. [C15] Cyril Smith and Phyllis Sellick, piano; City of Birmingham Orchestra, Malcolm Arnold, conductor. Concertos for Phyllis and Cyril. Gordon Jacob. Odeon: PASD.2612, 1970. Capriccio pro klavir (levou rukou) a dechovy soubor. [CH11] Boris Berman, piano; Netherlands Wind Ensemble, T. Fischer, conductor. Chandos: CHAN 9399. Viktoria Postnikova, piano; Soloists from Orchestre de Paris, Guennadi Rojestvenski, conductor. Erato: 2292-45599-2, 1990. M. Boriskin, piano; Bronx Arts Ensemble, M. Bartos, conductor. New Port Classic: NCD 60087. Rudolf Firkusny, piano; Czech Philharmonic Orchestra, V. Neumann, conductor. REC Red Seal: 09026-60781-2 Andras Schiff, piano; Musiktage Mondsee Ensemble. London: 440312-2, 1992. Hilde Somer, piano; Caramoor Festival

289

Discography

g. h.

D23.

LABEL: ARTIST: LABEL: ARTIST: TITLE: LABEL:

Kann, Hans WORKS:

a.

TITLE: LABEL:

Orchestra. Phoenix: PHCD 109. Radoslav Kapil, piano; Philharmonia Orchestra Members, Simon Wright, conductor. Nimbus: NI 5103. D. Wiesner, piano. Leo§ Jan&cek Chamber Compositions. Panton: 811393-2, 1995. C.P.E. Bach: Klavierstiick. [L22p] Saint-Saens: Six Etudes. [L413] Scriabin: Piano Pieces, Op. 9. [L435&L436] Reger: Four Special Studies. [L388] Bartok: Tanulmany balkezre. [L28] Piano Music for the Left Hand Alone. Musical Heritage Society: MHS 1971,p.l974.

D24.

Korngold, Erich Wolfgang WORK: Piano Concerto for the left hand, Op. 17. [C17] a. ARTIST: Steven de Groote, piano; Nordwestdeutsche Philharmonie, Werner Andreas Albert, conductor. TITLE: Orchestral Works, Volume II. NOTES: Burkhand Schmilgun. LABEL: Germany: Classic Produktion Osnabruck: CPO 999 037-2; WDRCPO 999 046-2, 1991.

D25.

Korngold, Erich Wolfgang WORK: Suite for 2 Violins, Cello and Piano Left Hand, Op. 23. [CH14] a. ARTISTS: Leon Fleisher, piano; Joseph Silverstein and Jaime Laredo, violins; Yo-Yo Ma, cello. TITLE: Music for Strings and Piano Left Hand NOTES: David Grayson. LABEL: SONY Classical: SK48253, c. 1998.

D26.

Leimer, Kurt WORK: ARTIST: a. TITLE: LABEL:

Konzert fiir Klavier und Orchester. [C21] Kurt Leimer, piano; Das Philharmonia Orchester London, Herbert van Karajan, conductor. Konzert fur Klavier und Orchester Electrola/Odeon: SME91753, 1960, 1969.

290

One Handed b.

D27.

D28.

ARTIST: LABEL:

Kurt Leimer, piano; Symphony of the Air Orchestra New York, Leopold Stokowski, conductor. EMI: 1 C 063-20 030, 1960, 1969?

Lipatti, Dinu WORK: a. ARTIST: TITLE: LABEL: b. ARTIST: TITLE: LABEL: c. ARTIST: TITLE: LABEL: d. ARTIST: TITLE: LABEL:

Sonatine pour piano (main gauche seule). [L301] Dinu Lipatti, piano. The Legendary piano of Dinu Lipatti. Everest Records, p. 1977 Dinu Lipatti, piano. Concertino in classic style. Musical Heritage Society MHS: 7025-7026, c. 1976 Dinu Lipatti, piano Dinu Lipatti Works. Electrecord: ECE 0766-ECE 0767, c. 196Raoul Sosa, piano. Works for the Left Hand. Analekta: B-CLCD 2016.

Liptak, David WORK: a. ARTIST: TITLE: LABEL:

Piano Roll Blues for seven hands, 1991. [CE53] Rebecca Penneys and others, piano. Hand Progressions: music for one piano, zero to eight hands. Eastman School of Music Faculty Showcase.

D29.

Liszt, Franz WORK: a. ARTIST: TITLE: LABEL:

D30.

Margola, Franco WORK: Sonata pianistica for two right hands: Doloroso and Vivace. [CE55] a. ARTIST: Rebecca Penneys and others, piano. Hand Progressions: music for one piano, zero to TITLE: eight hands. Eastman School of Music Faculty Showcase. LABEL:

D31.

Martinu, Bohuslav WORK: Divertimento for piano left-hand & chamber orchestra. [C22]

UngarnsGott. [L302] Leslie Howard, piano. Arntees de p^terinage III. Hyperion: CDA66448, 1990-1.

291

Discography a.

ARTIST: TITLE: LABEL:

J. Panenka, piano; Prague Chamber Orchestra, B. Gregor, conductor. Sinfonietta giocosa. Czechoslovakia: Supraphon: 11 0273-2, 1990.

D32.

Mendelssohn, Felix WORK: Allegro Brilliant, Op. 92. [CE59] a. ARTIST: Cyril Smith, Phyllis Sellick, piano. TITLE: Arrangements for three hands on one piano. NOTES: James Methuen-Campbell. LABEL: Nimbus Records Limited: NI 5178, 1974, 1989.

D3 3.

Mompou, Federico WORK: Prelude No. 6 (for the left hand). [L337] a. ARTIST: Alicia de Larrocha, piano. TITLE: Spanish songs and dances. NOTES: Charles Miles. LABEL: RCA Victor Red Seal: 09026-62554-2, 1994, 1992. b. ARTIST: J. Colom, piano. LABEL: Mandala: MAN 4811S.

D34.

Montecino, Alfonso WORK: Composition for the Left Hand. [L339] a. ARTIST: Alfonso Montecino, piano. TITLE: An evening of compositions by Alfonso Montecino. LABEL: Indiana University School of Music - Program 1989-1990, no. 708.

D3 5.

Nepomuceno, Alberto WORKS: Nocturnes 1 and 2 for Left Hand. [L346] Five Little Pieces for Left Hand. [L346] a. ARTIST: Maria Ines Guimaraes, piano. TITLE: Alberto Nepomuceno Piano Works. LABEL: Marco Polo 8.223548 (Naxos), 1994. b. TITLE: Obra completa para piano. ARTIST: Miguel Proenca, piano. LABEL: Arsis: AR 006-AR 008, 1983.

