A 492Rol Ardmore, Oklahoma

t1,uf

PROBLEM OF THE ARRANGLvENT FOR TWO PIANOS

OF IBERIA BY I. ALBENIZ

THESIS

Presented to the Graduate Council of the North

Texas State Teachers College in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

Virginia L. Bivens, B. M. A 492rOl Ardmore, Oklahoma

August, 1947 t1,uf

PROBLEM OF THE ARRANGLvENT FOR TWO PIANOS

OF IBERIA BY I. ALBENIZ

THESIS

Presented to the Graduate Council of the North

Texas State Teachers College in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF MUSIC

Virginia L. Bivens, B. M. A 492rOl Ardmore, Oklahoma

August, 1947 49269>

379 N71 no.9%6

TABLE OF CONTEN' Author: Bivens Title: Arraniement for two piano of Tberia by L. Albeniz Chapter c~r 4 Chap te r color : 8846

other- theses I. TWO PIANO PLAYING AND PERFOF Remarks : match

II. DISCUSSION OF ARRANGEMENT A

III. DISCUSSION OF MIUSIC FOR TWO-

IV. ARRANGEMENT OF TRIANA .

Biographical! Notes on I. The Iberia Suite The Arrangement for Two Discussion: Melodic Elements Rhythmic Elements Harmonic Element s Keyboard Distribution

BIBLIOGRAPHY ...... 43

APPENDIX...... 47 Listing of the Two-Piano Library of Virginia L. Bivens and Rebecca Love Entriken Key to Publishers Triana by I. Albeniz (Solo Arrangement)

iii CHAPTER I

TWVO PIANO PLAYING AND PERFOR MRS

As evidenced by concert and radio programs within the past three decades there has come about a widespread re- vival of interest in two piano playing, a phase of art much older than is generally believed. The earliest known published work for two keyboard instruments is one found in the Fitzwilliam Virginal Book (page 202 of the printed edition edited by Vvilliam Barclay Squire) composed by Giles Farnaby, a sixteenth century English composer. 1

Nearly all of the great composers of keyboard music have composed fbr this medium or adapted for it music of another medium ranging from simple folk tunes to suites of sym- phonic proportions. Many who have been fine performers at the piano have taken great delight in duo playing either in concert or for diversion. Notable among these performers have been endelssohn and Moscheles, Schumann and Brahms,

Chopin and Liszt, Carreno and d'Albert, Rose and Ottilie

Sutro,2 Gabrilowitsch and Bauer, Rosina and Josef Ihevinne,

Guy Maier and Lee Pattison, Jacques Fray and airio Braggiotti,

1Grove's Dictionary of Music and Muhsicians.

2 Rose and Ottilie Sutro, born 1870 and 1872, respect- ively, in Baltimore, Maryland, were the first players for, whom the term "duo-pianists" was used, according to Pres- ton Ware Orem, "About Pieces for Two Pianos," The Etude, LVI (September, 1938), 565-566.

1 2 and Leonard Shure and Karl Ulrich Schnabel. Ethel Bartlett

Rae Robertson, Vitya Vronsky and Victor Babin, Pierre

Luboshutz and Genia Nemenoff, Rudolph Gruen and Frances

Hall, Vera Brodsky and Harold Triggs, Mr. and Mrs. Boyd

Ringo, and Whittemore and Lowe are duo-pianists who are

outstanding at the present time. be- The writer has actively engaged in duo playing and

cause of her interest has selected this medium for study. The study has led to the discussion of the adaptation of material and the arrangement in the succeeding chapters. CHAPTER II

DISCUSSION OF ARRANGEMENT AND TRANSCRIPTION

The literal meaning of "transcription" is "written

across"; in freer terminology it is "the musical counter- part of literary translation." The terms "arrangement"

and "transcription" are used synonymously by nearly all mu-

sical dictionaries. However, even then, there is often a distinction made, an arrangement being considered to ad- here strictly to the original text while a transcription

admits of creative participation on the part of the ar-

ranger, ranging from the simple transference of musical medium to the complete reworking of a composition with additions and modifications.2 The writer in cataloging the material in her library of music for two pianos has taken

this latter distinction for the basis of classification,

and in this sense will hereafter refer to the adapter as

the editor.

In many instances this writer's opinion is in direct

variance with the terminology used by the editor on printed

copies. An example of what the writer considers an arrangement for two pianos is the Romance, Op. 44, No. 1, by Anton

1 Leonard Borwick, Grove's Dictionary of iMusic end Mu- sicians, I, 120; WI-li Apel, Harvard Dictionary, p. 54. 2Ibid.

3 4

Rubenstein, arranged by Prince Sergei Walkonsky, one of

Rubenstein's personal friends. This composition, originally written for piano solo, has closely adhered to the

solo version, the only additions being octaves which broaden

and intensify the melodic lines (necessary when two instruments are used), and one measure of a cadenza-like figure.

On the other hand, the same composition as adapted by

Silvio Scionti is definitely a transcription, since he has

added counter-melodies, changed harmonies, and extended the

original work. An example of complete change of medium is

Debussy's Fetes, an orchestral work transcribed by Maurice

Ravel for performance on two pianos. Another example

termed a transcription by the writer is the Sonata 4L. 34

bis by Johannes Brahms, written as a quintet for strings

and piano and later transcribed by the composer for two

pianos.

In this the main object seems to have been to balance the work of the two pianofortes. Some- times the first pianoforte and sometimes the second has the original pianoforte part for pages together, and sometimes for a few bars at a time, but whenever the nature of the passage admits of it the materials are distributed evenly between the two instruments. There are some changes -- such as the additions of a bar in two places in the first movement, and the change of an acciden- tal in the last -- which must be referred to critical considerations, an.d have nothing to do with the arrangement. The technical changes in the arrangement are the occasional development of a free inner part out of the materials of the original without further change in the harmonies, the filling up of rhythm-marking chords of the strings, frequent reinforcement of the bass by doubling, and which is especially noticeable, frequent doubling of both melodies and parts of important figures. It 5

is this latter peculiarity which especially marks the adaptation of certain tendencies of modern pianoforte-playing to arrangements -- the tendency namely, to double all the parts possible, to fill up chords to the utmost, and to distribute the notes over a wider space, with greater regard to their tonal relations than formerly, and by every means to enlarge the scope and effective power of the instrument, at the same time breaking down all the obstructions and restrictions which the old dogmas of style in playing placed in the way of its development.3

While this work is truly a transcription, so well has its composer set it for two pianos that it is generally thought of as being an original work for that medium.

Some examples of incorrect usage of the terms "arrangement" and "transcription" may be found in the follow- ing: Juba Dance by R. Nathaniel Dett, transcribed for two pianos by Edouard Hesselberg; Golliw s Cake Walk, by

Claude Debussy, transcribed by Leon Roques; Liebesfreud by

Fritz Kreisler, arranged by Marie Edwards von Ritter; M7

Heart Ever Faithful from The Pentecost Cantata by Johann

Sebastian Bach, arranged by Nicolai Ivednikoff. The first named composition is originally for piano solo; the editor has set it for two pianos which involves no change of medium and has made no essential changes. The same is true of the Golliwog's Cake Walk. Therefore the writer has classified them as arrangements. The Liebesfreud was written for solo violin with piano accompaniment; the

editor has set it for performance on two pianos which

changes the melodic medium, and has in many places thick-

ened the texture by additional and new harmonies. The

3 Leonard Borwick, Grove's Dictionary of Music and Mu- sicians, p. 123. 6

Bach aria is originally for soprano solo with orchestral accompaniment; the editor has changed the medium of the entire composition and set the melody in such a way as to be suitable for performance on the keyboard but not vo- cally. For these reasons the writer has classed these latter two compositions as transcriptions. CHAPTER III

DISCUSSION OF MUSIC FOR TWO PIANO PROGRAMS

After the research regarding arrangement and transcription was done by the writer, she thought it would be of value to index and classify her library in accordance with her resultant conception of the terms before making an arrangement for two pianos.

The building of a library of two piano music may be approached from any one of several standpoints. The writer's library was begun from compositions accumulated from participation on local music club programs. The ini- tial numbers were necessarily those which appealed to per- sons of average musical taste, not cultivated musicians.

To these were added those compositions used on a weekly sustaining radio program. Here again the audience had to be catered to, to a certain extent. But realizing that no one enjoys that with which he is not familiar, compositions of genuine musical worth with as much popular ap- peal as possible were included. From this sort of beginning materials used for recital programs of classic stand- ards, as well as many modern contemporary publications, have increased the library to its present proportions.

After making comparisons with the indices of two piano

7 8

libraries , the music of several colleges and larger public including a list- writer thinks she is fully justified in to the field ing of her library in a document pertaining

of duo piano music. opinions The listing is alphabetical with the writer's transcription follow- as to whether it is an arrangement or the name of the pub- ing each composition, together with lisher. CHAPTER IV

ARRAN'GEIENT OF TRIANA

Isaac Albeniz was born at Camprodon, Catalonia, Myvay 29,

1860, and died at Camo les Bains, Pyrenees, May 18, 1909.

