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A graded annotated bibliography of selected solo piano works of Alexandre Gretchaninoff

Haertling-Lint, Ann Elisa, Ph.D.

The Ohio State University, 1988

Copyright ©1988 by Haertling-Lint, Ann Elisa. All rights reserved.

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UMI A GRADED ANNOTATED BIBLIOGRAPHY OF

SELECTED SOLO PIANO WORKS OF ALEXANDRE GRETCHANINOFF

DISSERTATION

Presented in Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy in the Graduate

School of The Ohio State University

By

Ann Elisa Haertling-Lint, B.M., N.M.

The Ohio State University

1988

Dissertation Committee: Approved by

Jerry E. Lovder, D. M. E.

Marshall Barnes, Ph.D.

Donald Gren, D.M.A School of Music Copyright by Ann Elisa Haertling-Lint 1988 To My Husband, Parents, and Teachers

ii ACKNOWLEDGEMENTS

I wich to express my appreciation to my adviser, Dr.

Jerry Lowder, for his instructive guidance and criticism throughout the writing and organization of this study.

Special thanks go to the other members of my advisory committee, Dr. Marshall Barnes and Dr. Donald Gren, for their suggestions and comments.

Deep gratitude is expressed to my husband who assisted me in gathering information and made it possible for me to visit The New York Public Library and The

Library of Congress by taking time from his schedule to fly me to New York City and to Washington D.C.. I would like to thank my sister, Laurie Kniepkamp, for her much appreciated sketch of Gretchaninoff.

This writer appreciates the assistance of the

Interlibrary Loan staff, and the personnel at The New York

Public Library and The Library of Congress. I also want to thank Jodi, piano music specialist at Stanton's, who aided me by locating most of Gretchaninoff's piano works which are currently available in print.

iii Special thanks are also given to the following music publishers who allowed reproduction of Gretchaninoff's music for this study: Saul Feldstein, Executive Vice-

President of Alfred Publishing Co., Inc., Mary S. Bennett,

Copyrights and Permissions, Galaxy Music Corporation, and

Donna L. Tucker, Permissions Dept., Columbia Pictures

Publications.

iv VITA

August 28, 1957...... Born - Plattsburg, New York

July, 1974...... Graduated from Westerville High School, Westerville, Ohio

1974-1976...... Studied Piano Performance at the University of Dayton, Dayton, Ohio under Veryl Zech

1976-1978...... B.M., in Piano Performance, The Ohio State University, Columbus, Ohio, and Independent piano instructor, Westerville and Columbus, Ohio

1978-1981...... M.M., in Piano Performance, The Ohio State University, Columbus, Ohio, and Independent piano instructor, Columbus, Ohio

1981-1984...... Independent piano instructor, Columbus, Ohio and part-time student at The Ohio State University, Columbus, Ohio

January, 1984-June, 1987.. . Graduate Teaching Associate in Group Piano Instruction at The Ohio State University, and Independent piano instructor, Dublin, Ohio

June 1987-Present...... Independent piano instructor, Dublin, Ohio

v FIELDS OF STUDY

Bachelor of Music, Plano Performance: Professor George Haddad, The Ohio State University. Master of Music, Piano Performance: Professor George Haddad and Dr. Rosemary Platt, The Ohio State University. Ph.D. in Music Education (Piano Pedagogy Emphasis): Dr. Jerry E. Lovder, The Ohio State University.

vi TABLE OF CONTENTS

Page ACKNOWLEDGEMENTS...... lii

VITA...... v

LIST OF EXAMPLES...... x

LIST OF TABLES...... xi

LIST OF PLATES...... xii

CHAPTER

I. INTRODUCTION...... 1

The Purpose...... 2 Problems of the Study...... 3 Justification for the Study...... 4 Scope and Delimitations of the Study...... 8 Specialized Definitions ofTerms ...... 9 References...... 14

II. METHODOLOGY...... 17

Basic Resources...... 20 Treatment of Data...... 20 Research Tools...... 20 Computer File Entries...... 21 Summary Sheet...... 21 Characteristics of Composition...... 21 Annotation Summary...... 22 Descriptive Review Sheet...... 22 Criteria for Evaluation of Pieces...... 23 Analysis Tools and Techniques...... 24 Grading...... 24 Research Problems...... 25 Acquisition of Materials...... 25 Music Stores...... 25 Libraries and Copyright Laws...... 25 Interlibrary Loan...... 26 The Library of Congress...... 27

vii Assembly Problems...... 29 Discrepancies...... 29 Word Processor...... 29 References...... 30

III. SURVEY OF RELATED LITERATURE 34 '

References...... 46

IV. THE LIFE OF ALEXANDRE GRETCHANINOFF...... 50

Early Years...... 50 First Piano Lessons...... 51 Hoscov Conservatory, 1881-1890...... 52 St. Petersburg Conservatory, 1890-1893.... 57 Post-graduation, 1893-1925...... 59 First Opera...... 60 Church Music...... 81 Children's Music and Piano Teaching...... 64 Ethnographic Society...... 65 New Style...... 67 Sister Beatrice...... 68 Paris Years, 1925-1939...... 69 Life in America, 1939-1956...... 74 Plate I, sketch of Gretchaninoff...... 78 References...... 79

V. COMPOSITIONAL FORMS, DEVICES, AND APPLICATIONS 81

Rounded Binary...... 82 Incomplete Ternary...... 86 Ternary form...... 80 Tvo-part design...... 91 Rondo form...... 33 Compound Ternary...... 34 Sectional...... 36 Theme and Variation...... 37 Phrase group...... 38 Unipartite...... 38 Through-composed...... 101 Sonata-allegro, Sonatina, Fugue...... 101 Texture...... 104 Rhythm...... 104 Melody...... -06 Devices...... 107 Educational Rationale...... 110 Recommendations for Republication...... Ill

VI. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS 113

viii APPENDICES

A. RESEARCH TOOLS...... 122

Summary Sheet...... 123 Review Sheet...... 124 Sample Grading List...... 125 Classification List...... 127

B. ANNOTATIONS...... 128

Abbreviation Key...... 129 Summary Sheets...... 130

C. TABLES...... 454

Table 1 : Classifications...... 455 Table 2: Summary of Forms...... 456 Table 3: Forms (Modifications)...... 457

D. PLATES...... 460

Plate II, Opus 3, No. 3...... 461 Plate III, Opus 123, No. 1...... 462 Plate IV, Opus 98, No. 5...... 463 Plate V, Opus 3, No. 1...... 464 Plate VI, Opus 123, No. 2...... 465 Plate VII, Opus 98, No. 6...... 466 Plate VIII, Opus 123, No. 9...... 467 Plate IX, Opus 138, No. 1...... 468 Plate X, Opus 98, No. 8...... 469

E. CATALOG OF GRETCHANINOFF'SSOLO PIANO WORKS... 470

Code...... 471 Catalog...... 472 Key to Publishers...... 482

F. WORKS RECOMMENDED FOR REPUBLICATION...... 484

G. WORKS NOT APPEARING IN THE ANNOTATIONS...... 487

BIBLIOGRAPHY...... 489

ix LIST OF EXAMPLES

Example Page

1. Rounded binary. Opus 98, No. 3...... 83

2. Rounded binary. Opus 98, No. 14...... 84

3. Incomplete Ternary. Opus 98, No. 4...... 87

4. Ternary form. Opus 98, No. 2...... 89

5. Ternary form with modified A section(A B A') Opus 3, No. 3...... 91

6. Two-part design. Opus 138, No. 12...... 92

7. Rondo (A B A'B A f ). Opus 123, No. 1...... 95

8. Unipartite. Opus 98, No. 5...... 100

9. Through-composed. Opus 3, No. 1...... 102

10. Rhythmic relationship between sections. Opus 123, No. 2...... 105

11. Scalar passages in the melodic line. Opus 98, No. 6...... 106

12. Melodic line with accompaniment figures. Opus 123, No.9...... 107

13. Imitation. Opus 138, No. 1...... 109

14. Sequence. Opus 98, No. 8...... 109

x LIST OF TABLES

Table Page

1. Classifications...... 455

2. Summary of Forms...... 456

3. Forms (Modifications)...... 457

xi LIST OF PLATES

Plate Page

I. Sketch of Gretchaninoff by Laurie Kniepkamp... 78

II. Opus 3, No. 3...... 461

III. Opue 123, No. 1...... 462

IV. Opus 98, No. 5...... 463

V. Opus 3, No. 1...... 464

VI. Opus 123, No. 2...... 465

VII. Opus 98, No. 6...... 466

VIII. Opus 123, No. 9...... 467

IX. Opus 138, No. 1...... 468

X. Opus 98, No. 8...... 469

xii CHAPTER I

INTRODUCTION

The music of Alexandre Gretchaninoff has been included in the piano teaching repertoire through collections and suites since the early 1900's, but little is known about the man or his piano compositions. A few of his piano suites are still popular: Glass Beads. Opus

123; The Grandfather's Book. Opus 119; On the Green

Meadow, Opus 99, and Children's Album. Opus 98.

Unfortunately, most of Gretchaninoff's solo piano music has been forgotten before it was ever examined. Only one source was located which discussed Gretchaninoff's solo piano music, and little has been written about

Gretchaninoff since 1956.

Gretchaninoff was a multi-talented musician and composer who taught piano, theory, composition, and children's choruses. He toured Europe and the United

States as a professional accompanist and as a guest conductor. He composed not only for the piano but also for most instruments and voice. His solo piano compositions included sonatas, sonatinas, and suites which contained many smaller forms. His ability as a composer 2

was masterly because he applied a variety of compositional

devices to the smallest forms. His compositions are

attractive and practical for most beginning students

because of their variety and brevity, and the bulk of his

piano compositions are directed at the beginning through

lower-advanced student with few exceptions. However, only

a fraction of his solo piano Compositions is known because

most references list only a part of his music, and it is

not uncommon to find that none of his piano music is

included on published lists of his works. Even

Gretchaninoff did not list all of his piano compositions,

and he wrote only briefly about his piano music. It was this writer's purpose to rediscover and to compile a complete list of Gretchaninoff's solo piano works, and to examine their pedagogic value.

The Purpose

It was the purpose of this study to:

1. Survey systematically and classify

Gretchaninoff's published piano works.

2. Provide a rationale for the use of his piano

works as an educational tool.

3. Discuss problems and concerns related to teaching

and performing Gretchaninoff's music.

4. Present a historical background on Gretchaninoff

as educator, performer and composer. 3

5. Examine the form and compositional devices

used in Gretchaninoff's piano works selected for

this study.

6. Recommend republication of commendable piano

works which are currently out-of-print.

Problems of the Study

Primary Problems:

1. To acquire and examine Gretchaninoff's solo piano

works.

2. To grade and annotate Gretchaninoff's solo piano

works included in this study.

3. To organize and present the related literature.

4. To prepare a historical background of

Gretchaninoff's life.

5. To assess the compositional forms and devices of

the solo piano works included in this study.

6. To develop a complete catalog of Gretchaninoff's

solo piano works.

7. To prepare tables summarizing Gretchaninoff's

compositional forms and devices.

8. To determine the applications for Gretchaninoff's

solo piano works as educational tools.

Secondary problems:

1. To classify Gretchaninoff's solo piano works

included in this study. 2. To perform Gretchaninoff's piano works.

3. To prepare and adapt research tools.

4. To adapt an appropriate grading scale.

5. To receive permission to copy music examples for

this study.

6. To select appropriate musical examples.

7. To develop efficient wordprocessor skills.

8. To assess and recommend out-of-print solo music

from this study for republication.

The method of research used in this study was

descriptive. Information was presented for

Gretchaninoff's published piano works, including music

both currently available and temporarily out-of-print.

All pieces examined were presented with annotations and

analysis related to teaching problems and to musical and

technical charactersitics. Application of the literature

was also discussed.

Justification for the Study

The need for a complete systematic study of

Gretchaninoff and his solo piano music was apparent after an examination of related literature by Hinson, Gillespie, and Hutcheson, all considered authorities in the field of piano literature. Hinson(l) presented an incomplete list of Gretchaninoff's piano works, half of which were out-of- print. Gillespie(2) mentioned Gretchaninoff briefly while noting only two of his works. Hutcheson(3) also mentioned

Gretchaninoff briefly as being one of many foreign

composers who wrote for the young, without listing any of

his works. All other sources which contained listings of

Gretchaninoff's works were also found to be incomplete.

Gretchaninoff(4) himself listed 199 opuses and Smith(5>,

who based her catalog of works on Gretchaninoff's, listed

only 198 opus numbers. Greene<6) reported that

Gretchaninoff wrote 200 opus numbers, while Baker(7)

reported 201 opus numbers. This writer found 203 opuses.

In this writer's search no complete list of graded annotated works by Gretchaninoff was found. Rezits<8>

listed 36 graded solo piano works by Gretchaninoff which were in-print at the time of the book's publication.

However, when an attempt was made to obtain the works through a local music store, it was discovered that nearly half of the works listed by Rezits were no longer in­ print. The number of works listed for Gretchaninoff was comparable to those listed for Khachaturian and

F. Burgmtlller, who are also notable composers for young students. Kern and Titus<9) listed many of

Gretchaninoff's works as being appropriate for elementary,

intermediate and lower advanced levels, but did not annotate them. Several works by Gretchaninoff were mentioned in Fuszek and Pierces' list(10) which was developed for the Music Teachers' Association of 6

California. Gretchaninoff was also mentioned in the

Cheadles'(11) list of piano duets and in Diercks'(12) list of sonatinas and sonatas. He was also mentioned as a composer in Diercks'(13) list of standard keyboard literature.

Only a few references were found which contained information on Gretchaninoff's life, all very brief except for Gretchaninoff's own book(14). The chief sources were Baker(15), Ewen(16), Barsova(17), Greene(18),

Smith(19), Sabaneev(20) and Calvocoressi(21). Most of these references were short dictionary style articles, approximately two pages each. There were a few articles in periodicals, but these only covered Gretchaninoff's life briefly, and most were published before 1956. This finding suggested the need for a fresh view of

Gretchaninoff and his music.

Dissertations by Zacepina(1980)(22), Fansler(1982)

(23), and Morosan(1984)(24), contained information about

Gretchaninoff's choral and vocal works. A thesis by

Smith(25) focused on Gretchaninoff's music in relation to

Russian Nationalism. However, no dissertation or thesis was found which related to Gretchaninoff's piano works or his life.

A search of dissertations and abstracts continued in an attempt to discover topics regarding composers and their music, grading, analysis of pedagogical values, and 7 teaching strategies. Several dissertations were found which were related to the grading, analysis of pedagogical values, and teaching strategies of a group of compositions by a particular composer or group of composers. Whiteley<26> discussed the grading of solo piano sonatas while Poppen<27) surveyed four-hand piano music for one keyboard. Regal's dissertation<28) was concerned with teaching strategies, while Ganey(29) provided a pedagogical analysis of piano sonatinas.

Other dissertations like those by Kuderna(30) and

Brown(31) dealt with the life of a composer and the composer's piano music. However, no dissertations were found which combined a discussion of the composer's life with a graded annotated anthology of his or her published works.

Justification for this study may be summarized as follows:

1. Existing catalogs of Gretchaninoff's piano music

were found to be incomplete.

2. No complete graded annotated listing of

Gretchaninoff's piano works existed when this

study was begun.

3. Only a few references on Gretchaninoff's life

were located, the most recent was published in

1956, suggesting the need for current research. 8

4. No dissertations were found which were devoted to

Gretchaninoff's piano music or his life.

5. No articles or books were found which examined

Gretchaninoff's piano works.

Scope and Delimitations

The study was delimited in the following manner:

1. Only original piano works were included.

2. Piano works were limited to those available for

United States publishers, from foreign publishers

with United States agents, or from libraries in

the United States. No manuscripts were included

in the study.

3. All works examined were considered to be

potential performance pieces; therefore

functional use was not considered.

4. Works were examined for the following

educational purposes:

a) Development of a graded, annotated list,

b) Development of basic musicianship,

c) Stylistic and historic perspective.

The graded, annotated pieces in Appendix B included descriptions of form, texture, rhythm, melody, key areas, expressive characteristics, and technical characteristics such as finger-crossings, hand-crossings, arpeggios, ornaments, and scale passages which should be evaluated by instructor and student prior to beginning study of the piece. Suggestions for preliminary study, stylistic features and other related pieces by Gretchaninoff or other composers were also included.

Specialized Definitions of Terms

1. Binary (AB). Two-part form; two divisions or sections based on two different ideas and or keys. In this study only two pieces occurred in binary form.

2. Coda. A longer ending as opposed to codetta, which is based upon musical ideas, i.e., themes, rhythms, and or textures already presented in previous sections, or themes of the musical composition. For this study all codas were eight or more measures in length, with most codas less than 20 measures long. The term coda was typically paired with the term introduction rather than prelude.

3. Codetta. An ending for a piece, like the coda, except shorter. In this study codettas were designated to be one to seven measures in length. The term codetta was typically paired with the term introduction, rather than prelude.

4. Canon. Imitation of a melody by another voice, using the same rhythm and intervals.

5. Compositional features. Those features common to each composition such as tonality, texture, meter form, and parallel and contrasting motion.

6. Compound ternary. A large three-part form (A B A) in which the large units (ABA) contain smaller forms. For Gretchaninoff the first A unit contains ternary, or rounded binary form, and the B unit contains ternary, rounded binary, binary, or a unipartite section in a key parallel to that of the first section (i.e. if the A unit was in G- sharp minor, the B unit may appear in A-flat major), in a relative minor key, or in a subdominant relationship to the A unit (i.e., in the second movement of Sonatina Op.110, No.2, the 10

A unit appears in D major, the B unit appears in G major). The final A section appears with the same form, or slightly modified form, of the first section; repeat signs are absent, change in texture may be present, and a coda or codetta may be added. Compound ternary form appears in five pieces of this study.

7. Contrasting construction. The absence of parallel traits in relation to a phrase, period or section i.e., opposite or same direction, same or similar rhythmic pattern. For the music in this study contrasting construction was rare.

8. ERIC. An abbreviation for Educational Resources Information Center. A batch search is MIC's (Mechanized Information Center, The Ohio State University Libraries) inexpensive production of ERIC materials, which includes periodicals for the last four years, or the newest materials for each month. Online ERIC searches include materials such as Psychological Abstracts and Exceptional Child Education Resources.

9 . Expressive characteristic. A term describing dynamics, balance, tempo, pedal, and other expression marks used by the composer for musical communication.

10. Extension. A legenthening of the harmony or melodic line normally at the end of a consequent phrase.

11. Form. The structure of a composition, i.e., binary, ternary, rondo, and sonata-allegro.

12. Fugue. A single fugue occurred in this study (Opus 110, No.2, movement III), in that fugue the statement of the subject and a real answer (a fifth below the subject, with the same intervals) were presented in the exposition. The exposition was followed by an episode. The counterexposition followed the episode. The statement was presented in the tonic key, witn an accompaniment and a tonal answer which modulated. The episode following the counterexposition was similar to the one which followed the exposition. The fugue concluded with a coda. 11

13. Functional Use. Term used also by Poppen(32) vhich referred to purposes including personal enjoyment, sightreading, recitals, and social activities.

14. Imitation. When a phrase or motive is repeated in another part with or without modification.

15. Incomplete ternary form (ABA') or (A I:B ;I A'). Three- part form in which the A section is not repeated in its entirety after the B section, but is abbreviated using only the last phrase of the A section.

16. Opposite construction. A phrase, period, theme, or section containing rhythmic traits of its antecedent, but having an inverted or new melodic line, and contrasting harmonies.

17. Parallel Construction. The repetition of a phrase, period, theme, or section with modification.

16. Phrase group. A group of three or more phrases in which each phrase ends with a semi-cadence, except the final phrase which ends with a perfect cadence. Phrases may or may not be related to each other in style and character, but do not exhibit period construction.

19. Prelude. The introductory measures of music, usually two to eight measures. These measures are designated as a prelude when the musical ideas, or style is not derived from the main sections of the composition. Many of the interludes and postludes which occur within the same piece as a prelude, in this study, often are an exact or modified repetition of the prelude.

2 0 . Rondo (ABABA), (ABACA), (ABABABA), or (ABACABA). Generally a five-or seven-part form in which the A section is repeated between contrasting sections.

21. Rounded binary (A I :B A *: I ) . A two-part form in which a small part of the A section is repeated at the end of the B section. The music examined in this study typically included only the second phrase of the original A section as the final A' section. 12

22. Sectional. A form similar to theme and variations, however, variation treatment is not applied consistently throughout each section. In this study many sectional pieces contained two contrasting phrases or periods, one of those, usually the first, was treated in each section, while the second unit acted as a refrain- receiving only minor modifications in texture, key, and harmony. Treatments for the first unit, i.e., variations in rhythm, texture, key, and harmony, were usually applied to accompaniment figures, rather than the melodic line. Treatment of an entire section was typically replicated in another section of the same piece.

23. Sequence. "A series, or progression of similar chords, or intervals, in succession."<33)

24. Solo piano literature. Performed on one keyboard by one person.

25. Sonata-allegro. A musical form containing an exposition, development and recapitulation. As many as three themes are introduced in the exposition, but one, two, or all three may appear in the development section i.e., in Sonata Opus 129, movement III, only the third theme appears in the development section. First and second themes appear in the recapitulations for the music in this study. Only three examples of sonata-allegro appeared in this study.

26. Sonatina. A form similar to sonata-allegro form in that an exposition, first and second theme, closing theme, transitions, recapitulation, and coda are present. For Gretchaninoff, this form appears in his piano sonatinas, once in the third movement, Opus 110, No.1 and in the first movement of Opus 110, No.2. No development section is present in either movement. Each movement contains two themes, and Opus 110, No. 2 also contains a closing theme. The first theme is presented in the exposition, and the first theme occurs with no modifications in the recapitulation, followed by the second theme in the tonic key area. Modulations occur in the transitions between the themes. Opus 123, No. 10 resembles the sonatina design. 13

27. Style. "...reflection of the individual essence of a work of art which gives it its identity and which consists of various objective components of musical, technical, pianistic, and keyboard characteristics ..."(34)

28. Tag-ending. An added short ending, like an afterthought, occurring after a coda, codetta, or poBtlude, usually two measures in length. Tag-endings occur throughout Gretchaninoff's piano suites, i.e., Opus 138.

29. Technical characteristic:. Physical problems which must be solved in order to perform a piece, such as scales, arpeggios, hand-crossings, short and long phrases, and various combinations of touch.

30. Ternary form (ABA). Three-part form in which the A section is repeated or modified as the third part, presenting the middle section (B) in a different key and or as a contrasting idea.

31. Theme and Variations. A form in which a theme, one phrase or two periods in length, is presented, then is followed by variations. Each variation contains the complete theme with consistent treatment throughout each section which may include changes in rhythm, texture, key, tempo, dynamics, and harmony.

32. Through-composed. A form in which one main idea (A) exists. The whole idea (A) or parts it are developed in a free manner. New ideas may arise out of the original idea, but do not constitute seperate B or C sections.

33. Two-part(A I:B A : I B'), (A B A 'B'), (A B A 'A B' Coda), (Intro I:A:I BAB Ctta). A form having A and B sections which occur again with or without modifications, e.g., changes of key, texture, or rhythm.

34. Unipartite. A form in which A sections occur, there are no contrasting B or C sections. The A section may appear several times with or without slight modifications, and may appear with introductions, preludes, interludes, codettas or postludes etc. REFERENCES

1. Maurice Hinson, Guide to the Pianist's Repertoire (Bloomington: Indiana University Press, 1973), pp.282-3.

2. John Gillespie, Five Centuries of Keyboard Music: An Historical Survey of Music for Harpischord and Piano (New York: Dover Publications, Inc., 1972), 275.

3. Ernest Hutcheson, The Literature of the Piano (New York: Alfred Knopf, 1948), 416.

4. Alexandre Gretchaninoff, My Life (New York: Coleman- Ross Company, 1952), 175-202.

5. Sister Mary Nicholas Smith, "The Music of Alexandre Gretchaninoff in its Relationship to Russian Nationalism," (unpublished Master's thesis, University of Southern California, Los Angeles, 1952), 120-137.

6. David Mason Greene, "Grechaninov, Alexander," Greene's Biographical Encyclopedia of Composers (New York: Doubleday & Company, Inc., 1958), 878.

7. Theodore Baker, "Gretchaninov, Alexander, " Baker's Biographical Dictionary of Musicians, revised by Nicholas Slonimsky, 7th ed. (New York: Schirmer, Inc., 1984), 888.

8. Joseph Rezits and Gerald Deatsman, The Pianist's Resource Guide: Music in Print and Literature on the Pianlstlc Art. 1978-79 (Park Ridge: Neil A. Kijos Jr., 1980), 227-228.

9. Alice Kern and Helen Titus, The Teacher's Guidebook to Plano Literature (Ann Arbor: J.W. Edwards, Publisher, Inc., 1955), 16-18, 49, 50, 92.

10. Rita Fuszek and Ralph Pierce, compilers, "Compilation of Music by Levels for 'The Music Teachers Association of California'," How To Teach Piano Successfully (Park Ridge: Neil A. Kjos, 1973), 459-466.

14 15

11. Louise and William Cheadle, compilers, "The Repertory of Piano Duets: A Graded Annotated List," Teaching Piano: A Comprehensive Guide and Reference Book for the Instructor. Vol. 2 (New York: Yorktown Music Press, Inc., 1981), 349, 360.

12. John H. Diercks, compiler, "Sonatinas and Sonatas: A Graded Annotated List," Teaching Piano: A Comprehensive Guide and Reference Book for the Instructor. Vol.2 (New York: Yorktown Music Press, Inc., 1981), 377.

13. John H. Diercks, "Recommended Editions of Standard Keyboard Literature," Teaching Plano: A Comprehensive Guide and Reference Book for the Instructor. Vol.2 (New York: Yorktown Music Press, Inc., 1981), 442.

14. Alexandre Gretchaninoff, My Life (New York: Coleman- Rose Company, 1952), 1-168

15. Baker, loc. cit.

16. David Ewen, "Alexander Gretchaninoff," American Composers: A Biographical Dictionary (New York: G.P. Putnam's Sons, 1982), 109-110.

17. Inna Barasova and Gerald Abraham, "Grechaninov, Alexandr Tikhonovich," The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, 6th edition, Vol.7 (London: Macmillan Publishers Limited, 1980), 658-659.

18. Greene, op. cit., 877-878.

19. Smith, op. cit. , 42-54.

20. Leonid Sabaneev, "A. Gryechuninoff," Modern Russian Composers (New York: International Publishere 1927), 144- 148.

21. Michel D. Calvocoressi, "Liadof, Glazunof, and the Lesser Nationalists," A Survey of Russian Music (London: Penguin Books, 1945), 78.

22. Tat/jana Zacepina, "Chokceski Kul/tury v russkoj xx veka" (Traditions of Cultivating National Song in Russian Choral Music (Late 19th century - early 20th century) (unpublished Ph.D. disseration, choral singing, Lelngradskaja Konservatorijo, Leningrad, 1980).

23. Terry Lee Fansler, "The Anthem in America: 1900- 1950" (unpublished Ph.D. dissertation, North Texas State University, 1982). 16

24. Walter Vladimir Morosan, "Choral Performance in Pre- Revolutionary Russia" (unpublished D.M.A. dissertation, University of Illinois at Urbana-Champaign, 1984).

25. Smith, op. cit.

26. Daniel H. Whiteley, "A Graded Anthology of Solo Piano Sonatas Published between 1950 and 1975 by American Born Composers: A General Survey of Works Currently in Print" (Ph.D. dissertation currently in progress, Ball State University).

27. Marcella May Poppen, "A Survey and Analysis of Selected Four-Hand, One Keyboard, Piano Literature" (unpublished D.M.E. dissertation, Indiana University, 1977).

28. Ronald Ernest Regal, "The Analyses with Related Teaching Strategies of Selected Twentieth-Century Elementary Piano Compositions by American Composers (1940- 1970)" (unpublished Ed.D. dissertation, The University of Rochester, Eastman School of Music, 1973).

29. Janelle Ganey, "A Pedagogical Analysis of Solo Piano Sonatinas by North and South American Composers, 1963- 1983" (unpublished Ph.D. dissertation currently in progress. Southern Baptist Theological Seminary).

30. Jerome Kuderna, "The Piano Music of Milton Babbitt" (unpublished Ph.D, Music Ed. dissertation, New York University,1971).

31. Charles Townley Brown, "Alejandro Monstel (1865- 1950): His Life and Works" (unpublished Ph.D. dissertation. University of Minnesota,1973).

32. Poppen, op. cit. , 5.

33. Louis Elson, Elson's Pocket Music Dictionary (Bryn Mawr: Oliver Ditson Company, 1909), 130.

34. Poppen, op. c it. , 6. CHAPTER II

METHODOLOGY

The search for a topic began with a batch search of

ERIC materials, which included the subject areas of:

learning, activities, music, education, methods, music

education, strategies, piano, instruction, and technics.

Within two weeks the search produced numerous reference cards. Upon examination of the cards which contained all

journal entries, no topic was found by this writer to be appropriate.

A computerized dissertation search was begun, investigating the following general topic areas:

1. Activities or models, strategies or methods.

2. Piano or programmed or self actualization.

3. A combination of items 1 and 2.

4. Item 3 and education-music.

5. Piano teaching and education-music.

This search yielded 82 citations, and only a few were related to piano instruction and learning. At this point none of the topics found in the search was found to be appropriate.

17 la

In order to select an appropriate topic, the writer investigated various journals and bibliographic sources, including Journal of Research in Music Education(JRME)<1)t other publications by the Music Educator's National

Conference; The Council for Research in Music Education

Bulletin(CRME)(2); the OSU card catalog of Theses and

Dissertations(3); and Dissertation Abstracts

International(4). Dissertations by Regal<5), Kuderna(6) and Poppen<7) were found to be informative. Regal and

Poppen analyzed piano music, while Kuderna focused on the life and piano music of a specific composer. A later dissertation in progress by Whitely(8) focused on a collection of graded piano sonatas.

The Hinson(9) volume listed names of composers whose solo piano works for beginning thru lower advanced levels were extensive enough to be investigated. The number of works listed for

Gretchaninoff was comparable to the amount listed for

Kabalevsky and Rachmaninoff, and nearly half of the works listed for Gretchaninoff mentioned the terms - children, easy, short, young people, or miniatures, in the title or citation following the title. Based on this information, it was determined that Gretchaninoff's body of piano works was appropriate and large enough to be investigated.

The search of Dissertation Abstracts International was continued to determine whether any dissertations had been written about Gretchaninoff. Dissertation titles by

Fansler(lO), and Morosanl11) were found under Grechaninov.

Another dissertation title by Zacepina(12> was found when

RILM(13) was searched. All three dissertations dealt with

examples of Gretchaninoff's choral music, but only in a

general way. Two Master's theses were later found, one by

Seagard(14), (found in Holden's bibliography<15)), and

Smith's(16), (found in The Dictionary Catalog of the

Research Libraries 1911-1971(17)). Seagard's thesis was related to Gretchaninoff's sacred vocal music. Smith's thesis touched all areas of Gretchaninoff's music briefly and showed their relationship to Russian Nationalism.

Smith wrote only briefly about Gretchaninoff's life, and neither writer focused on Gretchaninoff's piano works. At this point, other bibliographic sources were searched:

Music Index(18). Books in Print. 1967-1968(19), The

Pianist's Resource Guide(20). and Arts and Humanities

Citation Index(21).

Sources consulted for information on existing piano literature by Gretchaninoff included catalogs and books.

Among the catalogs were those of the British Broadcasting

Company, The Library of Congress, and the New York Public

Library. Books which contained information regarding listings of Gretchaninoff's music included those by

Rezits(22), Baker(23), Hinson(24), Gretchaninoff<25),

Groves(26), and Titus(27). Fuzek's book was the only 20 source which listed selections from Gretchaninoff's suites and the collections in which they were found( 2fl).

Sources which contained an annotated listing or graded listing of Gretchaninoff's music were those by

Titus<29), RezitsOO), Agay(31) and Bastien<32>.

Basic Resources

The basic resources employed in this study were articles which related to Gretchaninoff's life and ideas about music, his own autobiography(33), and a related thesis by Smith(34). Except for six Suites (see

Appendix G>, all of Gretchaninoff's available published music was studied, annotated, and graded by this writer.

Materials were acquired from The Ohio State

University Library System, The New York Public Library,

The Library of Congress, and Interlibrary Loan. Music was obtained from two local music stores.

Treatment of Data

After locating all of the music needed for the major part of this study, the next problem was treatment of the data. Research tools and techniques were formulated for proper description and analysis of the data, described as follows.

Research Tools. A variety of tools was required for recording the data, including computer file entries, 21

summary sheets, lists, tables, and descriptive review

sheets. Many tools were modeled after the ones used in

Poppen's dissertation in which she graded and annotated

duet literature for the plano(35). Samples of these tools

may be found in Appendix A.

Computer File Entries. Information was recorded for

each suite, sonata, sonatina, or solo by the use of this

writer's microcomputer where it could be easily accessed.

Each file entry included the title of the suite, sonatina,

sonata or solo, opus number, publisher, source, copyright date, call number, and library source.

Summary Sheet. Each composition required a file entry, as well as summary sheet on which vae recorded the title of the composition, copyright date, print status (in­ print or out-of-print), publisher, editor, library (if obtained from a library), call number, grade level

(assigned by this writer), and title of the suite, sonatina, or sonata from which the composition was drawn.

Characteristics of Composition. Immediately following this information is the section describing characteristics of each composition, including tempo, key, meter, length, form, and general classification of the piece. A list of classifications appears in Appendix

A. Table 1, Appendix C, shows the total usage of each classification for each grade level. Table 2, Appendix C, 22 summarizes all general forms appearing in this study

(binary, rounded binary, ternary etc.) and the frequency they occur for each grade level. Table 3, Appendix C, shows the variations for each of the general forme in

Table 2 and their frequency for each grade level. This is followed by the annotation summary.

Annotation Summary. The annotation summary was located at the bottom of each summary sheet following the characteristics of composition and included comments based on the following criteria:

1. Predominant musical characteristics of the

piece.

2. Teaching suggestions.

3. Technical characteristics.

4. Pianistic and technical style characteristics.

5. Expressive features.

6. Compositional form/devices.

7. Comparisons with other pieces containing similar

characteristics.

8. Unusual features.

Descriptive Review Sheet. A descriptive review sheet was formulated, based on Poppen's model(36) which included items common to all works: technical characteristics, expressive characteristics, compositional features, and additional characteristics which were perculiar to each 23

piece; features peculiar to four-hand literature were

omitted. This tool was solely chosen to aid in

organization and collection of information for each

composition.

The annotations compiled for this study appear in

Appendix B. A list which summarized all of

Gretchaninoff's published piano works appears in Appendix

E. This table contains a summary of most of the

information already recorded on the summary sheets

(Appendix B): Date of composition, opus number,

availability of the composition, title of composition, the original publisher, print availability, and the number of selections in each suite, sonatina, or sonata. Appendix E contains a complete list of Gretchaninoff's piano solos which is preceded with a code and followed by an abbreviation key used for publishers. Complete musical examples relating to Chapter V are found in Appendix D.

Appendix F contains a list of pieces recommended for republication, and Appendix G contains a list of solo piano works by Gretchaninoff not appearing in the annotations.

Criteria for Evaluation of Pieces

The piano pieces were evaluated according to criteria suggested in the Poppen dissertation. These criteria, which aided the assessment of the educational values of 24 each piece, are listed as follows:

A. Theoretical Content:

Rhythm, Melody, Form, Texture,

Harmonic structure

B. Skills and Techniques:

Rhythmic Skills, Pianistic Techniques, Sight

Reading, Listening.(37)

Analysis Tools and Techniques

The types of tools developed for this study were appropriate for a descriptive study of this nature, and they aided in organization of the information into categories, summaries, tables, and lists. The summaries and lists fulfilled this writer's expectations and should be applicable as an aid for educators who desire more knowledge in this subject area.

Grading

Grading of all compositions in Appendix B was accomplished after complete examination of the composition, which included at least three performances by the writer. The grading scale (Appendix A, sample grading list) was based on Kern and Titus's scale which had been developed to assess repertoire for elementary, intermediate, and lower advanced levels(38). The difficulty of each work was determined by analysis of the 25 most difficult section, taking into account the degree of rhythmic skills and technical and expressive abilities necessary to master the section. The levels also represent an order in which the works may be taught. This, scale seemed appropriate to the writer because the majority of Gretchaninoff's piano works were aimed at young students and beginning adults, beginning thru lower advanced levels. The single work not fitting this scale (movement II, Opus 174) was noted as advanced.

Research Problems

The principal problems of this study were acquisition of materials from music stores and libraries, copyright laws, and assembly problems, including discrepancies between sources and use of a word processor.

Acquisition of Materials

Music Stores. Orders placed at music stores required weeks for delivery and often were unfilled because the music was no longer in print, temporarily out-of-print, or out of stock.

Libraries and copyright laws. It was difficult to obtain music from libraries because some of the music required was lost or was non-circulating and could not be loaned through Interlibrary Loan. None of the music from the New York Public Library or The Library of Congress was 26 permitted to be loaned, and use of materials was permitted only in the library.

Copyright laws made it difficult for out-of- town libraries to copy music. They required written permission from the publisher and a photocopying estimate before copying could be done. The writer telephoned and wrote several music publishers requesting permission to photocopy examples of Gretchaninoff's music for use in this dissertation. In some cases fees were required before a license to photocopy could be obtained.

Interlibrarv Loan. There were also some discrepancies within the Interlibrary Loan's search for

Opus 150 and Opus 131. Interlibrary Loan found Opus 131 at the New York Public Library as Two Melodies for soprano, violin-cello and harp as was also shown in

Smith's thesis(39). However, Gretchaninoff had listed the

Sketchbook. Opus 131 for piano(40). This writer later located Sketchbook. Opus 131, for piano, at the Library of

Congress. There was also a discrepancy concerning the existence of Gretchaninoff's Arabesques. Smith listed

Opus 150 as being the Harp Album(41) and did not mention the existence of Gretchaninoff's Arabesques.

Gretchaninoff listed Opus 150 as the Harp Album(42) and

Arabesques(43) with no opus number. This writer found a listing for Arabesques, Opus 150, in Rezit's<44) list, then requested Interlibrary Loan to search for it. 27

Interlibrary Loan found Opus 150 as the Harp Album at

The New York Public Library. A second request for

Arabesques. Opus 150, was submitted to the Interlibrary

Loan office by mistake, but this time a copy was acquired from Cornell University. Interlibrary Loan was also able to obtain an old edition of Fleeting Thoughts. Opus 115 which contained two extra pieces ("Urgent Request" and

"Fairy Tale") not included in the current edition, and another piece from Opus 115, "Menuett," appears in B major in the current edition, rather than B-flat major as in the old edition.

The Library of Congress and The New York Public

Library. To save time it was considered necessary to travel to The Library of Congress in Washington, D.C. and to The New York Public Library. This was costly but necessary to acquire literature which was non-circulating and out-of-print. En Barque. Opus 127b, was discovered at

The Library of Congress; it had not appeared in either

Gretchaninoff's catalog or Smith's thesis. Apparently, En

Barque was originally intended to be included with

Tautropfen. Opus 127a, but was divided by the publisher.

Because En Barque was no longer in print, the writer felt fortunate when discovering it in The Library of

Congress. Also found in The Library of Congress were seven solos (see Appendix E) listed in Rezits(45), and Suite Miniature. Opus 202, which had not appeared on any

list. Several large collections of letters were

discovered, written by Gretchaninoff between 1922 and 1953

to Slonimsky and to Koussevitzky. However, since the

letters were written in Russian, it was decided that the

scope of the dissertation did not warrant the time

necessary to have them translated. Music obtained from

The New York Public Library was photographed by the

writer. Photographs of "Au Lointain, " Opus 167, No. 1 and

"Orientale," Opus 167, No.4 (manuscript) were too blurred

to read (other pieces in Opus 167 were not listed in any

other library's holdings). Two pictures from By the

Fireside. Opus 183, did not develop; however, a copy of

By the Fireside was made later, after permission to have

a copy produced was obtained from Boosey and Hawkes. The

majority of pictures were blurred and difficult to read due to the poor camera quality and dim lighting in the

library. These trips enabled this writer to discover that

The New York Public Library owned a large collection of

Gretchaninoff's manuscripts, including "Orientale," Opus

167, No.4. Also found at The New York Public Library was

Mother's Book. Opus 203, which had been lost at The

Library of Congress and not listed in any other library's holdings by Interlibrary Loan. 29

Assembly Problems

Discrepancies. The writer had difficulty assembling accurate dates with regards to Gretchaninoff's premieres and dates of completed compositions. Often the date given in the body of his autobiography differed from the date shown in his catalog. Smith and Gretchaninoff often differed on the date of a composition by one year, sometimes more, although she states that her dates were obtained from his catalog. Therefore, the writer cited the source of a date when there was a discrepancy.

Word Processor. The writer purchased a Leading Edge,

IBM compatible computer along with an Okidata Microline

192 printer and used the Leading Edge Word Processing software for the purpose of writing and editing this document. Considerable time was spent learning to operate the word processor without prior instruction, but the writer acquired the skills necessary for efficient editing and printing. Although the Okidata printer allowed for the printing of superscript, the Leading Edge Word

Processing software did not. Therefore, the writer chose to notate numbers used to indicate footnotes with parentheses. Finally, the difficulty of commanding the printer to print foreign language symbols was solved since the printer-activated symbols were different from thoBe produced by the Word Processing software. REFERENCES

1. Allen P. Britten, "Doctoral Disaertations in Music and Music Education," 1968-1971, Journal of Research in Music Education. XX No. KSpring, 1972), 9-190.

Roderick D. Gordon, "Doctoral Dissertations in Music and Music Education," 1972-1977, Journal of Research in Music Education. XXVI (Fall, 1978), 257-383.

2. Richard J. Colwell, "Directory of International Music Education Dissertations in Progress, 1983” (Urbana: Council for Research in Music Education, 1983).

Richard J. Colwell, "Directory of International Music Education Dissertations in Progress, 1985" (Urbana: Council for Research in Music Education, 1985).

3. The Ohio State University, Card Catalog of Theses and Dissertations in Music and Music Education (Columbus, Ohio: The Graduate College,--)

4. "Dissertations Abstracts International, 1861-1986" (University Microfilms International).

5. Ronald Ernest Regal, "The Analyses with Related Teaching Strategies of Selected Twentieth-Century Elementary Piano Compositions by American Composers (1940- 1970)" (unpublished Ed.D. dissertation. The University of Rochester, Eastman School of Music, 1973).