D36.

Nowak, Lionel WORKS:

Lionel Nowak: Practice Piece. [R76] Jeffery Levine: Soliloquy. [R65] Allen Shawn: Six Miniatures. [R92]

292

One Handed

a.

ARTIST: TITLE: LABEL:

Vivian Fine: The Flicker. [R29] Otto Luening: The Right Hand Path. [R66] Alison Nowak: View for Piano Right Hand. [R74] L. Augustus Nowak: Theme and Variations. [R75] Peter Golub: Six Pieces. [R37] Louis Calabro: Fantasy. [R21] Lionel Nowak, piano. The Right Hand Path. Distributed by Bennington College, Public Affairs Office, Bennington, VT 05201: BMD001, c.1990.

D37.

Ohana, Maurice WORK: Main gauche seule from Six etudes d9interpretation (Douze etudes dyinterpretation, Livre I) [L352] ARTIST: Marie-Josephe Jude, piano. Les nouveaux interpretes. TITLE: Harmonia Mundi France: HMN 911569, 1995. LABEL:

D3 8.

Ponce, Manual Maria WORK: Malgre tout. [L379] [B68] a. ARTIST: David Witten, piano. TITLE: Piano Music. LABEL: Marco Polo: 8.223609, 1994

D3 9.

Ponce, Manual Maria WORK: Preludio y fuga para la mano izquierda. [L380] a. ARTIST: Duo Classico. TITLE: Flute and piano music of Latin American. LABEL: Musical Heritage Society: MHS 512501/ 512512H,pl990. b. ARTIST: J. Federico Osorio, piano. LABEL: ASV: ASV 874. c. ARTIST: David Witten, piano. LABEL: Marco Polo: 8.223609, 1994.

D40.

Prokofieff, Sergei WORK: Concerto for piano (left hand) in Bb major, Op. 53. [C23] a. ARTIST: Leon Fleisher, piano; Boston Symphony Orchestra, Seiji Ozawa, conductor. TITLE: Concertos, piano, 1 hand. LABEL: Sony Classical: SK 47188, c 1992

Discography

293

b.

ARTIST:

c.

LABEL: ARTIST:

d.

NOTES: LABEL: ARTIST:

e.

LABEL: ARTIST:

f. g-

NOTES: LABEL: ARTIST: LABEL: ARTIST: LABEL:

h.

ARTIST:

i.

LABEL: ARTIST:

j.

NOTES: LABEL LABEL: ARTIST:

k.

TITLE: NOTES: LABEL: ARTIST: TITLE: LABEL:

D41.

Ravel, Maurice WORK: a. ARTIST:

Boris Berman, piano; Royal Concertgebouw Orchestra, Neeme Jarvi, conductor. Chandos: ABTD 1424, 1989. Yefim Bronfman, piano; Israel Philharmonic Orchestra, Zubin Mehta, conductor. David Grayson. Sony Classical: SK 58966, 1993. Kun Woo Paik, piano; Polish National Radio Symphony Orchestra, Antoni Wit, conductor. Naxos: 8.550566, 1991. Vladimir Ashkenazy, piano; London Symphony Orchestra, Andre Previn, conductor. High Ottaway. London: CS5 6964, 1975. Samuel Lipman, piano. Tornay Management: SL-6762, 1966. Rudolf Serkin, piano; Philadelphia Orchestra, Eugene Ormandy, conductor. CBS Masterworks: MPK 46451, Recorded 1959, p. 1990. Georges Bernand, piano; Orchestre Philharmonique de la radio-television fransaise, Maurice le Roux, conductor. Vega: C 30 A 299, 1964. Michel Beroff, piano; Gewandhaus-Orchester Leipzig, Kurt Masur, conductor. Max Harrison. Angel: 34762, 1986. EMI: CDZB7625411; EMI 162543—62544, 1992. Gabriel Tacchino, piano; Orchestra of Radio Luxembourg, Louis de Froment, conductor. The Concertos. Richard Freed. Vox Box: CD3X 3000, 1972, 1991. Vladimir Krainev, piano; Radio-SinfonieOrchester Frankfurt, Dmitri Kitaenko, conductor. Piano Concertos Nos. 1-5. Teldec: D252488, 1993. Piano concerto for the left hand in D major, [C24] Leon Fleisher, piano; Boston Symphony

294

One Handed

b.

TITLE: LABEL: ARTIST:

c.

LABEL: ARTIST: LABEL:

d.

ARTIST:

e.

LABEL: ARTIST:

f.

NOTES: LABEL: ARTIST: LABEL:

g-

ARTIST:

h.

LABEL: ARTIST: NOTES: LABEL:

i.

ARTIST: LABEL:

D42.

Ravel, Maurice WORK: a. ARTIST:

b.

TITLE: LABEL: ARTIST: TITLE: NOTES: LABEL:

Orchestra, Seiji Ozawa, conductor. Concertos, piano, 1 hand. Sony Classical: SK 47188, c 1992 Leon Fleisher, piano; Baltimore Symphony Orchestra, Sergiu Comissiona, conductor. Vanguard Classics: OVC 4002. Philip Fowke, piano; The London Philharmonic, Serge Baudo, conductor. EMI Records: CD-CFP 4667; EMICDB 5 68576 2, 1988, 1995. Pascal Rog£, piano; Orchestre Symphonique de Montreal, Charles Dutoit, conductor. London Records: LDR 71092, 1983. Lorin Maazel, piano; Jean Philippe Collard and the Orchestre national de France. Terry McFadden. Angel: SZ37730, pl979. Anne Queffelec, piano; Strasbourg Philharmonic Orchestra, Alain Lombard, conductor. Musical Heritage Society: MHS 3358X, MHS 5358Y. Paul Wittgenstein, piano; Amsterdam Concertgebouw Orchestra, Bruno Walter, conductor, AS disc: AS 418, 1937, 1989. Abby Simon, piano; Luxembourg Radio Orchestra, Louis de Froment, conductor. Richard Freed Turnabout: QTV-S 34589, p. 1975. Vox Box 2: CDX 5032. Alicia de Larrocha, piano; St. Louis Symphony Orchestra, Leonard Slatkin, conductor. RCA Red Seal: 09026-60985-2. Frontispiece. [CE64] Donald Pirone; Jocelyn Rothgarber; Timothy Sullivan, pianos. A Ravel Centenary Recital. Musical Heritage Society: MHS 3581, 1977. Paul Jacobs; Gilbert Kalish; Teresa Sterne, pianos. Chansons mad^casses. Roy Howat. Elektra/Nonesuch: 71355-2, p. 1978, 1987.