He made his first musical appearance as an infant prodigy in the Teatro Romea, Barcelona, and afterwards performed in Paris as a youthful pupil of Marmontel. His talents as a composer became evident early in his life, and at the age of seven he composed a Pasadoble which was played by the military bands of Barcelona.

He began his serious study of music at the Conserva- tory of Madrid and received a pension from the King to en- able him to pursue his studies at Brussels. He studied composition with Gevaert and piano with Brossin. Later he went to Leipzig to complete his technical equipment with Liszt, Jadassohn, and Reinecke. After touring Europe and America with great success about 1880, he returned to

Barcelona and Madrid to teach. However, he disliked teaching and soon gave it up. He left Madrid and passed the rest of his life mainly in London and Paris, devoting his time entirely to composition.

Although Albeniz wrote numerous operas, light operas, and comic operas, he was always a prolific writer for the piano. His earlier piano works were of small importance;

9 10

however, after he came under the influence of Debussy, he

was numbered among the advanced school of French com-

posers.

His two sets of piano pieces, Iberia and the less well

known Catalonia, as well as several others are filled with

the rhythm and color of southern Europe, and particularly

Spain.

Iberia consists of 12 scenes from different corners of Spain, inspired by the rhythms, harmonies, and turns of phrase for Spanish popular music; particularly the songs and dances of Anda- lucia. As a Catalan by birth, Albeniz could look on Andaluz music with something of the detachment of a foreigner; and if he did not penetrate to the true essence of it (as Falla has done), he real- ised that its determining features were the com- bination of strong, conflicting rhythms; the harmonic effects naturally obtained from instruments tuned in fourths; and the wavering, profusely or- namented melodies of the native Cante Hondo. At the back of his mind there is generally a guitar- player who ends with the 'Phrygian cadence,' a dancer whose castanets are always syncopating against each other, and sometimes (as in Triana) the shake and bang of a tambourine. Albeniz did not try to reproduce these things in his music- he endeavoured to suggest them on the pianoforte. The whole of his later work is a brilliantly pianistic evocation of Spanish popular music, con- structed on the principle of the pianoforte piece of that name, in which the Jota of Nayarre is con- trasted with a melody from Andalucia. The Triana was chosen by this writer for arrangement

because it is one of the most attractive of Albeniz 's

piano compositions from the standpoint of both melodic and

harmonic interest. It is also one of the least well known

or played since it is practically impossible, for even the

concert pianist, to cope with the technical difficulties

involved.

J. B. Trend, Esq., Grove's Dictionary of Music and Taisicians, I, 55. 11 In measures 1-7 of the introduction Piano I has taken

the original solo. An original part of arpeggiated chords

which has not changed the harmonies but rather has added

rhythmic emphasis has been given to Piano II in these

measures. This was done to further simulate the sound of a

guitar in the background. The solo figure of measure 8

has been divided between the two pianos 1ith some doubling

at the octave; in measure 9 and part of measure 10 Piano I

retained the solo figure but the notes have been rearranged

to eliminate the interplaying of the hands.

With the beginning of the cante hondo in measures 10-

15, Piano II has taken the melody, doubled an octave higher,

and the rhythmic figures have been given to Piano I divid-

ing them between the two hands in order to eliminate inter-

play of hands and retain the soft-singing quality of the

melody. In measures 16-part of 25 the melodic line with

its simple harmonization has been separated from the

rhythmic figure, which has been given to Piano II. The

melodic line retained at the original pitch has been given

to Piano I, although from measures 19-23 it was doubled an octave lower to increase the sonority.

For the next measure and a half (25-26) Piano II has

taken the original melody, but from there through measure

30 the octave melody has been scored two octaves apart because by so doing brilliance is obtained without heaviness.

This is an effective device impossible to use in a composition for one piano. The rhythmic figure and harmony were 12

kept in Piano I. In measures 31-38 the syncopated chords

have been divided between the hands of Piano I and the

tambourine-like accompaniment arranged in like manner for

Piano II. This division was made in order to keep the low

dynamic level. The tambourine shake of measures 39-40

was divided between the two pianos in order to keep it

light. In measures 41-42 the melody, which appears as an

inner voice in the original, was given to Piano II and

doubled an octave higher; the accompanying parts were

given to Piano I. At measure 43 the melody was given to

Piano I and doubled two octaves higher; the accompaniment

was changed to Uiano II. This interchange was made to lend

interest. The triplet figures of measure 45 were retained

in Piano I, while a minor arpeggio in parallel motion was

added in Piano II. In measure 46 the triplet figure was

used in single notes for Piano II, while a chord figure

in contrary motion was added for Piano I. This was done

to vary this recurring tambourine-like interlude and in-

tensify the building climax of this section.

The awkward climactic chords of measures 47-48 were

divided between the two pianos and rearranged in order to

facilitate their execution. Piano I retained the original

score for measures 49-50, while Piano II doubled the trill

figure in measure 49 and rested in measure 50 in order to

aid the diminuendo. In measures 51-56 the harmonized melody was taken by Piano I and divided between the two hands with some doubling. Piano II has taken the accompaniment. 13

The accompanying tambourine-like figures and arpeggios

have been divided between two hands to facilitate playing. Piano II has taken the melody and sixteenth note

single-note accompaniment from measures 67 through 74.

Piano I has taken the arpeggio accompaniment which has

been divided between the two hands to overcome the diffi-

cult spacing and fingering of the solo. The melodic mo-

tive of measures 74-90 was alternated between Pianos I and

II while the arpeggio accompaniment was divided for easier

playing for the other piano. This section is most diffi-

cult for two-hand performance in that the melody is so in-

terwoven with the arpeggio accompaniment that the neces-

sary speed and clarity of melody is made almost impossible

in the solo version. Consequently this division of parts avoids this awkwardness.

In measures 91-99 Piano II has taken over the melody with occasional doubling and reinforcing of the melody with small chords. Piano I has taken the accompaniment of

single notes and broken chords, carrying through measure 100, while Piano II has rested in measure 100 to achieve the diminuendo.

In measures 101-102 Piano I has been given the broken chord figure, but in measures 103-107 has taken the t figure of the inner voice, doubled an octave higher, to the climactic chords of measures 109-110. Piano II has taken the remaining harmonies doubled to aid in building toward the climactic chords divided between the two rianos 14

in measures 108-109.

In measures 111-118 the melody in full chords was given to Piano II. Piano I has taken the countermelody to which the arranger has added at a third above a new countermelody, in order to add interest and built toward the climax of measure 120. On the last half-beat of measure 119 Piano I assumed the melody in full chords, while Piano IT has taken the arpeggiated accompaniment which is arranged for greater freedom of performance. This continues through measure 122. From measure 123 through 130 Piano I has the melody doubled an octave higher for clarity and lightness, while Piano IT has taken the accompaniment in single notes and small chords in order not to overbalance in this soft section.

in measure 131 the final climax begins to build. In order to make the contrast as great as possible, the texture has been kept thin for five measures (131-136) by di- viding the parts between the two pianos. From measure 138 all parts have been doubled and an extension of one measure (m 139) made by using the figure of measure 140 in single notes an octave apart. This led into the doubling of measures 140-142 by both pianos for a final tremendous fortissimo. TRIANA" z 15 Avo~ IA beniz ArrViiirahn va s

L & - p

V 7 r V rK

t, IL l -L I

t0 31 M' \ -L lit' - --

-T F - va -- qr-

0 h A A F 1__ F R. F

&T v r (t~ CAt I T~ ~ ~ 2 I p t r ( c_ - _1 C s

.,. ... _ ...... _ ._ .- ,....._.. Y ,.r.,o_.. t...... ,. r ..... i

.... .,...... , _ ...... ,.,...... o..,.....

., ...... ,...... o..... - - ,.. r _w W' * orPU b)

n 1 0i a S- a 0. _AI

AN Sr r r r I I I r 1.

aK .m. .- o. - z

,.,....w......

r......

~~1 0 O i 46 k F k Fm 4 P- _I ,. ----.o - .0- -k*.

j V r I

V I

low -I-- Adkh I4' . '.

101, AOL 'OF VIM AOL

-VL 44. w"OL o

.1 -- a. __-a - sL _ tt7

,qw F V i

g - - A* S A4-W

"T 9o S' 3

Ask a c r r At IL 11 m I i Ask. A 11 w Li I

v I T L) T o

h I * r

go *4IIIP 4D*--. a *p 3 11 1I. dw .