6. Jerome Kuderna, "The Piano Music of Milton Babbitt" (unpublished Ph.D., Music Ed. dissertation. New York University, 1971).

7. Marcella May Poppen, "A Survey and Analysis of Selected Four-Hand, One keyboard. Piano Literature" (unpublished D.M.E. dissertation, Indiana University, 1977).

30 31

8. Daniel H. Whiteley, "A Graded Anthology of Solo Plano Sonatas Published Between 1950 and 1975 by American Born Composers: A General Survey of Works Currently in Print" (Ph.D. dissertation currently in progress, Ball State University).

9. Maurice Hinson, Guide to the Pianist's Repertoire (Bloomington: Indian University Press, 1973), 282-3.

10. Terry Lee Fansler, "The Anthem in America: 1900- 1950" (unpublished Ph.D. dissertation. North Texas State University, 1982).

11. Walter Valdimir Morosan, "Choral Performance in Pre- Revolutionary Russia" (unpublished D.M.A. dissertation. University of Illinois at Urbana-Champaign, 1984).

12. Tat/jana Zacepina, "Chokceski Kul/tury v russkoj xx veka" (Traditions of Cultivating National Song in Russian Choral Music (late 19th century-early 20th century) (unpublished Ph.D. dissertation, choral singing, Leingradskaja Konaervatorijo, Leningrad, 1980).

13. "International Repertory of Music Literature" (RILM 1967-1981).

14. John Seagard. "Vocal Style of Russian Church Music as Seen in the Works of Alexander Gretchaninoff" (unpublished M.M. Thesis, Eastman School of Music, University of Rochester, New York, 1949).

15. David Molden, A Bibliography of Russian Composer (London: White Lion Publishers Limited, 1976), 73-74.

16. Sister Mary Nicholas Smith, "The Music of Alexandre Gretchaninoff in its Relatioonship to Russian Nationalism" (unpublished Master's thesis. University of Southern California, Los Angeles, 1952).

17. New York Public Library, The Dictionary Catalog of The Research Libraries of The New York Public Library. 1911-1971. Vol. 322 (New York: Research Libraries, 1979), 344.

18. "Music Index" (1949-Feb.1986).

19. Rebecca Olmo and Brian Phair, editors. Books in Print. 1986-1987 (New York: R. R. Bowker Company, 1986).

20. Hinson, op. cit., 282-3. 32

21. "Arts and Humanities Citation Index," 1976-85.

22. Joseph Rezits and Gerald Deatsman, The Pianist's Resource Guide: Music in Print and Literature on the Planistic Art. 1978-79 (Park Ridge: Neil A. Kjos Jr., 1980), 227, 228, 626.

23. Theodore Baker, Baker's Biographical Dictionary of Musicians, revised by Nicholas Slonimsky, 7th ed. (New York: Schirmer, Inc., 1984), 888.

24. Hinson, op. cit., 282-3.

25. Alexandre Gretchaninoff, Mv Life (New York: Coleman- Ross Company, 1952), 179-83, 197-204.

26. Inna Barsova and Gerald Abraham, "Grechaninov, Alexandr Tikhonovich," The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, 6th edition, Vol.7 (London: Macmillan Publishers Limited, 1980) 659.

27. Alice Kern and Helen Titus, The Teacher's Guidebook to Piano Literature (Ann Arbor: J.W. Edwards Publisher, Inc., 1955), 16-18, 49, 50, 92.

28. Rita M. Fuzek, Piano Music in Collections: An Index (Detroit: Information Coordinators, Inc., 1962), 170, 171, 172.

29. Kern and Titus, loc. cit.

30. Rezits, loc. cit.

31. Denis Agaye, editor. Teaching Piano: AComprehensive Guide and Reference Book for the Instructor. Vol.2 (New York: Yorktown Music Press, Inc., 1981), 349, 360, 377.

32. James Bastien, "Appendix C: Reccomended Music," How to Teach Piano Successfully (Park Ridge: Neil A. Kijos, 1973), 447, 448, 460, 462.

33. Gretchaninoff, op. cit. 1-168.

34. Smith, loc. cit.

35. Poppen, op. cit. , 13, 14, 101, 102.

36. Poppen, Ibid. , 104, 105.

37. Poppen, Ibid., 16. 33

38. Kern and Titus, op. cit., 3-137.

39. Smith, op. cit., 133.

40. Gretchaninoff, op. cit. , 181, 200.

41. Smith, op. cit., 134.

42. Gretchaninoff, op. cit., 183, 201.

43. Gretchaninoff, Ibid., 181 , 202.

44. Rezits, op. cit., 227.

45. Rezits, Ibid. CHAPTER III

RELATED LITERATURE

The purpose of this study was to examine

Gretchaninoff's life, and to collect, catalog, annotate, and grade the published solo piano compositions of

Gretchaninoff. Most information found related briefly to his life, operas, symphonies, vocal works, and sacred works, rather than to his piano music. His written music for children was only briefly mentioned. Sources of information which were consulted included Gretchaninoff's autobiography, books on Russian composers, periodicals, biographical music dictionaries, Smith's thesis, Poppen's dissertation, books which contained lists of piano music, piano literature books, books on Russian music, and

Russian history. Perusal of these sources was necessary in order to include information on Gretchaninoff's life, predecessors, contemporaries, economic and political factors affecting his life, philosophy, compositions, and changes in his compositional style. Several books on

Russian history were examined to help this writer understand political and social influences which affected

Gretchaninoff's life and compositions. 35

The primary source for information on Gretchaninoff's life vas his autobiography(1). In it he described his early life in Russia, his schooling, and struggles to gain acceptance in the musical world. Gretchaninoff was a world-traveler who not only composed music, but also taught composition, theory, children's choruses, and piano lessons while working as a professional accompanist and conductor. The book also contained a catalog of works with an incomplete listing of opus numbers and a list of works without opus numbers<2). However, Gretchaninoff did not always write about his life and works in chronological order. He used flashbacks and sometimes did not always include specific dates. Also, some dates included in the text conflicted with those in the catalog of works. Smith's short chapter on Gretchaninoff's life<3) was based primarily on his book.

Several texts on Russian composers contained short chapters or passages on Gretchaninoff's life and music.

Montagu-Nathan cited Gretchaninoff, Glazunoff, Liadoff, A.

Arensky, Ippolitoff-Ivanoff, N. Tcherepnin and Stravinsky as being Rimsky-Korsakov's eminent pupils<4). He wrote about Gretchaninoff's life in both books: A Short History of Russian Music(5) and in Contemporary Russian

Composers(£). although the latter was more detailed.

Montagu-Nathan described Gretchaninoff's Sister Beatrice as "having much musical beauty"(7) and expressed similar 3 6

opinions about his Ad Astra. Opus 54, and Christ Arose.

Opus 73, concluding that Gretchaninoff had found himself

and that much was to be expected of him(8).

Pougin included short biographies of Gretchaninoff,

Liadov, Liapounov, and others who were Gretchaninoff's contemporaries, but he considered the latter two to be more gifted than Gretchaninoff. From this article one can detect similarities between Liadov and Gretchaninoff since

Liadov also wrote short pieces for the piano and several volumes of Russian folk-songs for children<9). Pougin also believed that Gretchaninoff and his contemporaries were inspired by Chopin and Schumann, but that many of them lacked originality(10). It should be noted that

Liadov's compositions are rarely performed or found on standard piano literature lists, although Pougin cited him as the outstanding composer of the group.

Calvocoressi stressed that Gretchaninoff was the first Russian composer of distinction who sprang from the ranks of the people. He acknowledged that Gretchaninoff wrote for children and about children but did not mention

Gretchaninoff's piano works. According to Calvorcoressi, at the time the book was being written (1935), only a fraction of Gretchaninoff's work was known. He complimented Gretchaninoff on his sacred music and mentioned a piano concerto, which this writer has not located in any listing, including Gretchaninoff's 37 catalog. He emphasized that music for children and church constituted a large part of Gretchaninoff's output. Other short biographies of Gretchaninoff's contemporaries are included in Calvacoressi's book. These were important in helping this writer to compare and contrast Gretchaninoff to his contemporaries. His contemporaries included

N. Tcherepnin, who wrote sacred music; Karatyghin (1875-

1925) who wrote a small number of songs about children;

Felix Blumenfield (1863-1931) whose piano compositions were similar in style to Rachmaninoff's, but are not well- known; and S. Liapunov (1859-1924) who wrote songs and piano music(ll).

Sabaneev devoted an entire chapter to Gretchaninoff.

He acknowledged Gretchaninoff's music for children but did not reveal what type of music he wrote. He complimented

Gretchaninoff's music for children, saying that it was tasteful and not insincere, which he considered to be a problem for many children's composers. Further, he stated that Gretchaninoff composed with "masterly technic of an experienced and knowing composer"(12). Sabaneev also complimented Gretchaninoff's sacred works and called his ability as a vocal composer excellent. He described

Gretchaninoff's experiments with contemporary harmonies an

"unconscious reaction" to the new styles(13), and summarized his compositions for church and children as

"bright and sincere"(14). 38

Articles by Craig(15), All(16) and Heylbut(17) were based upon interviews with the composer. These focused upon his life, music and personal philosophy, but not his piano music. A similar article was written by

Gretchaninoff(18 >.

Nadejine described the social atmosphere in Russia prior to Gretchaninoff's coming onto the music scene. He pointed out that most Russian musicians did not take music seriously as a profession, but as a hobby, although their devotion to music was serious. Nadejine regarded

Gretchaninoff's talent as an "inventive gift" and noted that "originality" was his "strongest and most noticeable point." He implied that Gretchaninoff was far more original than Tchaikovsky when he wrote that Tchaikovsky's works were easily recognizable. He further described

Gretchaninoff as "concise and almost sculptural" in his compositions(19).

In contrast to Nadejine, Montagu-Nathan(20> pointed to all the negative episodes in Gretchaninoff's life. He mentioned problems with teachers, critics, his operas, and

Cui, who angered Gretchaninoff when Cui mentioned briefly

Gretchaninoff's vocal output, in his book on song literature, having never heard any of Gretchaninoff's vocal works. Montagu-Nathan cited Gretchaninoff's use of instruments in Russian church music as being his only innovations "at which the rest of society has come to 39 regard ..as obsolete"(21).

Sabaneev called Gretchaninoff "intensely lyrical."

He believed the composer was an expert in the areas of religious works and children's music. He wrote that

Gretchaninoff's works for children were so successful because "his comprehension of the world of the childish soul (was) amazingly profound"(22). He believed that not only did Gretchaninoff view the children's world, but that he also "became a child." He wrote music that children could understand and perform. Sabaneev pointed to several songs, operas, and symphonies composed by Gretchaninoff which were not as successful as other works, thus considering them to be out of character for the composer.

Sabaneev traced Gretchaninoff's lyricism to the Russian

Orthodox Church which he had attended as a child. The church had retained a strong tradition of pure, unaccompanied forms of music for centuries. He called

Gretchaninoff's Domestic Liturgy an example of a "superb and striking composition"(23). He concluded that

Gretchaninoff was strongly influenced by Mussorgsky's national element and vocalism, calling Gretchaninoff's works lyrical as opposed to monumental and heroic.

Gilcar (1922) wrote that Gretchaninoff's music was not well known outside of Russia before 1922, as he had not yet traveled to England or to the United States.

Gilcar mentioned Gretchaninoff's opera, Sister Beatrice. 40 as being successful, although authorities did not like it. He also summarized Gretchaninoff's education, concluding that Rimsky-Korsakoff was his most influential teacher. Gilcar described Gretchaninoff's compositions as being related to Beethoven's works in development of themes, also showing influences by Schumann, Mendelssohn,

Borodin, and A. Arensky(24).

Entries by Barsova, Ewen, Greene, and Baker found in biographical dictionaries briefly outlined Gretchaninoff's life and music. None of the articles stated that

Gretchaninoff wrote piano music for beginning to lower- advanced students. Barsova mentioned that Gretchaninoff wrote for children and listed a number of piano works at the end of the article. Barsova also included a list of publishers who published Gretchaninoff's piano works, but this list is out-dated, and some works listed are no longer in-print(25). Ewen called Gretchaninoff "the highest exponent of Russian church music," and mentioned that as a child he enjoyed improvising for hours at the piano. He also acknowledged that Gretchaninoff was not an outstanding piano student, and therefore undertook composition(26). Greene mentioned that Sondra Bianca has recorded some piano pieces, but he did not list them or the record label on which they were recorded. He wrote also that Gretchaninoff "was in fact only a minor composer, but he was a link"(27). This statement seemed to suggest that Gretchaninoff's works were unimportant.

However, because of his prolific output of teaching pieces and extant lists of works, Gretchaninoff should not be considered a minor composer of educational music.

Finally, Baker briefly outlined Gretchaninoff'b life and listed various works by the composer, including three piano pieces(28). He failed to report that Gretchaninoff wrote for beginning to lower-advanced students, and he made no attempt to include a representative list of piano works.

Only two sources were found which examined

Gretchaninoff's piano music: Smith's thesis(29> and

Poppen's dissertation(30). Works included by Smith were A

Child's Day. Opus 109, Glass Beads. Opus 123, and the

Second Sonata. Opus 174(31). Smith chose these compositions as representatives of Gretchaninoff's piano compositions and examined them briefly. She placed more emphasis in reviewing Gretchaninoff's liturgical music and songs than other works, as did other authors whose works were reviewed for this study. Poppen surveyed the four- hand piano literature of many composers including

Gretchaninoff's "On the Green Meadow" from On the Green

Meadow. Opus 99, as a representative selection, although he composed several suites in this area(32). This suite was also found on the Cheadles' list and is still in­ print (33). However, it was not the intention of this 42 writer to examine Gretchaninoff's piano ensemble literature.

Sources which listed Gretchaninoff's piano music included publications by Smith(34), Gretchaninoff(35),

Rezits(36>, Hinson(37), Bastien(38), Diercks(39), Fuszek and Pierce(40), Agay(41), Kern and Titus(42). The lists by Smith(43) and Gretchaninoff(44) functioned as catalogs of the composer's complete works, listing the date the composition was completed, the date of publication, and the original publisher. Although Smith listed some publishers in place of Gretchaninoff's "manuscript" entries, both lists were out-dated, because the majority of publishers listed by Smith and Gretchaninoff were not the publishers for compositions currently in-print. Smith listed the publishers for Opuses 194,

196, and 197(45) which had been listed as "manuscript" on

Gretchaninoff's list(46). This led the writer to search for these compositions which she had previously believed to exist only in manuscript form. Opuses 196 and 197 were found, also listed in Rezits<47>, but without opus numbers. After Smith and Gretchaninoff's lists were compared, discrepancies were found between several opus numbers and dates (see Chapter II, Research Problems, pp.

26-27). Suite Miniature. Opus 202 was later discovered at the Library of Congress and Mother's Book. Opus 203, in 4 3

the New York Public Library Catalog(48), both not having

appeared on any other list or source.

The publication by Rezits (1978) functioned as a catalog of music in-print(49). It listed current publishers, along with some grade levels, and was in use at music stores as a reference for music currently in­ print. However, many of those compositions listed were found to be out-of-print, and several compositions currently in-print were not listed. Works mentioned on

Hinson's list were also used as a reference list by the same music stores, however, it was also out-dated(50).

Hinson listed compositions including publishers and some grades, but eight of the 16 compositions were no longer in­ print.

Works included by Kern and Titus, Bastien, Diercks,

Fuszek and Pierce, and the National Guild of Piano

Teachers were listed as standard twentieth century piano literature. The lists of Kern and Titus were more complete and directed at helping the teacher select appropriate literature for beginning to lower advanced levels as compared to other sources(51). Bastien annotated the Children's Album. Opus 98, Five Miniatures.

Opus 196, and The Grandfather's Book. Opus 119, in his chapter for intermediate students(52). Diercks listed

Gretchaninoff's two sonatinas as contemporary sonatinas appropriate for level eight(53). Fuszek and Pierce listed 44 two selections by Gretchaninoff in their list compiled for

The Husic Teacher's Association of California<5 4 ), and

Gretchaninoff's name was included on a list published by the National Guild of Piano Teachers in their Guild

Syllabus(1987-8). recommending him as a composer whose works might be selected for Piano Guild Auditions(55).

Literature texts by Gillespie, Hutcheson, and Kirby did not discuss or list Gretchaninoff's piano music.

Gillespie mentioned Gretchaninoff's Opus 110 Sonatinas and the Opus 129 Sonata but dismissed the other works as being

"uninspired and unimportant"(56). He referred to the other works as salon-type music. There is no mention that most of Gretchaninoff's works were written for beginning students and were not intended for the concert stage.

Hutcheson considered Gretchaninoff, N. Tcherepnin, and

Prokofiev to be "foreign composers" who wrote for children, however, none of Gretchaninoff's works were mentioned(57). Although Kirby did not mention

Gretchaninoff's works, he considered him a contemporary of

Liadov and Arensky, and mentions Tchaikovsky's 50 arrangements of Russian folk songs for children<58).

The piano literature books failed to list or discuss

Gretchaninoff's piano works perhaps because most of

Gretchaninoff'a works were intended for beginners. Those mentioned by Gillespie are some of Gretchaninoff's most difficult works. Other works might have been neglected 45 because they were not concert repertoire. It is the opinion of this writer that piano literature books should

Include music for beginning and less-advanced students, and that Gretchaninoff's music is just as important and as well-written as some of the easy works already cited in literature books.

Two books by Abraham were found to be helpful in describing musical style at the time of Glinka and leading up to Gretchaninoff(59,60). Books by Mirsky(61) and

Buchanan(62) described social and political influences in

Russia leading up to and following the revolution.

Mirsky's book contained a brief history of Russia, and

Buchanan's book was a personal account of Russia before and after the 1917 revolution.

In summary, sources for information on

Gretchaninoff's life included his autobiography. Smith's thesis, periodicals, books on Russian composers, and biographical music dictionaries. The most recent periodical article was the 1956 obituary by Montagu-

Nathan (63). Smith's thesis was the only source which contained an examination Gretchaninoff's solo piano music. Other sources commented upon Gretchaninoff's musical output including his children's music, but his piano music was rarely mentioned. No source was located which contained a complete listing of Gretchaninoff's piano music; many repertoire lists omitted his piano music. REFERENCES

1. Alexander Gretchaninoff, My Life (New York: Coleman- Roas Co., 1952), 1-163.

2. Ibid., 175-204.

3. Slater Mary Nicholaa Smith, "The Mueic of Alexandre Gretchaninoff in ita Relationahip to Ruaaian Nationalism" (unpubliahed M.M. thesis, Eastman School of Music, University of Rochester, New York, 1949), 42-54.

4. M. Montagu-Nathan, A History of Ruaaian Music. 2nd ed. (London: William Reeves, 1920), 235.

5. Ibid. , 235, 282,300-2, 317.

6. M. Montagu-Nathan, Contemporary Ruaaian Composers (New York: Frederick A. Stokes Company, 1917), 275-283.

7. Ibid., 282.

8. Ibid. , 283.

9. Arthur Pougin, A Short History of Russian Music (London: Chatto & Windus, 1915) 279, 282, 285.

10. Ibid., 285.

11. Michel D. Calvocoressi, A Survey of Russian Music (London: Penguin Books, 1945), 74-81.

12. Leonid Sabaneev, Modern Russian Composers (New York: International Publishers, 1927), 145.

13. Ibid. , 148.

14. Ibid.

15. M. Craig, "To Remember A. Gretchaninoff,• Music Courier 150(0ctober, 1954), 8-9.

46 47

16. Nicholas N. All, "Sixty Years Among the Masters," Etude 60 (July, 1942), 439, 492, 496.

17. Rose Heylbutt, "Russian Masters of Yesterday: A Conference With Alexandre Gretchaninoff," Etude. 67(June, 1949), 344, 389.

18. Alexandre Gretchaninoff, "Reflections from a Busy Musical Life," Etude 54(December, 1936) 763-4.

19. Nicolai Nadejine, "A. Gretchaninov," The Gramophone 15(March, 1938), 419-21.

20. M. Montagu-Nathan, "A.T. Grechaninov: 1864-1956," Monthly Musical Record 86(March-April, 1956), 52-6.

21. Ibid., 56.

22. Leonid Sabaneev, "Gretchaninoff,* Dominant l(May, 1928), 20.

23. Ibid.

24. Silas Gilcar, "Alexander Gretchaninoff,* Musical News 63 (Sept., 1922), 262.

25. Inna Barsova and Gerald Abraham, "Grechaninov, Alexandr Takhonovich, " The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie, 6th edition, Vol.7 (London: Macmillan Publishers Limited, 1980), 659.

26. David Even, American Composers: A Biographical Dictionary (Nev York: G.P. Putnam's Sons, 1982), 109, 110.

27. David Mason Greene, Greene's Biographical Encyclopedia of Composers (Nev York: Doubleday & Company, Inc., 1958), 877-8.

28. Theodore Baker, Baker's Biographical Dictionary of Musicians, revised by Nicholas Slonimsky, 7th ed. (Nev York: Schirmer, Inc., 1984), 888.

29. Smith, op. cit.

30. Marcella May Poppen, "A Survey and Analysis of Selected Four-Hand, One Keyboard, Piano Literature" (unpublished D.M.E. dissertation, Indiana University, 1977).

31. Smith, op. cit., 56-64. 48

32. Poppen, op. cit., 187-9.

33 Louise and William Cheadle, compilers, "The Repertory of Piano Duets: A Graded Annotated List," Teaching Piano: A Comprehensive Guide and Reference Book for the Instructor. Vol.2 (New York: Yorktown Music Press, Inc., 1981), 349.

34. Smith, op. cit.

35. Alexandre Gretchaninoff, Mv Life (New York: Coleman- Ross Company, 1952).

36. Joseph Rezits and Gerald Deatsman, The Pianist's Resource Guide: Music in Print and Literature on the Pianistlc Art. 1978-79 (Park Ridge: Neil A. Kijos Jr., 1980).

37. Maurice Hinson, Guide to the Pianist's Repertoire (Bloomington: Indiana Universtiy Press, 1973).

38. James Bastien, How To Teach Plano Successfully (Park Ridge: General Words and Music Co./Neil A. Kijos, Jr. , Publishers, 1973).

39. John H. Diercks, "Sonatinas and Sonatas: A Graded Annotated List," Teaching Piano: A Comprehensive Guide and Reference Book for the Instructor, edited by Denes Agay, Vol.II (New York: Yorktown Music Press, Inc., 1981).

40. Rita Fuszek and Ralph Pierce, compilers, "Compilation of Music by Level for 'The Music Teachers' Association of California'," How To Teach Plano Successfully (Park Ridge: General Words and Music Co./Neil A. Kijos, Jr., Publishers, 1973).

41. Denes Agay, editor, Teaching Plano: A Comprehensive Guide and Reference Book for the Instructor. Vol.II (New York: Yorktown Music Press, Inc., 1981).

42. Alice Kern and Helen Titus, The Teacher's Guidebook to Plano Literature (Ann Arbor: J.W. Edwards Publisher, Inc. , 1955).

43. Smith, op. cit., 120-137.

44. Gretchaninoff, op. cit., 175-204.

45. Smith, op. cit., 137. 4 9

46. Gretchaninoff, op. cit., 182-3.

47. Rezits, op. cit. , 227.

48. New York Public Library, Dictionary Catalog of the Music Collection. 2nd ed. (Boston: G. K. Hall & Co., 1982), 546.

49. Rezits, op. cit. , 227-8.

50. Hinson, op. cit., 282-3.

51. Kern and Titus, op. cit. , 16-18, 49, 50, 92.

\ 52. Bastien, op. cit. , 247.

53. Diercks, op. cit. , 377.

54. Fuszek, op. cit. , 460, 462.

55. Barbara Stooksberry, B.J., editor, The Guild Syllabus: Official Editions for Fiscal Year 1987-1988 (Austin: The National Guild of Piano Teachers, 1965), 17.

56. John Gillespie, Five Centuries of Keyboard Music: An Historical Survey of Music for Harpsichord and Piano (New York: Dover Publications, Inc.,1972), 275.

57. Ernest Hutcheson, The Literature of the Piano: A Guide for Amateur and Student, revised by Rudolph Ganz, 3rd ed. (New York: Alfred A. Knopf, 1971), 416.

58. F. E. Kirby, A Short History of Keyboard Music (New York: Schirmer Books, 1966), 370.

59. Gerald Abraham, On Russian Music. 2nd ed. (London: William Reeves, Limited, 1939).

60. Gerald Abraham, Studies in Russian Music. 2nd ed. (London: William Reeves, Limited, 1938).

61. D.S. Mirsky, History of Russia (Garden City, New York: Doubleday Doran and Company, Incorporated, 1928).

62. Muriel Buchanan, Recollections of Imperial Russia (London: Hutchinson and Company, 1923).

63. M. Nathan-Montagu, "A. T. Grechaninov: 1864-1956," Monthly Musical Record 86(March-April, 1956), 52-6. CHAPTER IV

THE LIFE OF ALEXANDRE GRETCHANINOFF

Earlv Years

Alexandre Tikhonivich Gretchaninoff was born In

Moscow on October 25, 1864 during the time of the great

reform In Russia, the period following the Crimean War

when the peasants were elevated under Czar Alexander

11(1). His father, a merchant who owned land, could read but could not write. Although his mother was completely illiterate, she was very religious and ambitious, traits which Alexandre obviously inherited.

As a child he was required to attend church every week, and he sang in the church choir. He had 10 brothers and sisters, 6 of whom died in infancy. As a six-year-old he witnessed the death of his baby brother, which left a permanent impression in his mind. As a child, he also suffered an eye injury and was required to remain in a dark room for many days until his eye healed.

At the age of 7 he started attending public school.

He was a good student and graduated from primary school in three years. After graduation his parents wanted him to go into the family store business, but they changed their

50 51

minds, allowing him to continue his education after one

of his brother's friends suggested that he might make a

good doctor.

He attended Fifth High School in Moscow and was at

the top of the honor roll until the second trimester when

he had trouble passing his language classes. In the

second grade: Latin, Greek, French and German were

required. He failed language exams and had to repeat

the grade, failing the exams again at the next level.

Sensitive and hard-working, he could not grasp languages,

and these failures caused him to have nightmares.

First Piano Lessons

At the age of 12 Alexandre received a music box from his father with two rolls of 10 songs each, including tavern ballads and factory songs which he grew to love.

Later a cousin visited and brought a guitar, which fascinated him. Gretchaninoff wanted a guitar, but his parents refused to buy one for him. He saved his lunch money for two months, bought a guitar for three rubles, and taught himself how to play. By the age of 14 his parents purchased a piano for his younger sister. At this time his brother was dating a Polish girl from the

Moscow Conservatory who became his first piano teacher. 52

His first piano lessons from her were unusual:

I went to her home regularly twice a week. What unusual sessions these lessons were 1 While I was playing my pieces, my teacher was shedding bitter tears, and was writing love notes to her beloved. Of course I could not make much progress under such conditions(2).

Later his brother married the girl, despite their parents' disapproval over the difference in religious backgrounds.

(He was Greek Orthodox and she was Catholic). She continued to give Gretchaninoff lessons, and he received his first exposure to the music of Haydn, Mozart,

Beethoven, and other composers.

Moscow Conservatory. 18Q1-1890

After a continued struggle with languages in High

School, he concluded that it was better to leave High

School for a conservatory and devote his life to music.

In the summer of 1881, with the aid of his sister-in-law, he prepared for entrance exams to the Moscow Conservatory, although his father disapproved. He was accepted to the

Conservatory on a partial scholarship and had to pay 50 rubles each semester using money his mother contributed from selling the family cow's milk. He was accepted as a piano student of Professor Nicholas D. Kashkin and was given credit for the academic courses he had taken in High

School. Thus he was only required to attend lectures on the history of literature and culture,and he devoted most of his time to music. 53

Kaahkin vas respected by his friends Nicholas

Rubinstein and Tchaikovsky; however, Gretchaninoff thought that he vas a poor teacher. While studying under Kashkin,

Gretchaninoff received no instruction in hand positions and vas assigned pieces which he felt were too difficult.

Despite this poor piano instruction he vas successful in his music studies. His teacher, Kaahkin, read the newspaper while he played, never noticed errors, and often walked out on his students during the lesson.

During his first year of Bchool at the age of 17,

Alexandre began teaching private piano students since his father'8 business had suffered. He taught an increasing number of students with each passing year and regarded teaching as his main source of income. His students were from wealthy families, and he taught them regularly during the summers.

He gained his first exposure to chamber music at the

Conservatory, failing to appreciate it at first, but later grew to love it. He became familiar with the music of

Rimsky-Korsakov, Borodin, and Liszt through his activities as a bass in the choir at Moscow Conservatory. During the

1880's he was present for some historic concerts presented by Anton Rubinstein, which he believed were important to his musical development. Rubinstein's concerts included early Italian and French classics and ended with the music of Chopin and Schumann. Gretchaninoff also heard Hans Von 54

BUlow and wrote that he vas greatly affected by him.

Gretchaninoff also played the glockenspiel in

Tchaikovsky's flozartiana with Tchaikovsky conducting.

Although he knew many people at the Moscow

Conservatory he remained in contact with only a few after

leaving Moscow, e.g., Gli&re, Maikapar, and his theory

teacher S. Taneyev. He had trouble making friends with

other students and wrote:

"My inability to acquire new friends at the conservatory was due to my strange shyness. I thought

that my musicianship was too insignificant to be of

interest to others"(3). At the age of 17 he was still a beginner while other men of the same age had become virtuosos. His student acquaintances included: David

Schor, piano pedagogue; the Gnessin sisters, who founded a music school; and the pianists, Rachmaninoff and

Scriabin.

In the Spring of 1882, he played his first and last student recital: "What a horrible experience that was! I could hardly feel the keys under my fingers; my hands were covered with cold perspiration; my head was in a fog"(4>.

He completed five years of study in four years with

Kashkin. Due to haphazard instruction he failed his exams for graduate study but attempted them again in the autumn.

He entered the pedagogy program as a piano student of

Vasily I. Safonov (pupil of Brasin), one of the newer 55

instructors at the Conservatory. Unlike Kashkin, he was

attentive. Although Gretchaninoff practiced eight hours a

day for Safonov, he played poorly at lessons and excused

himself by claiming that he had not practiced enough. He

was bored with the music, and his first two years of study

with Safonov were difficult:

At times Safonov's attitude towards me bordered on cruelty. I would play an assignment for ten minutes or longer without a single word from him. After I had finished, he would take the music from the rack, roll it up and hand it to me in silence, but with an expression of profound contempt in his eyes(5).

After two years of study he had to prepare by himself

Handel's Prelude and Fugue in E Major. He received his first compliment from Safonov, who suggested he take courses in composition.

Gretchaninoff spent time improvising at the piano but was unable to write down even a few measures of music. Previously he had studied strict and free counterpoint with Laroche and Hubert, as well as form with

S. Taneyev and fugue with A. Arensky. During his study with Taneyev he composed his first song called "Sleep, My

Baby, Sleep, My Darling." Gretchaninoff, in an interview with Nicholas Al, spoke about the first time he showed his composition to Taneyev: 56

The professor read the script hurriedly without paying any attention to the Andante, and calmly returned it with a few remarks on harmony. I felt defeated and once again decided that I would never be a composer(6).

Years later when they were close friends Gretchaninoff confronted Taneyev about this incident, and he admitted that he had been careless. Later this work was published as "Lullaby" and was included in his Five Melodies. Opus 1 which became quite popular.

He had serious conflicts with A. Arensky, who told him that he should not expect to graduate from his class.

During the study of fugue (1890), they had a serious confrontation when Arensky insisted that Gretchaninoff rewrite a fugue again and again:

I began to hate my work, as well as Arensky, and it seemed to me that I was ready to hate the music itself. After countless revisions I brought the manuscript to Arensky and asked him to give me another theme, as 1 could not work on this any more. He ordered me to go on with the work: I refused and a sharp quarrel occurred(7>.

He also stated that he could not rewrite the fugue because he had no feeling left for it: "an artist must be honest in everything"(8). After that incident Gretchaninoff left the Conservatory permanently.

After leaving the school he studied fugue with another instructor but was uninspired. He published some songs which could not have been published previously under the rules of the Moscow Conservatory. 57

St. Petersburg Conservatory. 1890-1893

In the summer of 1890 he taught private lessons at the Karetnikov estate and also taught his sister because his parents could no longer afford lessons for her. She went with him to St. Petersburg where he applied to the

St. Petersburg Conservatory, directed by Anton

Rubinstein. He was accepted ae a student of Rimsky-

Korsakov in composition and orchestration and received a full scholarship(9).

At this time he expressed his great admiration for

Tchaikovsky and was greatly resented by the faculty. He wrote, "it even went to the extent of some discrimination in the length of my lessons with Rimsky-Korsakov"(10).

The young Gretchaninoff had not been aware of the rivalry between the Moscow and St. Petersburg schools. In St.

Petersburg the leaders were 'The Mighty Five':

Balakirev, Moussorgsky, Borodin, Rimsky-Korsakov and Cui, but the support in Moscow had been towards

Tchaikovsky(11). Aloofness towards Gretchaninoff soon disappeared and classes with Rimsky-Korsakov remained informal.

On February 21, 1891 he married Vera Ivanova with

Rimsky-Korsakov serving as best man. Her father, J.F.

ROhrberg, considered Gretchaninoff to be below their social class. Before allowing them to marry, RBhrberg 58

required that they not see each other or correspond for

one year.

Gretchaninoff's wife and sisters-in-law played many

two-piano works together. Those sessions may have

inspired several two-piano works which he later composed:

Two Horceaux, Opus 18 (1906) and Kermesse. Opus 163 (also

arranged for orchestra), both for two pianos, four hands;

Sarabande and Gavotte. Opus 81a (1918) (also arranged

for orchestra); and 15 Bashkirlsn Melodies. Opus 28a

(1923) (also arranged for piano and flute) for two pianos,

eight hands.

During his first two years at St. Petersburg,

Alexandre composed a large number of songs. He and his

wife spent their summers in Tiarlevo and Pavlovsk. During

the summer of 1892, his composition assignment was to

compose a concert overture for large orchestra. By autumn

the project was completed, approved, and recommended by

the Council of the St. Petersburg Conservatory for

performance in 1893. His recently completed Cantata,

Samson, was also performed in May, 1893(12). His music

received mixed reviews in St. Petersburg because the critics were opponents of the Russian National School, and his style at this time was quite nationalistic.

Between 1892 and 1893 a cholera epidemic which killed

Tchaikovsky swept over Russia. Gretchaninoff was greatly

distressed over his death and composed an orchestral 59

Eleav In hie memory; he was not pleased with it and

destroyed it. Years later he dedicated his Fourth

Symphony in C Major. Opus 102 (1923) to Tchaikovsky.

Post-graduation. 1893-1925

In 1893, at the age of 28, he graduated from St.

Petersburg. In the spring of 1893 he composed his First

Symphony in B Minor. Opus 6 while vacationing in a small

country house on the banks of the Volga. In January,

1895 his symphony was performed in St. Petersburg under

Rimsky-Korsakov's direction(13). It was not well-received

because he believed that Rimsky-Korsakov did not allow the

music to speak. Gretchaninoff later revised the

symphony. It was again performed in Moscow under Safonov

with a much better reception and was also published. In

1893 while on vacation, Gretchaninoff also composed the

String Quartet No.1 in G Major. Opus 2, which he

submitted to the Belaieff competition. His quartet won the Belaieff prize. In the fall he returned to St.

Petersburg to teach private students, his only source of

income except for a small allowance his wife received from her father. He tried unsuccessfully to get a job at the

Conservatory.

On March 19, 1895, his large choral work "North and

South," Opus 4, No.4 received tremendous acclaim. At this

time there were only a few works in the Russian choral 60 literature, and he was fond of choral composition. He composed a few other works for chorus at the request of Theodore Becker, Chorus Master at the Russian Imperial

Opera in St. Petersburg.

He spent the summer of 1895 on the Volga near

Rybinsk. In autumn of that year he became aware of a small book by Cesar Cui called Melodies Russes in which

Cui criticized the songs of Tchaikovsky and mentioned

Gretchaninoff as a lesser composer(14). This upset

Gretchaninoff, who confronted Cui because he thought Cui had never heard any of his songs. Cui admitted that he had never seen any of Gretchaninoff's songs and that the book had been written on the strength of songs he already knew. He admitted that he had been wrong and would make amends in a new edition of the book.

First Opera

In 1895 Gretchaninoff began work on his first opera which was based on the old Russian legend of Dobrinya

Nikititch, drawn from the Kiev cycle whose hero, Dobrinya

Nikititch, resembles Ilya Mourometz, Russia's national hero(15). Research on the libretto was done at the St.

Petersburg Public Library where Gretchaninoff frequently consulted Vladimir Stasov, who held a position there. The libretto was completed by January, 1896.

Between 1895 and 1896 he had so few students that he could not meet his financial obligations, forcing him and 61

his wife to move back to her father's home in Moscow.

Once there, Gretchaninoff began to acquire private

students, and he renewed his friendship with the composer-

theorist Sergei Taneyev. He dedicated his First Trio in

C Minor. Opus 3fi to Taneyev, and Taneyev dedicated a work

to him. Rachmaninoff, Medtner, and Scriabin were among

those who came to Taneyev for advice although they were

not his students.

In 1898 Gretchaninoff was commissioned to compose

incidental music for Stanislavsky's production of Alexey

Tolstoy's "Tsar Theodore," which was performed in October,

1898. He also wrote incidental music to Ostrovsky's "The

Snow Maiden" (1900), Hemirovitch-Dantchenko's "Dreams"

(1899) and Alexey Tolstoy's play "Death of Ivan the

Terrible" (1899). When "The Snow Maiden" premiered in

1900 it was not successful due to poor acting and problems

with stage scenery. However, the other three projects were successful, and these were all projects which

Gretchaninoff truly enjoyed doing.

Church Music

In 1899 he completed his first sacred choral work entitled First Liturgy of St. John Chrysostom. Opus

13, performed by the Synodic School under the direction of Stephan SmolenBky in the autumn of 1899(16).

In the same year he composed Two Religious Choruses.

Opus 19: "Praise the Lord" and "The Wave Over the 62

Ocean." In these works he avoided Italianisms and tried to keep the modal character of the chants. He further avoided chromatic leaps and large melodic skips. These choruses were later performed in Moscow and Vienna. This style of sacred writing was also adopted by Kastalsky and

Tchesnokov, contradicting the old beliefs that German and

Italian music were the best. His article, "On the Spirit

Of Church Singing, " attacked out-dated attitudes on church music(17). He believed the only way to compose orthodox church music in the Russian style was to keep the old

Slavonic church singing and modes. Some years later in an interview he expressed his opinion concerning composing church music, something which he felt very strongly about:

While much church music is being written today, not all of it is of equal interest or value.. This results from the same question of personal sincerity and emotional warmth. Of all types of music, church work requires the deepest sincerity. It is not enough to study the forms.. there must be a deep desire to serve God, to honor Him and praise Him.. unless a composer actually feels such inspiration, he would do better to leave church music alone until such time as he can come to it humbly, devoutly, reverently(18).

He felt that church music must grow out of what had come before, and that the old style should be reflected in the nev.

In the summer of 1899 he vacationed in Alpuka and

Crimea where he finished Dobrinya Nikititch. During this vacation he became good friends with the composer

Vasily Kalinnikov. In 1901 there was a gathering of Moscow musicians at the Hermitage Restaurant to celebrate the 29th anniversary of Nicholas Rubinstein's 'death. Among those attending were: Rachmaninoff, Taneyev, Kashkin, Hedtner, Kastalsky,

Engel, Goldenweiser, and others. Meetings were held on the first Sunday of each month, and at these meetings

Medtner previewed some of his piano works. Gretchaninoff premiered his opera Dobrinya Nikititch for this group, and it was well-received.

In 1903 Dobrinya Nikititch. approved by Rimsky-

Korsakov, was produced by the Bolshoy Theatre. The production of Dobrinya Nikititch had been delayed several times before its premiere on October 27, 1903, in Moscow.

The first two performances were sold out, although there were some problems with scenery and inadequate stage props. Gretchaninoff wrote that the conductor, Altani,

"failed to bring out the musical qualities" and that he

"lacked artistic temperament, and under his direction the music sounded colorless and uninteresting"<19). Another problem was that Chaliapin, one of the principal singers, had trouble with his lines. As a result there were some good reviews and some unfavorable ones by Sakhnovsky and

Doroshevitch. The opera was later performed with greater acclaim at The People's Opera House in St. Petersburg

(twice a week) for several months. 64

Children's Music and Plano Teaching

Both of Gretchaninoff's marriages were childless,

obviously a disappointment to Gretchaninoff, who wrote:

"..I adore children, and their company has always been a

great joy to me"(20). Nadezhda, his sister, and her four

children visited him during his summer Volga vacations.

The titles of the pieces in his piano suites reflected the

activities he shared with the children: "On a Bicycle,"

"In the Garden Picking Flowers," "With Fishing Rod,"

"Dance of the Frogs," and many others. He felt on equal

footing with children. He had taught theory at the

Gnessin School in Moscow. The Gnessin sisters had asked

him to write music for children's choir because there were

so few works for children in the Russian language. He

responded by making an effort to write a few works each

year. Among the works he composed for children's choir

are: The Dream of a Little Christmas Tree. Opus 55

(1911); The Castle Mouse. Opus 92 (1921); and The Cat, the

Fox, and the Rooster. Opus 103 (1919). He also directed a

children's chorus at the Berckmann School. There Miss

Berckmann requested that he compose elementary pieces for

piano which were later published in The Children's Album.

Opus 98 (1923); On the Green Meadow. Opus 99 (1924); Glass

Beads. Opus 123 (1930); and Grandfather's Album. Opus 119

(1928). These represent only a small number of suites he composed for the piano. He also composed a few songs 65 about children for adults: The Brown Hen. Opus 39 (1906);

Snowflakes. Opus 47 (1909); and The Little Footpath.

Opus 89 (1920).

He wrote about his method of teaching children piano in his autobiography:

I always liked children, and teaching them was never a burden to me. Through the years I developed my own system which enabled me to interest young children in music from the very beginning so that they made rapid progress. During the first few lessons I never insisted on strict observance of correct hand positions, but let my pupils play real music. I gave them easy melodies, first for the right hand alone, then for both hands, while I played the bass part. At the same time I taught them how to read notes. As soon as they showed signs of enjoying their lessons, I taught them correct hand positions and gave them technical exercises. As they progressed I devoted a considerable part of the lesson time to the playing of duets. I made use of simple melodies written especially for four hands. I regard Diabelli's pieces as the best of their kind. Then I initiated my pupils into classical music, beginning with Haydn, so that they gradually became acquainted with the music of the great masters. Besides, I taught them solfeggio and made them sing simple songs. I compiled an album of popular songs for children, entitled The Little Rooster, which I used in my work(21).