Discography c.

d.

e.

f.

gh.

i.

D43.

295 ARTIST: Mario Tipo; Alessandro Specchi, pianos. TITLE: Composizioni per pianoforte. LABEL: Dischi Ricordi: RCL 27030 1979. ARTIST: T. Kelton; David Bradshaw; Cosmo Buono, pianos. TITLE: Bradshaw and Buono, Piano Duo. LABEL: Connoisseur Society: CD 4171, 1988. ARTIST: Ingryd Thorson; Thurber; David Gardiner, pianos. TITLE: Music for Two Pianos and Piano Duet. NOTES: Ingryd Thorson. LABEL: Olympia: OCD 360, 1987, 1989. ARTIST: Ruth Laredo; Jacques Rouvier, pianos. TITLE: Pieces pour 2 pianos. NOTES: Yoshio Miyama. LABEL: Denon: C37-7907, 1985. ARTIST: Nederlands Pianisten Kwartet. TITLE: Works for Two Pianos Eight Hands. LABEL: Attacca Babel: 9481,1994. ARTIST: S. Coombs and C. Scott, piano. LABEL: Gamut Classics: GAM CD 517. ARTIST: Rebecca Penneys, piano TITLE: Hand Progressions: music for one piano, zero to eight hands. LABEL: Eastman School of Music Faculty Showcase.

Reger, Max WORKS: a. ARTIST: LABEL:

Four Studies for the Left Hand. [L388] Frederic Moyer, piano. Newton Centre, MA: GM Recordings: GM 2016 CD,pl986.

D44.

Rocherolle, Eugenie WORKS: Etude for the Right Hand [R88p]; Adagio for the Left Hand. [L397p] a. ARTIST: Julie Rivers, piano. TITLE: Spinning Gold: the piano music of Eugenie Rocherolle. LABEL: Aureus Records: AU 1001, 1994-5.

D45.

Rorem, Ned WORK: a. ARTIST: LABEL:

Concerto for Piano left Hand & Orchestra. [C25] Gary Graffrnan, piano; Curtis Institute of Music Symphony Orchestra, Andr£ Previn, conductor. New World: 89445-2.

296

One Handed

D46.

Schickele, Peter Liebeslieder Polkas. [CE10] WORK: John Ferrante, bargain counter tenor; Peter a. ARTIST: Schickele, basso blotto and piano; David Oei, piano; Anne Epperson, piano; Swarthmore College Chorus, David Gram Swing, conductor. Vanguard: VMD-79438, 1989. LABEL:

D47.

Schmidt, Franz WORK: a.

ARTIST: LABEL:

D48.

Concertante Variations on a Theme of Beethoven. [C26] D. Adam, piano; Austrian Radio Orchestra, A. Eschwe, conductor. Preiser: 93395.

Schmidt, Franz WORK: a.

Quintet in G major for 2 violins, viola, cello and piano left hand. [CH27] ARTISTS: Leon Fleisher, piano; Joseph Silverstein and Joel Smirnoff, violins; Michael Tree, viola; Yo-Yo Ma, cello. TITLE: Music for Strings and Piano Left Hand NOTES: David Grayson. LABEL: SONY Classical: SK48253, c. 1998

D49.

Schubert, Franz WORKS: Fantasie in F minor, D. 940. [CE72] Sonata in B-flat, D. 617. [CE74] Cyril Smith, piano; Phyllis Sellick, piano ARTIST: a. James Methuen-Campbell. NOTES: Nimbus Records Limited: NI 5178, 1974, 1989. LABEL:

D50.

Scriabin, Alexander WORK: Nocturne in D-flat major, Op. 9 no. 2. [L436] a. ARTIST: Sedemara Zakarian, piano. TITLE: Pianist Sedemara Zakarian plays Shostakovich and Scriabin. LABEL: Orion: ORS 82429, 1982. b. ARTIST: M. Lewin, piano. TITLE: Russian Piano Recital. LABEL: Centaur: CRC 2134.

Discography c.

d.

e.

297 ARTIST: TITLE: LABEL: ARTIST: TITLE: NOTES: LABEL: ARTIST: TITLE: LABEL:

G. Fergus-Thompson, piano. Complete Works for Solo Piano. ASV: ASV 919. Sigi Weissenberg, piano. Piano Music of Scriabin. Morris Hastings. Columbia Masterworks: MM891, 1948. Raoul Sosa, piano. Works for the Left Hand. Amplitude: Analekta Distributions: B-CLCD2016, 1994.

D51.

Scriabin, Alexander WORK: Prelude for the Left Hand Alone, Op. 9 #1. [L435] a. ARTIST: G. Fergus-Thompson, piano. TITLE: Complete Works for Solo Piano. LABEL: ASV: ASV 919. b. ARTIST: G. Scott, piano. LABEL: Globe: Gamut Classics: GAM 520. c. ARTIST: Raoul Sosa, piano. TITLE: Works for the Left Hand. LABEL: Amplitude: Analekta Distributions: B-CLCD2016, 1994.

D52.

Smith, Cyril WORKS:

a.

ARTIST: TITLE: NOTES:

[CE82] Handel: Arrival of the Queen of Sheba. Bach: Jesu, Joy of Man's Desiring. Bach: Rejoice, beloved Christians. Bach: God's time is best. Mendelssohn: Scherzo from Midsummer Night's Dream. Mendelssohn: The Bee's Wedding. Field: Rondo in E major. Bizet: Galop from the Jeux d'enfants. Faure: Berceuse from Dolly Suite. Ravel: Pavanne pour une infante defunte. Walton: Popular Song. Albeniz: Navarra. Carmichael: Bahama rumba. Milhaud: Brazileira. Cyril Smith, piano; Phyllis Sellick, piano. Three Hands on Two Pianos. Cyril Smith.

298

One Handed LABEL:

D53.

Sosa, Raoul WORKS:

a.

D54.

Sosa, Raoul WORKS:

a.

D55.

ARTIST: LABEL:

ARTIST: TITLE: LABEL:

Sosa, Raoul WORKS: a.