- ---- .an' -laleisternitil:Ingespampassaggeliams. ------.--..sesmunie . . ...-millsamein..14eamis s' seane".g1*=1144is4,tsea w 4QMmeMeismir Me Mai'me wiresage- asse sig, gene-.,,-wra sael.NMad e40pat ' v4mgy-w, e -4..'% ges misseo . -...... * * assame".+ 3 e 3.swa engages &-' esom.auw.am, elswee.. . M M - m e ...e swaimesmale MM a'Mam''A elQ-MM"ERMW M- ame-*-MMG--r.M w--reA.Man.,',n a Ms.wam M mm Murow'sume s'raMQlw" - M4M QM M . MiQn@%|'l-M - a& 4%,Q aenew- %dQ&amma'9%'mMMM MWer MyQQMmar, ingamang.. ais.e----wesisom ew4 gi-+=ra.,. t= n . 4 -',,=44: as''.Assygge 4-%40 . eagre gp4'em -'Aec o-w om.s .'s. 1... wi4eis.au. agw a- . , rei, m.regg & sissa. enseenwren ps'etimillempg m - 1ppgM mas-ww-ft:40ser e-wissP-asse. a wealea...... ite #1s.EUwe a, ~4 ' 961eram e"4 MW omia'issmens asis.mili& a fI + esam#m & MW.MW'Mas**ee, MM mM - .e e4.--* - +-.. 9 2e ' 1mg esigler mkesm ' am -M M ,m - em..smamma s.-A e 3

y f

"o-W B * *o a * r 0 B (

Ono

L t i A 1

--.r .1-e I " - - -' *0 V r to-aft

J1 " _ e v

-- -b r

. t v s .. "* ad m r 4. I . ._ _ .. 11- 4dk6L----Jme ---4-- -- AUOL- ---- A ... _._,. ._ _,_... ._ ...... A--._.,

i .... _ , . ._ .. T,...,.. T.w.2...... ,.. 7..... r _ _.-44-....,_. -TT .... ,. W

,.....,.. .. ,._ , ...... _L -L ,,, r.. _.. ... ,._...... 4..... r _...... _...... _..i _.... I

i -off

- - . - . . s el - - F1 mp--si . I i,s...111 n-saisale42n maa.=111- armi.. nilill .4 si IEke sh' in1141 . urait.- '.I Ia-il.m.m .sni o minienn4,. MII- . a--. o ai I il 11 elmaa.11 by 11FimidlMr".4.. 'mi e-. 4=== .. MM.I61 MMin iiloilt.imoni j 1h - 41h1- ' - a ., -- . e--..-is.su . 4.e

n.ema....se....ma.w.aur...... ,.e.,ae...al..worsammmmmes.....mas-a-ase eswas..aa....war- . .. .ap. was-a..sess.ama.ima.ammwan-ways-..s..Wieamassaa.m.m.ara.,n.a--...o-1.n=-aor- *.0=--w.-ess...u..ar as..n. .. =won n ...u..- - w.m.m.-..men,- - a===ay=..-- -wwww..m.a w.Mas.. ..swa..i.mense..smen...... m.as.--.auimew.au...e...a .vilmoimamar.eemessena...Men.alemises.s - 18

.sm- ==.. I.mm ....-

T m 1 j -f I - U.

.AO

11 IL. -.

1 I W + r i

T 3- w r

_A 1

-7

r«. w +..w . . +. - r .-. - . w.. .. -- . «-w r .. as+..r. -

4 -J--'ha tt P 4 w -rr. Amokr...... r.. . r .. w. w Mr.n .. ,i. .. + TTTT .... a..."

r w arw r .- r .wer mw. r + , a. s - sa,. .ess ar..... r M- +r .e rr 0 .. rsu.. www.r.w. +.. r .e" rar.w rrewrw rnwrr.rr . .,..ro.. « it h Wmi e {

,ai

i 4. I i V.,

. ...., _..,...... r _. .. __.

«,.,.. . w_...... ,....._ .. ,.._, ..._._ . _.._.....,.r__...... _.... __.,.,._.._.._.,..,.,..,...... a 19

S I F gottoo . I Ta A .16

i - sm , 9 .a. +7-Lp -- mr...... * .. ... 'I AO

-~ r -

r 6, _-, . ...&I * . i.

if t jL'. 4 . f - ____it___ t- I

S 4- + * +* - 4. + +son '.. eemmun -- & - I1 11 C

-1- . S_ S-- 0 S 0 0 q4

- -...... ~r+.~. -e - -m- v ...... a .. All. Alk NOS . uRr.. . r ar..

s -+w r arw ri~ rr . .T--.----. rraw -Fr - -- _ . 4 .* +0 '4*... SIM

w------S * + - - - -". ...-..- - -- -,.- - "* . , 20

.2. **.'* i ti 4.m _? -v"

mqw

IUi ---- U- t -1

0.4r. aI . .. . 01"% 0- 00 NMIIII-

,....a ... ..

T L_ .wood I

ammmm

I-L-Mr- 1 1 61f AO""All., m...... -m-.--... AWL low

A L I I

IL - F --

I i R

shk 1 S S " ' - GuS *Moo 4,. S~e Von ON on S"' 11LO goo q AAM .. - ---we low -

...... u....a..w.,,,... .. _._,..+... ,. .. _ . ._.. n ----ED- - -L -4-

Nd e...... ,.,..,.....,...._ , .,-_ , ..._. .. _ _.. __...... _._.r..._...... ,.,..

f _ "+"

_.. LL_ ___._ _ f TT- v_.T..._ _. y,.._...... - I T 7--I '_T_ .rTTY'^. I r

.... ,,.r .. ,... ._. y -- . . . . . i s

it - L

w ---. . ---.-w-.a-. mo==.-...

._. _._.,_..._.. _,..,,. ... ,. ... _.___ _.r...

------... _ __ ...... __...._..a_..._.. _____ - - ..

...... ,. ,, .. _.....r..,,..,.,....r..r..e. .. ,. _. .. ,_._._..._. _ _...... _...... _.._w...r...... ,...... _..,...... _-_._... -- , .e...... ,...,.._,...... , _...... ,.. . .. ,...... Y.... ,,...... ,..a. .,,...... , .. ,. .___ ...... s...,..,... _._ _... ----..... _._..._....._...... ,_...... e .. _...., ... .,...... ,. 7

, . 40- loop L

r 41 S m i r j. 0 .A

(f :-v

f IL r AN I- t('

6:-q 6:: _6:1 6=9

-Id 's -M I I IKI IL Am01 --I- +__W Nkomo, 02.0rooopw , I mw M soma mmm momom M wm qmmm 4"W m1w 4 mom Mom S = S

40s.R.M.M.ar mammmamens..m

. .. _. r 400- ... M ._.. 7U I &1 mm ! 17 . - c . _1__ C

' ' r L'__. * W 4

___

" "' . - - .. r - * S 4I~ - S r %WOT

..... r ... e.... ,...... ,. .. .. ,...... , ...... , r...... _.....,.r...,...... ,...... ,...._...... _....,...... t..,.., ... ._._.....s...... _...u...... ,....._...... _....

... u...... , .. sv .. r...r...««...w ...... ,.r .. ,...,.

...... -. _ -..... 11...... E 11- -,T - _ Nu -... r.. ... ,ter..,, _..r. .rY ,...... t..W, .r~r_, ...... -. : _ . U Itw-=1 AL^ : T S S L -+ . .11+ s .- S.4+

_r SU RM S r

...... r,,...... __ . ,.,.. 8

" C r t

Aga MaiP,

L n . -Ak- t

s -- 4o -- n * -_ - I 71

iL U ktL 0r r LL-

O * w . 6. 4 t q id- -At a -- A_ , 6 __. AL L16 1% ---I --- v 4p

Y MI -t a ': www ya r now Ile n a

l Ya wyGd

l1litTi fa

~, I =

" yr I,

a r +w r w ' + '+ aarwa 4W Y ii111 _.- fltwi )vtwYOLYa iiOi RVYi ra eVY / aY {s 'aMa3 . yyal'i c i111

"' wFa Mwvs }1w a.w[ rrra n aas L_. 4z_ ..,mzz:..,4o

w+aK n'w aya^. 4s a + r 4r1e ai uA ,. .,

rYaa v_ .s aew .aw^Y AOL arw/< .rw <.ar +a-rrtRQlw ra M' iaM 41 Ila Ysa r file Pw M. aV a ar +-f w low,

.q..,...... :,._.... " _

Afk o

._.__. - -. r-.-....r...,...... ,.

...... ,...,...... r...... _._._, ...... , ... ,,..__wo ... : r...,...,..., . . ... ,....o., ..... __...... _,.._...... _...W. ,.,,..._....,..,...... --- - ____ S

, J s N .p - -h i Ma e t dip

a 77-

T -- _ _ _V ..

_ I * +. . , .a .- - I_ [

aJ v ve, r 4f r , .

rmN t

- r 4' * *~~?_h 4 FAI~ t IL I ...uzrzz._.

I l Ah rofto;

1 1 1

.. L' - -

4'T~ I

.'... .__e__ _ _T " ..

I I' i l l i k

VI t 4'4.