Ethnographic Society

In 1903 he became Vice-Chairman of the Music Division of the Ethnographic Society which had been organized by the University of Moscow for the purpose of collecting, arranging, and publishing samples of surviving Russian folk songs. The Society sponsored expeditions, lectures, and periodic concerts of the folk songs during its 15-year existence. The organization also published several volumes of Works of the WuBical Ethnographic Committee which contained samples of collected folk songs. White

Russian folk songs were among Gretchaninoff's favorites.

In h i B list of compositions there are two sets of songs based on White Russia: Four Sonas of White Russia, Opus

84 (1918) and Eight Songs of White Russia. Opus 144

(1925). Some examples of his folk song output for various instruments and voice are: Tartar and Bashkirian

Songs. Opus 25 (1901) for voice and piano; Twenty Scotch

Folk Songs. Opus 49 (1909) for voice and piano; Russian

Dances. Opus 130 (1931) 2 volumes for piano; Six Russian

Folksongs. Opus 186 (1939), suite for orchestra; Three

Scotch Folk Songs for Women's Chorus. Opus 195 (1950);

Fifteen Bashkirian Melodies. Opus 28 (1901-3), for flute or violin and piano; and Suite Bashkirian. Opus 28a

(1923), for two pianos.

He considered the Glinka prize to be important and felt that he had never won it because Rimsky-Korsakov was on the committee responsible for selection. The other two members, Glazunov and Liadov, had been on juries who had selected the following works for prizes: First String

Quartet in G Major. Opus 2 (1892-3); Second String Quartet in D minor. Opus 70 (1913); Third String Quartet in C

Minor. Opus 75 (1915); and Second Trio in G major. Opus

128 (1931). 67

In 1905 Russia lost the war with Japan which produced

violent protests from the masses of Russia. Worker

petitions resulted in a bloody confrontation in St.

Petersburg Square on January 22, 1905. Many people lost

their lives, and Gretchaninoff collected money for

families of slain workers.

Hew Style

During this same time he made friends with the

Aksakov family of Moscow and taught their son, Serge,

piano and theory. It was through the Aksakovs that he met

his future wife, Maria Grigorievna, then wife of Sredin, a

famous painter. He fell in love with her, and the

emotional problems he suffered from this relationship

briefly affected his writing style. This was also the

time when the works of Debussy, Ravel, and Richard Strauss

were popular. Gretchaninoff felt dissatisfied with his

own musical language and sought new harmonic

possibilities. A few of his compositions from this period

reflected his new style, among those "September" and

"October," from Autumnal Sketches. Opus 43 (1907), both dedicated to Maria Grigorievna. Fleurs du Mai. Opus 48

(1909) and Po£me Dramatlgue. Opus 51 (1910) were also composed during the peak of his personal crisis, before he received his divorce from Vera Ivonova. Other works reflecting this style were: Feuilles mortes. three sketches for contralto and string quartet, Opus 52 (1911); 66

three tableaux for mezzo-soporano and string quartet; and

a cycle of five aongs called Ad Astra. Opus 54 (1911).

His friends and critics did not approve of his new

direction. Later, he regarded those works as part of his

style, although after this brief period he returned to nationalism.

Sister Beatrice

In 1907 Gretchaninoff saw Maeterlinck's mystery-play,

"Sister Beatrice." He was so impressed that he decided to make it into an opera. He liked the theme of universal forgiveness and made the text of the drama into the libretto with few changes, and also omitted the part of the priest. He composed the first half of the score, then set it aside for two years before completing the opera in the summer of 1909. In the autumn c?5c 1909 Zimmerman asked for the publishing rights to Sister Beatrice.

Gretchaninoff's opera was approved for performance in St.

Petersburg, but it was never staged there because it was looked upon as a religious profanation. In October, 1912, it was performed in the private opera house of Zimin in Moscow where it received mixed reviews due to problems with the stage design and unsure orchestra(22). After three performances the opera was cancelled. In 1931, it was performed privately in Paris. Czaristic Russia had viewed Sister Beatrice as profane because the Virgin Mary 6 9

was portrayed by a singer. Later, Soviet Russia viewed it

as a religious spectacle.

In the summers of 1906, 1907, and 1910 he spent time

with Alexander Olenin on the Oka River. In 1910

Gretchaninoff visited Maikapar in Berlin, where he stayed

with Leonid Kreutzer, the pianist, and his wife Julie, who

composed under the name Weissberg. During the summer of

1910 Gretchaninoff's songs and sacred works were very

popular. He was invited to many aristocratic homes. The

Tsarina sang his duets, and Emperor Nicholas II was said

to be so impressed with Gretchaninoff's "Credo" that he

commanded the Court chapel to perform it every Sunday.

Gretchaninoff also received an annual pension of 2,000

rubles from the Czar which lasted until the revolution of

February, 1917.

In 1913 Gretchaninoff refused offers to become director of the Saratov Music School and for the

Conservatory of Tifles. He refused because he was unsure of his administrative abilities, and he did not want

anything to interfere with his composing.

In 1914 he was inspired when he heard Glinka's

Night in Madrid and Jota of Araaen. and he also heard the music of Manuel de Falla and Granados. He visited

Seville, Madrid, San Sebastian and Cadiz, Spain, where he met Manuel de Falla. A Spanish influence appears later in his piano Sonatina Opus 110, No. 1 (1927). At this time he was also in search of new innovations, he began to compose instrumental church music with chorus and orchestra, a feat no other Russian composer had accomplished. In the Russian Orthodox

Church, musical instruments were not permitted. He felt that the state of Russian church music was lamentable, because the conductor, chorus, and music were usually of poor quality. Praise Ye the Lord <1914) was his first religious composition written with orchestral accompaniment. "Bless the Lord, 0 My Soul" and "The

Heavens Declare the Glory of God" were scored for large chorus and unseen children's chorus which were later included in his cantata Laudate Deum. Opus 65 <1914).

In 1916 he was aware of the deterioration in the

Russian war. The assassination of Rasputin was one of the events which led up to the revolution of February 17,

1917. Gretchaninoff was among the masses of Russian people who went into the streets to celebrate the revolution. He composed a new national anthem, Hymn of

Free Russia, and donated proceeds to the liberated political prisoners. His Hymn was translated into English by Kurt Schindler and published by G. Schirmer. Liberty did not last long; followed by bloody violence, and by

October, 1917, famine crept across Russia.

This was a difficult time for Gretchaninoff for he had lost his pupils and music publishers stopped 71

publishing. During this period Gretchaninoff appeared in

lecture-recitals for workers' children and received food

as payment. After this he toured as an accompanist with

well-known Russian singers: Mesdames Butomo-Nazvanova,

Coerner, Devet, Dobert, El-Tour, Konshina, Koshetz,

Kurenko, Makushina, Mirzoeva, Yan-Ruban, and others.

During a tour with Madame Dobert, Gretchaninoff met

millionaire Charles Crane who later became an important benefactor. Gretchaninoff appeared occasionally as conductor of his own works and played in the sanitariums of Moscow which had sprung up as a result of the revolution. He had spent time in a sanitarium after suffering from frostbite and exhaustion, resulting from deprivation brought about by the revolution.

In these difficult times Gretchaninoff wrote religious music to help him forget the troubles surrounding him. In autumn, 1917, Bolsheviks had dug trenches in front of his house and sealed off the front of his home, claiming that gunfire had been coming from

Gretchaninoff's house. Between 1917 and 1918 he composed only eight works, six of which were vocal and choral works. His work Demeatvennava (Domestic Liturgy).

Opus 79, was composed during the uprising in Moscow,

1917. The "Hallelujah" reflected the horrible experiences of these days. Later this piece was recorded by Chaliapin with the Alfonsky Chorus and won first prize of the Annual 72

Competition in 1929, organized by Paris Weekly Candide.

Gretchaninoff later conducted two performances of it in

New York.

In the summer of 1919, he was in charge of a chorus

at a suburban children's home, and in 1920 he held a

similar position near the Volga. He continued performing

his music throughout Russia during the dark years.

In 1921 Charles Crane gave one million rubles to

Gretchaninoff which made possible a trip to Crimea and

Moscow; in 1922 Crane invited Gretchaninoff to visit

London. Because Gretchaninoff had little work during

this period, he was grateful for Crane's generosity.

In May, 1922, Gretchaninoff returned to Moscow and the New Economic Policy, which discontinued rationing and permitted use of money. During his last two and a half years in Moscow Gretchaninoff taught at the Berckmann school and gave public concerts with Mme. Mirzoyeva. He also worked on his third and fourth symphonies. Due to poor lighting, the premiere of his Third Symphony was not successful although a later performance in St. Petersburg received critical acclaim.

Paris Years. 1925-1939

In the spring of 1925 Gretchaninoff and his wife left

Russia. Unsure if they would return to Russia, he left his archives in Moscow. Once in Paris, the decision to stay was forthcoming. In August Gretchaninoff visited Nervi, Italy, where he continued work on his Fourth

Symphony and met the writer, Michel Calvocoressi. Through

Calvocoressi Gretchaninoff was able to have published his

School of Singing. Opus 8 . In December a Rome concert included some of his songs and the Third Symphony which

Italian critics found uninteresting, due, in his opinion, to their preference for modern music.

Two years after leaving Russia, his creative abilities remained strong; he wrote: "Some Russian writers complain that they cannot continue their creative work away from their native soil. I never experienced this difficulty"(23). He felt greater attachment to

Russia and continued to compose in the Russian tradition.

Due to financial problems Gretchaninoff had to rely on donations. He completed his Fourth Symphony in

St. Jean-de-Luz. However, his Symphony was not performed until April, 1942-14 years later-under the direction of

John Barbirolli and the New York Philharmonic. He had previously shown his score to Koussevitsky who had liked only the scherzo.

Between 1929 and 1934 Gretchaninoff spent three months each year in America giving concerts. During this period he composed 10 piano compositions including Glass

Beads. Opus 123 and Sonata No.1 in G Minor. Opus 129.

He gave his first concert in America in New York City at 74

Carnegie Hall on January 17, 1929, with Nina Koschetz. In

March, 1929, he also conducted Domestic Liturgy which was well-received.

Gretchaninoff composed his famous Missa Qecumenica

(Universal Mass) in 1935(24) and his Fifth Symphony in

1936(25). Gretchaninoff regarded Missa Qecumenica as his most important sacred work and the only sacred work in which he introduced some modern elements. In it he combined the characteristics of Eastern and Western churches. The music was of a Russian character including

Orthodox, Gregorian, and Hebrew chants, but the text was

Latin, a Roman Catholic ideal.

He spent the Summer of 1937 in Acqui, Italy because a doctor recommended the mineral baths for his arthritic legs. His Missa Festiva. Opus 154, and four motets composed for a Catholic church music competition won all the prizes. His first wife died in 1937 leaving

Gretchaninoff feeling responsible for her misfortunes.

Life in America. 1939-1956

In April, 1939, Leopold Stokowski and the

Philadelphia Orchestra performed Gretchaninoff's Fifth

Symphony in Philadelphia. Gretchaninoff also completed work on his song cycle, Roman Sonatas. Opus 160, which contained modern elements: ..."runs in whole-tones, progressions of consecutive seconds, formed by a sequence of seventh-chords; and. . . an arpeggio on a chord of the 75

thirteenth, comprising all seven notes of the diatonic

scale"(26). By August Paris was about to fall into the

hands of the Germans(27), so Gretchaninoff and his wife

left Paris for Grosse Point, Michigan, where his step­ daughter lived. He left behind his archives and possessions. During this time his eyesight was failing because of cataracts on both eyes which caused him to see multiple images. In December, 1939, the day before his cataracts were removed, he gave a concert and could barely read the music. The operation was successful, and

Gretchaninoff dedicated his Fifth Symphony to Dr. Heath, who had successfully removed his cataracts.

In 1940 Gretchaninoff moved to New York City in search of better musical opportunites. He knew the music theorist, Joseph Yasser, and composers Joseph Strimer and

Nikolai Lopatnikoff. His symphonic and choral works were being performed more often by major orchestras, and two of his Psalms were performed in a synagogue. However, many of the works he composed during the war years remained unpublished because publishers were reluctant to publish new works. Slonimsky wrote that most of Gretchaninoff's compositions from the Russian period were published, but once he left Russia, the number of published works dropped sharply, although he continued to compose prolifically(28). Gretchaninoff had to rely on donations and The American Society of Composers and Publishers 76

(ASCAP) for financial assistance.

In 1944, Serge Koussevitzky agreed to perform

Gretchaninoff's Missa Qecumenica (1935) on the condition that Gretchaninoff dedicate it to Natalie,

Koussevitzky's late wife. The American premiere was given by Kousszevitsky in February, 1944.

In July, 1946, Gretchaninoff became a U.S. citizen; six months later his second wife, Maria Grigorievna, died.

Between 1946 and 1951 half of Gretchaninoff's compositions were written for piano solo, the remainder for chorus, violin and piano, cello and piano, men's quartet and small orchestra, women's chorus, balalaika and piano, and grand orchestra. One of his last large works was The Marriage.

Opus 180, (1945-46) a musical comedy in three acts. This opera combined free musical speech with traditional arias. Although it was not published, the Russian Chamber

Theatre in Paris premiered it in its entirety in October,

1950.

In one of Gretchaninoff's last interviews, he expressed his views on modern music:

In fairly recent times, music became so extremely complicated that it was difficult to see how it could go on I In mere matters of technique, musical problems seemed solved. At that moment, it became necessary for some element other than mere technique to make itself felt and at that point, precisely, the external and technical aspects of "modernism" were found to be insufficient for complete musical expression. 77

What remains now is for music to recapture the simpler, more natural, more human values of emotion, imagination and heart. When this happens...music will come out of the category of purely cerebral experimentation in forms, and will find its way back to the more understandable values it is meant to express(29).

In 1951 Gretchaninoff received an honorary Doctor of

Music degree from New York College later to become New

York University (NYU). This writer could not find any works listed as being published between 1952 and 1956; however, Gretchaninoff's Mother's Book. Opus 203 was published in 1952, and Suite Miniature. Opus 202 was published in 1959, after his death. It is possible that these works were written before or after 1952 and that other works not listed in Gretchaninoff's catalog may have been published since his death. Gretchaninoff died in New

York on January 3, 1956, leaving behind a vast output of works. 78

Plate I. Sketch of A. T. Gretchaninoff by Laurie Kniepkatnp. REFERENCES

1. Mary Craig, "To Remember A. Gretchaninoff, "Music Courier. 150(0ctober, 1954), 9.

2. Alexandre Gretchaninoff, Mv Life (New York: Coleman- Ross Company, 1952), 15.

3. Ibid. . 21.

4. Ibid. . 21.

5. Ibid., 27.

6 . Nicholas N. All, "Sixty Years Among the Masters," Etude 60(July, 1942), 492.

7. Ibid.

8 . Alexandre Gretchaninoff, "Reflections from a Busy Musical Life," Etude 54(December, 1936), 763.

9. Ibid.

1 0 . Ibid.

1 1 . All, Loc. cit.

1 2 . Gretchaninoff, Mv Life. 46.

13. All. o d . cit. . 439.

14. Rose Heylbutt, editor, "Russian Yesterday; A Conference with Alexandre Gretchaninoff, " Etude 67(June, 1949), 344.

15. Sister Mary Nicholas Smith, "The Music of Alexandre Gretchaninoff in its Relationship to Russian Nationalism” (Unpublished Master's thesis. University of Southern California: Los Angeles, 1952), 71.

16. Gretchaninoff, Mv Life, op. cit., 69.

79 17. Ibid.. 71-72.

18. Heylbutt, o p . cit., 389.

19. Gretchaninof£, o p . cit.. 91.

20. Ibid., 94.

21. Ibid.. 64-65.

22. All, op. cit., 492.

23. Gretchaninoff, op. cit.. 150.

24. Ibid.. 156.

25. Ibid., 175.

26. Nicholas Slonimsky, "Gretchaninoff and theMusic of Russia," Mv Life (New York: Colemand Ross Company, 1952), 2-3.

27. All, o p . cit. , 439.

28. Slonimsky, op. cit. , 4.

29. Heylbutt, op. cit., 389. CHAPTER V

COMPOSITIONAL FORMS, DEVICES, AND APPLICATIONS

This chapter will briefly examine the forms and most common compositional characteristics and devices appearing in the annotated piano works of this study. An educational rationale will be suggested for the application of those works appearing in this study, especially for the piano works recommended for republication. The majority of Gretchaninoff's piano music examined in this study was categorized into the lower and upper elementary categories by this writer. The three most common forms were ternary, rounded binary, and five-part rondo. The less common forms included binary, incomplete ternary, two-part, compound ternary, sectional, theme and variations, phrase group, unipartite, recitative, through-composed, sonata-allegro, sonatina, and fugue. These forms are discussed briefly in this chapter, and the general form categories are summarized in

Table 2, Appendix C. A more specific categorization of those forms appears in Table 3, Appendix C. All music excerpts appearing in this chapter are located in their entirety as plates in Appendix D. 82

Rounded Binary

Rounded binary form appeared in 85 pieces of this

study; only two examples of binary form occurred. Most examples of rounded binary form appeared without

introductory measures (preludes, introductions). Twenty- three pieces contained codettas, codas, or postludes.

Codettas and codas were usually derived from a combination of material from A and B sections. Rounded binary form contained two contrasting sections, A and B, with the partial return of the A section following the B section.

The partial A' section usually contained only the second phrase from the original A section, usually without modifications as in Example 1. B sections appeared with various lengths, either the same length (Example 1) or shorter (Example 2) than A sections.

Both examples demonstrate parallel construction for the A sections; phrases in each A section are nearly identical, except for cadences. Parallel construction typically appears throughout this study, at times with the second phrase displaying variations in rhythm i.e., (J) becomes ( ^ ). Some of the more difficult pieces contained contrasting construction, with the second phrase or period of a section appearing completely unrelated to the first.

Opposite construction appears commonly if A sections are compared to B sections. In opposite construction the 83 Example 1. Rounded binary. "March," Opus 98, No.3. Copyright 1971 by Alfed Music Co., Inc. Used by permission.

_ Mini ale A Section J j — j? m m /

T fj ■

HI

£ i J J j i V I

1 3 1 JTO j -i -- B Section Itgato J J n U J t1 ' W ' ^ 84

Example 2. Rounded binary. "Lingering Song," Opus 98, No.14. Copyright 1971 by Alfred Music Co., Inc. Used by permission.

MnHrrato assai A Section = ^ * M — f e l = J S ^ ^ E | j I ■) -T=d J _ ^ * 3

0 4 * 1 — f — — f— ----- \ . -J— i — 6— =+ — =s------E-- J — “ — ---- j — 1— ,------.1 : * ... . 1 ■ . . i , C Major 3 J 5 2 ?

£ -zr —*-

.t t - t.

ii V vi iii V vi V

— 9------=------Se 1ction------,--- i1--- ,-- l, ^ .. y^= P h ~ 3 ~ l : -- — — •— —0— *— £— «— * h • * * gO * :z d • • ■ * =f 1 - r-^r=:=i ------1--- poco accelerando t Ir" - T N ^ r-*-- ^ ----- *— — i---- !--- 1--- r— L;--- ■__!--- »— L ---- ; r ^ : - J ------:--- 1------&-■-- d~* H*- < T 7- . 1 ' tJ ^ 0 B V vi ii V ii V l.r Section

2nd time rail. ritard. 85

rhythmic outline and intervale of the melodic line for a

subsequent phrase, period, or section, may resemble those

of the first; they may also appear inverted. In Examples

1 and 2, the relationship between the A and B sections is

opposite with traits from each A section appearing in each

B section. Opposite construction between phrases or

periods of A sections is less common than in parallel

construction.

The A section in Example 1 concludes with a perfect

cadence in the tonic key, while the B section appears in

the dominant key. The A section, in Example 2, concludes

on the dominant, which prepares the B section for the

dominant key area. Neither B section modulates to a new

key, rather, a new key area is suggested in relation to

the dominant. This is a common trait for pieces of lower

grade classifications. Occasionally the relative major or

minor key is suggested in the B section, and less commonly

a modulation occurs for the B section, and cadences in the

new key appear. Both examples feature a thin texture

which is common for most works in this study. B sections of lower grade classifications (lower elementary and upper elementary) typically did not modulate, possibly for several reasons: 1) Sections were too short to effect a smooth modulation into and out of a new key, and would probably have to be lengthened to create a smooth modulation, thus removing the length limitation which kept 86 these pieces accessible to beginning students, and 2 ) if modulations had been introduced more frequently, a greater variety of harmonies probably would have been used, raising the difficulty level of each composition. Those pieces belonging to more difficult grade classifications contained more modulations, with difficulty increased due to more difficult harmonic structure.

Incomplete Ternary

Incomplete ternary closely resembles rounded binary form. The B and A' sections appear without repeats, leaving only the second phrase of the A' section, suggesting that the entire A section may have been repeated. Incomplete form is demonstrated in Example 3.

In this example the A section concludes with a perfect authentic cadence in the tonic key, E minor. The B section appears in G major, and measure 16 contains a chromatic mediant cadence, a common cadence which occurred before the return of A sections in many of the pieces in this study. The final A' Bection contains the second phrase from the first A section.

The primary differences between rounded binary form and incomplete ternary are that incomplete ternary

1) contains an A' section immediately following the B section, never following a repeated section, or being part of a repeated section and, 2) the final A' section always 87

Example 3. Incomplete ternary. "Farewell," Opus 98, No.4. Copyright 1971 by Alfred Music Co., Inc. Used by permission.

Andantino A Section

£ >Hf espressivo

a- i - <- jc_4

/«\ ---- 3/ ^ " t 2~ B Section i E S ^ E g E E i 3j

f a T= F IV ■ H G Major

2 3 2,'"'3 2/ 3

al*) i (#1 ^ ■

Semi Cadence rif. ■ ■ - ... ; K -+ i S - ftgljl— ?f i

1<>; aJi'mnn t A ' SectionSec 1 2 :jrS I • a-i— i r . i i

Mediant Cadence P rail. i ¥ ~ t E t: t#T 1 2 ¥ -ib 88 contains the second phrase from the first A section, suggesting that the entire A section may have been repeated. For rounded binary, the final A' section may not always contain only the second phrase from the first A section. Other examples of incomplete ternary are "My

Little Horse," Opus 109, No. 3, and "Misunderstanding,"

Opus 115, No. 4.

Ternary form

Of the pieces included in this study, 99 occurred in ternary form with three parts, with two A sections surrounding a contrasting B section, (A B A). Of the 99 pieces, 24 were designed as (A I:B A :I), with the final A section containing an exact repeat of the first A section. In 22 pieces the final A' contained a textural, rhythmic, or harmonic modification of the first A,

(A B A'). Only seven pieces contained introductory measures, while 28 contained concluding material-codettas, codas, or postludes. It was common for pieces of lower grade classifications to contain the suggestion of a new key area for the B section, rather than a new key.

Intermediate and advanced level pieces most often contained a modulation to a new key, or shift to a new key, and more contrasting sections, i.e., texture, harmony, rhythm. In 55 pieces the returning A section typically appeared with no changes (Example 4), while 44 89

Example 4. Ternary form (A B A ) with prelude and postlude. "In Camp," Opus 98, No.2. Copyright 1971 by Alfred Music Co., Inc. Used by permission.

Lento Allegro itch I' r r i 1 ; n Section A m $ Prelude

• » » © £ % Section B pm J ______P © ~£--. £

m 90 pieces contained a modified A' section (Example 5), and most modifications were typically textural or rhythmic.

Example 4 demonstrates the typical lower elementary ternary piece with a prelude and postlude. The first A section is repeated, the B section is written in the dominant key area, and the final A section repeats exactly the first A section. Common features for Gretchaninoff were found to be the identical postlude and prelude, and fanfare motive.

Example 5 displays ternary form for a more difficult piece. The unusual feature is the final A' section which is not a repeat of the first A section, returning instead to the subdominant with similar melodic contours and modified material from the A section. The B section contains a contrasting chordal texture which appears first in F major, then in B-flat major, and finally in F major.

The restricted use of harmonies in this piece is typical for all levels and most forms (not sonata, sonatina, through-composed, fugue) which enables students to concentrate on technical aspects and facilitate memorization. 91

Example 5. Ternary form with modified A section (A B A'). Excerpts from "Chant d 'automne," Opus 3, No.3. Copyright by Belvin Mills Publishing Corp. Used by permission Columbia Pictures Publications.

A section, measures 1-4...... d m I ■ ^ r r [ r r f v * : T f 7 T T .

k f- -i " ■1 r j ...z—

B section, measures 19-28.

Meno mosso e rubatp. •' z too.

r\Vi/

Two-part design

Several pieces occur in two-part design (having an extra B section) which is closely related to ternary form.

Example 6 is a two-part design with the second B' section appearing an octave lower than the first B section, and containing modification in texture. The mediant cadence 92

Example 6 . Two-part design. "L'Adieu," Opus 138, No.12. Copyright 1937 by Augener, LTD. Used by permission of Galaxy Music Corporation, New York, NY, sole U. S. agent.

9 Sect ion A

B-flat Major

Jm |r m Section B ci'7Ur n *Ol *§8 Mediant.. Cadence'

Section B dim.« r*U. PP 93

before the A' section, already identified in Example

3, and the repeated-note melodic line occurring in the B

sections are common features for piano works in this

study. "Merry Departure, " Opus 112, No. 15, is also a two- part design containing an extra B' section and an extra A' section (A B A'A B').

Rondo form

Rondo form was used in 60 pieces, and of these

(ABABA) was the most common form with A and B sections frequently modified. A' and A'' sections consisted respectively of the first phrase, then the second phrase of the first A section, if the form was (A B A'B A'').

Second B sections, marked B', often contained the second, phrase of the first B section, (A B A B'A). Nine pieces contained identical A and B sections (ABABA). The form (ABACA) appeared only eight times; one piece occurred in (A B C B'A'), and two appeared in seven-part form (A B A'C A B A'). An example of a seven-part rondo is "Grandmother's Waltz," Opus 109, No. 7 (ABACA B'A).

Codettas and codas appeared commonly. Contrasting B and C sections were characteristically more varied in character, texture, and key area as compared to those for binary and ternary forms. The typical length of sections was eight measures (one period) for short pieces, and 16 measures

(two periods) for longer and generally more difficult 94

pieces. However, modified A and B sections were often

shorter than nonmodified sections, as typically only half

of the section appeared. In Example 7 the A sections

appear in C major. The two A' sections contain the second

phrase of the first A section. The B sections suggest A

minor and are identical except for dynamic changes.

Repeated sections, brevity, and basic harmonic vocabulary

are features which facilitate memorization and quick

learning. The rondo form is predominant in Opera 143 and

145.

Compound Ternary

Compound ternary designs appear in five pieces of

this study. In each case, three large units (A BA) are

broken into smaller sections, e.g., ternary, rounded

binary, binary, or unipartite. The B unit typically

appeared in a parallel minor or major key, in binary or

rounded binary form. In "Funeral March," Opus 112, No. 10,

and "Little Rhapsody," Opus 196, No.3, the A sections

appeared in rounded binary form with the B sections

appearing in rounded binary and binary, respectively. The

B sections in both pieces were in the parallel major key.

However, in the second movement of Sonatina. Opus 110,

No.2, the B section (G major) appeared in a subdominant

relationship to the A section (D major). In all three cases, B sections contrasted greatly to the A sections. 95

Example 7. Rondo (A B A'B A' ). Excerpt from "A Morning Stroll," Opus 123, Mo.1, measures 1-15. Copyright 1982 by Alfred Music Co., Inc. Used by permission.

Section A

p o c o OTI C

ffl i Section B 96

All three sections of the second movement of Opus 110

appeared in ternary form, with no modifications for each

section, except the final section which appeared without

repeats (A I :B A ; I C I ;D C : I A B A I ).

Sectional

Sectional form occurred in IB pieces. Many of those appeared in the two volumes of Russian Folk Dances. Opus

130. The A sections of these pieces were usually comprised of two contrasting periods or phrases which had distinctly different textures and rhythmic patterns. The accompaniment figures of the first period generally received variation treatment, i.e., harmonies, textures, and key areas were changed, however, the contour and basic outline of the melodic line received few modifications, remaining nearly unchanged. The second period, acting like a refrain, appeared with few modifications. The most common modification was key change; if the first period changed key, the second period also changed. In many sectional pieces treatment resembled variations but treatment for one section was commonly repeated for another section in the same piece, or a combination of two treatments was combined (scales and chords). In addition the length of sections was usually the same length as the introductory section. Other pieces demonstrating sectional form kept the contour and harmonic outline of 97 the first phrase in each section, leaving the second phrase with development. In "Largo," Opus 131, No.11, the first phrase of each section retained the contour and harmonic outline while the second phrase was developed.

The second phrase of A1 developed a scalar idea from the original second phrase, using more scales. A2 employed canonic imitation, followed by a codetta which restated the theme. In "Impromptu," Opus 37, No. 1, each section retained the contour and rhythmic pattern of the introductory section, but the harmonies were changed, and the final section included two extra measures.

Theme and Variation

Theme and variation form appears three times in this study. "Chanson populaire Russe, " Opus ISO, No. 3, contained a short four-measure theme and four variations.

Treatments appearing in each variation were similar to those in some sectional pieces, except the treatment extends throughout each four-measure section. The variations in Russian Folk Dances. Vol.II. Opus 130, No. 8 , also featured variation treatment throughout each variation. The second movement of Sonata. Opus 174 featured Gretchaninoff's most technically demanding set of extensive variations, similar in style and treatment to

Beethoven's Thirty-two Variations. 98

PhraBe group

Phrase group form commonly appeared in

Gretchaninoff's shortest pieces (12-16 measures). This form contained a group of phrases, usually three dependent phrases, all concluding on a semi-cadence, and a final phrase which concluded with a perfect authentic cadence.

Pieces placed in lower grade classifications usually contained phrases which were related to each other, e.g., they had similar melodic lines, textures, and rhythmic patterns. Phrase groups occurred frequently in Opus 182 and in "Morning Prayer,K Opus 109, No.1. A more advanced piece, "Sorrowful Moment," Opus 61, No.7, contained several contrasting phrases. The more difficult pieces contained more contrasting phrases as compared to pieces in lower grade classifications.

Unipartite

Unipartite form appeared 13 times in this study, predominantly for lower grade classifications. The majority of pieces in this form contained introductory measures, interludes, and concluding measures (postludes, codas, codettas). In each unipartite form only a single idea was present in the form of two phrases, or one period. This was commonly followed by an interlude, then the full or partial return of the A section with or 99

without slight modifications. Example 8 demonstrates a

long A section which can be reduced to one period if

repetitive measures are excluded. This is followed by a

transition and extended dominant harmony, then the return

of the second phrase of the A section.

The single line of music divided between the hands in

Example 3 is a common texture throughout Gretchaninoff's

piano works. It is also present in "Mignonne," Opus 150,

No.5, and in "Etude," Opus 98, No.12. In "Grand-mama's

Tale," Opus 127a, No. 6 (Pre A Inter A 'Post), a prelude,

interlude and postlude surround the A sections, the second

A' section contains only the first phrase of the A section. In "Tale," Opus 99, No.7 (A Inter A'Post), the first A section contains two parallel periods; A' contains only the second period. "Dance of the Bearcubs," Opus

143, No.5 (Pre A Br A' Inter A Br A' Post), contains A' sections which are the same length as the A sections, but appear an octave lower with slight modifications in texture. An unusual example of the unipartite form is

"Caprice," Opus 61, No.2. Here a single idea evolves rhythmically (A B C), then is presented in reverse

(C B A), like that of an arch design. "Nightly Event,"

Opus 115, No.12, also may be considered a unipartite form, labled recitative form because of the recitative style for the short A sections and chordal episodes (B) of varying length. 100

Example 8 . Unipartite. Excerpta from "Horae and Rider," Opus 98, No.5, meaaurea 7-24. Copyright 1971, Alfred Muaic Co., Inc. Uaed by permiasion.

jV a t / Second phrase

m m

9 1 a 3 ±

Transition crtsc.

Much too far! l i m. t » __ Extended dominant

k- V 1^ LL 3> Bui ** KWt well that en

Throuah-composed

Through-composed pieces are similar to unipartite as

both present a single A idea. However, through-composed

pieces develop part of the A idea, and no development

occurs in unipartite form. In Example 9, Gretchaninoff

presents the A idea in measures 1-16, closely resembling

the style, design, and texture of Chopin's Prelude. Opus

28, No.4. In measures 17-32 the dotted figure ( ^ ) is

developed. As the A section returns (33) the texture for

both parts becomes fuller with chords and octaves. The

chordal accompaniment figures are based upon G minor scale

harmonies. The closing measures, 41-50, feature

augmentation and inversion of the opening motive.

Augmentation, inversion, chordal accompaniment built upon

scale harmonies, thickening textures, and the use of descending seconds for plainte classification are common devices for Gretchaninoff's pieces.

Sonata-allearo. Sonatina. Fugue

Sonata-allegro form appeared three times in the lower advanced grade classifications, and sonatina form appeared three times, twice for intermediate grade classifications, once for lower elementary. Sonata-allegro appeared in the first and third movements of Sonata. Opus 129, and in the first movement of Sonata. Opus 174. Each movement 102

Example 9. Through-composed. Excerpts from "Plainte," Opus 3, No.1 , measures 1-6, 17-24, 32-34 and, 41-43. Copyright by Belvin Mills Publishing Corp. Used by permission of Columbia Pictures Publications.

fmrt tinaf.

It£1' Jz Augmentation

m contained brief development sections. Movement one of Opus 129 was the only movement which included both themes from the exposition in the development section. In movement III of Opus 129, three themes were introduced in the exposition, but only the third theme appeared in the development, and only the first and second theme appeared in the recapitulation. Opus 174 contained two themes in the exposition: theme one appeared in the development and both themes appeared in the recapitulation. The sonatina form appeared in the third movement of Sonatina. Opus 110,

No.1, and in the first movement of Sonatina. Opus 110,

No.2. Neither piece contained development sections. The first and second themes of each piece were repeated in the recapitulation, and the second theme for each appeared in the tonic key. "On the Field," Opus 123, No.10, resembled sonatina design with the A and B sections recurring in the tonic key. A single example of fugue occurred in the third movement of Sonatina. Opus 110, No.2. The subject was stated in the exposition and restated in the counterexposition in the tonic key. The original answer entered one measure later than its occurrence in the exposition, then modulated and was followed by an episode similar to that in the exposition. The fugue then concluded with a coda. 104

Texture

Several characteristic textures have already been

mentioned in the discussion of form: 1 ) thin texture,

2) single-line texture, and 3) thickening texture. The

thin texture was characteristic for most of the pieces in

this study. Pieces in lower grade classifications

contained thin textures of single notes for each hand,

including seconds, thirds, and root-position and inverted

chords. Thin textures of difficult pieces commonly contained single notes for each hand with large intervals,

finger crossings, complex rhythms and harmonies, such as

Opus 61. The single-line texture occurred when a single

line of music was divided between two hands. Pieces with this texture commonly appeared in suites containing lower and upper elementary pieces. Three-note chordal textures for either hand occurred less frequently. Some examples of chordal texture are Opus 115, No.3, and Opus 109, No.1.

Rhythm

Rhythmic variation was mentioned as a form of modification between two parallel phrases. Another common rhythmic feature appeared primarily in pieces of lower grade classifications for rounded binary and ternary forms. In these forms the rhythmic pattern for the A section was repeated or was slightly modified in 105 the B section. In Example 10 the rhythmic pattern from the A section appears in the B section, and remains the same until the transition into the mediant cadence at measure 9.

Example 10. Rhythmic relationship between sections. Excerpt from "The Little Beggar," Opus 123, No.2, measures 1-9. Copyright 1982 by Alfred Music Co. , Inc. Used by permission.

Modcrata

V Section A

A Minor

Section B

pm f

a ttmpo ffl Section A — w -p *— tc. ^ , Mediant ___ i- Cadence f p e = 106

Melody

It has already been noted that Gretchaninoff's pieces

display a thin texture, with the melodic line typically

appearing as a single line of notes for the right-hand

part. Repeated-note motives were also mentioned as a

common trait (Example 6 , p.92). Other pieces containing

repeated-note motives and related dotted rhythmic patterns

include those in Opus 145. A trait found in those pieces

in lower grade classifications was use of partial scale passages in the melodic line. Example 11 contains many scalar passages requiring no finger crossings. Rather, the use of four or five fingers is required without stretching the hand. Such use of scales is appropriate for small hands.

Example 11. Scalar passages in the melodic line. Excerpt from "In a Woodland Glade," Opus 98, No.6 ., measures 1-7. Copyright 1971 by Alfred Music Co., Inc. Used by permission.

-T) 107

In advanced level pieces such as "Chant d'automne,"

Example 5 (p.91), the melodic line for the A sections contains single notes, which are embellished, and difficult rhythms.

For many pieces the melodic line also appeared with accompaniment figures, requiring the right hand to project the melody over accompaniment figures. Example 12 contains sustained half-notes along with the melodic line.

Example 12. Melodic line with accompaniment figures. Excerpt from "Lament," Opus 123, No.9, measures 20-29. Copyright 1982 by Alfred Music Co., Inc. Used by permission.

— ~ ,» V -- ;— . - J =ji V - T F J - v — i - f -- - r •--»= crtsc ■Q- * r. f M ■Sf

Devices

Some specific compositional techniques have appeared in previous examples: augmentation, extension of dominant harmony, mediant cadences, and parallel, opposite, and contrasting construction. Two important devices remain. 108 e.g., imitation and sequence. Although these devices did not occur in every example, they frequently appeared throughout the pieces in this study at all grade classifications and in most forms. Imitation occurred vhen a motive was repeated in another part, with or without modification. Example 13 demonstrates modified imitation with the left hand imitating the right hand melodic line in the first 2 1 / 2 measures of both phrases in the A section, appearing modified without chords. The

B section also contains partial imitation by the left hand which begins on the the third beat, and ends on the first beat of the following measure. An extension of dominant harmony appears before the return of the A section.

Sequences, patterns of intervals which are repeated with different notes, occurred frequently in this study.

Sequences may involve chords, but frequently involved single-note patterns in this study. Example 14 contains two different sequences. The sequences in measures 1 and

2 are repeated in measures 5 and 6 . Measures 7 and 8 contain a different sequence pattern involving the interval of a fourth. 109

Example 13. Imitation. Excerpt from "Travail du Matin," Opus 138, No.1, measures 5-17. Copyright 1937 by Augener, LTD. Used by permission of Galaxy Music Corporation, New York, NY, sole U. S. agent. fiffrf h l E M r \ujna. B

Section B * ttmfo

rn f | r m i Extension rtu

Example 14. Sequence. Excerpt from "A Tiresome Tale," Opus 98, No. 8 , measures 1-8. Copyright 1971 by Alfred Music Co. , Inc. Used by permission.

5 110

Educational Rationale

The compositions examined in this study contained many important characteristics and devices which make them valuable teaching tools. The three basic forms (rounded binary, ternary, and rondo), contained features which made them accessible for students. Those features included generally short length, parallel construction, repeated sections, slightly modified features, basic harmonies, and thin textures, characteristics which allow these pieces to be accessible to beginning students.

These characteristics and devices reflected

Gretchaninoff's desire to keep these pieces uncomplicated, thus allowing students of lower and upper elementary skill levels with small hands, undeveloped coordination and reading skills to learn such pieces easily. Many traits occurring for lower grade classifications were also present in more difficult pieces. For example, thin textures and basic harmonies were featured, thus allowing quick memorization and immediate focus on technical features. In addition, rhythmic skills and technical skills were emphasized as many pieces featured the same rhythmic patterns between sections, or related rhythms derived from A sections. Technical skills were limited in lower grade classifications, and one or two technical points were usually emphasized in each piece. Through Ill

examination of the annotations in Appendix B, a variety of

pianistic technical features can be found. However, it is

this writer's opinion that none of the pieces in this

study were written in a virtuosic style, thus making them

accessible to beginning- thru pre-college students. Many

of these pieces would be appropriate for sightreading, due

to their form and structure. As noted in the annotations

of Appendix B, many stylistic influences appear throughout these pieces including influences of Schumann, Chopin,

Tchaikovsky, Debussy, Prokofiev, Rachmaninoff and other

Russian composers. The traits enhance the study of these pieces as preparatory studies for longer, more-difficult pieces by these composers. A variety of expressive features in these pieces are documented in the annotations found in Appendix B. These features which include rhythmic accents, changing meters, dynamics, and special expressive markings, may appeal and challenge students at all levels.

Recommendations for Republication

Approximately two-thirds of the pieces in this study were found to be out-of-print. A list of pieces recommended for republication was compiled by this writer in Appendix F. These pieces contain outstanding stylistic and expressive features. A gliding boat is portrayed in "En Barque," Opus 150, No.10. The rhythm of a high- stepping horse is imitated in "Gallant Cavalier," Opus

133, No.7, and a barking dog can be imagined through the use of harmonic seconds in "My little dog, Joujou," Opus

133, No.8 . These pieces contain expressive traits which may appeal especially to children. The pieces in Opus 112 feature a Schumanesque style. They contain technical challenges for the more advanced beginner, but their brevity may facilitate quick learning. Pieces which are better suited to students of higher grade classifications are those in Opera 37, No.2, 53, 78, 116, and 198, Nos.

1-2. Opera 37, 53, and 198, Nos. 1-2, all feature a style similar to that of Chopin, and are good preparatory studies for that composer's works. In contrast. Opus 78 is written in a post-romantic style similar to that of

Rachmaninoff and Prokofiev, and requires mature expressive abilities. Those pieces in Opus 116 contain large leaps and chromaticism, requiring mature expressive and technical abilities. Modern stylistic traits in these pieces make them valuable as preparatory studies for the music of Hindemith and Prokofiev. CHAPTER VI

SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

The Purpose

It was the purpose of this study to:

1. Survey systematically and classify

Gretchaninoff's published piano works.

2. Provide a rationale for the use of his piano

works as an educational tool.

3. Discuss problems and concerns related to teaching

and performing Gretchaninoff's music.

4. Present a historical background on Gretchaninoff

as educator, performer, and composer.

5. Examine the form and compositional devices

used in Gretchaninoff's solo piano works.