ARTIST: NOTES: LABEL:

Odeon: PCSD 1506, 1963. (University of California at Santa Barbara) Bach/Brahms: Chaconne. [LA2] Chopin/Godowsky: Dix Etudes: Op. 10 no. 3, 4, 5, 6, 7, 12; Op. 25 no. 1, 10, 12; Op. Posth.[LA44] Sosa: Variations sur l'Engelkonzert de Paul Hindemith. [LA 132] Raoul Sosa, piano. Amplitude: Analekta Distributions: JACD-2013, 1992. Bach: Chromatic Fantasy. [LA 127] Moszkowski: Etudes, Op. 92 [L342]. Scriabin: Piano Pieces, Op. 9. [L435&L436] Sosa: Sonata No. 1 for Piano. [L448] Raoul Sosa, piano. Works for the Left Hand. Amplitude: Analekta Distributions: B-CLCD2016, 1994. Franz Schmidt - Quintett in G [CH27] Erich Wolfgang Korngold - Suite, Op. 23 [CH14] Raoul Sosa, piano; Quatuor Laval, strings. Lucien Poirier. Soctete nouvelle d'enregistrement: SNE-606CD, 1995.

D56.

Strategier, Herman WORK: Tema con variationi for the left hand. [L476] a. ARTIST: David Mannesse, piano. TITLE: Piano Works LABEL: Globe: GL0 5124, 1994.

D57.

Strauss, Richard Panathenaenzug, Op. 74. [C32] WORK: a. ARTIST: Kurt Leimer, piano; Nurnberger Symphoniker, Gunter Neidlinger, conductor. TITLE: In Memorium Kurt Leimer.

Discography

b.

299 NOTES: LABEL: ARTIST: NOTES: LABEL:

G. Rindauer. Colosseum: SM 572, 1975. Peter Rosel, piano; Staatskapelle Dresden, Rudolph Kempe, conductor. Ernst Krause. EMI Classics: CDZC 7 64342 2, 1988, 1992.

D58.

Strauss, Richard Parergon zur Sinfonia Domestica. [C33] WORK: a. ARTIST: Ian Hobson, piano; Philharmonia Orchestra, Norman Del Mar, conductor. Burleske and Parergon. TITLE: R. D. Darrell. NOTES: Arabesque Z6567, c. 1989. LABEL: b. ARTIST: Paul Wittgenstein, piano; Boston Records Orchestra, Eric Simon, conductor. Klaus George Roy. NOTES: Boston Records: B 412, 1959. LABEL: Hilde Somer, piano; San Antonio Symphony, ARTIST: c. Victor Alessandro, conductor. NOTES: James Lyons. LABEL: Mercury: SR 90517, c. 1970 d. ARTIST: Gary Graffrnan, piano; Vienna Philharmonic, Andr6 Previn, conductor. LABEL: Deutsche Grammaphon: 449 188-2, 1995, 1996. ARTIST: Peter Rosel, piano; Staatskapelle Dresden, Rudolph Kempe, conductor. TITLE: The Complete Concertos. NOTES: Ernst Krause. LABEL: EMI Classics: CDZC 7 64342 2, 1988, 1992.

D59.

Stravinsky, Igor WORKS: Five Easy Pieces for Piano. [CE86] Three Easy Pieces. [CE85] Alfons & Aloys Kontarsky., piano. ARTIST: a. Wergo:WER 6228-2. 1962. LABEL:

D60.

Tavarez, Manuel WORK: a. ARTIST: TITLE: NOTES:

Gregorio Vals de la mano izquierda [L491] Elisa Tavarez, piano. Manuel G. Tavarez In Spanish by A. Veray.

One Handed

300 LABEL:

Instituto de Cultura Puertorriqueiia: Serie de compositores del siglo XIX, 1970.

D61.

Tomasek, Jaroslav WORK: Sonata per la solo mano sinistra. [L501] a. ARTIST: Otakar Hollmann, piano. TITLE: Sonata per pianoforte. LABEL: Supraphon LPV 489.

D62.

Wittgenstein, Paul WORKS: Donizetti-Leschetizsky: Andante Finale. [LA78] Schubert: Du bist die Ruh'. [LAI 17] Bach: Sonata: Siciliano. [LA11] Mozart: Serenade, Adagio. [LA95] Wagner-Liszt: Mild un leise. [LA 146] a. ARTIST: Paul Wittgenstein, piano. TITLE: Transcriptions for piano, left hand from the School for the left hand, volume 3. LABEL: Boston Records: B 412, 1959.

D63.

Wittgenstin, Paul WORKS: Ravel: Concerto in D. [C24] Bach: Chaconne. [LA3] Schubert: Meerestille. [LAI 18] Reger: Romance, Prelude and Fugue. [L388] a. ARTIST: Paul Wittgenstein, piano; Max Rudolf, conductor. Paul Wittgenstein plays music for the left hand. TITLE: B. Lebow. NOTES: Period Records: SPL 742, 1959. LABEL:

D64.

Zabrack, Harold WORK: a. ARTIST: TITLE: LABEL:

Elegie for left hand alone. [L550] Harold Zabrack. Piano Sonata No. 1. Educo, Box 3006, Ventura CA, 1955.

Bibliography Bl.

A. J. S. "Music Reviews: Music for Advanced Players." European Piano Teachers Association, Piano Journal. Volume 16 #46 (February, 1995): 35. "Da Capo Music, Ltd. Fantasia for the Left Hand by Maurice Karkoff."

B2.

Arnold, Ruth Katherine. "Southpaw Solo Flight." Etude. Volume 74 (March, 1956): 49.

B3.

Ashton, J. Bruce. Music for Piano Left-Hand and Orchestra: A Study of Technical Solutions to a Musical Problem. Part of the thesis requirements for the Doctor of Musical Arts degree from CollegeConservatory of Music of the University of Cincinnati. June, 1971. 88 p.

B4.

Attinello, Paul. "Single-Handed Success: Leon Fleisher's keyboard comeback." Piano & Keyboard. Number 163 (July/August, 1993): 29-33.

B5.

BBC Music Library: Piano and Organ Catalogue. London: British Broadcasting Corporation, 35 Marylebone High Street, WI. c. 1965.

B6.

Bailey, Philip. They Can Make Music. London: Oxford University Press, 1973. List of recommended music. 123-133.

B7.

Bardas, Stefan. "For the Left Hand." Clavier. Volume 3 #3 (MarchApril, 1964): 23.

B8.

Bauman. "Nepomuceno." American Record Guide. Volume 58 Issue 2 (March/April, 1995): 150. Review of a recording of piano music.

302

One Handed

B9.

Bergen, Alfred Hiles. Alexander MacFadyen: Romantic Poet of the Piano (1879-1936). The Illustrated History of Wisconsin Music. Milwaukee, WI: Yesterdays Memories: MGC Publications, c. 1991. 150-157.

