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University of Cape Town August 2011 DECLARATION The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the Universityof of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University AN ANNOTATED CATALOGUE OF WORKS FOR PIANO DUET: A SUPPLEMENT TO CAMERON MCGRAW'S PIANO DUET REPERTOIRE by LUIS MIGUEL DE ARAUJO MAGALHAES Town Cape of Student no. MGLLUIOOI University Thesis presented for the degree of Doctor of Music by Perfonnance and Thesis in the Department of Music in the Faculty of Humanities University of Cape Town August 2011 DECLARATION I hereby declare that this thesis, submitted in partial fulfilment of the requirements for the degree of Doctorate of Music at the University of Cape Town, has not been submitted by me previously for a degree at another university. Town Cape of University Luis Miguel de Araujo Magalhaes Cape Town, August 2011 \ ABSTRACT The keyboard duet is one of the most appreciated and widely available music genres, but literature devoted to the repertoire for piano duet is surprisingly scarce and often incomplete. The one pUblication that does justice to the genre is Cameron McGraw's Piano Duet Repertoire, and this study took as its point of departure the gathering of information on works for piano duet not listed in McGraw, with a view to compiling a supplement to that work. Each entry provides, apart from the title of the work and the composers name, dates and nationality, the following information (where applicable and/or available): composer's website, movements, approximate duration, the arranger's name, the original medium, publication details and/or other information on availability (locationTown of manuscript or on-line source). Works that could be located are annotated with comments on the character of the work, and on musical and/or technical difficulties. In the case of arrangements, the annotations also include the effectiveness and suitabilityCape of the distribution of the musical material in terms of balance, register allocation,of and the expansion and/or reduction of range and textural density; pedal markings and the transcription of interpretative, dynamic and articulation markings. The annotated works in this thesis amount to nearly 1200 sourced scores, which represents roughly half of the completeUniversity listing of over 2000 works, making this a substantial addition to the 3200 works listed by McGraw. ," 1 TABLE OF CONTENTS CHA.PTER 1. IN'TRODUCTION ...........................................................................................ii 1.1 Historical background ..................................................................................................... .ii 1.2 Literature review .............................................................................................................. x 1.3 Rationale ......................................................................................................................... xi 1.4 Research design ............................................................................................................. xii 1.5 Research methodology ................................................................................................. xvii 1.6 Conclusion ................................................................................................................... xvii CHA.PTER 2. CATALOGUE ................................................................................................. 1 A ............................................................................................................................................. 1 B ........................................................................................................................................... 11 C ........................................................................................................................................... 67 D ........................................................................................................................................... 82 E ......................................................................................................................................... 100 F ......................................................................................................................................... 104 G .........................................................................................................................................Town 111 H ......................................................................................................................................... 131 I .......................................................................................................................................... 152 J .......................................................................................................................................... 153 K ......................................................................................................................................... 157 L .........................................................................................................................................Cape 163 M ........................................................................................................................................ 177 N .........................................................................................................................................of 211 0 ......................................................................................................................................... 213 P ......................................................................................................................................... 216 Q......................................................................................................................................... 222 R ......................................................................................................................................... 222 S ......................................................................................................................................... 245 T ......................................................................................................................................... 290 V ......................................................................................................................................... 300 v .........................................................................................................................................University 300 y .........................................................................................................................................316 z ......................................................................................................................................... 316 CONCERTI ........................................................................................................................ 319 REFERENCE LIST ............................................................................................................. 321 ii CHAPTER 1. INTRODUCTION 1.1 Historical background The keyboard duet is one of the most appreciated and widely available music genres. 1 The first published compositions in the genre, A Verse for two to play by Nicholas Carlton (biographical data uncertain) and A Fancy for two to play by Thomas Tomkins (1573-1656), date from the early seventeenth century.2 After an initial surge of activity, there was an interruption that lasted about a century. This·long gap in the production of new works can be attributed to factors such as the limited range of the instruments (only four and a half octaves), the impediments offered· by the dress. code of the times (hooped petticoat and panniersi and possibly unsuitable social perception of the genreTown with the close proximity between the players. The ftrst substantial works to appear after this hiatus were three duet sonatas for harpsichord (1778-1780) by Johann ChristianCape Bach (1735-1782). 4 of 5 Bartolomeo Cristofori's invention of the fortepiano in 1711 , and the improvements by instrument builders such as Gottfried Silbermann6 over the next half century, enabled keyboard players to take their art from the palace and church to larger venues and wider audiences. -The instrument'sUniversity extended tonal range also fuelled the imagination of composers as illustrious as Wolfgang Amadeus Mozart (1756-1791), who constitutes a link in the social, artistic and technological transformation that characterised the transition from the era dominated by the harpsichord to that dominated by the fortepiano. Mozart's encounter with the instruments of Johann Andreas Stein in 1777 was the pivotal point at which the composer 1 Cameron McGraw, Piano Duet Repertoire (Bloomington: Indiana University Press, 2001), p. ix. 2 Howerd Ferguson, Keyboard Duets from the 16th to the 20th Century for One and Two Pianos (Oxford: Oxford University Press, 1995), p. 1. 3 Nancy Arganbright, The Piano Duet: A Mediumfor Today (American Music Teacher. Volume: 56, Issue 5, April-May 2007), p. 16. 4 Ibid., p. 5. 5 Martha Novak Clinkscale, Makers ofthe Piano 1700-1820 (Oxford: Oxford University Press, 1993), p. 80. 6 Ibid., p. 265. 111 fully embraced
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