6 . Recommend republication of commendable piano

works which are currently out-of-print.

Problems of the Study

The primary problems of the study included:

1. Examination and acquisition of Gretchaninoff's

solo piano works.

113 114

2. Grading and annotation of Gretchaninoff's solo

piano works.

3. Treatment and presentation of related literature.

4. Preparation of the historical background of

Gretchaninoff's life.

5. Assessment of compositional forms and devices of

the solo piano works in this study.

6 . Development of a complete catalog of

Gretchaninoff's solo piano works.

7. Preparation of tables summarizing Gretchaninoff's

compositional forms and devices.

Q. Determination applications for Gretchaninoff's

solo piano works as eductional toolB.

9. Development of an education rationale for the

works in this study.

Secondary problems of the study included:

1. Classification of Gretchaninoff's piano works.

2. Performance of Gretchaninoff's piano works.

3. Preparation and adaptation of research tools.

4. Adaptation of an appropriate grading scale.

5. Obtaining permission to copy music examples.

6 . Selection of appropriate music examples.

7. Development of efficient word processor skills.

8 . Assessment and recommendation of Gretchaninoff's

out-of-print solo piano works for republication. 115

Methods and Procedures

The search for a topic began with a search of ERIC

materials, various journals, bibliographic sources, and

the OSU card catalog of Theses and Dissertations in music;

computer searches in Dissertation Abstracts International.

RILM. The Arts and Humanities Citation Index; and a search

through all available volumes of the Music Index.

Libraries were visited and Interlibrary loan service was

utilized. Periodicals and books containing references on

the life and piano works of Gretchaninoff were consulted.

The following research tools were prepared:

1. Summary Sheet

2. Annotation Criteria

3. Review Sheet

4. Sample Grading List

5. Classification List

All piano solos were performed at least three times

by the writer and were graded according to the sample

grading list.

Presentation and Analysis of the Data

In the first chapter the writer presented the

problem, justification for the study, scope and delimitations, and specialized definition of terms. 116

The second chapter began with a description of the

method used to search for an appropriate topic. As

the topic was narrowed basic resources were listed,

including Gretchaninoff's autobiography and Smith's

thesis. Several libraries were visited and the services

of Interlibrary Loan were utilized. Research tools

adapted from models used in Poppen's dissertation,

A Survey and Analysis of Selected Four-hand One Keyboard,

Piano Literature, were listed and described. Also

described in this section were 1) criteria for annotating

the solos in Appendix B, 2) criteria for assessing the

educational values of each piece, especially those to be

recommended for republication, 3) analysis tools and techniques, and 4) the system used to grade the music.

Research problems were listed, including acquisition of materials from music stores and libraries, assembly problems, including discrepancies between the two primary sources (Smith and Gretchaninoff), and use of a word processor.

Chapter III contained literature related to

Gretchaninoff's life and works. Only a few sources contained information on his piano works.

Chapter IV presented a historical background on

Gretchaninoff's life from his early years to his life in

America. His most important musical works were mentioned, including his work with children, piano teaching, and 117 participation in the Ethnographic Society. The information in this chapter was based primarily on his autobiography and Smith's thesis.

Chapter V examined the compositional forms, devices, and characteristics which appeared in the solo piano works examined in this dissertation. The summary of forms and devices was extracted from the annotation summaries presented in Appendix B. The application of

Gretchaninoff's piano works as educational tools was discussed, with emphasis on those recommended for republication.

The Appendices followed chapter VI (Summary,

Conclusions, and Recommendations). Appendix A included examples of research tools: summary sheet, review sheet, sample grading list, and classification list. Appendix B contained 323 graded annotated piano solos of

Gretchaninoff and a key to abbreviations used in the annotations. Appendix C contained a table of classifications (Table 1) showing the frequency and level of each classification which appeared in the annotated solos. Table 2 listed the forms and frequency of their occurrence for each grade level for the annotated solos as found in Table 3, but Table 3 contained specific modifications of form. Appendix D contained complete musical examples referred to in chapter V. 118

Appendix E presented a catalog of Gretchaninoff's solo

piano works, code, and a key to publishers. Appendix F

contained a list of out-of-print solo piano works which

were recommended for republication by this writer, and

Appendix G contained a list of solo piano works not

obtained for annotation in this study.

Conclusions

1. Gretchaninoff composed numerous solo piano works,

many of which were no longer in-print. Several could not

be obtained through Interlibrary Loan, publishers, or

local music stores. Many works listed as in-print in the

latest Rezits guide were found to be no longer in-print.

2. The quality throughout Gretchaninoff's works was

consistent. Throughout his last piano works,

Gretchaninoff was still producing pieces with a variety of

subjects and modifications of form.

3. The majority of piano solos surveyed belonged to

the lower and upper elementary levels.

4. A variety of styles appeared in the annotated solo

piano works. The greatest variety appeared in those of the intermediate, lower advanced, and advanced levels.

Stylistic influences of various composers were found,

including Debussy, Prokofiev, Rachmaninoff, Chopin, and

Schumann. 119

5. Various subjects used throughout Gretchaninoff's

piano suites of the lower and upper elementary levels

would appeal to contemporary students, especially to

children.

6 . Gretchaninoff produced his greatest number of

piano works during the period when he lived in France

(1925-1939). His least productive period was in Russia,

prior to his move to France.

7. The predominant forms appearing in the annotated

solo piano works were ternary, rounded-binary, and rondo.

There were examples, however, of many forms, including phrase groups, unipartite, sonata-allegro, fugue, sonatina, and compound-ternary. Modifications were often found in the smaller forms, including introductions, preludes, interludes, and postludes. Gretchaninoff often utilized other devices, such as imitation, sequence, parallel construction, augmentation, extension of dominant harmony, and expressive devices such as changes of meter and tempo, and a variety of dynamics.

8 . Many of the piano solos surveyed were appropriate for children, adults, and college level students whose major instrument is not piano. Chapter V listed characteristics of Gretchaninoff's piano works, i.e., thin textures, small intervals, scalar melodic lines, repeated rhythmic patterns, repeated sections, and rudimentary harmonies. These pieces were 120 determined to be valuable tools for developing and reinforcing rhythm, memorization, reading, and basic theory skills for children and for beginning adults at the lower and upper elementary levels. Intermediate and lower advanced pieces are appropriate for more experienced students, as they contain a variety of styles, require larger stretches and large leaps between broken intervals, present complex rhythms, require mature expressive abilities, but offer few passages which are technically difficult. Such pieces may challenge advanced students and serve as valuable preparatory studies prior to the study of more difficult pieces by Chopin, Rachmaninov,

Debussy, and Prokofiev.

9. Many of Gretchaninoff's solo piano works deserve republication.

Recommendations for Future Studies

1. Investigate Gretchaninoff's solo piano works not located by the writer.

2. Investigate Gretchaninoff's small output of piano duets and two-piano literature.

3. Investigate the relationship of Gretchaninoff's piano ensembles to his solo piano music. For example, how many of his piano ensembles are arrangements of his piano solos? 121

4. Compare Gretchaninoff's easy piano music with

similar works by other Russian composers including

Tchaikovsky, Taneyev, Gli£re, Glazunov, Liadov, Liapunov,

Rebikov, and Prokofiev.

5. Translate the collection of Gretchaninoff's

letters located in the archives of The Library of

Congress.

6 . Determine whether any other piano works by

Gretchaninoff remain unpublished.

7. Investigate his children's songs and operas.

8 . Investigate the origins of folksongs and folktunes used in his piano works.

9. Investigate and verify current Russian sources of

Gretchaninoff's music. APPENDIX A

RESEARCH TOOLS

122 123

APPENDIX A

SUMMARY SHEET

COMPOSITION DATE OF PUBLICATION

PRINT STATUS

PUBLISHER EDITOR

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

CHARACTERISTICS OF COMPOSITION

Tempo Key Meter Length Form Classification

ANNOTATION SUMMARY 124

APPENDIX A

REVIEW SHEET

TECHNICAL CHARACTERISTICS

Hand position C h o r d s A r p e g g i o s Handerossings 5 - f i n g e r 3 - n o t e O n e - h a n d N o n e 5-finger-plus 4 - n o t e Both-hands One or more Stays in one placa C l u s t e r s Hands together Novas around O n e - h a n d Hands alone B o t h - h a n d s

Scala passages T o u c h P h r a s i n g Range of piece P a r t i a l L e g a t o 2-note slurs C o m p l e t e S t a c c a t o Short phrases Combination Combination Long phrases Alternating Combination

EXPRESSIVE CHARACTERISTICS

D y n a m i c s B a l a n c e T e m p o P e d a l 1-2 levels L.H. louder One marked Pedal marked 3-3 levels R.H. louder 2-3 marked No pedal marked 6 or more levels Outer voices 4 o r m o r e Pedal indicated Great use of rests Inner voices Generally slow Generally fast Slow to fast Fast to slow

ADDITIONAL CHARACTERISTICS

COMPOSITIONAL FEATURES

T o n a l i t y Movement Accompaniment Melody/Themes M a Ja r Parallel Alberti bass Alternates between h's Mi no r Contrasting O s t i n a t o Right hand only C h r o m a t i c Combination W a l t z b a s s Left hand only A t o n a l C h o r d a l

Texture Meter Geography Form Moving/tied notes Single meter W h i t e k e y s B i n a r y One note at a time 2 o r m o r e Black keys Ternary 2 or more notes/time Combination Sonata-allegro R o n d o

ADDITIONAL FEATURES APPENDIX A

SAMPLE GRADING LIST

LOWER ELEMENTARY (Grades I and II) Beethoven, L. van Ecossaise in E Flat Burgmdller, Ballade L 'Arabesque Clementi, M. "Spiritoso" from Sonatina Op.36, No.1 Gretchaninoff, A. Children's Book, Op. 98 Glass Beads, Op.123 Kabalevsky, D. A Little Song Schumann, R. Melody, Op. 68, No. 1

UPPER ELEMENTARY (Grades III and IV) Bach, J. S. Little Prelude in C Minor Polonaise in D Minor Prelude in C Beethoven Far Elise Burgmdller La Pastorale Clementi Sonatina in F, Op.38, No.3 Gretchaninoff Gouaches, Op.189 Kabalevsky A Little Fairy Tale Prokofieff, S. Tarantella, Op.65, No.4

INTERMEDIATE (Grades V and VI) Bach, J.S. Invention in A Minor Invention in C Bartok, Bela Rumanian Folk Dances, Nos. 1-4 Beethoven Six Easy Variations on a Swiss Song Chopin, F. Prelude in B Minor, Op.28, No.6 Prelude in E Minor, Op.28, No.4 Clementi Sonatina in F, Op.36, No.4 Gretchaninoff Largo Handel, G. F. Suite in D Minor Khachaturian, A. Adventures of Ivan, Nos. 4-8 Mendelsohnn, F. Venetian Boat Song, Op. 102, No. 7 Mozart, W. A. Andante in G K.545 Sonatina in F (Viennese Sonatina No. Satie, E. Gymnopedies, Nos.1-3 126 Sample Grading List continued

LOWER ADVANCED (Gradee VII and VIII)______Bach^ *3» S• Two Part Inventions, Nos. 2, 3, 5, 6, 10, 11, 12, 14, 15 Three Part Inventions, Nos. 1, 2, 4, 5, 6, 10, 11, 13, 15 Beethoven Sonata in G Minor, Op.49, No.1 Sonata in E, Op.14, No.1 Chopin Waltz in A-flat. Op.69, No.1 Debussy, C. Deux Arabesques La Fille aux cheveux de lin La Plus que lente Handel Suite in E, No.V Kabalevsky Sonatina in C, Op.13, No.1 Mendelaohnn Rondo Capriccioso, Op.14 Venetian Boat Song III, Op.62, No.5 Mozart Sonata in A K331 Sonata in G K283 Scott, Cyril Lotus Land, Op. 47, No.1 Scriabine, A. Preludes, Op. 11, 2, 4, 9, 10, 13, 15 APPENDIX A

CLASSIFICATION LIST

Ballad Miniature

Berceuse Minuet

Canzonetta Minuet and Trio

Caprice N/A

Character piece Nocturne

Dance/folk dance Novelette

Elegy Pastorale

Etude Plainte

Fanfare Polka

Folktune/Folksong Prelude

Humoresque Recitative

Impromptu Reverie

Lament Rhapsody

Lullaby Romance

March Roundelay

Mazurka Song

Meditation Waltz APPENDIX B

ANNOTATIONS

128 129

APPENDIX B

ABBREVIATION KEY

A Section A

< < H Section A Prime

A' ' A2 Section A Double

A' ' ' A3 Section A Triple

B Section B

B' B1 Section B Prime

Br Bridge

C Closing Theme

Cd Coda

CExp Counter Expositii

Cmp Compound

Ctta Codetta

D Development

Epi Episode

Exp E Exposition

Ext Extension

Inc Incomplete

Inter Interlude

Intro Introduction

LH Left hand NA Not Applicable

Pre Prelude

Post Postlude

R Recapitulation

Theme/Var Theme and Variations

T1 First Theme

T2 Second Theme

Tr Transition

V Variation

VI First Variation

V2 Second Variation

1 : : 1 Repeat 131

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COMPOSITION COPYRIGHT DATE

"Plainte, " none Opus 3, No.1 PRINT STATUS

in-print

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GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Five Little Pieces. Odus 3

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key G minor Meter 3/4 Length SO measures Form Through-composed Classification Plainte

ANNOTATION SUMMARY

The form and texture of "Lament" are closely related to Chopin's "Prelude in E minor," Opus 28, No.4. The left- hand accompaniment of chordal eighth notes begins with thirds and expands in the final A section to four-note chords and octaves. The right-hand melodic line of single notes is later expanded into octaves and four-note chords. Voicing the melodic line is very important because the accompaniment is often thicker than the melody, and the parts are often in the same register. Special attention must be given to dynamics which are not always predictable, and the pedalling must be added without blurring the rests in the melodic line. 132

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"Meditation, " none Opus 3, No.2 PRINT STATUS

in-print

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GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI> Five Little Pieces. Odus 3

CHARACTERISTICS OF COMPOSITION

Tempo Andante sostenuto Key B Dorian (2-sharps) Meter C Length 64 measures Form Binary (A B Coda) Classification Meditation

ANNOTATION SUMMARY

The A section begins with a sustained F-sharp pedal tone and melody doubled by the left hand, resembling a Russian chant. The B section begins in G major with the tempo, "Allegretto," and dotted rhythms. The unusual second half of the B section presents a new melodic idea with changes in the texture, rhythm, and key signature(F- sharp major). The second half of Gretchaninoff's B sections usually are based on parallel construction, in close relationship to the first part of the B section, keeping the same key, texture, and melodic idea. This second period of the B section, however, is based on contrasting construction, with a thin texture of triplets in the melodic line and an accompaniment of sustained chords. Augmentation of section A appears in the coda. 133

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"Chant d'Automne," none Opus 3, No.3 PRINT STATUS

in-print

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GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Five Little Pieces. Odus 3

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key D minor Meter 3/8 Length 58 measures Form Ternary (A B A' ) Classification Song

ANNOTATION SUMMARY

■Song of Autumn" requires a fluid right-hand technic, similar to the touch required in Debussy's music. The A sections require both hands to perform with a light touch, but the right hand performs complex rhythmic passages of an improvisatory nature, requiring special fingering. The left-hand part contains no difficult passages or rhythms. The B section begins with a change in tempo, ”Meno mosso e rubato" and a four-measure chordal passage in the key of F major, which is transposed to the key of B-flat major, then returns to F major. The final A section is closely related to the first A section, but begins on the subdominant rather than the tonic and contains a three- measure extension ( i^j’l 134

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COMPOSITION______COPYRIGHT DATE

"0'rage, " none Opus 3, No. 4 PRINT STATUS

in-print

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Belwin Mills Publishing Corp. LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Five Little Pieces. Odus 3

CHARACTERISTICS OF COMPOSITION

Tempo Vivo Hey E major Meter C Length 42 measures Form Ternary (A B A ' ) Classification Character piece

ANNOTATION SUMMARY

"The Storm" presents qualities of a storm through scalar passages. arpeggios, tremolos, sudden changes in dynamics, and extremes of registers. The piece resembles Liszt's programmatic music. The many changes in dynamics, tempo, and technical passages require control and mature expressive abilities. The final A' passage contains augmentation, a device commonly used by Gretchaninoff, also found in "Meditation" and "Plainte," Opus 3. 135

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COMPOSITION COPYRIGHT DATE

"Nocturne, " none Opus 3, No. 5 PRINT STATUS

in-print

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GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V~VI) Five Little Pieces. Odub 3

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto semplice e poco rubato Key A major Meter 6/8 Length 59 measures Form Ternary (A B A ') Classification Nocturne

ANNOTATION SUMMARY

"Nocturne* is Chopinesque in character, requiring a light touch. The A section begins in the high register with a syncopated chordal accompaniment. Arpeggiated figures are introduced later in the A section. The B section is rhythmically less active than the A section, adding a change of tempo, 'Poco piCi mosso, ma sempre tranq.," and the time signature, 6/8. Because the accompanying figures are often close to the right hand, careful balance is required. 136

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COMPOSITION______COPYRIGHT DATE

"Impromptu", 1978 Opus 37, No.1 PRINT STATUS

out-of-print

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Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State Universtity M22 G82

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Deux Morceaux, Odus 37

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key F major Meter 6/8 Length 46 measures Form Sectional (A A1 A2 A3 A4 Coda) Classification Impromptu

ANNOTATION SUMMARY

"Impromptu" incorporates a broken-chord pattern for the right hand, requiring a fluid technique, which embodies both the melodic line and accompaniment figures; at times the melodic line descends into left-hand eighth notes. This Romantic-style piece also simulates twos against threes between hands, with the right hand performing four beats per measure( ^ J Jjl i J > while the left hand plays six beats per measuret/ r r T ) f' )• The sectional form resembles theme and variations, but the rhythm and outline remain the same. A2 and A3 are in different keys, and all of the A sections are varied during the last few measures. 137

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Prelude," 1978 Opus 37, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State Universtity M22 G82

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate(V-VI > Deux Morceaux. Opus 37

CHARACTERISTICS OF COMPOSITION

Tempo Andantino, poco rubato Key B-flat major Meter 12/0 Length 15 measures Form Through-composed (A) Classification Prelude

ANNOTATION SUMMARY

This chordal etude contains a descending melodic line of right-hand chordB vhile the left hand plays a thin single-note accompaniment. Expressive abilities and pedalling are required. The texture of this piece and descending motive resemble Chopin's Trois Etudes. No.2. 138

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COMPOSITION COPYRIGHT DATE

Allegro non troppo; 1969 molto rubato e grazioso. Opus 53, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M22 . G785z3

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Four Mazurkas. Opus 53

CHARACTERISTICS OF COMPOSITION

Tempo Allegro non troppo; molto rubato, grazioso Key C minor Meter 3/4 Length 61 measures Form Rondo (ABACA) Classification Mazurka

ANNOTATION SUMMARY

This waltz is as attractive, but less complicated than those of Chopin. The A sections contain changes of expression with the first A marked "mf, " appearing "p, " in the later A sections. Flowing scalar passages characterize the B section. The C section is marked with a change of key signature to A-flat major and a chordal texture. The C section appears again, keeping the same melodic outline, a thinner texture and changing harmonies. This piece would be an excellent introduction to the Romantic style waltz. 139

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COMPOSITION COPYRIGHT DATE

Allegro moderato, 1969 Opus 53, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M22 .G785z3

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Four Mazurkas. O d u s 53

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key F major Meter 3/4 Length 64 measures Form Rondo (Intro A B C B'A'Codetta) Classification Mazurka

ANNOTATION SUMMARY

The sound of a drone can be heard throughout the A section suggesting a folk instrument. The A section features a rhythmic melodic line(r/ f f.l r/r/f-TlfTff f'-T ' •* ^ ) played an octave apart by both hands. A similar dance rhythm appears in the B section (/^ I )t a tenth apart in the tenor and soprano parts. The folk quality is enhanced in the B section through the use of the Mixolydian mode based on "D." The C section produces a dramatic effect through the use of "ff" dynamics, triplet figures and chords, but contains no dotted rhythms. The final B' and A' sections contain few changes. The codetta is related to the introductory measures. 140

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COMPOSITION COPYRIGHT DATE

Lento melancolico. 1969 Opus 53, No.3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M22 .G785z3

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Four Mazurkas. Opus 53

CHARACTERISTICS OF COMPOSITION

Tempo Lento melancolico Key F minor Meter 3/4 Length 34 measures Form Ternary (ABA Codetta) Classification Mazurka

ANNOTATION SUMMARY

A serious mood is portrayed through the slow moving chordal texture of the left-hand part from which the melodic line must be projected. The soft right-hand accompaniment is played between the left-hand chords. The melodic line is played by the right hand in the B section while the left hand transfers to the lower register with rhythms similar to those of the A section. The final A section contains no changes. The four-measure codetta ends on a "C, " the dominant of F minor, suggesting that another piece is to follow. 141

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COMPOSITION______COPYRIGHT DATE

Allegro, 1969 Opus 53, No. 4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M22 .G7Q5z3

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Four Mazurkas. Odus 53

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key B-flat major Meter 3/4 Length 62 measures Form Rondo (ABA Inter C A Post) Classification Mazurka

ANNOTATION SUMMARY

In the A uection the melodic line is first played by both hands two octaves apart, then changes to one octave apart. The serious mood of the A section contrasts to the B section, marked "grazioso." The B section contains dotted rhythms, as the A section, but the left-hand accompaniment includes only quarter notes(rfcflOfIffcT)> • The short interlude preceding the C section imitates a flute through the light passages played in the upper register. The C section, marked "grazioso," features dotted rhythms (t.,1 r ’1 f t l / f f ‘* ftl-flc /l” flffyftP in the melodic line, but only quarter and half notes in the left-hand accompaniment (f 1 f 1 P f ). A short transition precedes the final A section. The postlude, a repeat of the interlude, ends quietly on the tonic chord. 142

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"Prelude," none listed Opus 61, No.1 PRINT STATUS

in-print

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Belwin Mills Publishing Corp.

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Eiaht Pastels. Opus 61

CHARACTERISTICS OF COMPOSITION

Tempo Lento Key A-flat Mixolydian (5-flats) Meter 4/4 Length 14 measures Form Ternary (A B A ') Classification Prelude

ANNOTATION SUMMARY

The use of parallel fifths in the accompaniment, whole-tone passages in the melodic line, and the absence of accidentals suggests a modal quality resembling the music of Debussy. "Prelude" consists of changing meters, rolled chords, and a gentle quality requiring mature expressive abilities. 143

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"Caprice, " none listed Opus 61, No. 2 PRINT STATUS

in-print

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Belwin Mills Publishing Corp.

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Eiorht Pastels. Opus 61

CHARACTERISTICS OF COMPOSITION

Tempo Allegro vivace Key F Phrygian (5-flats) Meter 2/4 Length 40 measures Form Unipartite with Arch design Classification Caprice

ANNOTATION SUMMARY

"Caprice* contains passages of quick flowing sixteenth notes for the right hand requiring a technic capable of light controlled touch and rapid speed. Several passages feature rapid scales of thirty second notes and sixteenth notes near the end. A variety of registers is used for both hands. The piece develops from the idea (a txt lU U-t U-t ) which evolves into ( b E-t-f lU rf ) and (c ^ gif f»f r r_r ). These ideas are then presented in reverse with modifications: f and ( a ’ t±r \r f f f * • • * >. The codetta or finale presents a long scalar passage followed by "ff" broken triplet figures. 144

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"Caresses," none listed Opus 61, No.3 PRINT STATUS

in-print

PUBLISHER______EDITOR______

Belwin Mills Publishing Corp.

LIBRARY______LIBRARY CALL NUMBER

GRADE LEVEL______SUITE. SONATA. SONATINA

Intermediate(V-VI) Eight Pastels. Opus 61

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E-flat major Meter 6/Q Length 16 measures Form Through-composed Classification Miniature

ANNOTATION SUMMARY

Dotted accompaniment rhvthms(f I f fj-f flflf f^ f ) and the use of half-steps create tension and excitement reaching a peak in the high register. The melodic line must be projected from the top note's of chords for the right hand, and both parts contain finger crossings and leaps. The Romantic character of "Caresses" makes it accessible for teenagers and adults. 145

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"Conte," none listed Opus 61, No.4 PRINT STATUS

in-print

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LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Eiaht Pastels. Opus 61

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D major Meter 3/4 Length 19 measures Form Ternary (A B A ' ) Classification Miniature

ANNOTATION SUMMARY

The style of "Story" is closely related to that of early Prokofiev(1912), using extreme dynamics, extreme registers, and brusque, percussive touches. The first measure of "Story," marked "strepitoso," begins with "fff" dynamics. The following measure contrasts with "p" dynamics and the direction, "misterioso." Dotted rhythms create an atmosphere of uncertainty. The dynamics increase unexpectedly to "ff" using extreme registers. The B section, marked "PiD mosso, ma non precipitando," changes to 12/8 meter, beginning with a passage of staccatissimo eighth notes. The remainder of the B section requires a legato touch and careful control of crescendo effects. The final A' section appears in condensed form, omitting several measures of repetition. 146

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"Valse, " none listed Opus 61, No.5 PRINT STATUS

in-print

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LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Eiaht Pastels. Opus 61

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key F-sharp major Meter 3/4 Length 20 measures Form Rounded binary (A 1:B A':1) Classification Waltz

ANNOTATION SUMMARY

The lyrical quality of "Waltz" resembles the early piano works of Prokofiev(Sonata No.2 ). In the A section dynamics alternate every two measures, beginning with "p" then "PiO f." The A section is based on parallel construction. The right hand must stretch to accommodate the legato melodic line and accompaniment figures while the left hand supplies an accompaniment of broken intervals as large as a fourteenth, requiring pedal. The first phrase of the B section contains triplet figures in both parts. The final phrase, marked "poco precipitando," based on contrasting construction, contains eighth- and quarter-rhythms. The final A' phrase is a repeat of the second A phrase. 147

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"Reproach, " none listed Opus 61, No. 6 PRINT STATUS

in-print

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Belwin Mills Publishing Corp.

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Eiaht Pastels. Odus 61

CHARACTERISTICS OF COMPOSITION

Tempo Recitando, sempre rubato Key E Mixolydian (3 sharps) Meter 3/4 Length 16 measures Form Through-composed Classification Miniature

ANNOTATION SUMMARY

A variety of changing rhythmic patterns and chromaticism in "Reproach" imitates characteristics of speech. The right hand supplies a thin legato melodic line and accompaniment figures while the left-hand part contains arpeggiated figures and chords. "Reproach" opens with "mf" dynamics, gradually thickens in texture, and reaches a "ff" dynamic level. The direction, "poco meno mosso," signals the return of the A idea. The final two measures contain the marks, "piil lento interrogatif," and the ending is on a D-sharp half-diminished chord, which perhaps tonally imitates the inflection of a question, and also suggests that another piece will follow. 148

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"Moment douloureux," none listed Opus 61, No.7 PRINT STATUS

in-print

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Belwin Mills Publishing Corp.

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Eiqht Pastels. Opus 61

CHARACTERISTICS OF COMPOSITION

Tempo Lento, poco rubato Key E-flat major Meter 4/4 Length 11 measures Form Phrase group(A A1 A2 A3 A4) Classification Miniature

ANNOTATION SUMMARY

"Sorrowful Moment" is a group of five closely related phrases. The main rhythmic pattern appears with modification in each phrase (rTrTf 2?lt7^Tf dl'^V (IpLfSK >• Sorrow is portrayed through a descending line which appears as parallel thirds and fifths in phrases A and A4 but as parallel sixths and fifths in phrase A3. Phrases A1 and A2 contain stepwise movement with the greatest modification of the rhythmic pattern in A2. The group of phrases builds from "p" dynamic level to "f" in A2. Stretching is required to facilitate legato connections, and a mature sense of expression is required. 149

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"Epilogue," none listed Opus 61, No.Q PRINT STATUS

in-print

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LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Eiaht Pastels. Opus 61

CHARACTERISTICS OF COMPOSITION

Tempo Mesto Key C Phrygian (4 flats) Meter 3/4 Length 10 measures Form Ternary (A B A ') Classification Miniature

ANNOTATION SUMMARY

"Epilogue" is lyrical with 20th century harmonies, reminiscent of the style in Samuel Barber's Nocturne (1959). Difficulties include interpretation and rhythm. The piece creates a recitative quality because of its rhythmic complexities,^sixteenth-note triplet figures with dotted rhythms (J if1} ^ £, ) against duplet figures, and triplets on the outside parts with inner duplet accompaniment. The student faces technical problems no greater than stretching, leaping, and finger crossings. The accompaniment often consists of broken-chord figures. The character of this piece is similar to that of "Reproach." 150

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COMPOSITION COPYRIGHT DATE

"Prelude," 1978 Opus 78, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M22 G82 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Moments Lvriarues. Odus 78

CHARACTERISTICS OF COMPOSITION

Tempo Tempo rubato Key B major Meter 6/8 Length 16 measures Form Through-composed Classification Prelude

ANNOTATION SUMMARY

Dissonant harmonies in this thin-textured prelude resemble those of Rachmaninoff's Preludes and Etudes. All of the works in Opus 73 require a mature sense of expression, pedalling, tone color, legato technic, and lots of stretching. Although there are no difficult arpeggiated passages or thick textures as are present in many of Rachmaninoff's Preludes, the common problems are rhythmic twos against threes, and large intervals. "Prelude" is the easiest in the set and would be an ideal piece to study before beginning Rachmaninoff preludes or in combination with early Scriabin works. 151

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COMPOSITION______COPYRIGHT DATE

"Berceuse," 1978 Opus 78, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M22 G82 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Moments Lyriaues. Opus 78

CHARACTERISTICS OF COMPOSITION

Tempo Lento Key E-flat minor Meter 3/4 Length 37 measures Form Ternary (Intro ABA' Classification Berceuse

ANNOTATION SUMMARY

"Berceuse" contains a broken-chord accompaniment, octaves in the lower register, syncopated rhythms, and frequent pedal changes. The A sections present a texture which is thicker than "Prelude" due to sustained notes in the right-hand part and octaves played by the left hand. Dissonances and frequent use of the middle and lower registers are representative of the Russian nationalistic style. 152

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COMPOSITION COPYRIGHT DATE

"Mazurka," 1978 Opus 78, No.3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M22 G82 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Moments Lyriaues. Odus 78

CHARACTERISTICS OF COMPOSITION

Tempo Allegro grazioso Key E-flat major Meter 3/4 Length 35 measures Form Through-composed Classification Mazurka

ANNOTATION SUMMARY

Rapid tempo, combined with chromatic thirds played by the right hand, and dance-like rhythmsC? ) make •Mazurka" the most challenging piece of the set. The short development section is very striking with its leaps and descending motive. The style of this piece is closer to that of Prokofiev's earlier works which include Sarcasms(1912). 153

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COMPOSITION COPYRIGHT DATE

"A Tale," 1971 Opus 98, No.1 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Children's Book. Od u s 98

SUMMARY OF COMPOSITION

Tempo Moderato Key E minor Meter 4/4 Length IS measures Form Phrase Group (A A 'B A') Classification Miniature

ANNOTATION SUMMARY

"A Tale" is written in the middle register and requires several changes of hand positions. There are no intervals larger than a fifth. The texture consists of primarily two-voice counterpoint with occasional two-note chords. This is an easy piece to memorize because the A phrase is practically the same each time it occurs. The concluding chord ends on the dominant, not unusual for Gretchaninoff. 154

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COMPOSITION COPYRIGHT DATE

"In Camp, " 1971 Opus 90, No.2 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11) Children's Book. Od u s 98

SUMMARY OF COMPOSITION

Tempo Lento Key D major Meter 4/4 Length 20 measures Form Ternary (Prelude 1:A:1 B A Postlude) Classification Fanfare

ANNOTATION SUMMARY

The introduction to this piece recalls the sound of a trumpet. Trumpet fanfares occur throughout in this piece, using intervals of broken thirds, fourths, fifths, and sixths. The fingers must stretch a little in order to accommodate the legato phrases, and positions change slightly within each phrase. Both parts appear in the treble clef. 155

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COMPOSITION______COPYRIGHT DATE

"March," 1 9 7 1 Opus 98, No.3 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co., Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Children's Book. Od u s 98

SUMMARY OF COMPOSITION

Tempo Marziale Key G major Meter 4/4 Length 20 measures F o rm Rounded binary (A 1:B A':1) Classification March

ANNOTATION SUMMARY

Both hands play an ascending pattern! > each hand playing a third apart and later a sixth apart, in the middle register. Each hand occasionally plays two notes simultaneously. In several placeB the right hand must cross the second finger over the thumb, and several changes of hand positions are required. 156

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COMPOSITION COPYRIGHT DATE

"Farewell," 1971 Opus 98, No.4 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co., Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Children's Book. Od u s 98

SUMMARY OF COMPOSITION

Tempo Andantino Key E minor Meter 3/4 Length 20 measures Form Incomplete Ternary (A B A') Classification Miniature

ANNOTATION SUMMARY

In the A section the right hand plays a descending melodic line ( ■> IJ •J'J IP I ). The same rhythmic pattern is featured in the melodic line of the B section, with an ascending scalar pattern. Both parts contain finger crossings and intervals no larger than a sixth. Frequent half step movement and occasional thirds appear in the left-hand accompaniment. "Farewell" is more difficult than the first three of this set, but it would be an excellent piece for reinforcing scale patterns. 157

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Horse and Rider," 1971 Opus 98, No.5 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I—II> Children's Book. Onus 98

SUMMARY OF COMPOSITION

Tempo Allegro Key G major Meter 6/8 Length 28 measures Form Unipartite (A tr A') Classification Miniature

ANNOTATION SUMMARY

The rhythm of a galloping horse is depicted through thirds, root-position chords which alternate between hands, and staccato scalar passages. The ascending chromatic thirds in the transition suggest that the horse and rider are far away from home. The transition contains four measures of extended dominant harmony before the final A' section. Careful counting and quick changes of hand positions are required. This piece should appeal especially to younger students. 150

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"In a Woodland Glade," 1971 Opus 98, No.6 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11> Children's Book. Odus 90

SUMMARY OF COMPOSITION

Tempo Allegro Key F major Meter 4/4 Length 26 measures Form Rounded binary (A B A'Codetta) Classification Miniature

ANNOTATION SUMMARY

This lively piece features dotted-quarter eighth rhythms and staccato passages for the right hand. The left hand often plays thirds or three-note chords. The B section contains an interesting passage of alternating broken thirds and fourths for the right-hand part while the left hand plays syncopated chords. There are several changes of position but no large intervals. 159

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Discontent, " 1971 Opus 98, No. 7 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co., Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Children's Book, Odus 98

SUMMARY OF COMPOSITION

Tempo Andantino Key C minor Meter 4/4 Length 31 measures Form Rondo (ABA 'BA') Classification Miniature

ANNOTATION SUMMARY

The feeling of discontent is portrayed through the accompaniment of minor thirds for the right-hand part and broken seconds and thirds in the left-hand melodic line. The frequent use of an E-flat augmented chord adds to the distress. In the B section the right-hand part contains minor and major seconds and thirds, and an ascending chromatic passage. Although there are no difficult rhythms, frequent added accidentals combined with changing hand positions may challenge the beginner. 160

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"A Tiresome Tale, " 1971 Opus 98, No. 8 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11> Children's Book. Od u s 98

SUMMARY OF COMPOSITION

Tempo Moderato Key C major Meter 4/4 Length 16 measures Form Incomplete ternary (A B A' ) Classification Miniature

ANNOTATION SUMMARY

The A section contains an ascending four-note sequence. The B section features repetitions of four-note groups with accents on the first note of each group, suggesting a boring story. The final A' continues the pattern of accents. The left hand supplies an accompaniment of broken intervals in the middle register. Easy eighth-note rhythms (ijj) 4 > and parallel construction should aid in quick learning. 161

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Lullaby, " 1971 Opus 98, No. 9 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co., Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Children's Book, Oous 90

SUMMARY OF COMPOSITION

Tempo Lento Key B minor Meter 4/4 Length 20 measures Form Ternary (A B A' ) Classification Lullaby

ANNOTATION SUMMARY

Sustained pedal tones appear above or below accompaniment figures and the melodic line, requiring stretching in both parts to accommodate the legato phrasing. The sustained notes create a soothing background for the melodic line. There are several changes of hand position and several intervals of a seventh. Rhythmic variation is used within each section. 162

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Dance," 1971 Opus 98, No. 10 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lover Elementary (I-II) Children's Book. Opus 98

SUMMARY OF COMPOSITION

Tempo Allegretto Key C major Meter 4/4 Length 26 measures Form Rondo (ABA B A) Classification Dance

ANNOTATION SUMMARY

This lively dance features six-note positions and eighth- and quarter-note rhythms( fTTf [7} ). The A and B sections are repeated, except the final A adds the expression "rallentando." The short phrases of the A section contrast with the longer phrases of the B section. Quick changes of hand position and finger crossings require finger dexterity and may challenge the beginner. 163

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Terrible Tale," 1971 Opus 96, No. 11 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Children's Book. Oous 98

SUMMARY OF COMPOSITION

Tempo Moderato Key C minor Meter 4/4 Length 20 measures Form Rondo (ABA 'B'A") Classification Miniature

ANNOTATION SUMMARY

The terror of the tale is conveyed through the use of the middle and low registers, right-hand second-inversion diminished chords, and descending chromatic thirds. The left-hand part contains a single line of pulsating quarters and eighths ( J~iI J J Jilt >. Sudden changes in dynamic levels and tempo changes require careful control. 164

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Etude," 1971 Opus 98, No.12 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Children's Book. Od u s 98

SUMMARY OF COMPOSITION

Tempo Allegro Key E major Meter 4/4 Length 12 measures Form Ternary (1:A : 1 : B A ' : 1 ) Classification Etude

ANNOTATIOH SUMMARY

A single line of eighth notes is divided between the hands with the right hand playing root position E major chords and descending harmonic thirds while the left-hand accompaniment plays single notes. The right hand is required to change positions frequently while the left hand remains stationary. The direction at the beginning is "clear, precise." 165

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Festive Dance," 1971 Opus 98, No. 13 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Children's Book. Opus 98

SUMMARY OF COMPOSITION

Tempo Tempo di mazurka Key D major Meter 3/4 Length 40 measures Form Rondo (A B A B A) Classification Mazurka

ANNOTATION SUMMARY

The thicker texture of the A section is created for the right hand by sustaining a note while another note is played above. The left-hand accompaniment contains single notes and two-note chords, but the phrases in A are short. The contrasting B section features longer phrases and a legato single-note melodic line for the right hand part while the left-hand accompaniment features broken staccato chords. Dotted-eighth sixteenth rhythms are included. The second beat is emphasized through longer note values ( J JIJ cJI/?r p ) and ), which is typical of many Gretchaninoff mazurkas(see Opus 196, No.2). 166

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"A Lingering Song," 1971 Opus 96, No. 14 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Children's Book. Od u s 98

SUMMARY OF COMPOSITION

Tempo Moderato assai Key C major Meter 4/4 Length 17 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

In the A section the right-hand part contains alternating long and short slurs requiring changes of hand position. The left-hand accompaniment features syncopated staccato thirds and two-note slurs. The contrasting B section features two-note slurs for the right-hand part, requiring the student to lift and change positions while the left hand provides a broken accompaniment. Parallel construction is used throughout. 167

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Waltz," 1971 Opus 98, No.15 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Music Co. , Inc. Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Children's Book. Od u s 98

SUMMARY OF COMPOSITION

Tempo Tempo di val se Key F major Meter 3/4 Length 52 measures Form Ternary (A 1 :B A:1) Classification Waltz

ANNOTATION SUMMARY

This piece is also known as "The Little Would-be Man" or "The Little Would-be Hero." It is available through Schott as a piano duet arranged by Gretchanlnoff. The left hand plays a waltz bass accompaniment involving some big leaps, seventh chords, and sustained tones. The right- hand melodic line requires legato phrasing and changes of position. 168

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

" Im Grilnen, " 1954 Opus 99, No. 1 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's Sdhne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Im Grtinen. Odus 99

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C major Meter 2/2 Length 22 measures Form Ternary (A B A Extension) Classification Miniature

ANHOTATIOH SUMMARY

The first two measures contain leaps in the left-hand part from the low to the middle register. The right hand plays easy eighth- and quarter-note rhythms. The B section contains a scalar passage in the right-hand part and imitation between the hands. The return of the A section is like the first A section but contains a two- measure extension of V7-I harmonies. 169

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Lied der Mutter," 1954 Opus 99, No.2 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SiShne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Im Grtlnen, Opus 99

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A Dorian <1-sharp) Meter 3/4 Length 16 measures Form Rounded binary (A 1:B A':1) Classification Song

ANNOTATION SUMMARY

In the eight-measure A section each hand covers a span of six keys. Contrary motion and harmonic thirds are played by both hands. The contrasting B section involves parallel motion between the hands in fourths and sixths apart. Both hands must sustain notes requiring the hands to stretch for a short time to create a legato connection. The final A' section contains the last two measures of the original A section. 170

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Ballade," 1954 Opus 99, No.3 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

UDDer Elementary (III-IV) Im Grilnen. O d u s 9 9

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key D major Meter 3 / 4 Length 72 measures Form Sectional (A A1 bridge A2 Coda) Classification Ballade

ANNOTATION SUMMARY

This rhythmical "Ballade" contains dotted rhythms and many first- and second-inversion triads in the right-hand part. The left hand often plays a repeated-note accompaniment which becomes octaves in A1 and fifths in A2. A legato connection and projection of the top notes of the right-hand part is required to allow the melody to be heard. Five measures of legato octaves in both parts are found in the bridge. 171

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Im Walde verirrt," 1954 Opus 99, No.4 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SOhne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Im GrQnen. Od u s 99

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D minor Meter S/S Length 26 measures Form Ternary (Intro ABA') Classification Miniature

ANNOTATION SUMMARY

The confusion of being "Lost in the Woods" is portrayed through the use of rising and falling seconds. The opening A section begins with a "p" dynamic marking. The B section opens with "pp” and an ascending scale passage which is later repeated, then followed by sudden "f" and "ff" dynamics and the words "A-ou!" (wolf calls). The returning A section begins with a "pp" marking, ending with "ff" and the words "A-ou! A-ou!." "He is Lost," Opus 143, No.7, also features use of seconds and "A-ou! A-ou!" at the end of the piece. 172

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Auf dem Spaziergang, " 1954 Opus 99, No. 5 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SOhne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Im Grdnen, Opus 99