BIO.

Bosquet, Emile. La Musique de Clavier et par Extension de Luth. Bruxelles: Les Amis de la Musique, 58, rue Dautzenberg. c. 1953: 463, 468, 492-494, 536, 543, 566.

Bll.

Bryant, E. T. Music Librarians/tip: A Practical Guide. Second edition. With the assistance of Guy A. Marco. Metuchen, NJ: Scarecrow Press, Inc., 1985.

B12.

Chang, Frederic Ming and Albert Faurot. Team Piano Repertoire: A Manual of Music for Multiple Players at One or More Pianos. Metuchen, NJ: Scarecrow Press, Inc., 1976.

B13.

Chase, Mildred Portney. Just Being at the Piano. Culver City, CA: Peace Press, Inc., 1981. The Left Hand: 57-59.

B14.

De Cola, Felix. "The Elegant Art: Playing the Piano with the Left Hand Alone." Clavier. Volume 6 #3 (March, 1967): 25-31.

B15.

Duehlmeier, Susan Hunter. Vladimir Ussachevsky: Life and Works with Emphasis on the Piano Compositions. Partial requirement for the Doctor of Musical Arts from Boston University, 1985.

B16.

Dyer, Richard. "Upbeats: News." Piano and Keyboard. Number 171 (November/December, 1994): 14. Review of Lukas Foss' Concerto for the Left Hand.

B17.

Edel, Theodore. "Develop Your Left Hand." Clavier. Volume 25 #8 (October, 1986): 12-15, 17-22.

B18.

. Piano Music for the Left Hand Alone. Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts from the Manhattan School of Music, May, 1980. 144 p.

B19.

. Piano Music for One Hand. University Press, c. 1994.

B20.

Elder, Dean. Review of Piano Music for One Hand by Theodore Edel. Printed in Clavier. Volume 35 #10 (December, 1996): 6.

Bloomington, IN:

Indiana

Bibliography

303

B21.

Flindell, E. Fred. "Paul Wittgenstein (1887-1961): Patron and Pianist." The Music Review, Volume 32 #2 (May, 1971): 107-127.

B22.

Ganz, Peter Felix. The Development of the Etude for the Pianoforte. A dissertation for the Ph.D. in Music History and Literature for Northwestern University, August, 1960. 424 leaves.

B23.

Godowsky, Leopold. "Piano Music for the Left Hand," The Musical Quarterly. XXI, 1935: 298-300.

B24.

Gowen, Bradford. Review of Third Suite (Piano Left Hand) by Erwin Schulhoff. Piano and Keyboard. Number 175 (July/August, 1995): 62.

B25.

Graffman, Gary. "Notes From the Left Hand Alone: Some Thoughts About Five-Fingered Piano Playing and the New Rorem Concerto." Keyboard Classics & Piano Stylist. Volume 13 #2 (March/April, 1993): 8,9,52.

B26.

Greene, Gary A. Henry Holden Huss: An American Composer's Life. Metuchen, NJ: Scarecrow Press, Inc., 1995.

B27.

Greenhoe, Mary. "Jeno Tak&cs - Contemporary Sounds for Piano." Clavier. Volume 20 #8 (October, 1981): 45-46.

B28.

Handbuch der Musikalischen Literatur oder Verzeichniss der im deutschen Reiche und in den angrenzenden Landern erschienen musikalien auch musikalischen Schriften, Abbildungen und plastischen Darstellungen mit Anzeige der Verleger und Preise. Leipzig, Friedrich Hofmeister, 1868, 1876, 1887, 1893, 1900, 1906. Covering the literature from 1860 to 1903.

B29.

Harper, Gwendoline. "One Hand Alone." The American Music Teacher. Volume 23 #4 (February/March, 1974): 35-36.

B30.

Harvey, Trevor. "Paul Wittgenstein: A Personal Reminiscence." Gramophone. XXXIX (June, 1961): 2.

B31.

Hinson, Maurice. "Music for One-Handed Pianists." Keyboard Classics: The Magazine You Can Play. Volume 12 #4 (July/August, 1992): 8,41.

304

One Handed

B32.

. The Pianist's Guide to Transcriptions, Arrangements, and Paraphrases. Bloomington, IN: Indiana University Press, c. 1990.

B33.

Holland, Bernard. "Both the Musical and the Physical in Joint Service." The New York Times (Friday, December 8, 1995), Volume 145 Issue 50269: C25. A review of a left hand recital by Leon Fleisher.

B34.

Holzer, Linda. "William Bolcom: From Rags to Riches." Piano & Keyboard. Number 184 (January/February, 1997): 39-44.

B35.

Jackson, Adrian. "Music: Pianist Resumes, One-Handed." Business Review Weekly. Volume 18 Issue 3 (January 29, 1996): 87.

B36.

Kelver, George. "The Care and Feeding of Left-Handed Pianists." Piano Guild Notes. Volume 24 #1 (July-August, 1987): 14, 29.

B37.

Kennard, Dalphne. "Music for One-Handed Pianists." London: United Kingdom Branch, International Association of Music Libraries. Brio. Volume 13/2 (1976): 39-43. An alphabetical list of piano music for right or left hand entered by composer with publishers and graded in difficulty by Phyllis Sellick.

B38.

Kunkle, Wanda. An Analysis and Pedagogical Discussion of Selected Piano Pieces for the Left Hand Alone. A Master of Music in Piano Pedagogy degree thesis from West Chester University, 1989. 82 p.

B39.

Lau, Sandra Wing-Yee. The Art of the Left Hand: A Study of Ravel's "Piano Concerto for the Left Hand" and a Bibliography of the Repertoire. A final project submitted to the Department of Music and the Committee on Graduate Studies of Stanford University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. April, 1994. 44 p.

B40.

Lewenthal, Raymond. "The Rich Repertoire for One Hand." Clavier. Volume 17 #4 (April, 1978): 15-18, 36.

B41.

Malone, Norman. The Technical and Aesthetic Advantages of Paul Wittgenstein's Three Volumes of Music "School for the Left Hand." A thesis for the Master of Music degree from the Department of Music Education from the School of Music of De Paul University, January, 1973. 74 p.

Bibliography

305

B42.

Maris, Barbara English. "Musical Variations on a Theme." American Music Teacher. Volume 45 # 6, June/July, 1996: 14ff.

B43.