- - - .. - - - ...... - , . . 1, 1 Ii i d'M"i "I larl Bil1enI Lem1 Il F -MMlig d|MMMIM|| IInla.arst'BIin . I --- "".- s.am. . -. 1 .<. .,- -- . a..------. --.. "=...... 1 aomiminalieametimeammim1-1.. =m.a eminiasms i.Imi m-miaenemme ammism mail=11mmme -mamoniamaism maiisimena emmmianislamminimaa.. i ese . . ==1- - a ei i . . . .., ==amianamumaniumilmismanmelamillamigmamunimmimea age mailminmimeis= Ipm . aor- nie* *11 ..4111i su enEmmi Mage emaMM menami amma t -Mommari.M naisis.IMMM +. * 4a 3.M.sa. -.0- w.FMMMM a-Ams.Mem.MMW-.male 1.A..to.. aEM .Mpr - t 1- . - . -, . isi. < sn a,- . . - 7- - - - ' ' - a eI- N - m. . IP'. - 11t''; Ias iI.gl A li." #1hlhM||-i ill .|ii i------' me-1"s'sli . keisali MMM'-%-10'. ""IE F e'"''f5 "' ' MMM - i' on,etmaM Lis-

F__ I Amk

r -L l t

T__-_____.__' r I i _U & F- -

......

11 1I_ ___i__ --1-! -- I

T a** go

- - 'm 'T"TT" ~~ IS I p

-wj

k w 1:--Vl *

.e.d. , ...... _____ ._...... , ,,.. ... :...._... .o.,..,,..s,...,..

w .,...w..s_..... ,. .r-...... ,... , .,b,,, , .,...., .- ,...- - ... o...,....,..,_._ ,__,_._...._.. I

_ __7- - - moot

now4

,...E_ _.._ .. r ...... a...y... 25

slow+. .0. 43 q.. " 4

r i'{

S -7AV; ( 1

1 -- ey 7 tA - --- A

9 --

* a a 0* . .. ,_,.. w . _ ...... , r..

bre_ r _ a 40 C

Am-- __ .- .. .. . m..-..ae . .. --Z-- A - -, AI..L e* 41 - h -.

. a _L

. .,- ,--

_.,.

......

b ......

- V*3l

-a , -a .- -...... , .. .. s. .,- - -me.. -...I i a. - - - - 43.l$id49%w"Heesas4.a4 s.. ,W am de41...i.AAe'* Mirmedi.4e.r*1.ee -. Ad' 9111'=% e@u. M . 14AMM eMM r - 4 ,.4gpg tip. .9gal' e 41..@ ,,jire 26

-+ --. m .-- r -. e -- now -- mm . - .r -- me -- y -. n. -r

I k L

* - w46

* ._.

IP -e

"k - , _ # _ U-__ leo . - b arF F

m... -

U -# J ~*- it-' 4-

.m.men.de---- -

,... ,. ,m ... _ .,...... ,...... ,.... .,...... _.,.. _ _ «...... ,,...... ,. ,.,.... .Y.,,,.,...w.,,,

..... _..._...... _. .,....,_,.r...... _..r.._ .,...... ,.._...... _.., 4-.

-# i* a r, K _A

T r -

"._ --.. _.,..._ ..., ...... -..._... ss.r- _...... ,_,_..... _.. _.. ..,... ..a.r. ,..,...... 13

A L- -... . . ,en...r.,+w-...... ,... r wearas.+n a

- w

I - A- JA .r...... m...... no..- .r..... to.

i _k

1% v- I .1~

n .. fib

- II4-++ - I

. wwrs .w r.arww .. a.ra.+.ar. .. sr". -+a a.....rwrcrr w..... A, -it7 1 I

- y . - - *r. e .....- Ii."

ln_ " - 1

0 1 F' w- 1i

w._...... - - - --1-- 111. 1 ...... ,...__ _ _ _.#.._... _..._ a,...... _ . .. ,...,.._....._r.....,... .. ,...... - - - .,.. .i.-...... eu.ews..-e==enemakes...waimmasmar.,...... nw. .ess3-.. --= wmem. --..- en...e-...... ea..w.masessem a.s...--seamme.e.sm ess.seaumm.new.sasweens-.--min.=wees 28

4' b" -0- nII - k . L'a 14" a .

. :#S '.

I &

I I 1

1tir~/

L- J I N i

ML 'T' .f 1' L 4

4- flL-L -~+ e t t

Ix FM-F_ - ' _

Two.

- _ __ -- t r . _.. . z---_.r ---- _ _._-

s rr

1 .... ,. no..r .+ ".." r ww ,. wr.a++..

.rr . r .. sr .+..wa +r i

ita LiJ

t 29

iteteryamers, 111 -sob

. - - 1

w G i- 0 L4f*- F ,. - A-4- 1

1 L. r L

-w-

1a _ L _ _ 6. 1.0

--h

V' Iw

r, .r ._..,. ._...... i _..... _ .. .,... __.,_ _...... _._ .. _ r . .. _ _...... __._ ._._

I _- v4:

b I' I 1 ~I. AE)4 fl t

+ At -. _V" 't. q - L'a V- I

} ff19

'4% tr

_.. ._ ._.. . ._._ ..., _._._. _. .__ . , _ -...... ___...... _..r.._ .._w ...... , ._ .._ __ .P _-_,t-__... ._._ _._..__ _.._.. _. ._. . _... -_.. . Wi . g ho w | IP "'*1' 10-g I g I im - s 1 g i . ' a - ' ' 31 ' - -- t 16

-- - -

11 I'

T A

i.1

I .

"a- - 0

wjL. .. Y-L' I

C) _ _..._4'f' t

- A F=r- - .00

pe4F I n . .,,.,...... ,r

_.___ 9

n J. 1 -0 l- -- _===

.s .r..rsso t M-See +++,wwsos~ i.aYma bacl w e .... u .. amr s w .l.M rf a aaurrwY..7Mf1iYdib+Ru.+.."t.+ 4 W.Yey g..24t s.01-s giw.trea 'ws.Nfqie - -- .-n.

A h h

I.- 1

j ) as 4tL 5 0El

5' 0 4 1 T- 1-

L a ----

fi - k . +#.

\ L_0 1 . .4 i ~e 4S. :0. " ,A- Am 0-

Ii, K-zJ

V4 S I Fi9F

'00

*~~ - a... S ..'1"-"

mL_ J 1:1 -r4 0

.._...... _...,._._...... ,,._.r. .. .. , .,...... --- 32

. , Y

L 4 WV" 7MA .-

' c

r s. . - - -

T I qw dp T p ~ U I #

ImmI -r .f- ..w.....r.....+ -_

-- -- t- i _ Ah rT -E A Fro

1 - -1

yl yf x #----A-

4 T ' - - *" i 1* 4 L i-E - - 6

d4 * --- ... . .

_ .1 33

.100

e...- * "

A& l __

-I.

* 4-#A*y. r AS

r-g. i yak~& -.00001 ~1 low rri r-~1 =r

vJ 7 7w-

-- l I

- .__. .. -.. ,.-. - ..-.- 1 . ....a "...... aser .tr ^"Twn ______. w r

w+ .+.e...... - r. . ws a.. ~ ,. ,w

a . nresn e + s ' . trmur'Y o . w i g -'- ame see, es. A A .ea E to. . vroa114,. 4- _.

bJW 4 :4

.a., 2.o

-T - - ~--- Ti+ . - + k

l .. ..

.. ..

Nft 1r e-

1 -1A I .. I F1 -I- b

L_ - a v PU 4_- T

L -a & W , 4-A 9 F1 A'W 4t g

I .qI

"to 1 wU 4R.

L + -4- AM

7~ /- "

., - A

....r.._. . ._._...... --..... _ , ._ .... ._._. ._...... |_...... _...... _.ll ...... -

..... ,, s.._.,....,...... ,...... _.._...,..._.,. _...,...... ,.,r_...... _ 35

Ft ".., I a Z I . z Idop" rip - f--

woo

I. A _ r. -AL

i rl 1l .._ ,. .p... --..,

. I I

Stott------103------

NIL 4 Fl 1% e--.n 1, Fl a low

-T LA & 9, n I F91 L- 11- 1 r

T_'F

Nth _TT j77i- II ii] h~ =_T * .Is e w '- . _. w_. . r an= ap-..rt.4.w.,rs .... wr ~ ~.ee

. r /*.#- -. - 14- r1F-

. . . _ . -- .. _ .. , . .a ... '4.... _ .. .- - - ....'.. ._._...... ,......

. ..M.es ._.e'-. .L _.o.-_ _._._u..-..-_..__..._...... __...... _.'y . Ma..b.on.._.. ., t.gege _ese ng......

.. - .. ,..,._.e w ahem~ a e~au.. as _._ _...... - _.._..._ _...... _...... e& eaimim..es..Ma.i,...... e.._.,..,.i11.ir,.yna, 36

,::::q .1 -00 A!

JI 1

m t ; AL-

1--w t--LA -, 1 Ads

f / r 1

(Vt

1 -- .