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A major Meter 2/2 Length 32 measures Form Rounded binary (A 1sB A':1) Classification Miniature

ANNOTATION SUMMARY

The smooth "walking" stride is imitated through the use of legato melodic lines in the right-hand part and ascending scalar passages in the left-hand part. The B section has thicker texture requiring the right hand to play both the melodic line and accompaniment while the left hand plays half-note octaves and B pedal tones. 173

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"An einem Frilhlingsmorgen, " 1954 Opus 99, No.6 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Im Grtinen. Od u s 99

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato; giocoso Key F major Meter 2/4 Length 40 measures Form Rondo (ABABA) Classification Miniature

ANNOTATION SUMMARY

This lively chordal piece requires quick changes of hand positions. The two- and three-note chords require coordination and careful pedalling. On the surface, the piece appears to be easy to read, but technical skills are required. 174

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"ErzShlung, " 1954 Opus 99, No.7 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Im Grtinen. O d u s 9 9

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key C major Meter 2 / 4 Length 41 measures Form Unipartite (A Inter A' poBtlude) Classification Miniature

ANNOTATION SUMMARY

"Tale" requires imitation between the hands, and single voices in each part create a thin texture. The bridge contains chords and octaves which are repeated before the A' section. The final six measures contain octave passages and chords. 175

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Auf dem Lande, " 1954 Opus 99, No. 8 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SOhne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Im Grtinen. Opus 99

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key G major Meter 2/4 Length 40 measures Form Rondo (ABABA) Classification Miniature

ANNOTATION SUMMARY

The right-hand part contains three-note chords and sixths. The left-hand part is often syncopated in the A sections and contains an ascending secondary melody in the B sections. The right hand changes positions most often and is required to project the top notes of chords as the melodic line. 176

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"In den Bergen," 1954 Opus 99, No.9 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's S8hne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA . SONATINA

Lower Elementary (I-II) Im Grilnen. Od u s 99

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D major Meter 4/4 Length 32 measures Form Unipartite (Pre A Inter A' Post) Classification Fanfare

ANNOTATION SUMMARY

"In the Mountains" begins with the marking "alia tromba.■ Trumpet calls are imitated using dotted rhythms ( JiJ. J' f " I' ) and fifths. The left-hand accompaniment is predominantly tied whole-note fifths. The right hand plays thirds, fourths, fifths, and sixths often within a seven-note position. The postlude quotes the prelude and adds two extra measures. Stretching is required between fingers, making the piece inappropriate for small hands. 177

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Serenade," 1954 Opus 99, No. 10 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's Stthne J. Kilp

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Im Grtinen. Od u s 99

CHARACTERISTICS OF COMPOSITION

T empo Allegretto grazioso Key G major Meter 3/4 Length 34 measures Form Rounded binary (Intro A 1 :B A' : 1 ) Classification Waltz

ANNOTATION SUMMARY

"Serenade" begins with a four-measure introduction, setting the mood for a lilting waltz. The left hand plays an accompaniment of ascending and descending quarter notes in the A sections while the right hand plays patterns of repeated eighth-note chords (ITTi J\ J-1 SJJl i \ JTTi J ). The left hand crosses over the right hand in the last eight measures of the A section. The B section continues a similar pattern in the key of E minor, but contains no hand crossings. The final A' follows returning on the subdominant chord of G major as opposed to the tonic as found in the original A section. 178

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE_____

"Morning Prayer," 1927 Opus 109, No. 1 PRINT STATUS

in-print

PUBLISHER______EDITOR______

Edward B. Marks

LIBRARY______LIBRARY CALL NUMBER

GRADE LEVEL______SUITE. SONATA. SONATINA

Upper Elementary (III-IV) A Child's Day. Opus 109

CHARACTERISTICS OF COMPOSITION

Tempo Andante Key C major Meter 4/4 Length 14 measures Form Phrase group Classification Miniature

ANNOTATION SUMMARY

The chordal texture of "Morning Prayer" is reminiscent of a hymn and dotted rhythms create a speech- quality. The chordal texture dictates careful pedalling, shaping of phrases, and frequent changes of hand position. 179

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"At Work, * 1927 Opus 109, No. 2 PRINT STATUS

in-print

PUBLISHER EDITOR

Edvard B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

UDDer Elementary

CHARACTERISTICS OF COMPOSITION

T empo Moderato Key C major Meter 6 /S Length 36 measures Form Rounded binary (A B A 'Coda) Classification Miniature

ANNOTATION SUMMARY

The right-hand part contains changing fingering, short slurs, and stretches of thirds and fourths between the fifth, fourth, and second fingers, requiring advanced finger dexterity. The right-hand melodic line features eighth notes while the left-hand accompaniment contains quarter- and eighth-notes ( rpTt I fpT'fe I ft f t\ f I t~f? ) changing briefly to chords within the B section and the coda. iso

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"My Little Horse," 1927 Opus 109, No. 3 PRINT STATUS

in-print

PUBLISHER EDITOR

Edward B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) A Child's Day, Opus 109

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato e giocoso Key G major Meter 4/4 Length 22 measures Form Incomplete Ternary (A B A') Classification Miniature

ANNOTATION SUMMARY

Sounds suggesting a walking horse are portrayed through the use of the middle and high registers, eighth notes for the right hand, and staccato touch for the left hand. Repeated notes and small intervals are present in both sections. 181

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"The Broken Toy, " 1927 Opus 109, No. 4 PRINT STATUS

in-print

PUBLISHER EDITOR

Edward B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) A Child's Day, Opus 109

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key G minor Meter 4/4 Length 20 measures Form Rounded binary (A B A') Classification Miniature

ANNOTATION SUMMARY

The A sections feature two-note slurs, syncopated eighth notes( */ ), and harmonic fourths and sixths. The B section contains dotted rhythms(f/)• > and use of sevenths. Changing hand positions appear in both sections. 102

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Father and Mother," 1927 Opus 109, No.5 PRINT STATUS

in-print

PUBLISHER EDITOR

Edward B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) A Child's Day. Opus 109

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E major Meter 2/4 Length 26 measures Form Ternary (Intro A 1:B Intro A: 1 ) Classification Miniature

ANNOTATION SUMMARY

A measure of introduction precedes the A section. The right hand is required to sustain every other sixteenth note creating the melodic line(representing the mother) while the left hand supplies an accompaniment of quarter- and eighth-notes. In the B section, the left hand supplies the melodic line(representing the father) ( ) while the right hand supplies an accompaniment of sixteenth-notes. The final A section, preceded by an introductory measure, features the "mother" theme. Advanced technical skills are required for the right-hand part. "Dialogue," Opus 112, No.12, contains characteristics similar to this piece. 183

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"A Visit to Grandmother, " 1927 Opus 109, No. 6 PRINT STATUS

in-print

PUBLISHER EDITOR

Edward B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) A Child's Day, Opus 109

CHARACTERISTICS OF COMPOSITION

Tempo Allegro non troppo, grazioso Key A major Meter 3/8 Length 66 measures Form Ternary (A B A Coda) Classification Waltz

ANNOTATION SUMMARY

A single line of music is divided between the hands, supplying the right hand most often with two beats per measure while the left hand plays one. The texture of mostly two-note chords is played in the middle and high registers lending a bouyant quality. The hands often intertwine, requiring quick movements to prevent entanglement. "Etude," Opus 98, No.12, is written with a similar texture. 184

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Grandmother's Waltz," 1927 Opus 109, No. 7 PRINT STATUS

in-print

PUBLISHER EDITOR

Edward B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) A Child's Day. Od u s 109

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E-flat major Meter 3/4 Length 56 measures Form Rondo (ABA C A B ' A ) Classification Waltz

ANNOTATION SUMMARY

The repeated-note motive, present in all sections, requires changing fingering. The left hand supplies a chordal accompaniment throughout all sections. Grace notes embellish several repeated-note ideas in the A section while the B sections are defined by the scalar patterns played by the right hand. The C section moves briefly into C minor featuring a modified scalar pattern and grace notes for the right hand. 185

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"The Happy Return Home," 1927 Opus 109, No. Q PRINT STATUS

in-print

PUBLISHER EDITOR

Edward B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) A Child's Day. Opus 109

CHARACTERISTICS OF COMPOSITION

Tempo Con bravura Key C major Meter 2/4 Length 34 measures Form Ternary (A B A > Classification Miniature

ANNOTATION SUMMARY

In the A section the use of quarter-, eighth- and dotted rhythms projects a lively, bright character. The middle and upper registers are used throughout all sections. The B section, marked "Cantando-recitando," reflects a strong Russian flavor. The second period of the B section is contrasting with its syncopated accompaniment and waltz-like character. A quick scalar passage forms a transition into the final A section. 186

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Nurse's Fairy Tale," 1927 Opus 109, No.9 PRINT STATUS

in-print

PUBLISHER EDITOR

Edward B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) A Child's Day, Opus 109

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E minor Meter 4/8 Length 18 measures Form Rounded binary (A 1:B A ':1) Classification Miniature

ANNOTATION SUMMARY

In the A section the left-hand part, marked "sempre marcato," contains the melodic line while the right hand supplies an accompaniment of alternating Bixteenth-note thirds and fifths. In the B section the right-hand melodic line contains triplet f igures( tf'S fr(XU h u I i f i / i t l s>• The left-hand accompaniment contains ascending seconds and thirds and occasionally doubles the melodic line. 187

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Bed Time, * 1927 Opus 109, No. 10 PRINT STATUS

in-print

PUBLISHER EDITOR

Edward B. Marks

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) A Child's Day. Opus 109

CHARACTERISTICS OF COMPOSITION

Tempo Andante religioso Key F minor Meter 4/4 Length 63 measures Form Rondo (Intro A B A'B A'Codetta) Classification Berceuse

ANNOTATION SUMMARY

The two-part introduction begins with a modified quote of "Morning Prayer, * followed by the key signature change to F minor, and a three-measure transition, marked "Lento, quasi berceuse." In the A section the right-hand part contains both melodic line and accompaniment figures. Syncopations appear throughout in both parts. The contrasting B section, based on the subdominant, is more active containing mostly eighth- and ornamental thirty- second notes. The final measures of the codetta end on an F major chord. 188

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Movement I : 1978 Allegretto, Opus 110, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State Universtiy M22 G82 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Sonatina. O d u s 110. No.1

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key G major Meter 3/4 Length 37 measures Form Ternary (A 1: B A ' : 1 ) Classification NA

ANNOTATION SUMMARY

The Spanish style of this movement is created through the use of embellished seventh chords, changing meters, and repetitions. Setting the mood and creating appropriate nuances require a light touch and synchronized pedalling. The performer must voice the top notes of chords and articulate grace notes in combination with chords which occur in the right-hand part while skillfully voicing the left hand's grace-note accompaniment. Extreme changes of register appear in the B section. The final A' section omits four measures of repetition which appeared in the original A section. 109

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Movement II: 1978 Largo, Opus 110, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State Universtiy M22 G82 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Sonatina. Opus 110, No. 1

CHARACTERISTICS OF COMPOSITION

Tempo Largo Key E minor Meter 4/4 Length 20 measures Form Ternary (A B A ') Classification NA

ANNOTATION SUMMARY

The Spanish influence is reflected in this movement through the use of embellished seventh chords and repetitions. Grace notes appear in both left- and right- hand parts of the A section. In the opening three measures the left hand provides a guitar-like accompaniment on the notes E-B, then octave B's as the right hand plays a chordal texture from which the melodic line must be projected. The chordal pattern and melodic line of the bright B section are derived from the A section. The chordal idea appears in the right-hand part but the left hand plays a contrapuntal texture of sixteenth notes. The final A section contains an added two-measure ending. The chordal texture requires stretching of both hands to accommodate legato passages. 190

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Movement III: 1978 Allegro, Opus 110, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State Universtiy M22 G82 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI ) Sonatina. O d u s 110. No.1

CHARACTERISTICS OF COMPOSITION

T empo Allegro Key G major Meter 6/8 Length 100 measures F orm Sonatina (ET1 T2 RT1 T2'T1'Coda) Classification NA

ANNOTATION SUMMARY

The third movement appears in Sonatina form, with no development section. The first theme always appears in the original key, but the second theme appears first in B minor, then in E minor in the recapitulation. The coda is preceded by eight measures of the first theme in G major with modifications of harmony, followed by eight measures of extended harmonies. The right-hand part always contains the melodic line while the left-hand part often contains an accompaniment of broken intervals. The first theme features parallel fifths, sixths, and fourths in the melodic line. The second theme contains parallel thirds in the melodic line and two transposed measures from the first theme. Technical requirements include large stretches, rapid speed, and quick movements. 191

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Movement I: 1978 Allegro giocoso. Opus 110, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M22 G82 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Sonatina. Opus 110, No.2

CHARACTERISTICS OF COMPOSITION

Tempo Allegro giocoso Key F major Meter 2/4 Length 105 measures Form Sonatina (ET1 T2 C RT1 T2'C'Coda> Classification NA

ANNOTATION SUMMARY

The first theme is written in a neoclassical style, similar to Gretchaninoff's miniatures. Triplet figures and contrasting staccato_and legato touches create a light rhythmical character (&D $ L-M Q jQljS'lflt} f ). The lyrical second theme, ( J£\) /TlCj/ c/Ttl >, written in the Romantic style, first appears in C major as does the closing theme (C) which grows out of the second theme. All themes appear in the upper and middle registers. In the recapitulation, the first theme is repeated in the original key, but the transistion modulates, arriving in F major with the second theme. The closing theme appears in F major. The coda first appears in G-flat (F-sharp enharmonic) then changes to F major in the last three measures. 192

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

Movement 11: 1978 Moderato e grazioso. Opus 110, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M22 G82 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Sonatina. Opus 110, No.2

CHARACTERISTICS OF COMPOSITION

Tempo Moderato e grazioso Key D major Meter 3/4 Length 106 measures Form Compound Ternary (A I :B A : ICI :D C;IA B A I ) Classification Minuet and trio

ANNOTATION SUMMARY

The striking use of seconds, thirds, and grace notes in the A section creates a bright quality reminiscent of harmonies produced by a bell choir. Scalar passages and broken figurations alternate between parts creating the melodic line of the B section. In the Trio, the left hand performs the melodic line in the middle register while the right hand plays a staccato chordal accompaniment in the high register, reminiscent of the bell choir. The contrasting D section begins with the melodic line in both parts, then the melody transfers to the right hand with the left hand supplying a stepwise accompaniment. Articulation of the grace notes in the A section and projection of the melodic line in the C section may challenge students. 193

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE_____

Movement III: 1978 Allegro, Opus 110, No.2 PRINT STATUS

out-of-print

PUBLISHER______EDITOR______

Moscow Publishing House

LIBRARY______LIBRARY CALL NUMBER

The Ohio State University M22 G82 Music Library GRADE LEVEL______SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Sonatina. Opus 110, No.2

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key D minor Meter 2/4 Length 83 measures Form Fugue(Exp Epi CExp Epi Coda) Classification NA

ANNOTATION SUMMARY

This selection is the only example of fugue found in Gretchaninoff's piano works. The right hand presents the six-measure subject and hints that 20th Century tonality may follow when broken diminished fourths appear in the third measure. The real answer, a fifth below, appears with diminished fourths and is followed by an episode of fragmentation. The episode contains chromatic scalar passages which appear in the later episode and also in the coda. The counter exposition presents the same subject with a thin accompaniment. The answer is presented one measure late, beginning as the original answer, but becomes tonal when it modulates in the fourth measure. The following episode is similar to that following the exposition. Intricate fingerings are required. 194

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Morgens," 1 9 2 7 Opus 1 1 2 , No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1 3 8 0 . G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary

CHARACTERISTICS OF COMPOSITION

Tempo Quasi improvisazione. Key c major Meter 4 / 4 Length 14 measures Form Through-composed Classification Miniature

ANNOTATION SUMMARY

"Early Morning" is in the style of Chopin with a broken chord texture for the right hand and a thin left- hand accompaniment played in the lover register. The melodic line is incorporated at the beginning of each triplet group, requiring the student to project the melody with the fourth and fifth fingers. Hand positions change with each triplet grouping, requiring advanced skills. 195

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Scherzino, " 1927 Opus 112, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wixhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Baaatelles. O d u s 112

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato. Key A minor Meter 3/8 Length 32 measures Form Rounded binary (A l:B A':l) Classification Miniature

ANNOTATION SUMMARY

The melodic line of the A section is comprised of repeated notes and broken thirds played by the right hand while the an accompaniment of harmonic thirds is played by the left hand on the first beat of each measure. The B section contains grace notes, repeated notes, and descending seconds played by the right hand while the accompaniment consists of thirds. Good reading skills are required due to frequent changes of hand positions. 196

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Anmutiger Tanz, " 1927 Opus 112, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Bagatelles. Opus 112

CHARACTERISTICS OF COMPOSITION

T empo Allegro moderato. Key G major Meter 2/4 Length 30 measures F orm Ternary (I:A;I B A'I) Classification Dance

ANNOTATION SUMMARY

"A Graceful Dance" is a right-hand study of parallel thirds and fourths. The right-hand part begins in the high register while the left-hand accompaniment is located in the middle register, giving the piece a light delicate quality. In the contrasting B section both parts begin higher than before with the left-hand accompaniment containing scalar figurations. 197

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Klage," 1927 Opus 112, No. 4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Bagatelles. Opus 112

CHARACTERISTICS OF COMPOSITION

T empo Moderato Key G minor Meter 4/4 Length 16 measures Form Ternary (A I :B A * ; I > Classification Lament

ANNOTATION SUMMARY

"Lament" mirrors the texture of "Early Morning," but the right-hand thumb plays the melodic line in the A sections as the triplet figurations ascend. In the B section the figurations descend requiring the fourth and fifth fingers to project the melodic line. "Lament" also contains more repetition and smaller stretches for the right hand. The left-hand accompaniment is written an octave higher than the first selection. Although this piece is technically easier than "Early Morning,” it contains frequent changes of hand position. 198

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Bauerntanz, " 1927 Opus 112, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Baaatelles. Onus 112

CHARACTERISTICS OF COMPOSITION

Tempo Grazioso Key F major Meter 2/4 Length 16 measures Form Rounded binary (A 1 :B A' : 1 ) Classification Dance

ANNOTATION SUMMARY

The lively character of "Village Dance" is created with two-note slurs played at a rapid speed requiring careful articulation. The hands play closely together, often overlapping. The right hand plays both accompaniment and melodic line in the A section while the left-hand accompaniment consists of sixteenth- and eighth- note broken thirds and fifths. The B section features a chordal right-hand part and contrasting touches of staccato and two-note slurs played by the left hand. 199

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Erinnerungen," 1927 Opus 112, No. S PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Baaatelles. Opus 112

CHARACTERISTICS OF COMPOSITION

Tempo Moderato e ben cantando Key F minor Meter 6/8 Length 20 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

"In Token* features an accompaniment of broken chords, played by the left hand, and melodic line combined with accompaniment figures played by the right hand, requiring careful legato connection and balance between the hands. The hand positions are often close together. 200

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Aufschvung," 1927 Opus 112, No.7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Baaatelles. Odus 112

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key F major Meter 3/4 Length 18 measures Form Ternary (A B A') Classification Miniature

ANNOTATION SUMMARY

"Impulse" is a right-hand study of mostly broken fourths, fifths and sixths. The student must carefully execute the right-hand part, sustaining every other sixteenth note to form the melodic 1 ine ( [7} r ^ • A study of broken inverted chords and arpeggios is suggested as preparation. 201

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Der Schmerz, " 1927 Opus 112, No. 8 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Baaatelles. O d u s 112

CHARACTERISTICS OF COMPOSITION

Tempo Moderato; un poco tempo rubato Key C minor Meter 4/4 Length 19 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

"Grief" is written in the Romantic style reminiscent of German lieder. The right-hand part is mostly chordal in the A section while the left hand plays a thin accompanying line. The B section contains ascending alternating repeated-note and- chord passages which require careful fingering. Similar passages are played in the right-hand part without chords. 202

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Faunentanz," 1927 Opus 112, No.9 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Baaatelles. Odus 112

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key B-flat minor Meter 2/4 Length 20 measures Form Rounded binary (A 1:B A':1) Classification Dance

ANNOTATION SUMMARY

"Dance of the Fauns" is a study of contrasting touches beginning with two measures of octaves and chords, performed in the lower and middle registers, marked "poco pesante.” The following two measures marked "piCi grazioso," are played in the middle and high registers, with the right hand playing expanding staccato intervals, while the left hand supplies a chordal accompaniment. The pattern of two thick-textured measures followed by two light-textured measures is repeated throughout. 203

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Tauermarsch, " 1 9 2 7 Opus 1 1 2 , No. 1 0 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1 3 8 0 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Baaatelles. Od u s 1 1 2

CHARACTERISTICS OF COMPOSITION

Tempo Quasi lento Key G-sharp minor Meter 2/4 Length 5 2 measures Form Cmo Ternary (A 1:B A':l C l:D C'slA B A'l) Classification March

ANNOTATION SUMMARY

"March of the Dead" contains dotted rhythms ( i J1 J-i JTj J IJ n \ fl J ) in both A and B sections. The A section begins ”p” in the middle and lower registers, contrasting with the ”ff" marking and higher registers of the B section. The bright character is created in the C section through the change of key signature to A-flat major, a texture of solid and broken chords, and a less active rhythmic pattern. Section D exhibits an active left-hand part with sixteenth notes, six per beat, and an eighth-note melodic line, marked "pp, " played by the right hand. This builds up to an ”ff” climax with full chords then returns quietly with the A followed by a repetition of the original B and A' sections, eventually ending quietly. 204

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"NachklMnge," 1 9 2 7 Opus 1 1 2 , No. 11 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1 3 8 0 . G

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Baaatelles. Od u s 1 1 2

CHARACTERISTICS OF COMPOSITION

Tempo Molto cantando Key D-flat major Meter 3 / 4 Length 2 0 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

"Reminiscences” is written in the style of Chopin. In section A the right hand plays the melodic line and an accompaniment of triplet figures while the left hand supplies a single-note accompaniment. The left hand plays the melodic line in the B section in the middle register while the right hand continues with a triplet accompaniment. Twos against threes and large stretches found in this piece will prepare students for more complex pieces. 205

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Zwiegesprflch," 1927 Opus 112, No.12 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Baaatelles. O d u s 112

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A major Meter 2/4 Length 24 measures Form Ternary (A 1:B A:1> Classification Miniature

ANNOTATION SUMMARY

In "Dialogue”, the A sections present the melodic line in the left-hand part while the right hand plays an accompaniment of broken chords(^^ M j f H & ). In the B section the right hand plays the primary melodic line, which is connected, and accompaniment figures, which must be released, while the left hand plays a secondary melody. 206

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Abschied, " 1927 Opus 112, No. 13 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) BaaatelleB. O d u s 112

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C-sharp minor Meter 3/8 Length 24 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

This right-hand study of expanding and contracting intervals, presents intervals as small as a second and no greater than an octave. Continuous sixteenth notes are played by the right hand with variety created through the use of various lengths of slurs. The left hand supplies an accompaniment of mostly two- and three-note chords which are sustained into the third beat ( 207

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Traumgesicht," 1927 Opus 112, No. 14 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Baaatelles. O d u s 112

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A major Meter 3/4 Length 21 measures Form Rounded binary (ABA') Classification Reverie

ANNOTATION SUMMARY

This triad study implies the sound of trumpet calls. A single line of music is divided between the hands as in Opus 123, No.5 and No.3, however, "A Dream Vision" is based mostly on root-position chords, with the hands often intertwining. Quick changes of hand position are dictated with dotted rhythms ( J | j 1 J. j’|J j J. ), etc. 208

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Frohe Abreiae," 1927 Opus 112, No.15 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Wilhelm Zimmermann

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Baaatelles. O d u b 112

CHARACTERISTICS OF COMPOSITION

Tempo Allegro vivo Key C major Meter 5/8 Length 74 measures Form Two-part (A B A'A B'Coda) Classification Miniature

ANNOTATION SUMMARY

"Merry Departure" is an appropriate conclusion to this set of pieces, appealing to the player and audience through its lively tempo and striking 5/8 time signature. This study requires vigorous use of the right-hand third, fourth, and fifth fingers. Contrasting dynamics and leaps for the left hand combine with rapid speed, requiring advanced skills. The accompaniment contains octaves and three-note chords, with clusters included in the A sections. The right-hand melodic line is based on five- finger positions which occasionally extend an octave or sixth. The strong rhythmic drive should appeal to teenagers or adults. 209

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"In aller FrOhe," none Opus 115, No. 1 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's Stthne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) FlUchtiae Gedanken. Oous 115

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key C major Meter 7/4 Length 10 measures Form Phrase group Classification Miniature

ANNOTATION SUMMARY

"Early Morn" Is based on a monothematlc Idea closely resembling the opening of Debussy's "Doctor Gradus ad Parnassum.” Speed and control is required of the right hand, which plays constant broken-chord figurations of sixteenth notes while the left hand accompanies with chords. The ending contains a return of the first two measures, resembling rounded binary form. 210

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Ein Tadel," none Opus 115, No.2 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SOhne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) FlUchtiae Gedanken. O d u s 115

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A minor Meter 2/4 Length 22 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANHOTATION SUMMARY

The rhythm of the left-hand melodic line remains unchanged, while the right hand supplies a constant accompaniment of sixteenth notesH ) which occasionally intertwines with the left-hand part. The style closely resembles Schumann's miniatures and requires advanced technical skills. 211

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Glttckliches none Zusammentreffen,” Opus 115, No. 3 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) FlUchtiae Gedanken. Odus 115

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto, sempre con liberta Key E major Meter 9/8 Length 21 measures Form Rounded binary (A B A') Classification Miniature

ANNOTATION SUMMARY

This black-key study contains constant eighth-note chords for the right hand requiring quick forearm movements. Both hands must move quickly between chord changes, requiring coordinating pedal with changing harmonies. This attractive piece shares the same jubilant nature as "Merry Departure," Opus 112. 212

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

MiftverstMndnis," none Opus 115, No. 4 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) FlUchtiae Gedanken. O d u s 115

CHARACTERISTICS OF COMPOSITION

Tempo Risoluto Key E minor Meter 6/fl Length 20 measures Form Incomplete Ternary (A B A') Classification Miniature

ANNOTATION SUMMARY

"Misunderstanding” requires frequent changes of hand position. Parallel motion is featured in the A section with the right hand playing mostly fourths while the left hand plays single eighth notes. The B section continues the rhythmic pattern in the right-hand part ( using fourths and seconds, while the left-hand accompaniment of sixths is played on the first and fourth beats. The final A' section contains the second phrase of the original A section with an added "ritard.” 213

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Instfindige Bitte,* none Opus 115, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Flflchtiae Gedanken. Opus 115

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E minor Meter 2/4 Length 14 measures Form Ternary (A B A ') Classification Miniature

ANNOTATION SUMMARY

The right-hand part contains constant sixteenth notes and two-note slurs throughout both sections with changes of hand position frequently occurring on repeated notes. In the A section the left-hand accompaniment contains mostly sustained quarter notes and eighths (Jcj J£jIJQ > while the accompaniment of the B section contains broken thirds with eighths appearing only on the off-beats >• This piece is not included in the current edition. 214

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Ein MSrchen, " none Opus 115, No. 6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) FlQchtiae Gedanken. Oous 115

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key G minor Meter 2/4 Length 43 measures Form Unipartite (A Inter A' Post) Classification Miniature

ANNOTATION SUMMARY

Eighth- and sixteenth-note rhythms dominate "Fairy Tale." Octaves and sustained pedal tones appear in both parts. The A section is comprised of two six-measure phrases, each containing a two-measure repetition. Pedal is required in the interlude, holding the dominant pedal tone in the lower register while both hands move into the high register. The V harmony of the eight-measure interlude occurs in the major mode in the first four measures, then in the minor mode in the final four measures, with no pedal tone. The final A' section contains modifications of texture. The postlude appears in the tonic key, beginning in G minor, then ending the last four measures in G major with an added three-measure unit ending in G minor. 215

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Menuett," none Opus 115, No.7 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SHhne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Fltlchtlae Gedanken. Opus 115

CHARACTERISTICS OF COMPOSITION

Tempo Tempo di Menuetto Key B-flat major Meter 3/4 Length 18 measures Form Rounded binary (A I:B A';1) Classification Minuet

ANNOTATION SUMMARY

In the A section the legato melodic line of triplet f igures(fi7 A ) rf f J | ! ^ 1 J > and sustained tones creates a calming quality, while the left hand supplies a quasi- alberti bass accompaniment of duplet eighths. The rhythmic pattern of the B section changes, supplying the left-hand part with sustained tones and chords, while the right-hand melodic line features more triplet figures. The final A' section consists of the first phrase of the original A section. The current edition includes "Menuett" in B major, instead of B-flat major, probably because the transition is smoother from E minor("MiflverstMndis") to B major("Menuett") to E-flat minor("Appell"), with the two previous pieces missing. 216

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Appell,* none Opus 115, No. 8 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's Stthne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) FlUchtiae Gedanken. Odus 115

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E-flat minor Meter 2/4 Length 20 measures Form Rounded binary (A B A') Classification Miniature

ANNOTATION SUMMARY

The A section, marked "risoluto," begins with a chordal texture, *ff" dynamics, and features double-dotted rhythms ( I J • £ 1 J J j | J.- £ ). The B section is written in the relative major, G-flat, with dotted eighth notes(/T73 1J.1 J/JI j.-jJf2 ) in the melodic line. The return of the A' section, marked "p," requires octave leaps for the left-hand part while the right-hand part remains almost unchanged. 217

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"In Erwartung, " none Opus 115, No. 9 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) FlUchtiae Gedanken. O d u s 115

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key A-flat major Meter 6/8 Length 18 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

The performer is required to project the melodic line occurring first in the left-hand part, then as imitation for the right-hand part, causing the two to overlap. In addition, the right hand supplies a syncopated chordal accompaniment while sustaining the melodic line. The texture and rhythmic pattern remain nearly unchanged in the B section. 2ia

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"NachklMnge, " none Opus 1 1 5 , No. 1 0 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Fltlchtiae Gedanken. Od u s 1 1 5

CHARACTERISTICS OF COMPOSITION

Tempo Con moto Key B-flat minor Meter 2/4 Length 20 measures Form Rounded binary (A B A') Classification Miniature

ANNOTATION SUMMARY

"Reminiscences" and "Ein Tadel," Opus 115, contain the snme rhythm patterns and similar textures. The melodic line occurs in the left-hand part while the right hand supplies the accompaniment on the off-beats

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Wie eine Volksweise," none Opus 115, No. 11 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Fltlchtiae Gedanken. O d u s 115

CHARACTERISTICS OF COMPOSITION

Tempo Allegro, ma non troppo Key C major Meter 2/4 Length 32 measures Form Ternary (A B A) Classification Folktune

ANNOTATION SUMMARY

The chordal texture of "Folktune" requires the performer to play three- and four-note chords, with frequently changing hand positions. The left hand performs abbreviated arpeggiated figures in the A sections and syncopated octaves in the B section. This piece is not appropriate for small hands; knowledge of chords and inversions is suggested before beginning this piece. 220

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"NSchtilicher Vorfall," none Opus 115, No.12 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) FlOchtiae Gedanken. Opus 115

CHARACTERISTICS OF COMPOSITION

Tempo Quasi Recitativo. Key D minor Meter 3 / 8 Length 71 measures Form Recitative ( A B A'B'A"B"> Classification Nocturne

ANNOTATION SUMMARY

Sections of recitative played by the right hand alternate with dramatic chordal sections. The first is marked "Velocement, un poco dramatico." Chordal sections B and B'' begin "pp" and build up to "ff" dynamic levels. The intervening B' section, marked "Moderato, pensieroso," is only four measures in length. Rapid speed and contrasting moods may challenge the advanced beginner. 221

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Gefaflter Entschluft," none Opus 115, No.13 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Fltlchtiae Gedanken. O d u s 115

CHARACTERISTICS OF COMPOSITION

Tempo Andantino, marziale Key D major Meter 2/4 Length 30 measures Form Sectional (A A1 A2) Classification Miniature

ANNOTATION SUMMARY

All A sections begin with the left hand supplying the melodic line in the lower register while the right hand plays a rolled-chord accompaniment. The first A section contains 12 measures, extended by 4 measures of repetition. A1 and A2 each contain a modified version of the first phrase of the original A section, followed by the development of a single idea. A2 contains two extra measures of extended harmony. Changing hand positions, three- and four-note chords, and repetitions make this piece appropriate for sightreading. 222

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Unruhe," none Opus 115, No. 14 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SHhne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) FlQchtiae Gedanken. Odus 115

CHARACTERISTICS OF COMPOSITION

Tempo Con passione Key B minor Meter 4/4 Length 22 measures Form Rounded binary (A B A') Classification Miniature

ANNOTATION SUMMARY

A feeling of unrest is created through the use of triplet eighth notes for the right hand and the use of chromaticism. The left-hand part begins with a pattern of octaves descending chromatically, then changes to a thin broken-chord texture. Dynamic levels increase and decrease throughout the A section while the B section gradually builds up to an "f" dynamic level. The final A' section is based on the first phrase of the A section. 223

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Gestdndnis," none Opus 115, No. 15 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Miami University Music M25 .G724 F6x

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) FlUchtiae Gedanken. O d u s 115

CHARACTERISTICS OF COMPOSITION

Tempo Recitando Key B major Meter 3/4 Length 13 measures Form Sectional (A A1 Codetta) Classification Recitative

ANNOTATION SUMMARY

The recitative style of "Acknowledgement," marked "espressivo, " is enhanced through the use of thirty second notes and dotted rhythms. The expressive nature and serious quality are unusual elements for the final piece, for Gretchaninoff's final pieces usually contain closures with lively rhythms and accents. Difficult rhythms and added accidentals, including double sharps, make this an excellent reading study, but large stretches requiring rolled chords make it inappropriate for small hands. 224

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Prelude," 1978 Opus 116, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M22 G82

GRADE LEVEL SUITE. SONATA . SONATINA

Lower Advanced (VII-VIII) Three Pieces. Opus 116

CHARACTERISTICS OF COMPOSITION

Tempo Adagio molto Key B minor Meter 2/4 Length 18 measures Form Rounded binary (A B A') Classification Prelude

ANNOTATION SUMMARY

"Prelude" Is a dramatic chordal study requiring mature expressive abilities. It contains chromaticism, twos against threes, requires the hands to stretch an octave, and the performer must have the capacity to create heavy, thick sounds. This set seems closely related to Opus 78, composed 10 years earlier, but Opus 116 is written in a more modern, abstract style, requiring advanced expressive abilities. 225

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Meditation," 1978 Opus 116, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M22 G82

GRADE LEVEL SUITE. SONATA . SONATINA

Lower Advanced (VII-VIII) Three Pieces. Opus 116

CHARACTERISTICS OF COMPOSITION

Tempo Lento Key E minor Meter 12/16 Length 17 measures Form Through-composed (A Dev A' ) Classification Meditation

ANNOTATION SUMMARY

"Meditation” resembles Hindemith's music with its thin-textured parts, complex rhythms, and several meter changes. Chromaticism in the A sections contrasts with Impressionistic harmonies in the development section. Mature expressive abilities are required. 226

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

■Mazurka, " 1978 Opus 116, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M22 G82

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate(V-VI> Three Pieces. Opus 116

CHARACTERISTICS OF COMPOSITION

Tempo Sempre un poco tempo rubato Key D-flat major Meter 3/4 Length 125 measures Form Rondo (A B A'C A B A') Classification Mazurka

ANNOTATION SUMMARY

"Mazurka" is written in the Romantic style with a Russian flavor. The melodic line of the A section contains eighth- and dotted-rhythms and the left hand supplies a thin chordal accompaniment containing several leaps of a tenth. The B section features contrary motion and chromaticism. Changes appear in the final measures of the A' sections. The C section, marked "Agitato,” is written in F minor. The right-hand melodic line contains accents and octaves; both parts contain parallel motion. When the C section repeats, octaves are relinquished, and the left-hand accompaniment changes to a chordal texture. "Mazurka” is more accessible than the first two pieces of Opus 116, yet it is more complicated and serious in mood than Gretchaninoff's typical mazurkas. 227

SUMMARY SHEET

COMPOS ITIOH______COPYRIGHT DATE

"Primavera, " 1930 Opus 118r No.1 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL______SUITE. SONATA. SONATINA

Lower Elementary (I-II) Historiettes. Od u s 11Q

CHARACTERISTICS OF COMPOSITION

Tempo Andante Key C major Meter 2 / 2 Length 2 4 measures Form Ternary (A 1 :B A:1 ) Classification Miniature

ANNOTATION SUMMARY

The A sections are characterized by sustained notes In the melodic line while the left-hand part Is comprised of a thin chordal accompaniment of half notes. The basic harmonies of the piece are I and V7 chords with no key change in the B section. 228

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Solitude, " 1930 Opus 118, No. 2 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL______SUITE. SONATA. SONATINA

Lover Elementary (I-II) Historiettes. Od u b 1 1 8

CHARACTERISTICS OF COMPOSITION

Tempo Moderato assai Key E minor Meter 2/4 Length 20 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

The dotted rhythms and sixteenth notes of the right- hand part ( & I I A ) are based on three 6-note hand positions. The left-hand accompaniment containing sixths resembles the melodic line of the left hand in Chopin's Prelude Op.28, No.15. The left-hand part presents intervals no larger than sevenths. 229

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Sur la Prairie Verte," 1930 Opus 118, No.3 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11) Historiettes. O d u s 118

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key A major Meter 4/4 Length 12 measures Form Ternary

AHNOTATION SUMMARY

The opening three-note motive is also found in "Sur la Prairie Verte," Opus 99, No.1. The left-hand accompaniment is comprised of three- and four-note chords in the A section, while the B section contains only two- note chords. Although there is no key change in the B section, both hands move to the middle and high registers and there are changes in the melody and rhythm. This is followed by a return to the A section. 230

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"L'Ombre, " 1930 Opus 118, No.4 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL______SUITE. SONATA. SOHATIHA

Lower Elementary (I-II) Historiettes, Opus 118

CHARACTERISTICS OF COMPOSITION

Tempo none Key D major Meter 3/4 Length 34 measures Form Ternary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

"L'Ombre" presents a descending scalar motive in the left-hand chordal accompaniment. The thin right-hand melody contains several dotted rhythms ) and thirteen measures of rests. The B section contains several expressive scalar passages played by the right hand. 231

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Refrain Joyeux, IV 1930 Opus 118, No.5 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA . SONATINA

Upper Elementary (III-IV) Historiettes. Opus 118

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key G major Meter 2/2 Length 24 measures Form Ternary (A 1 :B A: 1 ) Classification Miniature

ANNOTATION SUMMARY

The A section exhibits rolled chords and a repeated- note motive which enhance the lively character of this piece. The contrasting B section features staccato left- hand accompaniment and a repeated-note motive for the right hand. There are frequent changes in hand position and use of octaves. 232

SUMMARY SHEET

COMPOSITION______COPYRIGHT PATE

"Conte Terrible, ir 1930 Opus 118, No. 6 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA . SONATINA

Upper Elementary (III-IV) Historiettes. Opus 118

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C minor Meter 4/4 Length 20 measures Form Rounded binary (A l:B A':l ) Classification Miniature

ANNOTATION SUMMARY

The A section begins with both parts in the baBS clef at an "ff" dynamic level. The right hand playa a pattern of descending eighth notes alternating with a "C" pedal tone while the left hand plays half-note chords. Thicker texture in the B section is created through imitation. A tritone completes the B section and the A'section follows, omitting the final two measures of the first A section. 233

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Consolation, " 1930 Opus 118, No.7 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Historiettes. Odub 118

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key F major Meter 3/4 Length 26 measures Form Ternary (A 1:B A :1 Classification Miniature

ANNOTATION SUMMARY

"Consolation” begins with both hands playing a sixth apart in parallel motion. The contrasting B section contains two-note slurs and two measures of recitative. The basic harmonies throughout are I-V7. There are several changes of hand position requiring no finger crossings. 234

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Orphelin, " 1930 Opus 118, No.8 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA . SONATINA

UDDer Elementary (III-IV) Historiettes. Opus 118

CHARACTERISTICS OF COMPOSITION

Tempo Lento Key 2/2 Meter B-flat minor Length 20 measures Form Rounded binary (A 1:B A':1 > Classification Miniature

ANNOTATION SUMMARY

"Orphan" is closely related to "First Tears," Opus 127 a. No.8. Both compositions are the same length and contain parallel structure. "First Tears" presents descending motives and thirds, whereas "Orphan” presents ascending motives and thirds. In both pieces only the last four measures of the A section are repeated. The texture of "Orphan" is thicker due to sustained notes and accompaniment figures played in both parts. 235

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"En Dansant," 1930 Opus 118, No.S PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Historiettes. Od u s 118

CHARACTERISTICS OF COMPOSITION

Tempo En Dansant Key B-flat major Meter 3/4 Length 24 measures Form Ternary (A 1: B A ' : 1 ) Classification Dance

ANNOTATION SUMMARY

The A section begins with both parts in the treble clef. Dotted rhythms t f) (J f r ) occupy the right-hand part along with finger crossings. Left-hand chords in the B section are predominantly played on the second and third beats. Frequent movement of the right hand may challenge elementary level students, but passages are frequently repeated enabling quick learning. 236

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Heureux £v£nement," 1930 Opus 118, No.10 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Uooer Elementary (III-IV) Historiettes. O d u s 1 1 8

CHARACTERISTICS OF COMPOSITION

Tempo Allegro, ma non troppo Key E-flat major Meter 2 / 4 Length 2 0 measures Form Rounded binary (A 1 :B A':1 ) Classification Minature

ANNOTATION SUMMARY

Contracting intervals and broken-chord motives are featured in the A section. The B section contains left- hand syncopated four-note chords ( ^ ^ ^ ^ ^ ^ > while the right hand plays an expanding melodic line and accompaniment figures. Due to repetitions and easy figurations this piece is not difficult to play and may be used as a confidence-builder, creating the illusion of playing a difficult piece. 237

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Orientals," 1 9 3 0 Opus 1 1 8 , No.11 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Historiettes. O d u s 1 1 8

CHARACTERISTICS OF COMPOSITION

Tempo Moderate Key G minor Meter 6 / 8 Length 1 9 measures Form Rounded binary (A l:B A':l) Classification Minature

ANNOTATION SUMMARY

"Oriental* begins with an accompaniment of thirds and "G" pedal tones played by the left hand while the right hand plays a melodic line of dotted rhythms and eighth notes. The B section is less active with a thinner texture in the left-hand part. A three-measure recitative completes the B section followed by the A'section which features a "D" pedal tone above the right hand melodic line. 238