Marsh, Margaret. A Project Submitted in Partial Fulfillment of the Requirements for the degree of Doctor of Music in Piano Performance and Pedagogy from the School of Music of Northwestern University, March 28, 1983. 29 p.

B44.

Maxwell, Grant L. Music for Three or More Pianists: An Historical Survey and Catalogue. Metuchen, NJ: Scarecrow Press, Inc. c. 1993.

B45.

McKeever, James. "Godowsky Studies on the Chopin Etudes." Clavier. Volume 19 #3 (March, 1980): 21-28

B46.

Meier, Timothy. Compositional Techniques Utilized in Piano Music for the Left Hand Alone. A research paper submitted as partial fulfillment for the Master of Music degree at Southern Illinois University-Carbondale. 1988. 44 p.

B47.

Miller, Malcolm. "Piano Music for One Hand by Theodore Edel." European Piano Teachers Association, Piano Journal. Volume 16 #48 (November, 1995): 29.

B48.

Miranda-Perez, Ricardo. "Piano Music By Mexican Composers: A brief voyage of discovery into an unknown musical land." European Piano Teachers Association, Piano Journal. Volume 13 #38 (June, 1992): 17-18.

B49.

Entry B49 was intentionally skipped.

B50.

Music and the Physically Handicapped. London: Vincent House, Vincent Square: Disabled Activities Group of the Central Council for the Disabled, 1966. 24p.

B51.

National Academy of Music. The University Course of Music Study: Piano Series. A standardized text-work on music for Conservatories, Colleges, Private Teachers, and Schools. Junior Graduate Division (Grade Three) Chapter XXVIII -- Left Hand Technic, c. 1919.

B52.

New York Public Library Reference Division. Dictionary Catalog of the Music Collection. Vol. 24. Boston: G. K. Hall & Co., 1964: 127-130.

306

One Handed

B53.

Nissman, Barbara. "A Two-Handed Pianist & A One-Handed Concerto." Piano Today. Volume 16 #1 (January/February 1996): 52-54. A discussion of the Prokofieff Fourth Piano Concerto.

B54.

Penrose, J. F. "The Other Wittgenstein." The American Scholar. Volume 64 #3 (Summer, 1995): 397-402.

B55.

Perry, Adelaide Trowbridge. Compendium of Piano Material, second edition. Los Angeles, CA: Trowbridge-Perry Publications, c. 19291939: 33-34: "Left Hand Alone."

B56.

Piano Music for One Hand: Catalogue. Music Advisory Service of the Disabled Living Foundation. London: 380-384 Harrow Road, W9 2HU, c. 1976. Reprinted August, 1994 by the National Music and Disability Information Service, Foxhole, Dartington, Totnes, Devon, TQ9 6EB. 15 p. This is a brief list of works (sometimes only composer's last name and title) for one hand alone or works that might be adapted for a one-handed pianist, student through artist. A number of suggestions for finding out-of-print music are made and a few addresses are given for composers and arrangers in the United Kingdom.

B57.

Piano Music: Scores Held at the Australian Music Centre Library. Catalogue, May, 1998. Australian Music Centre, P.O. Box N 690 Grosvenor Place New South Wales 1220. 58-59.

B58.

Pickard, Bonni-Belle. "Repertoire for Left-Handers." Clavier. Volume 25 #9 (November, 1986): 22-24, 34.

B59.

Randlett, Samuel. "Scriabin's Prelude for the Left Hand Alone." Clavier. Volume 17 #4 (1978): 23-29.

B60.

Rappaport, John. "Morale Victory, M*A*S*H. Unpublished television script. Twentieth Century-Fox Television, November 26, 1979.

B61.

Rezits, Joseph and Gerald Deatsman. The Pianist's Resource Guide: Piano Music in Print and Literature on the Pianistic Art, 1978-1979. Park Ridge, IL: Pallma Music Co., c. 1978. Distributed by Kjos West, San Diego, CA: 822-823.

B62.

Ross, Alex. "Music Review: Left-Handed Concertos Are a Match," New York Times: The Living Arts (Tuesday, April 30, 1996): B3.

Bibliography

307

B63.

Saxe, Leonard S. "The Published Music of Leopold Godowsky," Notes. Volume 14 #2 (March, 1957): 165-183.

B64.

Schenkman, Walter. "Right on with the Left." Volume 34 (April, 1978): 14-15.

B65.

Schuessler, Annemarie. "Pieces for One Hand." Clavier. Volume 37, #5 (May/June, 1998): 24. A review of the John Robert Poe book Look Ma, One Hand. [L373p]

B66.

Siki, Bela. "Reflections on Dinu Lipatti." Clavier. Volume 34, #2 (February, 1995): 15-17.

B67.

Smith, Cyril. Duet for Three Hands. London: Angus and Robertson, c. 1958. "As told to Joyce Egginton."

B68.

Smith, Joseph. "Ponce's Left Hand Danza." Piano Today. Volume 19 #1 (Winter, 1999): 13-15. Includes the score.

B69.

Strain, Tracey. Bibliography of Piano Music For the Left Hand Alone. A Master of Library Science Research Paper for the Kent State University School of Library Science, March, 1972. 78 p.

B70.

Truscott, Harold. Erich Wolfgang Korngold's Concerto for Piano (Left Hand) and Orchestra in C Sharp, Op. 17. Paisley, Scotland: Wilfion Books, publishers, c. 1985. l i p . An analytical essay with 16 musical examples. Some historical background and structural analysis.

B71.

Waldhart, Ann M. Piano Music for the Left Hand Alone. A paper presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Piano) from the University of Kansas, April, 1997. 33 p.

B72.

Wechsberg, Joseph. "His Hand Touched Our Hearts." Number. 6 (June, 1959): 25-29.

B73.

Weiser, Adolph. Two Right Hands: A Guide for the Development of Piano Technique. New York: Carl Fischer, Inc. c. 1952.

B74.

Whistling, Carl Friedrich. Handbuch der musikalischen Literatur. Leipzig: C. F. Whistling, 1828-1838. Reprinted by Georg Olms Verlag, Hildesheim and New York. Second edition and the three supplements published by C. F. Whistling and F. Hofmeister. Second

Music Journal.

Coronet.

308

One Handed and third supplements prepared by A. Hofmeister: 96, 102, 514-518, 1201.

B75.

Wiley, Adrienne. "Playing Better by Studying Literature for the Left Hand." Clavier. Volume 35 #1 (January, 1996): 12-15.

B76.

"With the Left Hand." Time Magazine, (October 26, 1959): 65-66. A brief biographical sketch and photograph of Cor de Groot and his affliction.