'J lp

*r W QK!_ ------4--- _...... A.. . SI .

Ug- .,... a.. ...,.. r..,. . FL v

Adk ii

T 37

I.-I

-vF 6 , v Alk 1 -0 Ow k .. 1-

w. ' . . ,a -,,1 5p i:r.: LA 9rono So c T 44- 4

- - -. r - - . r . . .. s -

iwor'. r

41- i1 'A a I 144 i t-

.r44 U Ag P r LA_

I WON H- " T~ u

"r.'"'. we" C #w 9_U

I I - 4atA0M gma

lwft -z * 0 21 . -

- fir;- ,. AL 1 ,:4f , ,i - t

t v TV- 24 38

}8 - - - - - t - -- , - - -r - .. - 1. . .. . - LFiilKj=:aII ( f*, e.. *u ' f' - *atj'* ~b k X= ' y a e VV

14 ' 1 x;

AO -l_

-zr Wp A. IV

1a f

1% -4O iov

. a ' -

l' . __

AlI I n J. J. _ . 91

-w- V

Bs .a. ------M -IWA oft a - -m M- I R: -... a J A I - o!L. . T a L It ------AL *1

;jqp" Y . K A I

v) Z5

... ,....,.....,.,,,,o _, _,,..,,

KI; f " Mk

I LdiLrrT.__ I2

0 A 1 A k4 _

...,

.,..

....

I .. "now 0 1 IMF-- " A( Am

1 0 4-

....

... ,.

...... ( - .. ,. J ... ..

-a p A-~-:~ L z r771

++ ' ' YMa >n1saw. Use T _-- -aW.iriYwa 4Y.r- r+wswr^... . __. +M.Yr wr 41 rr. ... VlhiwM4wM.1w. v u.. 4Ye1WlM

._...... ,.- ...... a ,..

4L^ r wii a.Y f . .. -- "--.....r....r.., .. ,..,... .,

J I i iM- tllnf AtNfi . CI i I------+- - a. ... _. ,t. aMr T . . f -" - -4 60

_. "

I A .. . 40

As A I I

1 a 4 -& L; L *. -.- 1 , 1 t* T

ri F F9I

mw -1 ( If - -FN I WI- qw- - I-)]A

rLLL A4

I 0 A aw - .. 1t

& . t a

10 K

...... r ... «

.. ,.: _.....,.,....,...,.... , :...... ,.,. _...... ,._....,,_... _..._...1

.,...... ,...... "'Ir** --4 ,« ...... ,..,.. . _.6...._ ._,,,. I

*AM

" BIBLIOGRAPHY

Books

Apel, Willi, Harvard Dictionary of Music, Cambridge, Massa- chusetts, HarvardUniversity~~Press, 1945.

Anderson, Emily, Letters of Mozart and His Famil, Chrono- logically Arranged, translated and~Jited with an Introduction , Notes and Inices ueRmil Aner so n, 2 volumes, St. Martinsh Street, non, Macmilan and Company, Ltd., 1938.

Baker's Biographical Dictionary of Musicians, Fourth Edi- t ion, revised and Enlargeed,~~ew -Yok, G. Schirmer, Inc., 1940.

Bie, Oscar, A Histor of Pianofortes and Pianoforte Players, translated and edted by KelettandNaylor, London, J. iv. Dent and Company; New York, E. P. Dutton and Company, 1894.

Burk, John N., Clara Schumann, New York, Random House, Inc., 1940.

Calvocoresi, M. D., and Abraham, Gerald, Masters of Russian basic, New York, Tudor Publishing Company, 1944.

Dictionary of Ivdern vusic and Musicians, edited by J. M. Dent and Sons, Ltd., London and Toronto; New York, E. P. Dutton and Company, 1924.

Dictionary of Musical Terms, edited by Theodore Baker, New York, G.~ Firmer, Inc., 1923.

Evans, Edwin (Sr.), Handbook to the Pianoforte Works of Johannes Brahms, London,~William Reeves, Bookseller, Ltd., 1912.

Fuller-Maitland, J. A., Brahms, London, Methuen and Com- pany, Ltd., 1911.

Goss, Madeleine, Bolero, the Life of Maurice Ravel, New York, Tudor PuTfishing Company, 1945.

Grove's Dictionary of Music and Musicians, edited by H. C. Coles, Third Edition, New York, Macmillan Company, 1945.

43 Grove's Dictionary of Music and Musicians, edited by H. C. Colles, Supplementary Volume, New i6rk, Macmillan Company, 1944.

Grove's Dictionary of Miusic and Musicians, American Supple- ient , Waldo BeldenPrat T ,ditorhar e N.Boyd., Associate editor, New York, Macmillan Company, 1945.

Hall, David, The Record Book, New York, Citadel Press, 1946.

Howard, John Tasker, Our American Music, New York, Thomas Y. Crowell Company, 1946.

Howard, John Tasker, Our Contemporary Composers, American Music in the Twentieth Century, New York, ThomasT Cro we llComp any, 194I.

Hughes, Rupert, The Biographical Dictionary of Musicians, edited by Deems Taylor and Russell KerrGarden City, New York, Blue Ribbon Books, Inc., 1940.

Lenz, W. von, The Great Piano Virtuosos of Our Time, translated from the German yadeleine R. Bker,7I ew York, G. Schirmer, 1899.

Meck, Barbara von, and Drinker, Catherine, Beloved Friend, the Story of Tschaikowsky and Nadejda von Meck, New Yo7k and' House , 1937.

ionrad-Johansen, David, Edvard Grie ;, translated from the Norwegian by Madge Robertson, yew York, Tudor Publish- ing Company, 1945.

oscheles, Ignatz, Recent Music and Musicians as Described in the Diaries and Correspondence of 4nazt~ oschees, edited by his wife an adapted froithe original Ger- man by A. D. Coleridge, New York, Henry Holt and Com- pany, 1889.

Moser, H. J., Musik Lexikon, Berlin, Max Hesses, 1935.

Oxford Companion to Music, edited by Percy A. Scholes, London, Toro 7to,w York, Oxford University Press 1938.

Riemann, Hugo, Musiklexikon, edited by Alfred Einstein, Berlin, Max Hesses, 1938.

Schauffler, Robert Haven, The Unknown Brahms, Lew York, Crown Publishers, 1940. Schauffler, Robert Haven, Beethoven, the Man Who Freed Music hew York, Tudor Publishing ompany, T=44.'

Schauffler, Robert Haven, Florestan, the Life and Work of Robert Schumann, New York,-Henry Holt andCompany, 7945.

Schweitzer, Albert, J. S. Bach, with Preface by C. M. Widor, English translation in 2 volumes by Ernest Newman, London, A. and C. Black, Ltd., reprinted in 1938.

Spaeth, Sigmund, Stories Behind the World's Great Music Garden City, New York, Garden City Publishing Com- pany, Inc., 1940.

Spitta, Phillipp, J. S. Bach, 3 volumes, London, Novello and Company, Ltd., T89.

The International Cyclopedia of kusic and Musicians, edited ~T:~y ~9scar~hopon., ew Yor ,odd, head and 1938-1939. 0o npany,

Turner, W. J., Mozart, the Man and His Works New York Alfred A. Knopf, 1938.rk

Articles "Edward Burlingame Hill, " Modern Music,_ovember-December 1938.os oD

Gatty, Nicholas Comyn, and Taylor, Franklin, "Duet," Grove's dictionary of Music and musicians, edited by H. C. Colles, 1945, II, 102.

Goldstein, Stanley, and de Kika, Miriam, "Four Hands Twenty Fingers," Music Business, III (January, 1947), 30. Ihevinne, Josef, and Lhevinne, Rosina, "Four Hands That Play as Two," The Etude, LI (December, 1933), 809-810.

Luboshutz, Pierre, and Nemenoff, Genia, "The Art of Piano Ensemble," The Etude, LIX (January, 1941), 5, 58. Macklin, Marguerite, "Whittemore and Lowe, Duo-Pianists," Oklahoma State Symphony Society News, IV (January 13, 1945),T7.

McKinney, Howard D., "Advocating Freer Use of Two Pianos," Fischer News Edition, IX (October-December, 1933), 1-10. Miller, Hugh m*., "The Earliest Keyboard Duets," The Musical Quarterly, XL (October, 1943), 438-457.

Orem, Preston Ware, "About Pieces for Two Pianos," The Etude, LVI (September, 1938), 565-566.

Oreg., Preston Ware, "All About Four Hand Music," The Etude LVI (February, 1938), 75-76, 128.

Scionti, Silvio, "The Fascination of Two Piano Playing," The Etude, LVII (September, 1939), 567, 602. "Twenty That Strike as One, " Newsweek, XXII (December 27 1943), 84-85. APPENDIX LISTING OF THE TWO-PIANO LIBRARY OF

VIRGINIA L. BIVENS

and

REBECCA LOVE ENTRIKEN

Albeniz, I.: Sevilla, arranged by Felix Guenther. E B M

Anson, Hugo: The Lonely Sailing Ship. Original. 0 U P

Arensky, Anton: Suite for Two Pianos, Op. 15, edited by Oesterle. G S I. Romance. II. Valse. III. Polonaise.