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Les Nuages Errants," 1930 Opus 118, No.12 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Historiettes. O d u s 118

CHARACTERISTICS OF COMPOSITION

Tempo Moderato poetico Key E-flat major Meter Cut time Length 30 measures Form Ternary (A BA' Codetta) Classification Minature

ANNOTATION SUMMARY

The predominant feature of "Wandering Clouds” is its broken-chord texture. The melodic line often flows into the left-hand part while the right hand sustains pedal tones. A thin chordal accompaniment is played by the left hand between the broken passages. Light touch and careful balance are required. 239

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"My Dear Mummy, " 1929 Opus 119, No. 1 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book. Opus 119

CHARACTERISTICS OF COMPOSITION

Tempo Dolce Key F major Meter 3/4 Length 20 measures Form Rounded binary (A l:B A ';1) Classification Miniature

ANNOTATION SUMMARY

A light texture is created through the use of the middle and high registers and thin chordal accompaniment supplied by the left hand. The melodic line contains dotted rhythms( 1 9race notes,, and syncopations. Both hands change positions frequently, but only the right hand contains finger crossings. 240

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"An Old Romance," 1929 Opus 119, No. 2 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book. O d u s 119

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A minor Meter 2/4 Length 32 measures Form Binary (A 1:B: 1 ) Classification Miniature

AHN0TATI0H SUMMARY

An accompaniment of broken chords requires the left hand to stretch and change positions. In several places the right-hand melodic line appears with accompaniment figures and requires changes of hand position, but contains no difficult rhythms. 241

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATS

"The Wag," 1929 Opus 119, No. 3 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book. Opus 119

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key E major Meter 2/4 Length 24 measures Form Ternary (A 1 :B A : 1 ) Classification March

ANNOTATION SUMMARY

The energetic character of the joker is portrayed through shifting staccato quarter- and eighth-note rhythms ( } Tf fllCiii I flf f >. The melodic line for the A section imitates laughter through a descending broken triad played by the right hand(ffllrfi ). The contrasting B section contains an ascending broken figure for the right hand and syncopated chords supplied by the left hand. 242

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"On the Meadow," 1929 Opus 119, No. 4 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's S8hne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book. Opus 119

CHARACTERISTICS OF COMPOSITION

Tempo Allegro non troppo Key C-sharp minor Meter 3/8 Length 28 measures Form Ternary (A I:B A:I) Classification Waltz

ANNOTATION SUMMARY

Two-note slurs in the A section contribute to the bouyant quality of the wa 11z ( 1 ((J J4-^ > while the left hand enhances this effect with an accompaniment of two-and three-note chords, resting on the third beat. The B section begins with a short introduction requiring both hands to play an octave apart. The remainder of the B section presents rhythmic ideas and accompaniment similar to the A section. Hand positions change frequently throughout this piece. 243

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Russian Dance," 1929 Opus 119, No. 5 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book. Opus 119

CHARACTERISTICS OF COMPOSITION

Tempo Quasi lento Key E minor Meter 2/4 Length 16 measures Form Rounded binary (A I:B A ' : I ) Classification Dance

ANNOTATIOH SUMMARY

The broken-chord accompaniment for the left hand contains stretches between the third and first fingers as large as a sixth or seventh. The melodic line played by the right hand contains mostly harmonic fourths ornamented with grace notes. The grace notes in combination with the fourths require special fingering and accuracy. 244

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Little Waltz, ’ 1929 Opus 119, No. 6 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book. O d u s 119

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E major Meter 3/4 Length 30 measures Form Ternary (A 1 : B A : 1 ) Classification Waltz

ANNOTATION SUMMARY

The melodic line contains triplet figures in both sections while the left hand plays a staccato accompaniment of quarter notes in the middle register. Frequent changes of hand position are required throughout both sections. The B section is rhythmically more active in the melodic line( frTr f T r l r ' f / f I^TJf ■P3W,> as compared to the A section (Fi J \ PI J I j j ). ^ quasi recitative section marked "con liberta" precedes the final A section. 245

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Sad Story, " 1929 Opus 119, No. 7 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's S8hne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Grandfather's Book. O d u s 1 1 9

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E minor Meter 6 / 0 Length 2 4 measures Form Ternary (A 1:B A : 1 ) Classification Miniature

ANNOTATION SUMMARY

"Sad Story” contains half steps used to depict sadness. Dotted rhythms( JTJ\J73 j.jjTJjTJ ) appear mostly in the A section for both hands. The middle and high registers are used throughout and optional grace notes appear in the right-hand part. Parallel construction makes this piece easy to learn. 246

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE_____

"Swallow Dance," 1929 Opus 119, No.8 PRIHT STATUS

in-print

PUBLISHER______EDITOR______

B. Schott's SHhne

LIBRARY______LIBRARY CALL NUMBER

GRADE LEVEL______SUITE. SONATA. SONATINA______

Lower Elementary (I-II) Grandfather's Book. Opus 119

CHARACTERISTICS OF COMPOSITION

Tempo Allegro scherzando Key D major Meter 3/8 Length 48 measures Form Ternary (A I:B A :I) Classification Waltz

ANNOTATION SUMMARY

The light, playful character of the swallow is created through the use of the middle and high registers and thin chordal accompaniment which often rests on the third beat. In the A section, the right-hand melodic line contains a repeated-note motive requiring a change of hand position. In the B section the right-hand melodic line crosses over the less active left hand, with a staccato scalar passage. Later a similar passage appears in the codetta. An ascending melodic line with repetition leads to the return of the A section. 247

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Nurse Tells A Story," 1929 Opus 119, No. 9 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book. Opus 119

CHARACTERISTICS OF COMPOSITION

Tempo Andante Key G minor Meter 2/4 Length 18 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

The right hand plays both the melodic line and accompaniment figures while the left hand supplies a broken-chord accompaniment. In the A section the left hand moves into the treble clef for two measures then shifts back to original position. Dotted rhythms and sixteenth-note combinations are played mostly by the right hand. 248

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"March," 1929 Opus 119, No. 10 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Grandfather's Book. Odus 119

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key D major Meter 4/4 Length 16 measures Form Ternary (Prelude A l:B A :1 Post) Classification March

AHNOTATION SUMMARY

"March" begins a repeated-note introduction ( JT3 J fTJ J 1JTJ J73 J, ) ending on the V. Chords are played by both hands in the A section using the I and V harmonies. The left hand plays on the second and fourth beats in the B section while the right hand plays a single melodic line. The return of A is followed by a repeated- note postlude. 249

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Pussy is 111," 1929 Opus 119, No.11 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lover Elementary (I-II) Grandfather's Book. Opus 119

CHARACTERISTICS OF COMPOSITION

Tempo Andante Key B Lydian (2-sharps) Meter 2/4 Length 20 measures Form Rounded binary (A 1 :B A' : 1 ) Classification Miniature

ANNOTATION SUMMARY

The use of dotted rhythms, syncopated accompaniment, and raised fourth scale degree create the image of a cat that is not veil. This piece may appeal to children but the use of dotted rhythms and added accidentals suggests advanced reading skills. 250

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Out For A Walk," 1929 Opus 119, No. 12 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book, Opus 119

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G major Meter 2/2 Length 22 measures Fm-m Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

This chord study contains root-position, first-, and second-inversion chords played by the right hand while the left hand supplies a tied-note accompaniment with grace notes, allowing the player to concentrate on the right hand. The beginner may find this piece challenging due to the many changes of hand position for the right hand. 251

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"On the Swing, " 1929 Opus 119, No.13 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary

CHARACTERISTICS OF COMPOSITION

Tempo Moderato e tranquillo Key C major Meter 6/Q Length 24 measures Form Ternary (A 1 : B A : 1 ) Classification Miniature

ANNOTATION SUMMARY

The A section is written in the middle and high registers with the right hand playing an accompaniment of two-note chords and single notes while the left hand plays the broken-chord melodic line. Roles reverse in the B section leaving the left hand with accompanying chords in the lower register and the right-hand melodic line moving between the high and middle registers. 252

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Little Ballad," 1929 Opus 119, No. 14 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Grandfather's Book. Onus 119

CHARACTERISTICS OF COMPOSITION

Tempo none Key C minor Meter 4/8 Length 14 measures Form Ternary (A 1:B A: 1 ) Classification Ballad

ANNOTATION SUMMARY

The right hand plays a syncopated accompaniment of three- and four-note r:hrn-rl«M ft IjTTWlM Pf I* 1^1 h tlr.lr f ) while the left hand supplies the repeated-note melodic line written in the treble clef. Sixteenth- and eighth-note rhythms are present. 253

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Happy Meeting, " 1929 Opus 119, No. 15 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Grandfather's Book. O d u s 119

CHARACTERISTICS OF COMPOSITION

Tempo Moderato, ma poco agitato Key B-flat major Meter 2 / 4 Length 16 measures Form Rounded binary (A 1 :B A ':1 > Classification Miniature

ANNOTATION SUMMARY

A feeling of excitement is created through the use of dotted rhythms ( ^ ) in the melodic line and syncopated accompaniment ( 1*1 1 supplied by the left hand. Although the melodic line is based predominantly on a descending stepwise pattern, there are leaps which require changes of hand position. 254

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Returning Home, " 1 9 2 9 Opus 119, No.16 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's Stthne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Grandfather's Book. O d u s 119

CHARACTERISTICS OF COMPOSITION

Tempo Moderato, ma con moto Key G minor Meter 2 / 4 Length 2 0 measures Form Rounded binary (A 1 :B A':1 ) Classification Miniature

ANNOTATION SUMMARY

The left hand supplies an accompaniment of broken chords ( 1 *1 f&\requiring stretches and wrist rotation. The right-hand part presents a scalar melodic line of eighth notes requiring finger crossings and changes of hand position. 255

SUMMARY SHEET

COMPOS IT IOH______COPYRIGHT DATE

"Holidays," 1 9 2 9 Opus 119, No.17 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Grandfather's Book. O d u s 119

CHARACTERISTICS OF COMPOSITION

Tempo Allegro non troppo Key C major Meter 2/4 Length 30 measures Form Ternary (A 11:B A:1) Classification Miniature

ANNOTATION SUMMARY

The chordal A section begins "ff" utilizing the middle and high registers with syncopations(pi f' p| £ f p Iff ) creating an atmosphere of excitement. In the B section the right hand.jglays a syncopated melodic line ( CTE"PklfrTrV >, while the left hand supplies an accompaniment of broken chords, followed by a scalar passage, then an extension of a V7 chord. "Holidays” ends with a repetition of the A section. 256

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"A Morning Stroll," 1982 Opus 123, No. 1 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Lower Elementary (I-II) Glass Beads. Opus 123

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C major Meter 4/4 Length 24 measures Form Rondo (ABA ' B ' A ' ' ) Classification Miniature

ANNOTATION SUMMARY

Changes of hand positions are quickly learned through the formal repetitions of each section. The A section contains a sustained pedal tone, played by the right hand, while all sections contain dotted rhythms (QJ 1 f 'J3 K and changing fingerings on repeated-note figures. The left-hand accompanment contains intervals of thirds, fourths, fifths, sixths, and sevenths. 257

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"The Little Beggar," 1982 □pus 123, No.2 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Lower Elementary (I-II) Glass Beads. Opus 123

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A minor Meter 4/4 Length 12 measures Form Ternary (A 1 :B A: 1 ) Classification Miniature

ANNOTATION SUMMARY

Desperation and tension of the beggar are expressed through the use of syncopation in the melodic line < O uT^I tfu ), and renewal of crescendos every two measures, while the accompaniment features a two-note slur descending motive. The right hand changes positions on repeated notes. 258

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"±tude," 1 9 8 2 Opus 123, No.3 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Lower Elementary (I-II) Glass Beads. O d u s 123

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key G major Meter 1 2 / 8 Length 10 measures Form Rounded binary (A 1 :B A' : 1 ) Classification Etude

ANNOTATION SUMMARY

This broken-chord study contains a single line of music, divided between the hands, with the left hand supplying the accompanying figures on the second and fourth beats. The right hand frequently changes position and may be easily learned if related to triadic positions. 259

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"A Melancholy Tune," 1982 □pus 123, No.4 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Lower Elementary <1-11) Glass Beads. Odus 123

CHARACTERISTICS OF COMPOSITION

Tempo Andante Key B minor Meter 2/4 Length 32 measures Form Rondo (A B A 'B A') Classification Miniature

ANNOTATION SUMMARY

The A section contains a raised fourth scale degree in the melodic line, lending an exotic character to the "melancholy tune." The contour of the melodic line in the A section contains predominantly falling intervals while the B section features an ascending line. Finger crossings occur in the melodic line of section A while dotted rhythms( f‘£/ fI f ) occur throughout all sections. The left hand plays a syncopated chordal accompaniment occurring on beats two and four, which is based on I-IV-V7 harmonies. 260

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Cycling," 1982 Opus 123, No. 5 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Upper Elementary (III-IV) Glass Beads. Odus 123

CHARACTERISTICS OF COMPOSITION

Tempo Allegro grazioso Key E major Meter 3/8 Length 52 measures Form Ternary (A 1:B A :1) Classification Miniature

ANNOTATION SUMMARY

The thin texture of "Cycling" resembles that of the "±tude" in which a single line of music is divided between two hands. The left-hand accompaniment occurs mostly on the second beat while the right hand outlines chords using broken fourths and fifths, on beats three and one. Both hands remain close together throughout the piece and are required to perform quick changes of position. 261

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Waltz," 1982 Opus 123, No.6 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Lower Elementary <1-11) Glass Beads. Odus 123

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A major Meter 3/4 Length 48 measures Form Ternary (A B A' ) Classification Waltz

ANNOTATION SUMMARY

The light character of "Waltz" ia enhanced through the use of the middle and high registers, dotted rhythms played by the right hand (f • i f I f f I f f flT?' ), and a light accompaniment which consists mostly of three-note chords occurring on the second and third beats. The right hand is required to change fingering on repeated notes which normally lead into the next change of hand position. 262

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Heavy Work," 1982 Opus 123, No. 7 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Lover Elementary (I-II) Glass Beads. Opus 123

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E minor Meter 6/8 Length 26 measures Form Rounded binary (A 1:B A':l ) Classification Miniature

ANNOTATION SUMMARY

The A section contains mostly syncopated harmonic and broken thirds, played by both hands, requiring the right hand to cross the thumb under the second finger. The B section uses the same syncopated rhythmic pattern as the A sect ion ( ^ £_f Jp ^ ll ^ ^ if Y ) and harmonic thirds, but also harmonic sixths, requiring the right hand to slide the thumb, thus connecting the sixths. Hand positions change frequently. 263

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"My First Dance,■ 1982 Opus 123, No.8 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Upper Elementary (III-IV) Glass Beads. Odus 123

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key D major Meter 3/4 Length 32 measures Form Rounded binary (A 1:B A':1) Classification Waltz

ANNOTATION SUMMARY

Dotted rhythms and quarter notes dominate "My First Dance". A thin, light texture is created through the use of the middle and high registers, and middle voices are sustained while outer parts move. The B section contains scalar passages for the right hand. Pedal is indicated only in the A sections, and ledger line notes are played frequently by the left hand in the middle register. 264

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Lament, " 1982 Opus 123, No.9 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Upper Elementary (III-IV) Glass Beads. Odus 123

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key F-sharp minor Meter 3/4 Length 45 measures Form Rounded binary (A B A'extension) Classification Lament

ANNOTATION SUMMARY

A raised fourth tone adds a Russian flavor to this lament. Scalar passages, dotted rhythms, and changing positions are required, and the left hand occasionally supplies the chordal accompaniment in the treble clef. The right hand plays the melodic line and occasional accompanying sustained tones. Pedalling is indicated in several places. 265

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"In the Fields," 1982 Opus 123, No. 10 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Lower Elementary (I-II) Glass Beads. Opus 123

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G minor Meter 2/4 Length 54 measures Form Sonatina (A A ' B A ' B ' ) Classification Miniature

ANNOTATION SUMMARY

"In the Fields" begins with an introduction of 'horn calls' which precede each section. The A section begins with an unusual marking, "Quasi oboe, con alcuna liberty,” meaning to play freely, imitating an oboe. The right hand plays an eighth-note melodic line while the left hand supplies a thin eighth-note accompaniment ( I / 7 XJi i''7 ). The second A' section is a repeat of the first, including the 'horn calls', but transposed a minor third higher. The B section, marked "Poco meno mosso e cantando,” presents a contrasting melodic line of eighth and sixteenth notmadlrfl iJJ I J- 0 ), which are also repeated, and tranapoaed up a minor second. The final A'and B' sections condense the original sections without repeats, with the B' section in the tonic key. 266

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"To Mother," 1982 Opus 123, No.11 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Lower Elementary (I-II) Glass Beads. Onus 123

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key B-flat major Meter 3/4 Length 32 measures Form Rounded binary (A 1 :B A' : 1 ) Classification Miniature

ANNOTATION SUMMARY

The right hand supplies a delicate melodic line of quarter notes and dotted rhythms which require changes of hand position. The thin left-hand accompaniment contains staccato two- and three-note chords written primarily in the treble clef. 267

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"The Harmonica, " 1982 Opus 123, No. 12 PRINT STATUS

in-print

PUBLISHER EDITOR

Alfred Publishers Willard A. Palmer

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE.SONATA. SONATINA

Upper Elementary (III -IV) Glass Beads. Opus 123

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key F major Meter 2/4 Length 55 measures Form Rondo (Intro ABABA') Classification Miniature

ANNOTATION SUMMARY

"The Harmonica" begins with an introduction of F root- position triads. Both parts are written in the treble clef with grace notes embellishing syncopated single eighth notes or two-note chords for the right hand while the left-hand part contains repeated patterns of eighth notes. Triads in the final A' section utilize I, IV, and V harmonies which mimic a harmonica. Advanced skill is required for the grace notes, which often consist of two or three notes. 268

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"What a Lovely Morning," 1 9 3 2 Opus 1 2 7 a. No.1 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's Siihne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) TautroDfen. Odus 1 2 7 a

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C major Meter 4/4 Length 1 6 measures F o r m Rounded binary (A 1 :B A':1 ) Classification Miniature

ANNOTATION SUMMARY

A mood of brightness is added by having both hands play in the middle and high registers. The right hand plays a thin melodic line which spans no more than six notes at one time. The legato first phrase of the A section contains a modified two-measure repetition while the second phrase is based on opposite construction with contrasting, syncopated, staccato accompaniment and legato melodic line. The short B section is based on the second phrase of the A section. This piece should appeal to the elementary student. 269

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"In the Garden Picking 1 9 3 2 Flowers, " Opus 1 2 7 a, No. 2 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's S8hne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) TautroDfen. O d u s 1 2 7 a

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key G major Meter 4/4 Length 16 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

This short piece would make a good companion piece to "What a Lovely Morning." It remains in the middle and high registers featuring a four-measure B section. The comma, an unusual mark, suggests "breath" or phrase marks. The B section includes staccato chords requiring the student to stretch a seventh. The right-hand melody requires several finger crossings and changes of hand position, but there are no difficult rhythms. 270

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Dolce far niente," 1932 Opus 127 a, No.3 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA Lower Elementary

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A major Meter 3/4 Length 20 measures Form Rounded bina rv (A 1 :B A' : 1 ) Classification Miniature

ANNOTATION SUMMARY

"Dolce far niente" ie also in the middle and high registers of the piano, and the A section is based on parallel construction. Both hands change positions several times within the B section. Most intervals are smaller than a seventh, but the hands are required to stretch to facilitate legato connections. 271

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Elephant's Dance, " 1932 Opus 127 a. No. 4 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's S8hne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Tautroofen, Odus 127 a

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C major Meter 4/4 Length 20 measures Form Rounded binary (A 1:B A':1) Classification Dance

ANNOTATION SUMMARY

The elephant as symbolized through the use of middle and low registers. In both sections a stress occurs on the third beat which further emphasizes the ungraceful gait of elephants. The A and B sections are based on parallel construction utilizing basic quarter- and eighth- note rhythms. The technical challenge lies in the finger substitutions on repeated notes which lead the player to new positions. 272

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"The Peasant Girl, " 1932 Opus 127 a, No. 5 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's Stthne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Tautroofen. Odus 127 a

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key F major Meter 3/4 Length 21 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

This piece remains in the middle and high registers of the piano. Both the A and B sections are based on parallel construction, but with variation. Gretchaninoff presents two measures, followed by two measures containing a rhythmic variation, such as two eighth notes in place of a quarter. Intervals are rarely larger than a sixth. The left hand is required to play moving notes while sustaining the bass note, a Bkill attained by most beginners at the second level. 273

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Grand-mama's Tale," 1932 Opus 127 a, No.6 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Tautroofen, Odus 127 a

CHARACTERISTICS OF COMPOSITION

Tempo Lento, ma non troppo Key D minor Meter 4/4 Length 21 measures Form Unipartite (Intro A Inter A' Post) Classification Miniature

ANNOTATION SUMMARY

"Grand-mama's Tale" begins with a two-measure introduction on the notes f-d-a. The A section, marked "p," contains a repeated-note motive and descending thirds. The first four measures end on the dominant note and are followed by a contrasting four-measure unit which ends on the mediant. The interlude, marked "meno mosso, quasi Recitativo, " incorporates a rolled-chord accompaniment and melodic line that imitates speech. The interlude ends on the dominant and is followed by the first half of the A phrase with "pp" dynamics, ending on the dominant tone. A modified recitative follows. This piece has a Russian flavor and the story-telling aspect would appeal to children. 274

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Monkey's Dance," 1 9 3 2 Opus 1 2 7 a. No. 7 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Tautroofen. Od u s 1 2 7 a

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key E-flat major Meter 3 / 4 Length 23 measures Form Rounded binary (A 1:B A':1> Classification Dance

ANNOTATION SUMMARY

The main technical features include scalar passages, sequences with finger crossings, two-note slurs, fingering changes on repeated notes, and contrasting touches. Parallel constructon is utilized in both the A and B sections, making this lively piece easy to memorize. 275

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"First Tears," 1 9 3 2 Opus 127 a. No.8 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Tautroofen, O d u s 127 a

CHARACTERISTICS OF COMPOSITION

Tempo Lamentoso Key G minor Meter 2 / 4 Length 2 0 measures Form Rounded binary (A 1:B A ':1) Classification Miniature

ANNOTATION SUMMARY

Evidence of tears and sobbing is apparent in the descending four- and two-note slurs. The minor key and use of vii chords provide an appropriate setting for this mood. Within the two-note slurs are decrescendo marks, with a crescendo in the B section. The hands intertwine, occasionally requiring the right hand to stretch over the left hand. This piece should appeal to most teenagers. 276

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Basque Fandango," 1932 Opus 127 a. No. 9 PRINT STATUS

in-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Tautroofen, Od u s 1 2 7 a

CHARACTERISTICS OF COMPOSITION

Tempo Vivo Key D major Meter 6 / 8 Length 3 6 measures Form Unipartite (1:Prelude:IAI:Inter A :1 Post) Classification Dance

ANNOTATION SUMMARY

"Basque Fandango" probably refers to a Spanish- American hat dance originating in Basque, located in the Western Pyrenees on the Bay of Biscay. Gretchaninoff may have incorporated one of his folktunes collected during his association with the Ethnographic Society(see Chapter IV). The sections in this piece are repetitions based on parallel construction. The A section features a series of eighth notes in the melodic line while intervening sections contain dotted quarter rhythms( J 1J/ J 1 J , J i ) . Section A is characterized by a sequence requiring finger crossings. Developed finger dexterity and a strong sense of the beat are necessary for this piece to be interesting. 277

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Depart matinal, " 1932 Opus 127 b. No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's Sfihne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) En Barque. Opus 127 b

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key G major Meter 2/4 Length 25 measures Form Ternary (A I;B Ail) Classification Miniature

ANNOTATION SUMMARY

A light-hearted character is created through the accompaniment pattern of staccato two-note inversions played by the left hand. Throughout "Early Start" the left hand remains in the middle register and is notated in the treble clef. The right hand plays a single-note melodic line which changes position frequently in the B section. 278

SUMMARY SHEET

COMPOSITION______COPYRIGHT PATE

"Pointe du Vent, " 1 9 3 2 Opus 1 2 7 b. No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's S8hne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1 3 8 0 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) En Baraue. Od u s 1 2 7 b

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C minor Meter 2 / 4 Length 2 0 measures F o r m Rounded binary (A l : B A':l Codetta) Classification Miniature

ANNOTATION SUMMARY

Both parts are written in the treble clef and stay close to the middle register. The thin texture of sixteenth notes, short slurs, and light touch create the effect of "A Slight Breeze.” The movement in this piece is often parallel, but both hands play different notes, and remain close to each other, often changing positions. The use of small intervals makes this piece appropriate for small hands. 279

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Embarcation,' 1932 Opus 127 b. No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) En Barque. Opus 127 b

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key C major Meter 4/4 Length 16 Form Ternary (A I:B A :I Ext) Classification Miniature

ANNOTATION SUMMARY

The right hand plays a scalar pattern consisting of two-note slurs. The rhythm played by the right hand (C'C’I ) is present throughout ail sections but the B section also features dotted rhythms(^T" ). The alternating eighth note eighth rest pattern of broken chords played by the left hand contains intervals of fifths and sixths requiring changes of hand position. 280

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"En Barque," 1932 Opus 127 b. No. 4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's S5hne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M13S0 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) En Baraue. Odus 127 b

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key G minor Meter 9/16 Length 18 measures Form Ternary (A 1 :B A':1) Classification Miniature

ANN0TATI0H SUMMARY

This right-hand seal* study features finger crossings including crossing the second finger over the thumb. Sixteenth notes are grouped in three- and six-note slurs in the A section, while there are nine per group in the B section. The left hand occasionally plays two- or three- note chorda(^ J-7* ) imitating the action of a wave hitting the boat or the stroke of a boat oar. The final A' section omits two measures of repetition contained in the original A section. 281

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Chanson triste," 1932 Opus 127 b, No.5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's S5hne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress Ml380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) En Baraue. O d u s 127 b

CHARACTERISTICS OF COMPOSITION

Tempo Andante Key B minor Meter 2/4 Length 24 measures Form Ternary (A 1: B A: 1 ) Classification Song

ANNOTATION SUMMARY The melodic line Is played by the right hand In both sections and spans seven keys In the A section and one octave in the B section. This rhythmic motive^fft ) appears in the melodic line in both sections. The left hand remains in the middle register(treble clef), in both sections, supplying a thin two-note chordal accompaniment in the A sections and an accompaniment of slurred quarter notes with sustained half notes in the B section. 262

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"La p&che A la Ligne, " 1 9 3 2 Opus 127 b, No. 6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress Ml3 6 0 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) En Baraue. Od u s 1 2 7 b

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key C minor Meter 4 / 8 Length 1 4 measures Form Ternary (A 1:B A':1 ) Classification Miniature

ANNOTATION SUMMARY

The right hand plays the melodic line in the middle register while the left hand crosses over playing a thin, staccato chordal accompaniment above the melodic line, giving the illusion that the left hand has the melody. The right hand part contains two-note slurs > while the left hand plays at irregular time intervals with eighth note eighth rest p a t t e r n s /7Y|/J77|Yjy]). 283

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Bal musette," 1932 Opus 127 b. No.7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) En Baraue. Odus 127 b

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D Mixolydian (1-sharp) Meter 2/4 Length 44 measures Form Sectional (Intro A Inter Al Intro A2 Ctta) Classification Dance

ANNOTATION SUMMARY

Lively rhythms and simple melodic lines are reminiscent of the folk dance style. The introduction to "Merry Dance” begins with repeated notes, changing meters, and a descending scalar pattern. The A section, marked "Allegro non troppo,” features two four-measure phrases. The right hand must perform quick wrist movements for facilitation of thirds and repeated notes. The left hand provides an accompaniment of eighth-note thirds and single eighths. The interlude consists of alternating eighth notes and repeated sixteenth notes. Section Ai appears a minor third higher(F Mixolydian) than the original A section. A2 appears in the original mode, an octave higher than the first A section. The codetta follows with a three-measure extension ending on D. 284

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

Movement I : none Allegro, Sonata, Opus 129 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's StShne

LIBRARY LIBRARY CALL NUMBER

University of Oklahoma M23 .G742

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Sonata. Odus 129

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key G minor Meter 6/8 Length 116 measures Form Sonata-Allegro (ET1 T2 &T1'T2'RT1''T2''Cd) Classification NA

ANNOTATION SUMMARY

The first theme is dramatic with its triplet and duplet sixteenth notes -/•?**£& Iff f . changing meters, and accompaniment of octaves and chords. The right hand supplies a single-note melodic line containing sequence figurations. The lyrical second theme

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Movement II: none "Canzonetta, ■ Opus 129 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

University of Oklahoma M23 .G742

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Sonata. Odus 129

CHARACTERISTICS OF COMPOSITION

Tempo Lento assai Key E-flat major Meter 2/4 Length 59 measures Form Sectional

ANNOTATION SUMMARY

"Canzonetta" is written in the Romantic style with Russian coloring. The first phrase of the A section occurs in each section containing a descending left-hand chordal accompaniment. The right-hand melodic line contains figures resembling trills. Each section differs in length, A1 develops this figureI d ) and contains five extra measures of repetition. In A2 the melodic line of the first phrase appears with a thick chordal texture followed by a transition into the coda. An "attacca" follows a soft passage of chromatically descending chords, restatement of the theme, ascending broken fourths, harmonic fifths, and "pp" lower octaves. Left-hand leaps between the low and middle registers, pedalling, and parallel chords in the coda require special attention. 286

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COMPOSITION COPYRIGHT DATE

Movement III: none "Finale," Opus 129 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

University of Oklahoma M23 .G742

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Sonata. Opus 129

CHARACTERISTICS OF COMPOSITION

Tempo Allegro vivace Key G major Meter 2/4 Length 159 measures Form Sonata-Allegro (ET1 T2 T3 DT3'RT1'T2'Cd) Classification NA

ANNOTATION SUMMARY

The Finale is appropriate for small hands, as there are only a few octaves. Only eighth- and sixteenth-note rhythms occur. The lively first theme contains an ascending figure and chordal accompaniment. The second themed) minor) contains the ascending figure, also present in the first theme, and a syncopated f igure ( fi \ f1 ). Broken-accompaniment figures appear in both parts. The transition following the second theme contains groups of three and four grace notes. The third theme(B-flat major), played by the left hand, contains four repeated notes and descending figures, like the second theme of the first movement, while the right hand provides a sixteenth- note accompaniment. The development section contains only T3(G minor). The coda recalls the first theme. 287

SUMMARY SHEET

COMPOSITION COPYRIGHT PATE

"In dem GMrtchen mein," 1931 Opus 130, Vol. 1, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V.1 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Russian Folk Dances. Vol. I. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A major Meter 3/4 Length 20 measures Form Rounded binary (A I :B A '; I ) Classification Folk Dance

ANNOTATION SUMMARY

The A section begins with an octave accompaniment for the left hand while the right hand features a broken sixteenth-note pattern. A rhythmical quality is enhanced through two-note slurs, staccato touch, and repeated-note melodic line. The B section, in F-sharp minor, ascends into the high register with broken intervals played by the right hand while the left-hand part supplies an accompaniment of semi-arpeggiated figures and partial scales. The final A' phrase is derived from the first phrase of the A section. Quick changes between registers are required. 288

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COMPOSITION COPYRIGHT DATE

"Stand ein Birkenbaum 1931 in dem Felde," Opus 130, Vol. 1, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V. 1 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Russian Folk Dances. Vol. I. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key D minor Meter 2/4 Length 79 measures Form Sectional(A A1 A2 A3 A4 A5 Codetta) Classification Folk Dance

ANNOTATION SUMMARY

The rhythmic pattern of the melodic line with the least modifications and similar syncopated accompaniment patterns appear in A, Al, and AS. The melodic line changes the most in A2 and A3 when an ascending figure is introduced, along with the key change to F major, and changing harmonies. The texture and outline of the melodic line is similar in all sections but contains modifications such as added thirds, fifths or sixths. The accompaniment pattern varies the most in A3 with its octave accompaniment, and A4, with broken intervals. All other sections contain a chordal accompaniment. Grace notes are used throughout all sections in both parts. Simple rhythmic variations and small intervals makes this piece accessible for advanced beginners. 289

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COMPOSITION______COPYRIGHT DATE

"Unter einem Felsen," 1931 Opus 130, Vol. 1, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V.1 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Russian Folk Dances. Vol.I. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Poco Largo Key B-flat major Meter 3/4 Length 33 measures Form Sectional (Intro A Al A2 Codetta) Classification Folk Dance

ANNOTATION SUMMARY

A texture of sixteenth and eighth notes appears throughout with variations of accompaniment pattern and melodic line in each section, but the rhythmic outline of the original melodic line is always present. The A phrase consists of two 4-measure phrases, and the second phrase is a modified version of the first. Key changes occur in A1(G minor) and in A2(E-flat major to B-flat major). The melodic line of Al contains chromatic passages, thirds, and fifths while A2 contains added sixths and octaves in the melodic line and broken accompaniment pattern. The hands often intertwine, play in all registers, and contain scale passage work. 290

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COMPOSITION COPYRIGHT DATE

"Auf der Wiese," 1931 Opus 130, Vol.1, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V.1 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Russian Folk Dances. Vol.I. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key G major Meter 4/4 Length 39 measures Form Sectional (A Al A2 A3 A4 Coda) Classification Folk Dance

ANNOTATION SUMMARY

"In the Fields" contains a texture of octaves and chords in all sections, with modifications of harmony, melodic line, and rhythm. The rhythmic outline of the melody is apparent in each section. The hands intertwine in the second phrase of Al and in the coda, when both parts appear in the middle register. Syncopated rhythms, meter changes, and quick changes between the registers appear throughout. 291

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"ScharlatArla," 1931 Opus 130, Vol. 1, No. 5 PRINT STATUS

out-of-print

PUBLISHER______EDITOR______

B. Schott's SBhne

LIBRARY______LIBRARY CALL NUMBER______

Boston University, School M 22 G787 F 31 V. 1 of Fine and Applied Arts Lib. GRADE LEVEL______SUITE. SONATA. SONATINA

Intermediate (V-VI) Russian Folk Dances. Vol.I. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Largo, ma non troppo Key C major Meter 2/4 Length 102 measures Form Sectional (Intro A Al A2 A3 A4 A5 A6 Ctta) Classification Folk Dance

ANNOTATION SUMMARY

The A section, marked ”Poco a poco accelerando all' Allegro moderato," is preceded by several measures of octave introduction. In all sections, the melodic line is played by the right hand appearing with the same rhythmic outline, except in A5 when the texture changes to sixteenth-notes. Changes of harmony and key occur in A2(G major) and A4(A-flat major); A6(C major) contains Neopolitan chords. The left-hand part always contains thin-textured accompaniment patterns, each modified rhythmically; only A and Al are ostinatos. The codetta is the counterpart of the introduction but is based in the tonic key. Changing positions, rhythmic patterns, and different textures require quick thinking. 292

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COMPOSITION COPYRIGHT DATE

"Auf dem Berg die Eiche, " 1931 □pus 130, Vol.1, No.6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V. 1 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Russian Folk Dances. Vol.I. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A-flat major Meter 2/4 Length 56 measures Form Sectional (A Al A2 A3) Classification Folk Dance

ANNOTATION SUMMARY

The opening A section consists of an eight- and a six- measure period. Both periods contain parallel construction and are written in a chordal style. In all sections the first period is based on the original A and the second period is a repetition of the second period of the original A section, with few modifications. In the first A section the right hand plays the melodic line, while the left hand provides a thin chordal accompaniment. In Al the left-hand part introduces the melody, which is imitated in the right-hand part. In A2 the first period is in F minor, with an accompaniment of mostly eighths. The final section appears in the upper register, with added thirds and fifths in the melodic line and a thicker chordal accompaniment. 293

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COMPOSITION COPYRIGHT DATE

"Eigensinnige Barinia," 1931 Opus 130, Vol.2, No.7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V. 2 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Russian Folk Dances. Vol.II. Opua 130 CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key A major Meter 2/4 Length 96 measures Form Sectional (A Al A2 A3 A4 AS) Classification Folk Dance

ANNOTATION SUMMARY

The A section contains two contrasting periods based on parallel construction. The first period of each section contains varied accompaniments and harmonies, however the melodic line receives minor modifications in most sections. The melodic line in A3 appears in the left- hand part. Al and A5 restate the original A section, with few modifications. The last period of each section retains the closest outline and texture of the second A period with the few modifications. Key changes occur in A2(E major), A3(C-sharp major) and, A4(F-sharp minor). The most striking use of variation occurs in A3, with changing harmonies and scalar passages, and in A4, providing a thin right-hand part and accompaniment of seconds. 294

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COMPOSITION COPYRIGHT DATE

"Bald im Garten, 1931 bald in den Feldern," Opus 130, Vol.2, No.8 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V. 2 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Russian Folk Dances. Vol.II. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key C-sharp minor Meter 2/4 Length 43 measures Form Theme/Var CT VI V2 V3 V4 Coda) Classification Folk Dance

ANNOTATION SUMMARY

The left hand plays the melodic line and chordal accompaniment while the right hand supplies a sixteenth- note accompaniment. In VI the right-hand melodic line contains added seconds and thirds, while the accompaniment is chromatic. In V2 the texture of the right-hand part resembles that of the theme while the left-hand melodic line contains octaves and hand crossings. In V3 the right hand plays the melody in the first phrase while the left hand provides a chromatic accompaniment; in the second phrase the roles are reversed. V4 combines ideas from the theme and V3 in alternate measures. The chromatic pattern of the left-hand accompaniment continues into the coda. Unlike the previous Opus 130 works, variation treatment of the first phrase extends into the second phrase. 295

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"0 Iwan, du mein Iwan," 1931 Opus 130, Vol. 2, No.9 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V.2 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Russian Folk Dances. Vol. II. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key F-sharp minor Meter 2/4 Length 52 measures Form Sectional (A Al A2 A3 A4 A5 Coda) Classification Folk Dance

ANNOTATION SUMMARY

Variation treatment is used in the first phrase of each section but does not occur in the second phrase; rather the second phrase retains a texture similar to that of the original second A phrase. The right hand supplies both melodic line and accompaniment figures in the A section while the left-hand part contains a thin accompaniment which becomes chordal in the second phrase. The texture in all sections is thicker than that of the original section. Scalar passages appear in A2, chromatic passages in A5, and octaves in A3 and A4. Key changes occur in A3(D major, B minor), and A4(E major, C-sharp minor). The left hand supplies the melodic line of the first phrase in A2 and the second phrase of A3 and A4. The coda is based on material from the second phrase. 296

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Zu Ende ist der lange Weg," 1931 Opus 130, Vol. 2, No. 10 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V. 2 of Fine and Applied Arts Lib GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate(V-VI) Russian Folk Dances. Vol. II, Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Allegro, ma non troppo Key A minor Meter 2/4 Length 85 measures Form Sectional (A Al A2 A3 A4 A5 A6) Classification Folk Dance

ANNOTATION SUMMARY

The A section is comprised of three phrases, and the last phrase is a repetition of the second phrase. Variation treatment appears in the first phrase of each section but does not occur in the second and third phrases. Instead those phrases retain a texture similar to that of the original final A phrases. Key changes appear in A2 (A major), A3(F-sharp minor), A4

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Kasatschok," 1931 Opus 130, Vol.2, No.11 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V.2 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Russian Folk Dances. Vol. II. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key 6 major Meter 2/4 Length 62 measures Form Sectional (Intro A Al A2 A3 A4 A Coda) Classification Folk Dance

AHHOTATION SUMMARY

The six-measure introduction consists of G major triads(f> I p | f f | r f >» followed by the A section featuring a simple melodic line based on the notes B-A-B-C- B-A. The left hand supplies the same eighth-note melodic line in all sections with variations in texture, while the right provides various broken-chord accompaniments and brief arpeggiated figures with variations of rhythm. Only Al and A2 appear in D major, a fourth below the original key. In these sections the left hand is required to move quickly between the middle and low registers.^ The coda, marked "Quasi Presto, " presents a f i g u r e ), divided between the hands, which moves from the low to the high register and concludes with embellished G ' s ( ) . 298

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Karmarinskaia," 1931 Opus 130, Vol. 2, No. 12 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's Sohne

LIBRARY LIBRARY CALL NUMBER

Boston University, School M 22 G787 F 31 V.2 of Fine and Applied Arts Lib. GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate(V-VI) Russian Folk Dances. Vol.II. Opus 130 CHARACTERISTICS OF COMPOSITION

Tempo Allegro, ma non troppo Key D major Meter 2/4 Length 95 measures Form Ternary (Intro A B Inter A'Coda) Classification Folk Dance

ANNOTATION SUMMARY

The A section is written in the character of an Irish gigue with the first two periods containing thin lines of eighth and sixteenth notes performed by the right hand. The third period, an unusual addition, is chordal. The B section contains expanding intervals, embellished chords, chromaticism, and 4 repetitions of the first three measures. The final A' section appears one octave higher than the original A, omitting the second period. The coda contains scalar chromatic passages reaching an "sff" peak, then dying away to "pp, " finally closing with a series of repeated chords, marked "ff," and two "sff" chords. 299

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Moderato, 1933 Opus 131, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA llpp^r Elpmpntnry (TTT-TV) Sketchbook, Opus 131

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key f major Meter 12/8 Length 12 measures Form Ternary (A 1 : B A : 1 ) Classification Miniature

ANNOTATION SUMMARY

The texture is reminiscent of Schumann's "From Foreign Lands and Peoples, " Opus 15, No. 1, but not as difficult. The melody and broken-chord eighth-note accompaniment are incorporated in the right-hand part, leaving the left hand to play dotted quarter notes frequently on the off-beats. The student is required to project the melody with the fourth and fifth fingers of the right hand, leaving the first, second, and third fingers to supply a softer accompaniment. 300

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Allegro grazioso. 1933 Opus 131. No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Sketchbook. Opus 131

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto grazioso Key E-flat major Meter 6/8 Length 26 measures Form Ternary (A I:B A :I) Classification Miniature

ANNOTATION SUMMARY

In the A section the melodic line is played by the right hand while a syncopated chordal accompaniment is supplied by both hands. Throughout the A sections the left hand moves between the low and middle registers requiring coordination and careful balance. In the B section the right-hand melodic line rises into the high register while the left hand provides chordal accompaniment in the middle register. 301

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

Quasi Marcia, 1933 Opus 131, No.3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SHhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress Ml380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Sketchbook, Odub 131