Index Adam, D., 296 Adams, Ansel E., 101 Aldeburgh Festival, 149 Ambrosi, Gustinus, 226 Ancona, Dina, 194 Arnold, Malcolm, 283, 284, 288 Ascot, Luis, 121, 149 Ashkenazy, Vladimir, 293 Ax, Emanuel, 43 Balas, Juan Orrego, 127 Ballista, Antonio, 40 Bardas, Stefan, 10, 180, 183 Barot, Yvette, 37 Barrett, Larry Catsworth, 241 Bartos, M., 288 Bauer, Harold, 160 Berman, Boris, 288, 293 Bernand, Georges, 293 Beroff, Michel, 293 Bernstein, Leonard, 140 Binkley, Florence Fender, 58 Biegel, Paul, 72 Blanchet, Emile, 91, Blanck, Barbara, 31, 113 Bloom, Tessie, 118 Bodin, Esther, 114 Bonamici, Ferdinando, 12 Boriskin, M., 288

Bradshaw, David, 295 Bray, Ken, 110 Bree, Malvine, 264 Brinkman, Florence, 160 British Broadcasting Corporation, 52 Britten, Benjamin, 12 Bronfman, Yefim, 293 Brouw, Frans, 15 Bruscia, Kenneth, 161 Brzozowski, Barbara, 35, 124 Bu5ar, Tatjana, 56 Buono, Cosmo, 295 Burghauser, Jarmil, 225 Cannon, Ellen, 97 Carl V. Lachmund Collection, 228 Carvallo, Albert, 75 Carvallo, Tina, 75 Cheltonham Festival, 87 Chiron, France, 37 Christensen, Ove, 62 Christiansen Dunn, Lola, 37, 38 Ciampi, Marcel, 43 Cohen, Harriet, 56, 212,215 Collier, Gilman, 42 Colom, J.,291 Conne, Paul de, 138

310 Conservatoire de Musique de Budapest, 175 Conservatorio de Santa Cecilia, 76 Consoli, Graziella, 128 Contreras, Jesus, 139 Coombs, S., 295 Cortes, Edgar L., 79 Crawford, Clara T., 126 Creighton, James, 285 Crowson, Lamar, 25, 87 Cummings, Patrick, 162 Cunningham, Merce, 74 Curtis Institute of Music, 219 Dalen, Hugo van, 68 Davies, Eiluned, 172 Delgado, Imelda, 288 Delnova, V., 262 Dennee, Charles, 62, 83, 85, 99, 100,153,154,158,173,272 Densmore, Frances, 74 Desroches, Martine, 230 Detlef, Klaus, 285 Dexter, Charles, 167 Diaghilew, Serge, 255 Dillard, Jean-Pierre, 248 Disabled Living Foundation, 269, 275, 276, 280 Donahue, Lester, 25 Donnelly, Nellie, 194 Donohoe, Peter, 285 Doyen, Jean, 147 Dunn, Lola Christiansen, 131 Duo Pastorino—An li Pong, 248 Eckhardt-Gramatte Foundation, 22,82 Edyth Bush Charitable Foundation, Inc., 43, 77 Engel, Carl, 93 England, Paul, 224 Epstein, Selma, 69, 107 Erdody, Countess Irma, 175

Index Feast, Margaret Euphemia, 205 Felice, John, 224 Fergus-Thompson, G., 297 Ferrero, Haydee, 75 Ferte, Armand, 78 Firkusny, Rudolf, 288 Fleisher, Leon, 7, 102, 104, 114, 140,149,169,212,213,214, 215,220,252,284,285,286, 289, 292, 293, 294, 296 Fowke, Philip, 294 Fox, Douglas, 57, 72 Freed, Richard, 293 Freeman, James, 149 Fruhling, Carl, 217 Fumagalli, Adolopho, 12 Galston, Gottfried, 91 Ganz, Rudolph, 63 Gardiner, David, 295 Garrow, Louise, 58 George, Mary Gae, 89, 287 Giardoni, Peter, 161 Gibbs, Laura, 204 Gibbs, Sally, 127 Gillock, William L., 162 Gorodnitzki, Sascha, 40 Gousseau, Lelia, 122, 128 Graffman, Gary, 7, 149, 212, 219, 295, 299 Grassmayr, Florian, 287 Grayson, David, 289, 293 Grigsby, Audrey, 32 Groot, Cornelius Wilhelmus de, 7, 12,54,55,66,84,98,103,112, 134,135,160,226 Groote, Steven de, 289 Guimaraes, Maria Ines, 291 Haberrettl, Elenore, 84 Hall, Beatrice Mary, 156 Hall, Kathryn Hubert, 162 Hamelin, Marc-Andr£, 283, 285 Harrison, Max, 293 Hastings, Morris, 295

Index Hastings, Shirley Belle, 159 Hays, Sorrel Doris, 287 Heller, Stephen, 86 Henry Wood Promenade Concerts, 211 Herard, Paul Silva, 137 Herz, Henri, 163 Hobson, Ian, 299 Hochstetter, Mathilde, 157 Hodkinson, Sydney, 287 Hollander, Lorin, 220 Hollmann, Otakar, 12, 151, 165, 217,225,300 Howard, Leslie, 290 Howat, Roy, 294 Hunwick, James, 25 Hupp, Bertha Moll, 123 Hurt, Jack, 40 Hutcheson, Ernest, 91 Instituto de Cultura Puertorriquena, 163 International Tango Collection, 246 Irons, Diedre, 285 Irving S. Gilmore International Piano Festival, 219 Irving S. Gilmore Keyboard Festival, 214 Jacobs, Paul, 16,294 Janssen, Guus, 288 Jefferson City Area Music Teachers' Association, 134 Johnstone, Valda, 30 Jora, Mihail, 121 Jude, Marie-Josephe, 292 Kalish, Gilbert, 294 Kann, Hans, 289 Kapil, Radoslav, 289 Katchen, Julius, 284, 285 Kelton, T., 295 Kelver, George, 167 Kempe, Rudolph, 299