Arensky, Anton: Suite in Canon Form, Op. 65, for Two Pianos, edited by jMrs. Crosby Adams. G S No. 1. Prelude. No. 2. Aria. No. 3. $cherzino. No. 4. Gavotte. No. 5. Elegie. No. 6. Romanze. No. 7. Intermezzo. No. 8. Alla Polacca.

Arenisky, Anton: Silhouettes, Op. 23, for Two Pianos. P J No. . Le Savant. No. 2. La Coquette. No. 3. Polichinelle. No. 4. Le Revur. No. 5. La Danseuse.

Austen, Thomas: Keel Row, Northumbrian Folk Tune. Original setting. G A L

Bach, J. S.: Jesu, Joy of Man's Desiring. Transcribed by lvyra Hess. 0 U P

Bach, J. S.: Sheep May Safely Graze, from the Birthday Cantata. Transcribed by M. Howe. 0 U P

Bach, J. S. : Sicilienne. Transcribed by Guy ivaier. J F Bach, J. S.: Blithe Bells, from Sheep iiay Safely Graze, from the Birthday Cantata. Transcribed by Percy Grainger. G S

48 49

Bach, J. S,: My Heart Ever Faithful, from The Pentecost Cantata. Transcribed by N. Mednikoff. C F Bach, J. S.: Fugue in G minor (the Little). Transcribed by Silvio Scionti. G R

Bach, J. S.: Gone Is Sorrow, Gone Is Sadness, from Can- tata No. 32. Transcribed by Silvio Scionti. G R

Bach, J. S.: Jesu, der du mein Seele, from Cantata No. 78. Transcribed by Mary Howe. G A L

Bach, J. S.: Jesus bleibet mein freunde, from Cantata No. 147. Transcribed by Gest. G S

Bach, J. S.: Now Comes the Gentle Saviour (Nun komm der Heiden Heiland). Transcribed by Pierre Lubo- shutz. J F

Bach, J. S.: Pastorale, after the Goldberg Variations. Arranged by Guy Maier. J F

Bach, J. S.: Rejoice Beloved Christians. Transcribed by Silvio Scionti. G R

Bach, J. S.: Aria, from the Orchestral Suite in D. Trans- cribed by Isidor Phillip. H B

Bach, J. S.: Toccata and Fugue in D Minor. Transcribed by Isidor Phillip. H B

Bach, J. S.: Fifteen Two-Part Inventions with a Second Piano Part added by Louis Victor Saar. G S

Bach-Gounod: Ave Maria. Arranged by L. Hinman. W M Beecher, Carl: The Jester. Original for Two-Pianos. O D Beethoven, L. van: Contre Dence No. 1. Transcribed by Louis V. Saar. J F

Beethoven, L, van: Turkish March, from the "Ruins of Athens." Transcription by the editors of Harcourt-Brace. H B Beethoven, L. van: Adagio (Moonlight Sonata), op. 27, No. 2. Arranged by Adolph Henselt. H B

Beethoven, L. van: Turkish March. Transcribed by Scharfen- berg and Theru. H B

Bizet, Georges: Carillon, from L'Arlesienne Suite. Tran- scribed by Brian Easdale. 0 U P 50

Bizet, Georges: Farandole, from L'Arlesienne Suite. Tran- scribed by Brian Easdale. O U P

Bizet, Georges: Minuet from L'Arlesienne Suite No. 1. Transcribed by the editors of Harcourt-Brace. H B

Bohm, Carl: Calm As the Night. Arranged by Silvio Scionti. G R

Boismortier, J.: Les Reverances Nuptiales. Transcribed by Pierre Luboshutz. J F

Borodin, A.: Au Convent (Petite Suite). Arranged by the editors of Harcourt-Brace. H B

Brahms, Johannes: Six Waltzes, Liebeslieder Op. 52, Set Two. Arranged by Guy Maier. J F

Brahms, Johannes: Andante, from Sonata for Two Pianos, Op. 34 bis. Original. H B

Brahms, Johannes: Hungarian Dance No. 5. Arranged from Piano Duet by the editors of Harcourt-Brace. H B

Brahms, Johannes: Waltzes, Op. 39 (Mosaic). Arranged from Piano Duet by the editors of Harcourt-Brace. H B

Brodsky, Vera, and Triggs, Harold: Fuller and Warren, Cowboy Tune. Original. J F

Chabrier, Alexis E.: Espana (Spanish Rhapsody). Tran- scribed by the editors of Harcourt-Brace. H B

Chaminade, Cecile: Andante, Op. 59. Edited by Mrs. Cros- by Adams. G S

Chaminade, Cecile: Scherzettino, Op. 59. Edited by Mrs. Crosby Adams. G S

Chopin, F.: Military Polonaise, Op. 40, No. 1. Arranged by the editors of Harcourt-Brace. H B

Chopin, F.: Funeral March (Sonata Op. 35). Arranged by the editors of Harcourt-Brace. H B

Chopin, F.: Minute Waltz, Op. 64, No. 1. Arranged by the editors of Harcourt-Brace. HB

Chopin, F.: Trois Ecossaises. The second piano part added by Reuven Kosakoff. J F 51

Chopin, F. FTwo Etudes in G flat. Arranged by Guy Maier. J F Chopin, F. : Etude in F minor. Arranged by A. Henselt. Re- arranged by Guy Maier. J F Chopin, F. s Fantasie Impromptu. Arranged by Gould and Shefter. C F Chopin, F.: Rondo for Two Pianos, Op. 73. Edited and abridged by Lee Pattison. A P S Chopin, F.: Rondo for Two Pianos, Op. 73. Original, edited by Edwin Hughes. G S Clement i, Muzio: Sonata in B flat Major. Original for two pianos. H B Cui, Cesar: Orientale. Transcribed by Pierre Luboshutz. J F Debussy, Claude: First Arabesque. Arranged by Leon Roques.

Debussy, Claude: Second Arabesque. Arranged by Leon Roques. D F C Debussy, Claude: Golliwogg 's Cake Walk. Arranged by Leon Roques. D F C Debussy, Claude: Fetes from "Nocturnes." Transcribed by Maurice Ravel. E F Debussy, Claude: Prelude (L apre midi dt un faune). Tran- scribed by the editors of Harcourt-Brace. H B Dett, Nathaniel: Juba Dance. Arranged by E. Hesselberg. C F S Deutsch and Altman: Play Fiddle Play. Transcribed by iorton Gould. E B M Dungan, Olive: Enchantment from "Tropic Night Suite.!" :dited by Morton Gould. C F Dungan, Olive: White Jasmine from "Tropic Night Suite." Edited by Morton Gould. C F Dupont, Paul: La Rosita. Arranged by J. S. Zamecnik. S F Dvorak, Antonin: Slavonic Dance, Op. 46, No. 1. Arranged by the editors of Harcourt-Brace. H B 52

Franck, Cesar: Prelude, Fugue and Variation. Transcribed by Rudolph Gruen. A M P

Franck, Cesar: Finale (Violin Sonata in A). Transcribed by the editors of Harcourt-Brace. H B

Friml, Rudolph, and Stothart, Herbert: Donkey Serenade. Transcribed by William Coburn, G S

Gliere, Reinhold: Dance of the Societ Sailors, from the Ballet, "The Red Poppy." Transcribed by G. Stone. E B M

Gluck-Brahms: Gavotte (Iphigenia in Aulis). Arranged by the editors of Harcourt-Brace. H B

Godard, Benjamin: Second Mazurka, Op. 54. Arranged by the editors of Harcourt-Brace. H B

Godowsky, Leopold: Alt Wein. Original. G S

Gounod, Charles: Funeral March of a Marionette. Transcribed by L. Lemoine. G S

Grainger, Percy: Country Gardens, an English Morris Dance tune originally set for two pianos. G S

Grasse, Edwin: Waves at Play. Transcribed by Boyd Ringo. G S

Grieg, Edvard: Wedding Day at Troldhaugen, Op. 65, No. 6. Arranged by the editors of Harcourt-Brace. H B

Grieg, Edvard: The Butterfly, Op. 34, No. 1. Arranged by Louis Victor Saar. T P

Grunn, Homer: Humoresque Negre. Original. G S

(uion, David: The Harmonica Player. Original. G S

Guion, David: Sheep and Goat. Original. G S

Handel, George Frederic: Vivace and Largo (Concerto Grosso No. 2). Transcribed by the editors of Harcourt- Brace. H B

Henselt, Adolph: If I Were a Bird, Op. 2, No. 6. Arranged by the composer, with slight alterations by the editors of Harcourt-Brace. H B