CHARACTERISTICS OF COMPOSITION

Tempo Quasi Marcia Key B-flat major Meter 2/4 Length 32 measures Form Rondo (ABA 'B A' ) Classification March

ANNOTATION SUMMARY

Broken fourths played in the A section are reminiscent of a trumpet fanfare. This lively march includes dotted rhythms and thirty second notes. In the A' section the right hand combines the accompaniment with the melody while the left hand supplies stepping eighth notes. The B sections feature two textures: a single line played by both hands with parallel motion an octave apart and a chordal texture. 302

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

Allegretto grazioso, 1933 Opus 131, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's Stthne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Sketchbook, Od u s 131

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto grazioso Key F major Meter S/B Length 28 measures Form Ternary (A 1 :B A: 1 ) Classification Miniature

AHNOTATION SUMMARY

This light piece is a study based on a dotted rhythm ( m J J J I J^Ti J-1J-j J J J J I J'l J J. ) which persists throughout. There are many seventh chords, with no intervals larger than an octave. Frequent changes of chordal positions and dotted rhythms require quick motions. 303

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Moderato, 1933 Opus 131, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M13Q0 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Sketchbook. O d u s 131

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G major Meter 2/4 Length 34 measures

Form Rondo (ABA CD > | Classification Miniature

ANNOTATION SUMMARY

This miniature features a right-hand melody comprised of eighth and sixteenth notes, accompanied by harmonic thirds and fifths in the left-hand part. The B section is repeated in its entirety, but the A' sections embody only the second phrase of the first A section. This would be an easy piece to memorize due to the formal repetitions. 304

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Moderato, 1933 Opus 131, No. 6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Sketchbook. Odub 131

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E minor Meter 2/2, 1/2, 2/2 Length 25 measures Form Rounded binary (A 1:B A':1) Classification March

ANNOTATION SUMMARY

Dotted rhythms and repeated notes create a lively march character. The right hand moves between C position and G position with a single melodic line dotted with harmonic fifths and broken fourths. At the beginning the left hand doubles the right-hand part an octave lower, then changes to an accompaniment of thirds, root position, and first-inversion chords. The B section uses the rhythmic pattern of the A section, but with contrary motion requiring quick returns to the middle register. 305

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

Moderato, 1933 Opus 131, No. 7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's S8hne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M13S0 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Sketchbook. Od u b 131

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E major Meter 2/2 Length 32 measures Form Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

The melody is played in the middle register by the left hand while the right hand supplies a chordal accompaniment of two- and three-note chords. The student is aided in concentrating on the left-hand melody because of itB simplicity, although the right hand is the more active hand in this composition. 306

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Moderato, 1933 Opus 131, No. 8 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SShne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Sketchbook. Od u b 131

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G-sharp minor Meter 9/8 Length 24 measures Form Rounded binary (A 1 :B A': 1 ) Classification Miniature

ANNOTATION SUMMARY

The texture of this miniature resembles the first piece of this set. The melody and eighth-note accompaniment is played by the right hand, leaving the left hand a chordal accompaniment comprised basically of harmonic thirds and single notes. The right hand must hold the first note of each group into the next group, causing the hand to stretch. This may not be a good pi^ce for a small hand. 307

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

Allegro, 1933 Opus 131, No. 9 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SiJhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress Ml380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Sketchbook. Od u s 131

CHARACTERISTICS OF COMPOSITION

Tempo Allegro, Allegro, ma non troppo Key B major Meter 2/4 Length 4fl measures Form Rondo (Prelude A B A 'B'A''Postlude) Classification Miniature

ANNOTATION SUMMARY

This lively black-key study contains syncopated left hand clusters in the first and last A sections. The left hand is required to make quick changes from the middle to the low register in the A sections. The B section features broken-chord figures played by the right hand, occasionally requiring the hand to stretch to a broken octave. 308

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

Moderato, 1 9 3 3 Opus 1 3 1 , No. 1 0 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's SBhne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M l3 8 0 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Sketchbook. Od u b 1 3 1

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E minor Meter 2/2 Length 45 measures Form Ternary (A B A 'Codetta) Classification Miniature

ANNOTATION SUMMARY

In the A sections, the melody is played by the left hand while the right-hand part contains an accompaniment of broken thirds, fourths, fifths, and sixths. The 10- measure B section includes two rolled chords and large leaps for the left hand. A strong folk influence is felt throughout. 309

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Largo, 1933 Opus 131, No.11 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's S8hne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress Ml380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Sketchbook. O d u b 131

CHARACTERISTICS OF COMPOSITION

Tempo Largo Key C minor Meter 3/4 Length 30 measures Form Sectional (A Al A2 Codetta) Classification Miniature

ANNOTATION SUMMARY

This sombre miniature appears to be based on a chant or folktune. The theme is chordal containing duple and triplet eighth-note rhythms played in the middle and lower registers. The melodic outline of the first phrase is present in the first phrase of each section, including the Codetta. Al features canonic imitation with the second phrase based on a scalar pattern. A2 begins with a modified restatement of the original A phrase followed by canonic imitation involving the high, middle, and lower registers. 310

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Lento. Quasi berceuse, 1 9 3 3 Opus 1 3 1 , No.1 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

B. Schott's S8hne

LIBRARY LIBRARY CALL NUMBER

The Library of Congress Ml380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Sketchbook. Od u s 1 3 1

CHARACTERISTICS OF COMPOSITION

Tempo Lento. Quasi berceuse Key A-flat major Meter 4/4 Length 22 measures Form Ternary (A 1: B A' : 1 ) Classification Berceuse

ANH0TATI0N SUMMARY

This "lullaby" requires much connecting and stretching by the right hand. The left hand moves around the middle and low registers, often playing on the off­ beats and occasionally imitating the right hand. The stretching and connection required of the right hand demands the technic of a more experienced student. The first four measures of the final A' returns in an unusual manner, on the dominant harmony of A-flat major. 311

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Old Children's Song," 1933 Opus 133, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max EBchig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1380 .G74x op.133

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II> Album D'Andrucha. Opus 133

SUMMARY OF COMPOSITION

T empo Moderato Key F major Meter 3/8 Length 56 measures Form Sectional (A A1 A2 Coda) Classification Song

ANNOTATION SUMMARY

In the A section, the melodic line of eighth notes and dotted rhythms is played by the right hand while the left hand supplies an accompaniment of chords and broken sixths, fifths, and fourths. The melodic line from the A section appears unchanged in section A1 with modified harmonies, while the left hand supplies a more active accompaniment of sixteenth notes. In A2 the melodic line is varied and rhythms are modified while the accompaniment is chordal. This closely resembles a theme and variations. 312

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Little Dreamer, " 1933 Opus 133, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1380 .G74x op.133

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Album D'Andrucha. O d u b 133

SUMMARY OF COMPOSITION

Tempo Andantino Key C major Meter 6/8 Length 28 measures Form UniDartite (Intro 1:A Intro:1 A') Classification Miniature

ANNOTATION SUMMARY

The eight-measure introduction consists of four nearly identical two-measure units. Sustained inverted pedal tones in the introduction require stretching to accommodate the legato melodic line. The rhythmic pattern presented in the introduction (J J'J/'/J J ' J f ' l J J'JJ'IJJ'J-) appears throughout. In the A section the melodic line is played by the right hand while the accompaniment of solid and rolled chords appears in both parts. The final A' section contains the first two measures of the original A section, followed by two modified measures. This phrase is repeated(parallel construction), with the first two measures in the minor mode. 313

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Naughty Girl," 1933 Opus 133, No.3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1380 .G74x op.133

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album D'Andrucha. O d u s 133

SUMMARY OF COMPOSITION

Tempo Allegro ma non troppo Key A minor Meter 4/4 Length 16 measures Form Ternary (A B A) Classification Miniature

ANNOTATION SUMMARY

The naughty girl is characterized by patterns of repeated notes and descending half steps in the A section, marked "grazioso e con alcuna liberta" while the left hand supplies an accompaniment of two-note chords containing descending notes. The melodic line in the B section incorporates repeated notes with a rising fourth while the left hand provides a chordal accompaniment. Changes of fingering and hand positions are required. 314

SUMMARY SHEET

COMPOSITION______COPYRIGHT PATE

"Little Elegant," 1 9 3 3 Opus 1 3 3 No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1 3 8 0 .G74x op.1 3 3

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Album D'Andrucha. O d u s 1 3 3

SUMMARY OF COMPOSITION

Tempo Allegretto moderato Key E major Meter 4/4 Length 16 measures Form Rounded binary (AI:B A 's1> Classification March

ANNOTATION SUMMARY

This dotted-eighth sixteenth-note study resembles Schumann's "Soldier's March" but changes hand position more often and presents varied rhythms. The right hand plays a single-note melodic line while the left hand supplies two- and three-note chords. Shifting hand positions, grace notes, and stretches of a seventh suggest advanced skills. 315

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Dance of the Gold Fishes," 1933 Opus 133, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library H u b Lib M 1380 .G74x op.133

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Album D'Andrucha. Opus 133

SUMMARY OF COMPOSITION

Tempo Allegro grazioso Key D-flat major Meter 6/8 Length 24 measures Form Ternary (A 1:B A :1) Classification Miniature

ANNOTATION SUMMARY

The texture of this black-key study resembles Gretchaninoff's "Etude," Opus 98, No.12, and the single­ note study "Mignonne," Opus 150, No.5. In each case a single line of music is divided between both hands, with the melodic notes given to the right hand and accompaniment to the left hand. Goldfish can be imagined through the smooth descent of legato thirds which require constantly changing positions. 316

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"The Mountebank," 1933 Opus 133, No.6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1380 .G74x op.133

GRADE LEVEL SUITE. SONATA. SONATINA

Lover Elementary (I-II) Album D'Andrucha. Opus 133

SUMMARY OF COMPOSITION

Tempo Allegretto Key B-flat major Meter 2/4 Length 48 measures Form Rondo (ABABA Coda) Classification Miniature

ANNOTATION SUMMARY

"Mountebank" refers to an unscrupulous pretender or showman. Both sections are based on parallel construction using I and V7 harmonies. The right hand plays a single­ note melodic line with dotted rhythms (J-l Y] I J"D .H 1JTJ3 ) J- ) in the A section, while the B section contains grace notes. The left-hand accompaniment contains syncopated patterns two- and three-note chords. Changing hand positions and leaps in the left-hand part require coordination. 317

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Gallant Cavalier," 1933 Opus 133, No.7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1380 .G74x op.133

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary(III-IV) Album D'Andrucha. Opus 133

SUMMARY OF COMPOSITION

Tempo Moderato Key F Major Meter 6/8 Length 34 measures Form Ternary (A 1 :B A :1 Coda) Classification Miniature

ANNOTATION SUMMARY

This chordal piece suggests a high-stepping horse, depicted by the rhythmic pattern (J'ltlJ* D i'lfl ^ ) which appears throughout. Grace notes preceding quarter notes hint at the clear, crisp steps made by a horse. Although this piece appears easily readable, it requires skill to play the grace-note chords accurately. 318

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"My Little Dog Joujou," 1933 Opus 133, No.8 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1380 .G74x op.133

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album D'Andrucha, Opus 133

SUMMARY OF COMPOSITION

Tempo Allegretto Key C major Meter 3/4 Length 33 measures Form Ternary (A 1 :B A :1 Coda) Classification Miniature

ANNOTATION SUMMARY

The vivacious, bouncy nature of the dog, Joujou, is reflected in the rhythmic pattern ( J f J J 7 ^ | J JY JJ-J'IfJjJ ). Dog barks are simulated with seconds played by the right hand. Both hands contain two-note chords, frequent changes of hand position, and intervals as large as a seventh. 319

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Invitation to a Walk," 1933 Opus 133, No.9 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1380 .G74x op. 133

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Album D'Andrucha. Onus 133

SUMMARY OF COMPOSITION

Tempo Andantino Key D-flat major Meter 6/8 Length 22 measures Form Rounded binary (Pre A 1:B A ':1 Postlude) Classification Miniature

ANNOTATION SUMMARY

The two-measure introduction begins in the key of 13- flat minor, and is followed by the A section in the key of D-flat major. Walking is simulated through the rhythmic pattern •''J * Ii P J ) which appears throughout. A texture of two- and three-note chords appears in both parts, requiring changing positions, and the A section contains several rolled chords. The postlude consists of a repetition of the prelude and two measures from the A phrase. 320

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Children's Dance," 1933 Opus 133, No. 10 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State Music Library Mus Lib M 1380 .G74x op.133

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Album D'Andrucha. Od u b 1 3 3

SUMMARY OF COMPOSITION

Tempo Tempo di Valse Key A major Meter 3/4 Length 44 measures Form Ternary (A l:B:l:A':l Coda) Classification Waltz

ANNOTATION SUMMARY

The right hand plays a legato melodic line which is embellished occasionally with grace notes. The left hand provides a waltz bass accompaniment with single notes and three-note chords, often requiring leaps between the low and middle registers. Frequent changes of position, finger crossings, and short slurs for the right-hand part require coordination. 321

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Travail Du Matin," 1937 Opus 138, No.1 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Brimborions, O d u s 138

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key C Major Meter 4/4 Length 21 measures Fnrm Rounded binary (A 1:B A':1> Classification Miniature

ANNOTATION SUMMARY

This piece stays generally within a six-note range, but section B contains a few octaves and sevenths. Both the A and B sections have parallel construction and imitation. The A section is based on a rhythmic motive Itliffr > which is passed back-and-forth between the hands. The B section contains a repeated-note motive, begins in 3/2, in G major, then changes meter to 4/4 and modulates to C major. The combination of easy keys, limited use of large intervals, parallel construction, and a simple repeated rhythmic idea makes this an excellent teaching piece, easy to memorize. 322

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Une Journ£e Grise," 1937 Opus 138, No.2 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA . SONATINA

Lower Elementary (I-II) Brimborions. Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Andante Key A minor Meter 3/4 Length 34 measures Form Ternary (A 1 :B A :1 Coda) Classification Miniature

ANNOTATION SUMMARY

This piece requires the student to play in high, middle, and lov registers, but the right hand plays the melody and rarely more than one note at a time, requiring only a few stretches. ^_£hort slurs appear in the right- hand part (rnTf'lff I CfTfiT'J | while the left hand supplies an accompaniment of melodic seconds and thirds in the A section, and several three-note chords in the B section. The piece suggests the key of C major at the beginning of the B section, then returns to A minor with an exact repeat of the A section. The coda is a combination of rhythmic elements and intervals derived from the A and B sections, but is a third lower than the B section. This would be an easy piece to memorize because of parallel construction which is used in all sections. 323

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"La F£te," 1937 □pus 138, No.3 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Brimborions, Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Allegro giocoso Key G major Meter 2/4 Length 44 measures Form Ternary (A 1:B A:1 Coda) Classification Miniature

ANNOTATION SUMMARY

"Celebration" is a lively piece featuring octaves and scalar passages for the right-hand part in the A section. The left hand occasionally crosses between the right-hand octave, in the high register, then returns to the middle register. In the B section the left hand plays an ascending melodic line in the first period, as the right hand provides an accompaniment of two- and three-note chords. The right hand plays the a descending melodic line in the contrasting phrase of the B section, while the left hand supplies an accompaniment of octaves and sevenths. The coda is based on the A section. This piece requires more skill than the first two of this set. 324

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Plainte," 1937 Opus 138, No.4 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA . SONATINA

Lower Elementary (I-II) Brimborions. Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key E minor Meter S/8 Length 28 measures Form Rounded binary (A l:B A':l Coda) Classification Plainte

ANNOTATION SUMMARY

For memorization purposes, "Plainte" is more complicated than the prior selections in Brimborions because it contains more variation within the B section and coda. Both hands are required to move frequently, although the left hand stays mainly in the middle register, except in the coda where it transfers to the low register. There are very few large intervals, and the right hand occasionally plays two or three notes simultaneously. The B section features contrasting touches; short slurs for the right hand (rp fp l | * p f p ) , and syncopated staccato chords for the left-hand part >. The coda contains sustained tones for the right hand. 325

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"En Route," 1937 Opus 138, No. 5 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary(I-II) Brimborions. Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Allegro non troppo, ma energico Key D major Meter 4/4 Length 39 measures Form Ternary (A 11:B A :1 Codetta) Classification March

ANNOTATION SUMMARY

The lively mood of "En Route" is like that of "La F£te. " "En Route" moves back and forth between the high and middle registers, and uses the low register briefly for the left hand. The A and B sections are based upon parallel construction, and the second A is an exact repetition of the first A. This is the first piece in the set that has first and second endings with a small codetta. The A section contains accented chords and a repeated-note motive which is imitated in the left-hand part. In the B section the right hand plays a repeated- note motive and expanding intervals while the left hand plays a syncopated accompaniment(mostly thirds). The predominant rhythms are eighth and quarter notes. 326

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Pastorale," 1937 Opus 138, No.6 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary(I-II) Brimborions, Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key G major Meter 6/8 Length 48 measures Form Ternary (A 1 :B A:1 Codetta) Classification Pastorale

ANNOTATION SUMMARY

Dotted rhythms and short slurs(pft ^ * > occur throughout In the right-hand melodic line. In the A section the left hand plays an accompaniment of single eighth notes in the middle register close to the right hand (Q3 1 ). In the B section, the left hand performs a staccato accompaniment of contracting intervals in the low and middle registers. The largest interval is a broken octave required of both hands. The easy key, parallel construction in the A sections, and few chords make this appropriate for the elementary student needing further work with 6/8 meter and dotted rhythms. 327

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"La Demande," 1937 Opus 138, No.7 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE, SONATA. SONATINA

Lower Elementary(I-II) Brimborions. Oous 138

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A minor Meter 3/8 Length 92 measures Form Ternary (A 1:B A :1 Ext) Classif icat ion Miniature

ANNOTATION SUMMARY

In the A section persistent pedal tones and repeated sequences played by the right hand and imitated in the left-hand part enhance the notion that a child is repeatedly asking or demanding something. The right-hand part contains pedal tones in both sections. In the A section, pedal tones occur above sequences, and in the B section pedal tones are held below sequences. In the B section the left hand plays broken chord accompaniments. The hands stay basically in one register, and the rhythms are comprised of eighth notes with two occurrences of dotted-eighth sixteenth-note rhythms. The B section does not modulate to a new key, rather the second scale degree is lowered. This would be a good piece for introducing 3/8 meter. 328

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Le Soir," 1937 Opus 138, No.8 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary(I-II) Brimborions, Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key F major Meter 3/4 Length 27 measures Form Rounded binary (A l:B A':l Codetta) Classification Miniature

ANNOTATION SUMMARY

Both sections of "The Evening" contain thirds and partial scale passages for the right-hand part with an accompaniment of broken chords for the left hand. The piece has a calm quality, with a melody which rises and falls in the middle and upper registers, requiring a legato touch throughout. The B section modulates to A minor, returning to F major when the A returns. This may be a good piece for discovering how to shape phrases, and parallel construction makes it an easy piece to memorize. 32S

SUMMARY SHEET

COMPOS IT I OH______COPYRIGHT DATE

"En Avant," 1937 Opus 138, No. 9 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA . SONATINA

Lower Elementary (I-II) Brimborions, Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key B-flat major Meter 3/4 Length 54 measures Form Rounded binarv (A 1:B A ':1 Ext) Classification Fanfare

ANNOTATION SUMMARY

In the A section "Forward" contains a fanfare figure and changes tempo<"poco rail" etc.) several times. Some measures appear to be divided into two beats(r/^lrP3 ) and others into three beats( J ). The hands play close together, especially in the A section. In the B section contrasting scale-like passages appear in the right-hand part while the left hand provides an accompaniment of two- note chords. Both A sections are based upon parallel construction, but the final A' section contains A material which is reversed between the hands. Fanfare figures may appeal to young students. 330

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Mazurka," 1937 Opus 138, No. 10 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

UoDer Elementary Brimborions, Od u s 1 3 8

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G major Meter 3/4 Length 42 measures Form Ternary

ANNOTATION SUMMARY

The light, rhythmic style of "Mazurka" resembles Schubert Lfindler. The right hand plays a descending melodic line, embellished with grace notes, repeated notes and dotted rhythms (rTr"2?| flFSf > in the A section. The left hand provides a syncopated chordal accompaniment in both sect ions ( U I £ f(l£ IT 1£ f f K moving between the middle register and low registers. The melodic line in the B section contains ascending dotted figures( HJ- A n interesting effect is created in the last four measures of the coda when the left hand plays the melody, while the right hand provides chordal accompaniment. 331

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"S£v£re Reprimands," 1937 Opus 138, No.11 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Brimborions, Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G minor Meter 2/4 Length 28 measures Form Ternary (A 1:B A:1) Classification Miniature

ANNOTATION SUMMARY

A dark sound is created through the use of the lower register and ascending accented eighth notes for the left- hand part, while the right hand supplies the melodic line and chords in the middle register. In the B section the left hand shifts to the middle register playing descending half steps between the sixths played by the right hand. The final A section is a repeat of the first, making this an easy piece to memorize. 332

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"L'Adieu," 1937 Opus 138, No.12 PRINT STATUS

in-print

PUBLISHER EDITOR

Galaxy Music Corporation

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA,. SONATINA

Upper Elementary (III-IV) Brimborions. Opus 138

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key B-flat major Meter 2/4 Length 32 measures Form Two-oart (A 1 :B A: 1 B' ) Classification Miniature

ANNOTATION SUMMARY

"Farewell" resembles "Mazurka" with its dotted rhythms and light character. The right-hand melodic line contains dotted rhythms and grace notes, requiring quick finger movements and a light touch. The left hand plays passages of syncopation in both sections, and the B section shifts into the treble clef. The final B' section appears one octave lower than the original B section, in the low and middle registers, with some modifications. 333

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"R£ve D'enfant," 1935 Opus 141, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op.141

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album de Nina. Opus 141

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C major Meter 3/4 Length 26 measures Pnrm Rounded binary (A 1:B A':1) Classification Miniature

ANNOTATION SUMMARY

Throughout the A section of this piece, translated as "The Waking Child," the left hand is required to stretch a sixth between the second and fifth fingers. The middle and high registers are featured in the A section with the right hand supplying the melodic line and the left hand playing an eighth-note accompaniment. The B section appears in the middle register for both hands; the left hand plays the melody while the right hand supplies a semi- chordal accompaniment. There are no difficult rhythms, but several changes of hand position are required. 334

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Chansonnette, " 1935 Opus 141, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op.141

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album de Nina. O d u s 141

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A minor

Meter 4/4 t Length IB measures Form Ternary (1:A: 1 :B A': 1 Interlude A '' ) Classification Song

ANNOTATION SUMMARY

This dotted-rhythm study is based on a persistent pattern of dotted-eighth sixteenth-notes. Double-dotted quarter notes are present in the right-hand melodic line of both sections. The left-hand accompaniment contains a single line of dotted rhythms in the A section, but is chordal, without dotted rhythms, in the B section. The final A'' section appears in the major mode, ending on an A major I chord. Broken seconds, thirds, fifths, and octaves are present throughout. 335

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Apres la messe," 1935 Opus 141, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op.141

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album de Nina. Opus 141

CHARACTERISTICS OF COMPOSITION

Tempo Andante ma non troppo Key D Aeolian (1-flat) Meter 6/8 Length 24 measures Form Ternary (A I:B A :I Codetta) Classification Miniature

ANNOTATION SUMMARY

"After the Mass" is a triadic study which begins in the D aeolian mode with the progression: I:i-VII-v-VII-:I iv-v-iii-ii-i-iii-i. The left-hand part plays an accompaniment of root-position triads, while the right hand plays broken triads containing the melody in the first note of each group. The style is reminiscent of a chant or devotional music. The contrasting B section, in D harmonic minor, contains a broken-chord accompaniment played by the left hand and a repeated-note melodic line for the right-hand part. The A section is repeated, followed by a codetta. This piece may appeal to teenagers or adults. 336

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Songerie," 1935 Opus 141, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op.141

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Album de Nina. O d u s 141

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key A major Meter 4/8 Length 20 measures Form Two-Dart (Intro 1:A:1 BAB Codetta) Classification Reverie

ANNOTATION SUMMARY

Within the A section the left hand plays an alternating accompaniment of V7 and I chords. The right hand plays an ascending melodic line which is built upon a rhythmic pattern of sixteenth-eighth-sixteenth notes. The contrasting B section utilizes the same rhythmic pattern and groupings of sixteenth notes against a syncopated accompaniment < 1 I ^ ^ t gf 1 ). Frequent changes of hand position for the right hand require advanced skills. 337

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Marche," 1935 Opus 141, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op. 141

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album de Nina. Opus 141

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key F-sharp minor Meter C Length 28 measures Form Rondo (A 1:B A':I:C A':l) Classification March

ANNOTATION SUMMARY

The minor key creates a sombre atmosphere. Dotted rhythms are found in all sections, but only the A sections contain sustained pedal tones. The contrasting sections are composed in major keys with the B section in A major, and the C section changing to the key signature of D major. The C section contains moving chordal passages requiring quick changes of hand positions and repeated patterns of three-note chordsf f f/f' ^ > requiring quick attacks. 338

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"M£lodie Antique," 1935 Opus 141, No.6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op. 141

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album de Nina. Opus 141

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D minor Meter 6/8 Length 19 measures Form Rounded binary (A 1:B A':1) Classification Song

ANNOTATION SUMMARY

The changes of tempo required by the directions "con moto," "con alcuna liberta" "a tempo," and "rail."(etc.), imply an expressive playing style. The melodic line, marked "cantando," played by the right hand is comprised of seconds, thirds, and fourths. The left hand provides a chordal accompaniment in both sections, although the B section is quite thin with only two harmonies. The rhythmic outline of eighth and sixteenth notes and melodic shape of the A section are present in the B section. 339

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Au Rouet," 1935 Opus 141, No.7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op.141

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album de Nina. Opus 141

CHARACTERISTICS OF COMPOSITION

T empo Allegretto Key B-flat major Meter 6/8 Length 25 measures Form Rounded binary (A I:B A ':I Codetta) Classification Miniature

ANNOTATION SUMMARY

The circular motion of a spinning wheel in "At the Spinning Wheel” is simulated in the A section through a descending legato pattern of stepping eighth notes, played by both hands, a sixth apart. The B section continues with a similar rhythmic pattern, shorter phrases, and broken-chord accompaniment. The codetta contains a sustained dominant pedal tone and moving melodic line in the right-hand part. 340

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Au Cr£puscule, " 1935 Opus 141, No. 8 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op.141

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Album de Nina. Opus 141

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key E-flat major Meter 6/Q Length 16 measures Form Rounded binary (A I :B A *; I Codetta) Classification Miniature

ANNOTATION SUMMARY

The primary technical challenge is tone control. The calm felt at the end of the day is created through the use of soft dynamic markings: "p," "pp." and "ppp." Sustained double pedal tones are played by both hands in the A section while pedal tones in the B section are played only by the right hand. Such use of double pedal tones is common in French instrumental writing and is found in the piano music of Debussy. 341

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Nuages du Soir," 1935 Opus 141, No. 9 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op. 141

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Album de Nina. Odus 141

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key A minor Meter 6/8 Length 23 measures Form Rounded binarv

ANNOTATION SUMMARY

In the A section the left hand supplies a slowly moving legato melodic line, marked "cantando," suggesting the movement of evening clouds. The right hand provides accompaniments of staccato broken chords and three-note slurred figures, requiring the stretch of a ninth. In the B section, roles reverse, although the left-hand accompaniment contains no intervals larger than a sixth. 342

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"En Promenade," 1935 Opus 141, No. 10 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Kent State University Mus Lib M 1380 .G 74x op.141

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Album de Nina. Opus 141

CHARACTERISTICS OF COMPOSITION

Tempo none Key E major Meter 4/4 Length 23 measures Form Rounded binary (A 1:B A':1 Codetta) Classification Miniature

ANNOTATION SUMMARY

The beginning tempo mark is omitted. The A section begins "f" in a chordal style with dotted rhythms. The B sectioQ features a "pp" passage of accented eighth notes (f fjf rMlrfrf Cl H ). marked "fragile." The meter changes to 3/2, then to 4/4 with the return of the A section. The codetta is based upon both B and A sections ending in 3/2 meter. 343

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Pr£paratifs Pour la 1935 Promenade, " Opus 143, No.1 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Promenade Au Bols. Opus 143

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key G major Meter 3/4 Length 43 measures Form Rondo (ABABA Codetta) Classification Waltz

ANNOTATION SUMMARY

The second beat is stressed in the A sections, while the B sections have no stress marks and longer phrases. Dotted rhythms occur throughout the right-hand part, while the left-hand accompaniment contains only quarter- and half-notes. "Preparation for a Walk" has no more than three notes played at one time, a few finger crossings, and several changes in hand position. 344

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Toujours Avec Hainan, " 1935 Opus 143, No.2 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Promenade Au Bois. Odus 143

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A major Meter 4/4 Length 32 measures Form Rondo (A BA' BA') Classification Miniature

ANNOTATION SUMMARY

The beginning dotted rhythm(pl f' p rpl f • ) also appears at the beginning of Opus 143, No.5. Grace notes found throughout are optional, as are the octaves in Opus 143, No.5. The B section of "Toujours" is based on a motive taken from the A section. The motive is changed in the B section by reversing and expanding some intervals which create the "cuckoo" sound effect. 345

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Danse des Papillions, " 1 9 3 5 Opus 1 4 3 , No. 3 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-1I) Promenade Au Bois. Od u s 1 4 3

CHARACTERISTICS OF COMPOSITION

Tempo Tempo di Valse Key C major Meter 3 / 4 Length 4 6 measures Form Ternary Classification Waltz

ANNOTATION SUMMARY

Fluttering movements like those of butterflies are represented in the A section through three-note slurs in the melodic line (^jJ ). Ascending thirds and descending seconds leap occasionally to a sixth before descending. Grace notes and dotted rhythms ( jtj- J'lJ-) appear only in the B section. This is the only piece in Opus 143 written in ternary form, equivalent to rondo form, however, if written out. 346

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Danse des Grenouilles, " 1S35 Opus 143, No. 4 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Promenade Au Bois. O d u s 143

CHARACTERISTICS OF COMPOSITION

Tempo Tempo di Mazurka Key B-flat major Meter 3/4 Length 40 measures Form Rondo (ABABA) Classification Waltz

ANNOTATION SUMMARY

"Dance of the Frogs" requires stretches of a seventh for the right hand while the left hand plays a chordal accompaniment of I and V7 chords in the A sections. The contrasting B sections in F major have broken-chord accompaniments. "Hopping" figures throughout this piece have the rhythmic pattern of dotted-eighth-sixteenth. When those figures are played in the A section, the right hand creates a "hopping" effect by lifting between two- note slurs. 347

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Danse des Oursons," 1935 Opus 143, No. 5 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Promenade Au Bois, Onus 143

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key Modal Meter 4/4, 5/4 Length 28 measures Form Unipartite (Pre A Br A'Inter A Br A 'Post) Classification Miniature

ANNOTATION SUMMARY

This lively piece is based on an alternating chordal pattern appearing first in the high register(A), then repeated in the low register(A'). Bridges between the A sections consist of a descending scale pattern and repeated chordal pattern. Beginners may enjoy this piece because of its repeated patterns and opposing registers, but they must be able to play octaves easily. 34Q

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Lea Champignons S'en vont 1935 en Geurre," Opus 143, No.6 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Promenade Au Bois. Odus 143

CHARACTERISTICS OF COMPOSITION

Tempo Allegro marziale Key C Mixolydian (1-flat) Meter 4/4 Length 30 measures Form Rondo (A B A B A ') Classification March

ANNOTATION SUMMARY

"The Mushrooms are going to War" is a title which would appeal to children, and the lively march style may attract teenagers. An optional left-hand octave may be added for those who have large hands. Repeated notes in the right-hand part may challenge beginners, and the hands change positions several times. The B section contains a broken-chord pattern of fifths and thirds, which resembles the pattern found in the B section of Opus 98, No.6. The B section has an easy left-hand part of alternating four- note clusters and minor chords. The key signature contains a B-flat but there are no cadences in F major or D minor. The A section is based on the modes of C and G Mixolydian, while the B section is in the A Aeolian mode, and the final A' section is in C Mixolydian. 349

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"11 S'est £gar£, " 1935 Opus 143, No. 7 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

UDDer Elementary (III-IV) Promenade Au Bois. Od u b 1 4 3

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key G minor Meter 4 / 4 Length 2S measures Form Rondo (A B A ' B A " ) Classification Miniature

ANNOTATION SUMMARY

A legato melodic line of quarter notes Is played by the left hand while an accompaniment of Incomplete triplet fIguresCf'Pis played by the right hand. The feeling of fear is portrayed through chromatic harmonies and uneasy accompaniment. Passages of legato chromatic sixths and legato thirds are played by the left hand in the final A'' section. The texture throughout is similar to the beginning B section of Rachmaninoff's "Prelude in C-sharp minor, " Opus 3, No. 2. 350

SUMMARY SHEET

COMPOSITION______COPYRIGHT PATE

"Fatigu£," 1935 Opus 143, No. 8 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Promenade Au Bois. Od u b 1 4 3

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key F major Meter 2 / 4 Length 4 4 measures Form Rondo (A B A 'B A') Classification Miniature

ANNOTATION SUMMARY

Fatigue is implied through the sustained pedal tones played by the right hand, required to stretch as much as an octave while playing the melodic line above or below the tones. The left hand plays both chordal and single­ note accompaniments requiring stretches of a ninth. 351

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Retour a la liaison, " 1935 Opus 143, No. 9 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Promenade Au Bois. Od u s 1 4 3

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D minor Meter 6/8 Length 32 measures Form Rondo (ABA 'BA') Classification Miniature

ANNOTATION SUMMARY

The A sections contain an ascending scalar melodic line which begins in the low register continuing into the high register. This pattern is reversed in the B sections, while a "skipping" rhythmic pattern (J i'J JmJ .P J S' ) is played throughout. The repeated rhythmic pattern and use of low and high registers provide reinforcement of rhythm and note reading skills. 352

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Au Lit, " 1935 Opus 143, No.10 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Promenade Au Bois. Od u s 1 4 3

CHARACTERISTICS OF COMPOSITION

Tempo Lento, ma con moto Key F minor Meter 4 / 4 Length 3 6 measures Form Rondo (A B A 'B A'') Classification Miniature

ANNOTATION SUMMARY

The melodic line and rhythmic patterns of "In Bed" are closely related to those found in "March", Opus 98, No.3. However, the character of "In Bed" is subdued compared to "March. " Rest is implied through the slow tempo and soft dynamic range, "pp"-"mf. " The rondo form should enable students to learn and memorize this piece quickly. 353

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Chanson D'Aurore," None Opus 145, No. 1 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. O d u s 145

CHARACTERISTICS OF COMPOSITION

Tempo Allegro non troppo Key E major Meter 3/4 Length 36 measures Form Rondo (ABA ' B A' ) Classification Waltz

ANNOTATION SUMMARY

The A section begins in the middle register before shifting to the high register. The right hand plays an ascending melodic line of single sixteenth- and eighth- notes vhile the left hand maintains a chordal eighth- and quarter-note accompaniment in the A section. The contrasting B section begins "ff" with a descending scalar motive in which both hands play an octave apart. The melodic line then shifts to an ascending pattern with a broken-chord accompaniment. Hand positions change frequently in this piece, requiring advanced fingerings and fluency in scales. The harmonies and texture of this piece suggest the influence of Schumann. 354

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Chant D 'Artisan," None Opus 145, No.2 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary’ (III-IV) Suite Miniature. Odus 145

CHARACTERISTICS OF COMPOSITION

Tempo Energico Key A major Meter 2/4 Length 40 measures Form Rondo (ABABA) Classification Miniature

ANNOTATION SUMMARY

"Song of the Artist" contains canonic imitation in both A and B sections. .JThj^ rhythmic pattern in the A section ( I I ) also appears in the B section. The B section contains several rhythmically challenging measures of syncopated seconds and thirds played by the right hand. 355

SUMMARY SHEET

COMPOS IT IOH______COPYRIGHT DATE

"Humoresque," None Opus 145, No.3 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

UDDer Elementary (III-IV) Suite Miniature. Odus 145

CHARACTERISTICS OF COMPOSITION

Tempo Con elegnnza Key F major Meter 4/4 Length 24 measures Form Rondo (ABABA Coda > Classification Humoresque

ANNOTATION SUMMARY

"Humoresque" utilizes the rhythmic pattern of sixteenth dotted-eighth sixteenth throughout the entire piece. The rhythm is closely related to Opus 145, No.2. The texture of two-note chords for each hand requires stretching a ninth. Grace notes and constantly changing positions make this piece challenging. 356

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Bal Champ£tre, " None Opus 145, No. 4 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Suite Miniature. Od u s 145

CHARACTERISTICS OF COMPOSITION

Tempo Alla Mazurka; moderato Key C major Meter 3/4 Length 48 measures Form Rondo (A B A 'B A') Classification Dance

ANNOTATION SUMMARY

The rhythm< is closely related to that of the previous pieces. All A sections in "Country Dance” are the same, except the A'sections are reduced by eight measures. The right hand sustains pedal tones beneath the single-note melodic line while the left hand provides a chordal accompaniment of two-note chords. The rhythms used throughout are challenging because dotted rhythms already mentioned are mixed with eighth notes and dotted quarters. Finger crossings appear only in the right-hand part, but both hands are required to change positions frequently. 357

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Fanfare de Coquelicots," None Opus 1 4 5 , No.5 PRINT STATUS

b in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Suite Miniature. Od u s 1 4 5

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key F major Meter 1 2 / 8 Length 2 8 measures Form Rondo (ABA 'B A) Classification Fanfare

AHHOTATION SUMMARY

This repeated-note study contains a predominant rhythm pattern (f '4* f T' F-lf T f‘| f tr ftrfill) which is similar to rhythmic patterns found in Opus 145, Nos.2-4. The fanfare figure in the A section incorporates descending fourths and fifths. The B section contains a similar fanfare figuration which is played ascending. The right hand plays a single-note melodic line throughout, requiring octave reaches, while the left hand provides a chordal accompaniment of mostly three- and four-note chords. The middle A' section has only the first four measures of the original A section. Repeated notes throughout this piece require a crisp, clear articulation. 358

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Vers la Maison, " None Opus 145, No. 6 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

UDDer Elementary (III-IV) Suite Miniature. Odus 145

CHARACTERISTICS OF COMPOSITION

Tempo Allegro marziale Key D major Meter 4/4 Length 50 measures Form Rondo (A B A'B A'Codetta) Classification March

ANNOTATION SUMMARY

This scale study contains repeated notes and dotted rhythms. Scale passages and chords are played by the left hand while the right hand plays two- and three-note chords or repeated notes. The repeated notes and chords must be articulated rapidly. 359

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Souvenir de l'Ami None Lointain, " Opus 145, No. 7 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

UDDer Elementary (III-IV) Suite Miniature. O d u s 145

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A major Meter 6/8 Length 41 measures Form Rondo (A B A'B A' Coda) Classification Miniature

ANNOTATION SUMMARY

The A section features a legato melodic line containing tied notes, eighth notes, and dotted rhythms, while the left hand plays a smooth accompaniment in the middle register. The B section of "Memory of a Far Away Friend" stays in the low and middle registers and contains a dotted rhythmic pattern Cl/ltif Clf > which was present in the opening motive of Opus 145, No.5. This pattern contains fourths and fifths which also appear in the Opus 145, No.5 motive. Frequently changing hand positions and articulating repeated notes suggest advanced skills. 360

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Au Foyer," None Opus 1 4 5 , No. 8 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. Od u s 1 4 5

CHARACTERISTICS OF COMPOSITION

T empo Amoroso Key E major Meter 2 / 4 Length 4 8 measures Form Rondo (A B A' BA') Classification Miniature

ANNOTATION SUMMARY

The opening theme of "By the Fireside" is based on an ascending pattern of half steps and the rhythmic pattern eighth-quarter-eighth, resembling Schumann's "Am Camin," Opus 15, No.8. Gretchaninoff's "Au Foyer" contains leaps in the left-hand part with immediate returns to the original hand position, requiring an independent left hand. The left hand plays accompanying chord and broken- chord figures while the right-hand part contains both melody and accompaniment. Both hands must stretch to play large intervals and project a legato melodic line. 361

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Phantasme," None Opus 145, No.9 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. Opus 145

CHARACTERISTICS OF COMPOSITION

Tempo Moderato; poco misterioso Key F minor Meter 6/8 Length 41 measures Form Rondo (A B A 'B A') Classification Miniature

ANNOTATION SUMMARY

This is the most contrasting piece in the Opus 145 suite. Mystery is portrayed through the chromatic descending half steps in the A sections and ascending half steps in the B sections. Sustained pedal tones above half steps, tempo changes, and meter changes create an eery atmosphere. Dotted rhythms and tricky fingering require advanced skills. 362

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Valse dans le Soir, " None Opus 145, No. 10 PRINT STATUS

in-print

PUBLISHER EDITOR

Alphonse Leduc

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Suite Miniature. Od u s 1 4 5

CHARACTERISTICS OF COMPOSITION

Tempo Tempo di Valse; moderato Key B-flat major Meter 3 / 4 Length 6 6 measures Form Ternary (1:A :1:B A:1 Coda) Classification Waltz

ANNOTATION SUMMARY

This light waltz is written in the Romantic style. The left hand often rests on beat three, providing a light, bouyant quality. At times the left-hand accompaniment texture is chordal or single note. The right-hand part carries the melodic line with occasional fragments of the chordal accompaniment. The A section is based on quarter notes with an occasional dotted rhythm. The B section is based on the dotted rhythm derived from the A section. The unusually long coda(18 measures) is based on A and B ideas. 363

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Elegy," 1935 Opus 146, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Augener Ltd.

LIBRARY LIBRARY CALL NUMBER

Harvard College Library Mus 691. 9. 405

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Aquarelles. Opus 146

SUMMARY OF COMPOSITION

Tempo Andante doloroso Key C minor Meter 4/4 Length 39 measures Form Through-composed (A Dev A'Ext) Classification Elegy

ANNOTATION SUMMARY

The first Aquarelle or watercolor bears a close relationship to "Plainte," Opus 3, No.1. Both pieces have a left-hand chordal accompaniment which descends chromatically. Both melodies bear the dotted-eighth figure which is developed in the middle section. Both pieces are also based upon similar forms, presenting an A idea, followed by a development, and return of A moving into the lower register. Opus 3 ends with a coda, whereas Opus 146 ends with a two-measure extension. More control and strength are required for "Elegy" as it contains two's against three's, a heavier, thicker texture, and legato octaves. 364

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Dixi !, " 1935 Opus 146, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Augener Ltd.