311 Kirkpatrick, Gary, 287 Knussen, Oliver, 140 Kolisch, Rudolf, 103 Koningsveld, Ronald, 165 Kontarsky, Alfons, 299 Kontarsky, Aloys, 299 Krainev, Vladimir, 293 Krause, Ernst, 299 Kroeger, Ernest R., 193 Lacote, Marie-Therese, 37 Lane, Ralph, 286 Langdon, Woodbury G., 205 Laredo, Ruth, 295 Larrocha, Alicia de, 291, 294, 295 Laughlin, Louis, 157 Lebow, B., 300 Leduc, Charles-Edward, 155 LeGallez, Belle, 115 Lewenthal, Raymond, 4 Lewin, M., 296 Lhevinne, Joseph, 91 Lima, Corlina H. de, 75 Lipman, Samuel, 293 List, Eugene, 287 Loeschorn, A., 135 Loesser, Arthur, 92 Longley, Minnie Little, 117 Lucille Barrett Trust, 241 Lucktenberg, George, 189, 231 Lynn Freeman Olson Composition Awards, 171 Maazel, Marvine, 195 Malone, Norman, 159 Margolies, Mollie, 88 Martin, Danielle, 249 Matejka, Maria, 84 Mayer, Dr. Leland, 3 Mayer, Paulette, 48 McFadden, Terry, 294 McKay, Jim, 83 Melgar, Edgar, 75 Mercey, Gail, 234 Merrill, Ben, 174

312 Mesterenek, Thoman Istvannak, 56 Methuen-Campbell, James, 284 Miles, Charles, 289 Miyama, Yoshio, 295 Morton, Katherine Hutt, 151 Mouravieff, Leon, 138 Moyer, Frederic, 295 National Endowment for the Arts, 219 National Federation of Music Clubs, 7, 36, 38, 131, 134, 144, 164, 171, 197,280 National League of American Pen Women, 113 National Music and Disability Information Service, 55, 80, 101,102,104,111,114,119, 120, 133, 135, 161, 165, 169, 202,239 Nederlands Pianisten Kwartet, 295 Nelson, Mary Jarman, 58 Nemerov, Howard, 38 Nepomuceno, Sigrid, 132 Nettle, David, 284 Nicolai, Mauricio Ferrari, 75 Nissen, Oscar, 168 Nissman, Barbara, 218 Nowak, Laura, 227 Odom, John, 249 Osius, George, 174 Osorio, J. Federico, 290 Paderewski, Ignaz Jan, 63 Paik, Kun Woo, 293 Panenka, J., 291 Parnaudeau, Suzanne, 37 Pawnee Indians, 74 Pearce, Mrs. James, 61 Peel, Gerald, 204 Penneys, Rebecca, 29, 245, 287, 290, 295 Peterson, Roger Tory, 24 Petoefi, Alexander, 121

Index Pirone, Donald, 294 Pisani, Michael, 23, 82, 83, 286 Pitchford, Blake Jamal, 250 Pleyel, Camille, 95 Plougoulm, Prosper, 123 Poe, Edgar Allan, 42, 140 Poirier, Lucien, 298 Ponti, Michael,284 Postnikova, Viktoria, 288 Priestly, J. B., 214 Proenca, Miguel, 291 Quast, Lothar, 124 Queffelec, Anne, 294 Railton, John, 180, 183 Rasch, Hugo, 103, 104 Rapp, Siegfried, 12, 218, 285 Reilly, Mary Louise, 232 Ridky, Jaroslav, 225 Rieger, Eva, 151 Rindauer, G., 299 Rivers, Julie, 295 Roberts, Trudi, 58 Robson, Mark, 71 Roge, Pascal, 294 Rogers, James H., 137 Rolle, Antony, 287 Romeuf, Nicole, 36 Rosel, Peter, 299 Ross, Alex, 213 Rotary Club de Carmelo, 75 Rotary Club Essen, 285 Rothgarber, Jocelyn, 294 Rouvier, Jacques, 295 Rtiker, Dr. Florian, 5 Ruthardt, Adolf, 259 Sachsen-Weimar, Anna Amalia von, 245 Safford, Julia, 141 Sahlberg, Marguerite, 138 Samaroff, Olga, 40 Saperton, David, 93

Index Scharfenberg, William, 162 Schiff, Andras, 288 Schirmer, Ernest C , 89 Schmidbauer, Benno, 287 Schmilgun, Burkhand, 289 Schumann, Clara, 179 Scott, C , 295 Scott, G., 297 Sellick, Phyllis, 211, 212, 216, 242, 249, 253, 254, 283, 284, 286, 287,291,296,297 Serkin, Rudolf, 293 Serres, Caroline de, 146 Sherwood, Guy, 7 Silotti, Alexander, 91 Silverstein, Joseph, 289,296 Simon, Abby, 294 Smith, Cyril, 12,48, 170, 211, 212, 216,242,249,253,283,284, 286,288,291,296,297 Smith, Ronald, 283 Sobieczky, Emmy, 107 Societe Suisse de PSdagogie Musicale, 140 Solomon, Yonty, 16 Solum, John, 229 Somer, Hilde, 288, 299 Sonnleitner, Johann, 150 Sosa, Claude, 155 Specchi, Alessandro, 295 Spencer, James, 96, 244 Springfield Symphony Association, 220 Stahr, Wolfgang, 286 Stea, Carlo, 37 Sterne, Teresa, 294 Stockton Rush Bartol Foundation, 219 Street, Tison, 103 Sullivan, Timothy, 292 Tacchino, Gabriel, 293

313 Tavarez, Elisa, 163, 299 Thevenet, Juliette, 87 Thorson, Ingryd, 295 Tipo, Mario, 295 Tocco, James, 77 Toop, Richard, 286 Transtroemer, Tomas, 112 Underwood, Ian, 103 Uyttenhove, Yolande, 68 Vadal, Kathleen, 283 Vazquez, Carlos, 139 Veray, A., 299 Verstralen, Marie-Jos6, 20 Voskochaki, Madame, 147 Wagenaarstichting, Johann, 215 Waller, Marie M , 128 Walter, Gladys, 24 Walter, Kate, 151 Washington Performing Arts Society, 77 Wayenberg, Daniel, 158 Weiner, Eugene, 229 Weissenberg, Sigi, 297 Westerbaan, Ton, 244 Wichwire, Jere R., 96 Widor, Charles-Marie, 104 Wiesner, D., 289 Wijn, Jan, 99 Windfield, Terman, 63 Wing-Yee, Lau, Sandra, 8 Witten, David, 292 Woodward, Roger, 286 Wuhrer, Friedrich, 220, 229 Wright, Anna, 199 Zakarian, Sedemara, 296 Zamarin, Roberto, 16 Zinman, David, 212

This page intentionally left blank

About the Compiler DONALD L. PATTERSON is Professor of Music at the University of WisconsinEau Claire. He is coauthor of Vincent Persichetti: A Bio-Bibliography (Greenwood, 1988).