Hill, Edward Burlingame: Jazz Study. Original. G S

Howe, Mary: Habanera de Cinna, Spanish Folk Tune Transcribed. B M C 53

Infante, Manuel: Ritmo, from Danses Andalouses. Original. S

Infante, Manuel: Gracia, from Danses Andalouses. Original. S

Ippolitow-Iwanow: Procession of the Sardar (Caucasian Sketches, Op. 10). Transcribed by the editors of Harcourt-Brace. H B

Kelberine, Alexander: Song of the Volga Boatmen. An original arrangement of the Russian Folk Tune for two pianos. G S

Kramm, Max: Chatterbox. Original. G H

Kramm, Max: The Village Fair. Original. G H

Kreisler, Fritz: Caprice Viennois. Transcribed by Jacques 1ir1ller. C F

Kreisler, Fritz: Liebesfreud. Transcribed by M. E. von Ritter. C F

Kreisler, Fritz: Schoen Rosmarin. Transcribed by Morton Gould. C F

Lack, Theodore: Cabaletta. Arranged by Leon Roques. G S

Lalo, Ed.: Andante (Symphonie Espagnole, Op. 21). Tran- scribed by the editors of Harcourt-Brace. H B

Lecuona, Ernesto: Andalucia, from the Spanish Suite, "Anda- lucia." Arranged by Grace H. Nash. E B M

Lecuona, Ernesto: Iialaguena, from the Spanish Suite,"Anda- lucia." Arranged by Grace H. Nash. E B NI

Lecuona, Ernesto: Gitanerias, from the Spanish Suite, "Andalucia." Arranged by Gould and Shefter. E B I

Lecuona, Ernesto: La Comparsa, from Album No. 3, Afro- Cuban Dances. Arranged by Grace H. Nash. E B Ti

Liszt, Franz: Hungarian Rhapsody No. 2. Arranged by the editors of Harcourt-Brace. H B

Low, Josef: Allegro Brillant. Edited by Mrs. Crosby Adams. G S

fIacDowell, Edward: Scotch Poem, Op. 31, No. 2. Arranged by the editors of Harcourt-Brace. H B 54

Massenet, Jules: Aragonaise (Le Cid). Transcribed by the editors of Harcourt-Brace. H B Mendelssohn, Felix: Nocturne (Midsummer Night's Dream). Transcribed by the editors of Harcourt-Brace. HB Mendelseohn, Felix: Rondo Capriccioso, Op. 14. Arranged by F. Liszt. H B Mendelssohn, Felix-Liszt, Franz: The laid of Ganges. Ar- ranged by hesselberg. C F S Meyerbeer, G.: Coronation March (Le Prophete). Transcribed by the editors of Harcourt-Brace. H B Milhaud, Darius: Scaramouche (Suite for Two Pianos). E V I. Vif. II. Modere. III. Brazileira. Monti, V.: Czardas. Transcribed by Morton Gould. C F Moszkowski oritz: Spanish Dance, Or. 12, No. 1. Arranged by the editors of Harcourt-Brace. H B Moussorgsky, oiodest: Coronation Scene from "Boris Godounoff. " Transcribed by Lee Pattison. G S Mozart, W. A.: Rondo alla Turca. Arranged by the editors of Harcourt-Brace. H B Mozart, W. A.: Concerto for Two Pianos and Orchestra in flat. E Kochel-Verzeichnis No. 365. E L Mozart, W. A.: Allegro, Quasi Carillon (from the Sonatine in B flat for Piano and Violin). Transcribed by Guy Maier. C F Myrow, Josef: Autumn Nocturne. Arranged by the composer. A LA C Newman, Alfred: Street Scene. Arranged by Jacques Fray. R M C Pattison, Lee: The Arkansaw Traveler, Old Fiddler's Tune, Original. G S Pollock, Muriel: Hispana. Original. G S Prokofieff, S.: March from the Opera, "Love of Three Oranges." Transcribed by Felix Guenther. E B M Rachmaninoff, Serge: Yuit L'Amour from Suite No. 1 for Two Pianos, Op. 5. H B 55

Rachmaninoff, Serge: Prelude in C sharp minor. Arranged by R. Lange. H B

Rachmaninoff, Serge: Prelude in G minor (kilitaire). Ar- ranged by Hesselberg. C F S

Rachmaninoff, Serge: Les Larmes from Suite No. 1 for Two Pianos, Op. 5. A X

Rachmaninoff, Serge: Suite No. 2 for Two Pianos, Op. 17. 1 M C I. Introduction II. Waltz III. Romance IV. Tarantelle

Rameau, Jean Philippe: Gavotte and Variations. Arranged by the editors of Harcourt-Brace. H B

Ravel, Maurice: Bolero. Transcribed by the composer. D F C

Ravel, Maurice: Ma Mere l'Oye, Suite. Arranged by G. Choisnel. D F C I. Pavane de la Belle au bois dormant. II. Petit Poucet. III. Laideronette, Imperatrice des Pagodes. IV. Les entretiens de la Belle et de la Bete. V. Le jardin feerique.

Repper, Charles: The Dancer in the Patio. Original. B R vi C

Respighi, Ottorino: Notturno. Arranged by Felix Guenther. E B h

Rimsky-Korsakow, Nicholas: Scheherazade (Mosaic). Tran- scribed by G. Humbert and reduced by the editors of Harcourt-Brace. H B

Rubenstein, Anton: Romance. Transcribed by Silvio Scionti. T P

Rubenstein, Anton: Romance, Op. 44, No. 1. Arranged by Walkonsky. H B

Rubenstein, Anton: Melody in F, Op. 3. Arranged by Charles de Beriot. G S

Saar, Louis Victor: Gavotte Intermezzo. Arranged by the composer. C F

Saar, Louis Victor: In Old Vienna, an arrangement of a Viennese folk tune. 0 D 56

Saint Saens, Camille: Danse macabre. Transcribed by the Composer. T P

Saint Saens, Camille: Le Cygne. Transcribed by the editors of Harcourt-Brace. H B

Scarlatti, D.: Pastorale. Arranged by the editors of Har- court-Brace. H B

ochubert, Franz: Andante from Grand Sonata. Arranged by Guy Maier. J F

Schubert, Franz: Marche Militaire, Op. 51, No. 1. Arranged by J. Dobber. H B

Schubert, Franz: Moment iVRusical. Second piano part added by Hans Barth. S G

Schubert, Franz-Liszt, Franz: Hark, Hark, the Lark. Ar- ranged by Hesselberg. C F S

Schubert, Franz-Liszt, F1anz: Valse Caprice in A minor. Arranged by Hesselberg. C F S

Schultz, Edwin: Rondino in G major, Op. 162, No. 1. Edited by Mrs. Crosby Adams. G S

Schultz, Edwin: Rondino in F major, Op. 162, No. 2. Edited by rs. Crosby Adams. G S

Schumann, Robert: Andante and Variations for Two Pianos. Edited by Edwin Hughes. G S

Schumann, Robert+Liszt, Franz: Dedication. Arranged by Hesselberg. C F S

Seeboeck, W. C. E.: Minuet a l'Antico. Arranged by Louis Victor Saar. T P

Simons, Moises: El Manisero. Arranged by Grace Helen Nash. E B M

Simmons, Homer: Scherzino. Original. J F

Simmons, Homer: Tango at Midnight from Suite, "Partita Americana." Original. J F

Spross, Charles Gilbert: Valse Caprice. Original. T P

Stavenhagen, B.: Caprice in C major. Arranged by the composer. H B 57

Smith, Stafford: The Star-Spangled Banner. Arranged by Silvio Scionti. O D

Stone, Gregory: Saint Saens Tid-Bits. (Transcriptions). E B M

Stone, Gregory: Great Rivers. Original. E B i

Stone, Gregory: Auld Lang Syne as it would be played in various nations. Original. E B M

Stone, Gregory: Dark Eyes (Original Paraphrase). Original. E B M

Strauss-Schulz-Evler: Blue Danube. Adapted and arranged by A. Chasins. J F

Stravinsky, Igor: Danse Russe. Transcribed by Albert and Ruland. E B 1W

Tarenghi, Mario: Serenata. Arranged by the composer. H B

Triggs, Harold: Autumn Legend. Original. J F

Tschaikowsky, Peter: Barcarolle. Arranged by A. Schaeffer. T J

Tschaikowsky, Peter: Dance of the Candy Fairy. Transcribed by Hesselberg. G S

Tschaikowsky, Peter: Dance of the Orange Tarts. Tran- scribed by Hesselberg. G S

Tschaikowsky, Peter: Flower Waltz. Transcribed by Hessel- berg. G S

Tschaikowsky, Peter: March. Transcribed by Hesselberg. G S Tschaikowsky, Peter: Trepak. Transcribed by Hesselberg. G S Tschaikowsky, Peter: Troika. Arranged by Hesselberg. C F S

Tschaikowsky, Peter: Ballet Waltz from Dornroschen. Tran- scribed by A. Schaeffer. G S

Tschaikowsky, Peter: En Trioka, Op. 34, No. 11. Arranged by the editors of Harcourt-Brace. H B

Wagner, Richard: Magic Fire Scene (Die Walkure). Adapted from the transcription by Louis Brassin. H B 58

Wagner, Richard: Bridal Chorus and Introduction to Act 3 (Lohrengrin). Transcribed by the editors of Harcourt-Brace. H B WVidor, Charles: Adagio, "April Tale" Suite Concertante for Two Pianos. Original. H B

Wilm, N. von: Sarabande, Op. 62. Arranged HB by the composer.

Walton, William: Popular Song from "Facade." Transcribed by M. Seiber. 0 U P Zipoli, D.: Prelude and Gigue. Transcribed by Scionti Silvio and Stell Anderson. J F 59 KEY TO PUBLISHERS

A M C Advanced :Music Corporation, New York. A I11P Associated Music Publishers, Inc., 25 West 45th Street, New York 19. A P S Arthur P. Schmidt Company, 120 Boylston Boston 12. Street,

A X Axelrod Music, 51 Snow Street, Providence, R. I. B M C Boston Vlsic Company116 Boylston Street, Boston; 3 East 43d Street, New York 16.' B R M C Brashear Music Company, Boston. C F Carl Fischer, Inc., Cooper Square, 306 South Wabash New York 3- Avenue, Chicago; 252 Boston. Tremont Street,

C F S Clayton Summy F. Company, 321 South Wabash Chicago 4; 9 Avenue East 45th Street, New York. D F C Durand Fils Cie., Paris. E -MB Edward B. Marks tusicCorporation, RCA Building, Rockefeller Center, New York 20. g E L. . dFromont, Paris (Elkan-Vogel Company, Inc., Philadelphia, U. S. representatives). E L Ernest Eulenberg, Leipzig. E V Elkan-Vogel Company, Inc., 1716 Sanson Philadelphia 3.- Street, G A L Galaxy Music Corporation, 17 West 46th Street, York 19. New

G H Gamble Hinged Music Company, 228 South Wabash Avenue, Chicago 5. G R G. Ricordi and Company, New York. G S G. Schirmer, Inc., 3 East 43d Street, New York 17. H B Harcourt, Brace, and Company, New York. I & C International Music Company, 509 Fifth blew York., Avenue, 6o

J F J. Fischer and Brothers, 119 'West 40th Street, New York 18. t e 0 D Oliver Ditson Company, c/o Theo. Presser and Com- pany. ndC 0 U P Oxford University Press, 5 Los,3 35 Soho auare, W. I. oh qaeVndon. , I R M C Robbins Music Corporation, 799 York.e Seventh Avenue, New S Salabert (Collection A. Z. Tfathot ), 22 Rue Chauchot 22 (9e), Par-is. aco

F SaaFxPbihn S o u S CF Company, RCA Build ing, New York 2Th.'e .Ar cade , Cleveland. g, fr S G- Schroeder and Gutr6E 1S .unth'er, East 45th Street, New York T J T. Jurgenson Moscow.

Tdeo. Pr r and Company, 1712 Chestnut Street, Philadelphia .p4 stC ~~ W~ ~ ~ ~ ~ MWli Mui Copn,14Est 4th Street, Cinc in nai2, Ohio,. TRIANA 53 SUITE VOL. 2) New Edition (FROM IBERIA by L. ALBENIZ VENATO DE CAMPO M.M.' =94

Allegretto con anima -

7~ A _

Sul NK 46m

p PI ANO. graeieux et tendre

-M-N -'X- A N TN IN 11 I A 46 -ft I THU iE I - T IV Jw !M ft lie firv- w am ,^. m. fmain gauche dessus tea. he dessu

0*" 0 >0- >- L* >0-- 14 k-Ioq k op k s- pq _ A az A

# I

ave grace et bien rythme

. Sf

. .. sans pedale -

pp f etbien ehante' sf ps dolee Pa - ec

.. ||| 9

r i

Tb p --- . V

: "V "

46 C - i' svc .P

7 *......

hien sonny mais pas u 1M_ erest- If L aL " " __ _: k s(b. te.I 1.66

4 I I) .-r_ r dim. Imf r wsr - . L -, x F

A ia -..... s.m -

w - w dim -r sf pp pp

. Q.. - _ * -_ . _ -u L y

. *r - { s81, * . Dien P.thme -t- -r-

A. S6 eon anima P dolce. .I:::- f /--~'. -+4 7

"4) T....J F' M- b. Ttb. A ----

s f C Cfsf U3 sec

74 r. r

- 2--s T- N

P bien rythme eresc. of

' tea. '1 . ii -__ -" _ I_ 04

40 z

p 1

Amd

- wy;wrlr I I. 7?

ip f s

T 77 '1 7

tea. /VW.

R' 0 5 5 A 1* -

i " "

svnza tb. et giorcoso. 56

A a a 0 .- A=1*21

* " C CIi f- Au

-VC w _- -- tea S '> 'fe. >

"" . - . .. -- q>q

A 4.. ., -ea

q Ytb = N

XQ*

A kl I _ __ .!I a a --I- --M Will

r uzfha- p .fiff ~ fL p see. see.

11 "

I Taios * ...~b *se-nzaTkeb. bien ehante 1- - , --

Pp w- i .. r .c tres doux et noncha ant sempre pp A A-_

do1le

A J b

I V V V I FI i poco1 S I A h.#

I SI j '1 '7 *1 ~t. yK 57

tranquillement sans resser 23a

AA A_ A

see dourx et sonore

"s 4

"" e

Iss s 2 s

si f ssf

9 ------v T, in % ~b. Tkoob.

V 3 " 58 tran uilleminat. a A - f

V . Ur" er esc. *000-16I- 6 As41-4"L rz n dehors 7 Lil 11 A Ld t rl A I NMI

ATA

Ao I -L -A- -

2 rrPP

s PP - PPP

A * __.....t- _ m

-~J-~ I , e - _____ - __.._--

~1I IL --

A u a p s _ _ . *v

qi PP TT -

aj r

--- T- XRAOM --.. 4 _ b ;Ls . a Tem o

A m

6f7 7 - nt PPP

r f-

4&m

!'~ allt?rqando. . %Lob lY

A ,W- 77 TI

171

6 B

A A Jk - L . NE N SO

( 6 dolee srmpre 6 v

ta. ~ ~7

-Now ANW ti I a_ 9 MPA '7 4

23T,giocoso

k k S

4) boom Cyf s _

I A -- ,r-

411 '&~p8 . I54+64 Jt.s fetsouiore

s1k

%f- f 40 r - _ sfy r,

APIL TI i FKITS- tn QZ1" I B b. fib. 6'n v

f "1 106"

s rest molto

A i s s

- A Y $ r : - :t- -- 707 I

V) if Iuf if- -- __ 6fr -0-Ci>

r- 1

s nccel i s 2 3 1 fietsonore. bien marque, ILc ~to1%

I I wT 8 X -Nor

/000003 /0000, /0000

p meo f

___ (~N ~N AL

yui P

. 6z

/", "o 3jo -0- As

p- p poco .

.. u if oii pq

neno mosso.

a 3 N

-pp p ppp l-ow- k _ p

senza 4. 3 a Tempo leg giero a'do te 3f .? I

pp =1 ] = I" u an Ad If7

A sempre leggiero _ _ J

A ~ JA N

* V I - r - "

C C

*. 0 * 0 A M A A A . . a " A "A

11 pn u . sen a Tib. e iocoso

T aL

_p 5 V I w r sf > " I A IV 71 iE qdw -rw.-

{^ L." I 2 -

Aft r m 6. . tea.

dolee e cantaizdo

0 " An k+ \,

- V P ifP f - I A -AA L i -p

r Th=- -T ben mnrcato TWO ;juf e sv o7'e

. _

FAW& TI

5 aI

4 >6 9 I"a R AA IA--- 7 -r

ta. te. TOO

' "

A 5AN i.:- - . xi i

I I

" ) V I ......

T mf r 17 9 9 t. - te. d . mt. 63

> ' _1.

. # 00

.ftri s d

min W,Gme: T T e

d etmasene.

e mxe t 6

.milk

I * s-. 64 Tempo I0

. . A U H <~r 'T> '7 . ~'~> ~

I 0)

pp pit. x PPben staccato pit.

j s IT ;__

AdTl

senza .

.digu ...

* I - : > - PPPTit m77olto.

. i " % 0 0. *

wU- el_ - v U v Ka 4

Tempo ? e glioosamente " A IJA - 1 k S IL o0

Jaii1,F-7

7 I k

qI +R" senza .

tes ryth n6. A 6 "" 'U s.- 't 5-. . .u- A

0 0 poeo s. p e see entiment im nx tl a ' - II

sans Tc .et aileegaminer e

~ -* a T econ anima ~"

it r+ . fff Vi L .A 0

tr.- " tnb%% tea. b.