LIBRARY LIBRARY CALL NUMBER

Harvard College Library Mus 691. 9. 405

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VI-VII) Aauarelles. Od u s 1 4 6

SUMMARY OF COMPOSITION

Tempo Largo solenemente Key C major Meter 4/4 Length 29 measures Form Rondo (Prelude A B A 'B'A''Post) Classification Miniature

ANNOTATION SUMMARY

The four-measure introduction is followed by the marking "Andante, poco rubato." The right hand features an accompaniment of chords and broken chords while the left hand provides octaves, sevenths, thirds, and an occasional tenth. The melody is played by the right hand, but throughout the piece the effect is that of an accompaniment with the melody missing. The contrasting B sections are in E minor. A thicker chordal texture appears in the final B' and A'' sections requiring stretching and rapid leaps. 365

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Prayer," 19J5 □pus 146, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Augener Ltd.

LIBRARY LIBRARY CALL NUMBER

Harvard College Library Mus 691.9.405

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Aauarelles. O d u s 146

SUMMARY OF COMPOSITION

Tempo Con tenerezza Key A-flat major Meter 3/4 Length 37 measures Form Rondo (A B A' B'A'’ ) Classification Miniature

ANNOTATION SUMMARY

The texture of "Prayer" is reminiscent of Debussy's First Arabesque. However, the harmonies are not Debussian, but are more Chopinesque. A light touch and careful pedalling are required. Technical problems include several left hand trills, the right hand's duplets against the left hand's triplets, balance between the hands, and legato octaves for the right-hand part in the B sect ion. 366

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Vision Terrible," 1935 Opus 146, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Augener Ltd.

LIBRARY LIBRARY CALL NUMBER

Harvard College Library Mus 6 9 1 . 9 . 4 0 5

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Aauarelles. O d u s 146

SUMMARY OF COMPOSITION

Tempo Tempo moderato Key C minor Meter 4/4 Length 38 measures Form Rondo (ABA 'B'A'Codetta) Classification Miniature

ANNOTATION SUMMARY

"Vision Terrible" is translated by the publisher as "Chimera,” defined as a Greek firebreathing monster or as a fabrication of the mind, a fantasy. The music suggests a nightmare or a monster. A feeling of uneasiness is created through the gradually ascending melodic line which starts "pp" before crescendoing to an ”f. " Dominant pedal tones and dotted-quarter eighth rhythms combine to suspend the rhythm. The B section, marked "lamentoso,” features dramatic trills, diminished chords, left-hand triplets against right-hand duplets ("inesatabilimente”), and two- note slurs suggesting moaning. The codetta contains right- hand thirds which descend chromatically to a "p. ” ending with two "sff" chords, reminiscent of "Phantasme," Opus 145, No. 9. 367

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"And Dance, Dance," 1935 Opus 148, No.5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Augener Ltd.

LIBRARY LIBRARY CALL NUMBER

Harvard College Library Mus 691. 9. 405

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Aauarelles. O d u s 146

SUMMARY OF COMPOSITION

Tempo Tempo di Mazurka Key G-flat major Meter 3/4 Length 5 4 measures Form Rondo <1:A :1:B A':IC A'') Classification Dance

ANNOTATION SUMMARY

The A sections of "And Dance, Dance" contain a thin texture of eighth and sixteenth notes and rests which creates a light buoyant effect. The B section contains leaps for both hands and chords often spanning a tenth as well as scalar passages. Left-hand trills and chords appear in the C section. Demands are made on coordination and interpretive abilities. The Romantic style of this piece may appeal to teenagers and adults. 368

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Pastorale," 1937 Opus 150, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 78++ Op.150

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Arabesaues, Odus 150

SUMMARY OF COMPOSITION

Tempo Allegro moderato Key G major Meter 4/4 Length 16 measures Form Ternary (A l:B A:l Codetta) Classification Pastorale

ANNOTATION SUMMARY

In all sections the right hand plays the melodic line and fragments of accompaniment while the left hand provides an accompaniment of quarter and eighth notes. Finger crossings and changes of hand position are required, and most Intervals are less than an octave. Parallel construction is present throughout all sections. 369

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Danse des Elfes," 1937 Opus 150, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 7 Op. 150

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Arabesauea. Odus 150

SUMMARY OF COMPOSITION

Tempo Allegro grazioso Key A minor Meter 4/4 Length 20 measures Form Rounded binary (A 1:B A ':1> Classification Dance

ANNOTATION SUMMARY

Elves are depicted through the use of grace notes, a descending chromatic motive, and staccato quarter notes. The left hand plays an accompaniment of solid and rolled chords in the B section. Changes of hand position occur throughout. This piece would be attractive to most children. 370

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Chanson populaire russe," 1937 Opus 150, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 78 + Op. 150

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Arabesaues. O d u s 150

SUMMARY OF COMPOSITION

Tempo Moderato Key G major Meter 3/4 Length 20 measures Form Theme and variations (T VI V2 V3 V4) Classification Song

ANNOTATION SUMMARY

The four-measure theme contains a single-note melody played by the right hand while the left hand provides a chordal and broken-chord accompaniment of eighth and sixteenth notes. In the first variation the texture of the melody and the left-hand accompaniment are enhanced by sixteenth notes. The second variation features a key change to B-flat major with varied harmony and melody. In the third variation the accompaniment is altered by employing an ascending chromatic passage. The last variation embellishes the left-hand part with grace notes and the right-hand part with sixths. The third and fourth variations are the hardest and require advanced skills. 371

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"De bonne humeur," 1937 Opus 150, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 7Q + + Op. 150

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Arabesaues. O d u s 150

SUMMARY OF COMPOSITION

Tempo Andantino Key E-flat major Meter 3/4 Length 25 measures Form Rounded binary (A l:B A ':1 Codetta) Classification Waltz

ANNOTATION SUMMARY

"De bonne humeur" is written in the Romantic style with a flowing melodic line and thin left hand- accompaniment. Both hands perform shifting positions, dotted rhythms, and triplet figures.„ The student must distinguish between triplet figuresand similar dotted f iguresf J • JT^ ); pedalling is required. 372

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Mignonne, " 1937 Opus 150, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 78*+ Op.150

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Arabesaues. O d u s 150

SUMMARY OF COMPOSITION

Tempo Andantino con i moto Key G major Meter 4/4 Length 10 measures Form Ternary (A 1: B A':1) Classification Miniature

ANNOTATION SUMMARY

"Mignonne" is an endearing term meaning dear or pet. This piece reflects this idea through its charm. A single line of sixteenth notes is divided between the two hands, leaving the right hand with the melody and the left hand with accompaniment. 373

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Plainte, " 1937 Opus 150, No. 6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 78-*- +• Op. 150

GRADE LEVEL SUITE. SONATA. SONATINA

Lover Elementary (I-II) Arabesaues. Odus 150

SUMMARY OF COMPOSITION

Tempo Moderato; sempre espressivo Key C minor Meter 6 / 8 Length 25 measures Form Rounded binary (A l:B A':l Codetta) Classification Plainte

ANNOTATION SUMMARY

"Plainte" contains half-step movement and harmonies of minor and diminished chords. The left hand changes postions most frequently. The A and B sections have parallel construction with the final A' being based on the second A phrase, but reversing the roles of the hands(the melody is played by the left hand, and the accompaniment is played by the right hand). *The rhythmic pattern appearing in the A sect ion ( J73 ) is also featured in the B section. 374

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Par un soir d'hiver," 1937 Opus 150, No. 7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 78-*-+ Op. 150

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Arabesaues. Odus 150

SUMMARY OF COMPOSITION

Tempo Allegro Key F major Meter 2/4 Length 20 measures Form Ternary (A 1 :B A :1 Codetta) Classification Miniature

ANNOTATION SUMMARY

A lively character is created through the rhythmic pat tern ( \ f_ti > which persists throughout. Quick attacks and articulation are required for repeated notes and grace notes. The A section features grace notes for the single-note melodic line while the left hand provides a chordal accompaniment in the treble clef. The B section includes two contrasting phrases: the first contains chromatic passages for the left hand while the second has a thick chordal texture. 375

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Novelette, " 1937 Opus 150, No. 8 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 7S-*-Op. 150

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Arabesaues. Odus 150

SUMMARY OF COMPOSITION

Tempo Moderato Key D-flat Meter none Length 29 measures Form Rondo (ABA C A' ) Classification Novelette

ANHOTATION SUMMARY

"Novelette” refers to a variety of contrasting themes. Gretchaninoff normally composes his Rondos (ABA B A), but this one has a C section, which changes the key signature to C-sharp minor, projecting a chant-like character with broken expanding intervals in the right- hand part doubled by harmonic intervals for the left-hand part. It is similar to Letter to a Friend Opus 197, No. 1, for both pieces have chant-like C sections and feature key signature changes with themes of a completely different character than the A or B themes. "Novelette" has no meter signature and requires frequent meter changes within each section. Measures alternate with 7/8 and 8 / 8 in the A section. The B section remains in 5/8, and the C section has four measures of 7/8 followed by six of 3/8. 376

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Une triste historiette, " 1937 Opus 150, No. 9 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 78+-*- Op. 150

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Arabesaues. Odus 150

SUMMARY OF COMPOSITION

Tempo Moderato Key B-flat Minor Meter 3/8 Length 40 measures Form Rounded binary (A l:B A':l Codetta) Classification Miniature

ANNOTATION SUMMARY

The dotted rhythmic pattern( appears throughout. The A section features a texture of harmonic fifths, thirds, and fourths which are doubled by the left- hand part. The B section contains larger intervals(sevenths and octaves) and no doubling. The final A' section features a syncopated accompaniment for the left hand and added octaves in the melodic line. 377

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"En barque," 1937 Opus 150, No. 10 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Editions Max Eschig

LIBRARY LIBRARY CALL NUMBER

Cornell University Library M 1380 G 78+ Op. 150

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Arabesaues. O d u s 150

SUMMARY OF COMPOSITION

Tempo Tranquillo Key E-flat major Meter 3/4 Length 57 measures Form Rondo (A BA' B'A''Coda) Classification Miniature

ANNOTATION SUMMARY

The legato melodic line of "En barque" or "in a boat” creates the illusion of gliding through water. A sense of calm is created by the thin accompaniment. Melody and accompaniment figures are played by the right hand while the left hand provides an eighth-note accompaniment 378

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"See Saw," 1944 Opus 170, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Hargail Music Press

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M1380* G7 P5 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Four Plecea for Children. Opus 170 CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key F major Meter 6/8 Length 30 measures Form Rounded binary (A I :B A *: I Coda) Clasaification Miniature

ANNOTATION SUMMARY

The up-dovn motion of a see saw appears in the contour of the melodic line. The right hand must perform with facility due to awkward finger crossings and chromatic passages. All sections are based in part on parallel construction. Ascending chromatic passages present in the B section are partially inverted in the coda. 379

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Polka," 1944 Opus 170, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Hargail Music Press

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M1380* G7 P5 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Four Pieces for Children. Opus 170 CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C major Meter 2/4 Length 32 measures Form Ternary (A l:B A:l Coda) Classification Polka

ANNOTATION SUMMARY

"Polka" features more rhythmic variety than "See Saw, " with its eighth- and sixteenth-note rhythms. The A section features intervals no larger than a seventh in the left-hand part, while the right hand stretches no more than a sixth. The final A section contains sudden changes in dynamic levels, "f" followed by "p." The B section requires some wrist rotation for the left hand while the right-hand part contains passages of seconds, thirds, and partial scales. The right-hand part of the coda is based on the B section, transposed down a whole step, but the rhythm played by the left hand is derived from the A section. This is an excellent piece for working on dynamics and rhythm. 380

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"My First Ball," 1944 Opus 170, No.3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Hargail Music Press

LIBRARY LIBRARY CALL NUMBER

The Ohio State University M1380* G7 P5 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Four Pieces for Children. Opus 170 CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E major Meter 3 / 4 Length 58 measures Form Ternary (A;1 :B A :1 Coda) Classification Waltz

ANNOTATION SUMMARY

This piece is an attractive waltz which starts in the key of E-flat, changes to A-flat major at the B section, and returns to E-flat. Both A and B sections are based partially on parallel construction. There are no difficult rhythms, but the left hand must leap between the middle and low registers. The keys and added accidentals, including f-double sharps, make this an excellent piece for the student who needs work on reading skills. 381

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Berceuse, " 1944 Opus 170, No. 4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Hargail Music Press

LIBRARY LIBRARY CALL NUMBER

The Ohio State University Ml380* G7 P5 Music Library GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11) Four Pieces for Children. Opus 170 CHARACTERISTICS OF COMPOSITION

Tempo Moderato/Andante Key E minor Meter 4/4 Length 16 measures Form Rounded binary (Prelude A I:B A ':I Post) Classification Berceuse

ANNOTATION SUMMARY

"Lullaby" is based upon the E harmonic minor scale with the raised seventh appearing throughout. The piece remains primarily in the middle register and includes the dynamic ranges "mf" to "pppp." Sixteenth-note rhythms and chromaticism make this piece challenging. At times the legato touch requires stretching to facilitate connection, but most intervals are a sixth or less. The final chord is the mediant with the raised fifth. 382

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"At Sunrise," 1 9 4 6 Opus 1 7 3 , No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Oliver Ditson Company

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M25. G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Three Pieces. Od u s 1 7 3

CHARACTERISTICS OF COMPOSITION

Tempo Andante con liberta. Moderato Key C major Meter 3/4 Length 49 measures Form Rondo (Prelude A B A'B'A''Post) Classification Miniature

ANNOTATION SUMMARY

A bird call is imitated in the opening two measures whi.ih are marked "Andante con liberta." Following the prelude the tempo increases to "Moderato." The rising sun is depicted by the rising melody, and a quality of calmness is established through the use of long phrases, legato pedalling, and dynamics, ranging from "pp" to "mf." Legato triplet and duplet figures are found throughout the piece. The piece ends with an extension added on the A'', followed by a tempo change to "Andante" and a quote of the introductory measures. 303

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Confession," 1946 Opus 173, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Oliver Ditson Company

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M25. G

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Three Pieces. O d u s 173

CHARACTERISTICS OF COMPOSITION

Tempo Andante amoroso Key E major Meter 2/4 Length 43 measures Form Rondo (ABABA' Coda) Classification Miniature

ANNOTATION SUMMARY

The ascending melodic line for the right hand and the left hand's descending scale pattern based on chords create a pleasing quality. The indicated legato pedalling adds to the feeling of calm. The B section contains the most difficult figurations, broken chords, and arpeggiated figures. A beautiful color is added in the coda when the right hand plays a melody derived from the B section, just below middle C, then echoes it a fourth higher. This piece would be appropriate for a teenager or adult. 384

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Village Dance," 1946 Opus 173, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Oliver Ditson Company

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M25. G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Three Pieces. Odus 173

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto grazioso Key D major Meter 3/8 Length 59 measures Form Rondo (A B A'B'A''Coda) Classification Dance

ANNOTATION SUMMARY

"Village Dance" is a light, exciting,, rhythmical piece with easy figurations. The student must feel at ease with frequent changes of position. Accents are found occasionally on the first and third beats. The coda builds with excitement through the use of hemiola, shifting the accent from beats 3 and 1 to 2 and 1. 385

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

First Movement: 1947 Allegro Vivo, Opus 174 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Axelrod Publications, Inc.

LIBRARY LIBRARY CALL NUMBER

Miami University Library M 23 . G76x Op. 174 C. 2

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Sonata. O d u s 174

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Vivo Key G major Meter 2 / 2 Length 134 measures Form Sonata-allegro (ET1 T2 DTI'RT1 " T2'Coda) Classification NA

ANNOTATION SUMMARY

Small intervals make this movement suitable for small hands. Primary rhythms include eighth and quarter notes. T1 contains 12 meter changes, but T2 contains none. In Tl, the first motive and its inversions are animated and bright, while the third motive, marked 'espress.,” is lyrical. The transition contains parallel descending triads. T2, marked "dolce grazioso," is less active than Tl, containing contrapuntal accompaniments including chromatic passages. The transition contains dissonant harmonies, ascending parallel major and minor triads(RH) combined with descending chromatic passages(LH). T1(G minor) is inverted in the development. The coda includes passages of chromatically descending parallel major triads which build to a "fff" peak, then recalls T2 ( J | H ). 386

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

Second Movement: 1947 "Theme and Variations: Conclusione," Opus 174 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Axelrod Publications, Inc.

LIBRARY LIBRARY CALL NUMBER

Miami University Library M 23 .G76x Op.174 C.2

GRADE LEVEL SUITE. SONATA. SONATINA

Advanced (IX-X) Sonata. Opus 174

CHARACTERISTICS OF COMPOSITION

Tempo (Intro) Andante con improvisazione Key E-flat major Meter 4/4 Length 249 measures Form Theme and four Variations, Conclusion Classification NA

ANNOTATION SUMMARY

A six-measure introduction precedes the theme(G major), marked "Andante semplice, quasi Berceuse,” 2/4, in rounded binary form. VI contains imitation and sixteenth- note figures. In V2(12/16) the left hand leads (K/Pf T* > and the right responds(UfUf later in the B section the right hand leads. In V3 both parts begin in the upper registers with the left hand supplying the melodic line (f f'L'f) while the right hand provides the accompaniment tjrUI >• The B section(2/4) features a right-hand melodic line, two's against three's, and chromatic left-hand passages. V4(Gm) is dramatic using octaves, chords, and chromatic passages. The demanding Conclusione(92 meas.) contains a Stravinsky-like theme, extreme registers, 32 meter changes, chromaticism, and the old theme in augmentation. 387

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Etude," 1947 Opus 176, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Century Music Publishing Co.

LIBRARY LIBRARY CALL NUMBER

University of Illinois M 786.41 G79p Vol. 1

GRADE LEVEL SUITE. SONATA . SONATINA

Upper Elementary (III-IV) Petit Suite. Opus 176

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key E-flat major Meter 6 / 8 Length 49 measures Form Ternary (A B A'Coda) Classification Etude

ANNOTATION SUMMARY

"Etude" is a right-hand study emphasizing the first, second, and third fingers, requiring finger crossings, frequent changes in hand position, turn and trill figures. The B section modulates to C major, featuring trill figurations and a six-measure chromatic transition leading to the A' section. The A' section repeats the first six measures of the original A section following with six measures of scalar passages then the coda. The left hand supplies a light accompaniment of mostly two- and three-note chords throughout. 388

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE_____

"Romance," 1947 Opus 176, No.2 PRINT STATUS

in-print

PUBLISHER______EDITOR______

Century Music Publishing Co.

LIBRARY______LIBRARY CALL NUMBER

GRADE LEVEL______SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Petit Suite. Opus 176

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key F major Meter 3/4 Length 32 measures Form Rounded binary (ABA' Coda) Classification Romance

ANNOTATION SUMMARY

"Romance" is written in the Romantic style, requiring a flowing, expressive melodic line, and light left hand accompaniment. Dynamics range from "pp" to "Piil f" with several places in the final A' and codetta requiring "Rallentandos" and "a tempos." The left-hand broken-chord accompaniment occasionally requires finger crossings while the right hand contains grace notes and several two-note chords in the melodic line. 389

SUMMARY SHEET

COMPOSITION______'______COPYRIGHT DATE

"Polka," 1947 Opus 176, No. 3 PRINT STATUS

in-print

PUBLISHER EDITOR

Century Music Publishing Co.

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementarv (I-II) Petit Suite, O d u b 176

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key B-flat major Meter 2/4 Length 48 measures Form Rondo (1:A :1 B A'B A'Coda) Classification Polka

ANNOTATION SUMMARY

The dance character of "Polka" is exhibited in the ascending melodic line through varied rhythms and grace notes ( gj I > f°r the right hand. The melodic line in the B section contains descending figures and a contrasting rhythmic pattern. The second A' begins with a slightly thicker left-hand accompaniment, while the right hand remains unchanged. The left-hand accompaniment contains three- and four-note chords in the A sections while the B sections contain mostly two-note chords and syncopated rhythms C p ^ 7 ^ I ft If 1 'f r t f ). Both hands are required to change hand positions frequently. 390

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Wistful Mazurka," 1947 Opus 176, No.4 PRINT STATUS

in-print

PUBLISHER EDITOR

Century Music Publishing Co.

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Petit Suite. Opus 176

CHARACTERISTICS OF COMPOSITION

Tempo Moderato, sempre tempo rubato Key F minor Meter 3/4 Length 41 measures Form Rounded binary (A I;B A ': I Coda) Classification Mazurka

ANNOTATION SUMMARY

This Romantic style mazurka contains dotted rhythms and eighth notes in the melodic line while the left hand supplies a light chordal accompaniment, often resting on the first or third beats. The B section, marked "Con moto," contains scalar right-hand passages. 391

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE_____

"Russian Dance," 1947 Opus 176, No. 5 PRINT STATUS

in-print

PUBLISHER______EDITOR______

Century Music Publishing Co.

LIBRARY______LIBRARY CALL NUMBER

GRADE LEVEL______SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Petit Suite. Opus 176

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key F major Meter 2/4 Length 60 measures Form Rondo (A B A'B A') Classification Dance

ANNOTATION SUMMARY

The introductory A section, marked "mf," contains a chordal accompaniment of I and V7 chords. The right-hand melodic line contains eighth- and sixteenth-note rhythms while other A sections contain a broken-chord accompaniment ( [jJj I CtJLf I *f (jJ I LJLLi using the same harmonies as the original A section. Grace notes are incorporated into the melodic line of both A and B sections. B sections, marked ”f," feature accented chords and dotted rhythms in the melodic line, while the right- hand part contains several changes of hand position. 392

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Sunrise, " 1 9 4 8 Opus 182, No. 1 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches. O d u s 182

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C major Meter 4/4 Length 18 measures Form Phrase Group Classification Miniature

ANNOTATION SUMMARY

"Sunrise" begins "pp" and grows to "ff. " The right hand moves from the middle to the high register. Most intervals are smaller than an octave, and the hands stay in a five- or six-key span. The piece is reminiscent of Bart6k's MicroKosmos. 393

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"With The Fishing Rod, " 1948 Opus 182, No. 2 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches. Opus 182

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A minor Meter 3/4 Length 26 measures Form Phrase Group Classification Miniature

ANNOTATION SUMMARY

This piece contains quarter- and eighth-note rhythms. The right hand plays a single-note melody which has few changes of position. For both hands, there are no intervals larger than a sixth. The left hand provides an accompaniment of two- and three-note chords. The rhythm and melodic pattern of the first phrase is present in two other phrases, enhancing learning. 394

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Returning Home with a 1948 Bouquet of Field Flowers," Opus 182, No. 3 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches. O d u s 182

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key G major Meter 6/8 Length 17 measures Form Ternary (A B A' ) Classification Miniature

ANNOTATION SUMMARY

Two-note slurs for the right hand and syncopated left- hand chords give the illusion of a child skipping or running. The piece is more difficult than "With Fishing Rod" because the left-hand part contains three-note chords and sevenths. This could be used as a balance study, requiring the left-hand accompaniment to be softer than the right-hand melodic line. The A sections are only four measures each vhile the B section is nine measures long. This is unusual treatment for Gretchaninoff, as his B sections are usually shorter, or the same length as the A sections. 395

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"The Orphan," 1948 Opus 182, No. 4 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E minor Meter 4/4 Length 15 measures Form Unipartite (A A') Classification Miniature

ANNOTATION SUMMARY

In the A section the melodic line contains descending seconds for the right hand while the left hand supplies a syncopated accompaniment of two-note chords. In A', roles are reversed, and the melody is played by the left hand. This would be an excellent piece for the student who needs experience in projection of left-hand melodies. There are several hand crossings. 396

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"A New Friend, " 1948 Opus 182, No.5 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches. Odus 182

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key A major Meter 9/8 Length 14 measures Form Rounded binary (A B A') Classification Miniature

ANNOTATION SUMMARY

The melodic line contains mostly eighth notes while the accompaniment contains broken chords and seconds. The B section is a transposition of the A section with modifications. Grace notes appear in the right-hand part. 397

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"On the Swing," 1948 Opus 182, No.6 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches. O d u s 182

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D major Meter 4/4 Length 19 measures Form Phrase Group Classification Miniature

ANNOTATION SUMMARY

The rising and falling melodic line of seconds and thirds becomes a two-voice canon in the A' and A'' sections. The rising and falling of the melody and canon between the two hands imitates the back-and-forth action of swinging. This ingenious idea could easily catch the interest of a student. A descending scalar pattern and some finger crossings may require special fingerings. There are some harmonic thirds and fourths but no intervals larger than a sixth. 39Q

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"At Grandma's, " 1948 Opus 182, No. 7 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches, Odus 182

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key F-sharp minor Meter 3/4 Length 20 measures Form Phrase Group Classification Waltz

ANNOTATION SUMMARY

This piece may challenge elementary students, because the hands often play on the black keys and require many finger crossings. The minor key and added accidentals make this an excellent piece for developing reading skills. The right hand plays a legato, scalar melodic line while the left hand provides a staccato, syncopated accompaniment of two- and three-note chords. 399

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"A Country Lad," 1948 Opus 182, No.8 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches. Odus 182

CHARACTERISTICS OF COMPOSITION

Tempo Risoluto Key D major Meter 4/4 Length 20 measures Form Phrase Group Classification March

ANNOTATION SUMMARY

The first phrase, featuring a chordal texture with small intervals and few octaves, is also repeated at the end of the piece. The middle phrases all contain similar rhythmic patterns, single-note melodies, and outlines of broken chords. 400

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Asking for a New Doll," 1948 Opus 182, No. 9 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches, Opus 182

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G minor Meter 4/4 Length 17 measures Form Unipartite (Intro A A'Intro Codetta) Classification Miniature

ANNOTATION SUMMARY

This piece begins with a two-measure introduction which is later repeated at the end of the final A' section. The melodic line contains descending two-note slurs depicting the insistence of a child asking for a doll. First-inversion and root-position chords are played by both hands; the left-hand accompaniment contains mostly thirds. 401

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"The New Doll, " 1948 Opus 182, No.10 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches. O d u s 182

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key F major Meter 3/4 Length 22 measures Form Ternary (A B A' ) Classification Waltz

ANNOTATION SUMMARY

Two-note slurs and thirds found in "Asking for a Doll" are also present in this piece, suggesting that they could be performed as a set. Dotted-quarter eighth-note rhythms suggest a child jumping for joy, having received the new doll. This is an attractive piece appropriate for the student with a small hand. 402

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Tag," 1948 Opus 182, No.11 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) 12 Little Sketches. O d u s 182

CHARACTERISTICS OF COMPOSITION

Tempo Allegro moderato Key C minor Meter 4/4 Length 17 measures Form Through-composed (A Development Codetta) Classification Miniature

ANNOTATION SUMMARY

"Tag" contains quarter- and eighth-note rhythms, thirds, and root-position chords for both parts. The left hand frequently imitates the right hand, and the hands often play close together. The right-hand part contains several chromatic passages. The directions "accelerando” and "Presto" appear in the final measures bringing the game of tag to an abrupt end as if someone had been caught. Speed and coordination are necessary for a successful performance. A similar piece, "Let's Play Tag," Opus 202, No.7, contains canonic imitation and scalar passages requiring advanced skills. 403

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"It's Time to Go Home," 1948 Opus 182, No.12 PRINT STATUS

in-print

PUBLISHER EDITOR

International Music Company

LIBRARY LIBRARY CALL NUMBER

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) 12 Little Sketches. O d u s 182

CHARACTERISTICS OF COMPOSITION

Tempo Allegro marciale Key C major Meter 4 / 4 Length 20 measures Form Through-composed (A Development A') Classification March

ANNOTATION SUMMARY

This is a good piece for developing rhythm. The right-hand part contains scales, thirds, and octaves while the left hand supplies accompaniments of two-, three-, and four-note chords which occur with and without syncopation. There are several brief key changes in the development section. 404

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Merry Departure, " 1S52 Opus 183, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Poosey & Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Au Foyer, O d u b 183

CHARACTERISTICS OF COMPOSITION

Tempo Key C major Meter 4/4 Length 33 measures Form Ternary (A 1 :B A :1 Codetta) Classification March

ANNOTATION SUMMARY

"Merry Departure" is written in a chordal texture, involving two- and three-note chorda, thirds, fifths and sixths. The A section contains fanfare rhythms, using thirds and sixths ( J. P3 JI JJ5 j| JTJJJJ1 . The B section contains a similar rhythmic pattern, with the melodic line containing fewer chords and more single notes. 405

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Homesickness," 1952 Opus 183, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey & Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Au Foyer. Odus 183

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key A minor Meter 3/4 Length 40 measures Form Rondo (A 1:B A:1 B'A) Classification Miniature

ANNOTATION SUMMARY

The A sections contain a single-note accompaniment for the left-hand part, while the ascending melodic line, played by the right hand, contains sustained notes, single notes and harmonic sixths. In the B sections the accompaniment contains three- and four-note chords while the right hand supplies a descending melodic line of eight and quarter notes. There are no intervals larger than a sixth. The final B' section includes inverted chords in the accompaniment. 406

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Plaintive Song," 1952 Opus 183, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey & Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Au Fover. O d u s 183

CHARACTERISTICS OF COMPOSITION

Tempo Con moto Key E-flat major Meter 3/4 Length 23 measures Form Ternary (A B A' ) Classification Plainte

AHH0TATI0N SUMMARY

"Plaintive Song” is written in a Chopinesque manner with the right hand playing a legato melodic line of triplet eighths, featuring skipping and stepwise figurations. Triplet figures also appear in the thin left- hand accompaniment of ascending broken chords ( J7J f . Pedalling is required. 407

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Folk Song," 1952 Opus 183, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey & Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Au Fover. O d u s 183

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Grazioso Key E-flat major .eter 3/8 Length 36 measures Form Ternary (A 1:B A:1) Classification Folk Song

ANNOTATION SUMMARY

The right hand plays both single notes and chordal textures in the A section while the left hand provides a chordal accompaniment. The right hand changes positions more often in the B section, which contains both melodic and broken-accompaniment figures, as the left hand supplies single sixteenth-note and chordal accompaniments. 408

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Sad Song," 1952 Opus 183, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey & Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Au Foyer. Opus 183

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G minor Meter 4/4 Length 15 measures Form Rounded binary (l;A;l;B A':I Codetta) Classification Song

ANNOTATION SUMMARY

The melodic line in the A section contains a repeated-note motive, dotted rhythms, and eighth and sixteenth notes while the left hand provides a syncopated, chordal accompaniment. The melodic line in the B section also has a repeated-note motive while the left-hand part contains a broken-chord accompaniment. The codetta features two measures of triplet sixteenths with the final measure marked "Lento." 409

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"In the Country," 1952 Opus 183, No.6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey & Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Au Foyer. O d u s 183

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D major Meter 4/4 Length 20 measures Form Rounded binary (A B A') Classification Miniature

ANNOTATION SUMMARY

In the A section the left hand features a single-note melody with dotted rhythms(f.l p-f.lP" fflff rp ) while the right hand provides a syncopated chordal accompaniment. The right hand performs the melody in the B section with quarter notes and dotted rhythms > as the left hand supplies an accompaniment of three- and four- note chords, which briefly transfer into the treble clef. 410

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Italian Song," 1952 Opus 183, No.7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey & Havkee

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Au Fover. O d u s 183

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key E major Meter 2/4 Length 24 measures Form Ternary (A 1:B A' : 1 ) Classification Song

ANNOTATION SUMMARY

The left-hand part mirrors the right-hand part in the A sections, and both parts feature a texture of sustained notes, quarter-, eighth-, and sixteenth-note rhythms. In the B section both parts contain a texture of syncopated two-note chords, and the right hand plays several sustained notes. Changes of hand position, due to the chordal texture and sustained notes, may challenge the beginning student. 411

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Lullaby, " 1952 Opus 183, No.8 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey & Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11) Au Foyer. O d u s 183

CHARACTERISTICS OF COMPOSITION

Tempo Lento Key E Minor Meter 2/4 Length 20 measures Form Unipartite (A A' Ctta) Classification Lullaby

ANNOTATION SUMMARY

The right-hand melodic line simulates a rocking motion through broken descending seconds and thirds which are marked with stresses on the second beat. The left- hand part contains an accompaniment of two- and three-note chords played in the middle register. The A ' section is shorter than the first A section as three measures are absent. The melodic line is occasionally syncopated with sixteenth- and quarter-note rhythms and several changes of hand position are required, but there are no intervals larger than a fifth. 412

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Spring Morning," 1952 Opus 183, No. S PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey & Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Au Foyer. O d u s 183

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key B major Meter 3/4 Length 30 measures Form Ternary (A I :B A';1 Ctta) Classification Miniature

ANNOTATION SUMMARY

In the A sections both parts contain single notes and three-note chords, but the right-hand melodic line contains several syncopations. A lively character is produced in the B section through stresses on the second beat of 3/4 meter passages, and accents occurring on the first beat of measures with meter changes. Both sections contain a descending line, sustained pedal tones, and occassional syncopated rhythms. The rhythmic motive appearing in the left hand-part for the A section appears in the right hand-part for the B section. 413

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Russian Dance," 1952 Opus 183, No.10 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Boosey &. Hawkes

LIBRARY LIBRARY CALL NUMBER

The New York Public Library * MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Au Fover. O d u s 183

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key D major Meter 2/4 Length 32 measures Form Rondo (A 1 s B A ' : 1 C A ' ' ) Classification Folk Song

ANNOTATION SUMMARY

The lively A section is chordal with grace notes featured in the right-hand part, which are characteristic of Gretchaninoff's folk dances. In the B section a descending pattern of broken fourths, fifths, and seconds for the right-hand part is imitated by the left hand. The C section, marked "Poco meno mosso," features a broken- chord melodic line for the right hand while the left hand provides a sixteenth-note accompaniment of broken sixths, seconds, and thirds. 414

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"At Joyful Work, " 1 9 4 9 Opus 189, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Leeds Music Corporation

LIBRARY LIBRARY CALL NUMBER

Kent State Mus Lib M 1380 .G74x op.189

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Gouaches. O d u s 1 8 9

SUMMARY OF COMPOSITION

Tempo Allegretto Key D major Meter 4 / 8 Length 29 measures Form Rounded binary (A l:B A':l Codetta) Classification Miniature

AHHOTATIOH SUMMARY

"At Joyful Work" is an energetic piece. Repeated notes, suggesting a child's hammering, require careful articulation. Both parts contain syncopated figures, dotted rhythms, and eighth and sixteenth notes. Gretchaninoff uses frequent root-position dominant seventh chords which give each piece a distinct French sound. The overall design of this set is fast, D major; slow, B minor; fast, D major. Each piece contains a "tag” ending marked "Meno mosso." 415

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"In Solitude," 1949 Opus 189, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Leeds Music Corporation

LIBRARY LIBRARY CALL NUMBER

Kent State Mus Lib M 1380 .G74x op.189

GRADE LEVEL SUITE. SONATA. SONATINA

Lover Elementary (I-II) Gouaches. O d u s 189

SUMMARY OF COMPOSITION

Tempo Andantino Key B minor Meter 4/0 Length 23 measures Form Ternary (A 1 :B A ': 1 Codetta > Classification Miniature

ANNOTATION SUMMARY

The F-sharp dominant sevenths found in this piece also appeared in the first selection. "In Solitude" is considerably easier to play than the first selection. The right-hand part contains a single-note melody comprised of eighth and sixteenth notes. The left-hand part includes thirds, first- and second-inversion chords, and dominant seventh chords. The ascending motive in section A descends in the B section, and the rhythms for each are similar. 416

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Encounter, " 1949 Opus 189, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Leeds Music Corporation

LIBRARY LIBRARY CALL NUMBER

Kent State Mus Lib M 1380 .G74x op.189

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Gouaches. O d u s 189

SUMMARY OF COMPOSITION

Tempo Allegretto Key D major Meter 3/8 Length 43 measures Form Rounded binary (A 1:B A':1 Coda) Classification Miniature

ANNOTATION SUMMARY

"Encounter" Is appropriate for small hands as It Is based on a series of changing five- and six-note positions. It is a rhythmically active piece containing various patterns of sixteenth notes. Section B begins with hand crossings into the low register and finally returns to the high register. Seconds appear throughout the B section and are included in the coda. 417

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Etude, " 1954 Opus 196, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M13S0 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Five Miniatures for Piano. Opus 196 SUMMARY OF COMPOSITION

Tempo Allegro moderato Key C major Meter 4/4 Length 31 measures Form Ternary (A B A') Classification Etude

ANNOTATION SUMMARY

The opening is reminiscent of a Bach prelude. In section A the position of the right hand changes in every measure. Section B concentrates on trill figures, first for the right hand, then for the left, and finally together. The study ends with the opening scale pattern followed by a scalar pattern based on the Neopolitan chord, with the left-hand chordal accompaniment also based on the same chord. The final cadence is V7-I. There are some awkward finger crossings in this study, but most intervals are smaller than an octave. 418

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Mazurka," 1954 OpuB 196, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress Mi380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Five Miniatures for Piano. Opus 196 SUMMARY OF COMPOSITION

Tempo Allegretto Key F major Meter 3/4 Length 25 measures Form Ternary (A B A' ) Classification Mazurka

ANNOTATION SUMMARY

A light dance character is created through dotted rhythms and light left-hand chordal accompaniment of eighth notes and frequent rests. The second beat is often emphasized with longer note values ( J- i1! <)| J5T3T3|q*j,1' )f suspending the rhythmic flow. There is a small cadenza before the final A' section. Knowledge of scales, technical control, and the ability to stretch an octave are required. 419

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Little Rhapsody," 1954 Opus 196, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Five Miniatures for Piano. Opus 196 SUMMARY OF COMPOSITION

Tempo Moderato Key D minor Meter 2/2 Length 48 measures Form Compound Ternary (A l:B A':I:C D:IB'A'') Classification Rhapsody

ANNOTATION SUMMARY

"Little Rhapsody" has an attractive driving rhythm of quarters and eighths. The right hand begins with passages of staccato thirds and legato single notes while the left hand supplies a syncopated accompaniment of staccato thirds and fifths. In the B section the right-hand part contains two- and three-note chords, while the left hand plays staccato quarters requiring frequent changes of position. The C section, marked "Giocoso," features a key change to the parallel major(D), a common feature of compound ternary form. Section D incorporates grace notes and running eighth-note passages, then the key changes back to D minor with the return of B'. 420

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Insistence, " 1954 Opus 196, No. 4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress Ml380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary(III-IV) Five Miniatures for Piano. Opus 196 SUMMARY OF COMPOSITION

Tempo Allegro moderato Key A major Meter 6/8 Length 26 measures Form Rounded binary (A 1:B A':1 Codetta) Classification Miniature

ANNOTATION SUMMARY

"Insistence" requires facility and is characterized by persistent repeated thirds. Accented fifth beats occur in the third and fourth measures of both A sections. In section A the melody begins in the right-hand part but transfers to the left hand, leaving the right hand with a syncopated accompaniment. Section B requires the ability to facilitate awkward scalar passages with the right hand. 421

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Ballad," 1954 Opus 196, No.5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress Ml380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Five Miniatures for Plano. Opus 196 SUMMARY OF COMPOSITION

Tempo Alla marcia Key C major Meter 4/4 Length 30 measures Form Rondo (A B A 'B'A'') Classification March

ANNOTATION SUMMARY

Octaves, dotted rhythms, rests, and repeated chords in the A sections create suspense. The B sections feature repeated chordal passages and descending harmonic thirds in the right-hand part and a syncopated left-hand accompaniment creating tension and excitement. The piece concludes with a slower tempo, "pochissimo piCi largo,” and octaves in the lowest register. Frequent changing of positions, rhythmic coordination, and harmonic thirds make this a challenging and enjoyable piece to play. 422

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Letter to a Friend," 1951 Opus 197, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edwards B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

Stanford M1380 G78 OP.197 MUSC

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Letters to a Friend. Opus 197

SUMMARY OF COMPOSITION

Tempo Largamente Key B-flat major Meter 4/4 Length 50 measures Form Cmp Ternary (A I:B A 'B A ':IC A''B A'Ctta) Classification Miniature

ANNOTATION SUMMARY

"Letter to a Friend" is written in an expressive recitative style which may appeal to adults. The larger form breaks down into smaller sections. The first is rounded binary, and the second section(C) changes to E- flat minor. Doubling of the melodic line produces a chant effect. The third section changes back to B-flat major and is also rounded binary, with the codetta quoting C and A material. "Largamente” indicates a full sound, not a slow tempo. This piece is Schumanesque in style with rolled chords. It should be noted that Gretchaninoff has written few pieces in this form. 423

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Plaintive Song," 1951 Opus 197, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edwards B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

Stanford M1380 G7Q OP. 197 MUSC

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Letters to a Friend. Od u s 197

SUMMARY OF COMPOSITION

Tempo Lento Key c minor Meter 3/4 Length 30 measures Form Ternary (A 1 :B A ':1 Codetta) Classification Miniature

ANNOTATION SUMMARY

This attractive, expressive piece is perhaps the best of the set. The ability to express inner emotions is necessary. It may be enjoyed by adults or teenagers. A relationship to "Letter to a Friend" can be found in the rising dotted-quarter two-sixteenth motive. The texture is thin, using basically a single-note melody, but the sound is rich due to the predominance of the middle register. 424

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Roundelay," 1951 Opus 197, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edwards B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

Stanford Ml380 G78 OP. 197 MUSC

GRADE LEVEL SUITE. SONATA . SONATINA

Upper Elementary (III-IV) Letters to a Friend. Od u s 1 9 7

SUMMARY OF COMPOSITION

Tempo Moderato Key D major Meter 4/4 Length 24 measures Form Ternary (A 1 :B A :1 Ext) Classification Roundelay

ANNOTATION SUMMARY

"Roundelay” Is a song with a refrain, and In this case the refrain Is A. Rolled chords are featured In both sections. The melodic line contains single notes for the right hand in both sections. In the B section the left- hand accompaniment begins with chromatic figures involving awkward stretches and added accidentals, while the second phrase contains rolled chords and octaves. 425

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Little Cavalier," 1951 □pus 197, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edwards B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

Stanford Ml380 G78 OP.197 MUSC

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Letters to a Friend. Opus 197

SUMMARY OF COMPOSITION

Tempo Moderato Key A major Meter 4/4 Length 20 measures Form Rounded binary (A I;B A ';I Codetta) Classification March

ANNOTATION SUMMARY

Cavalier refers to a horseman or mounted soldier. The dotted-eighth sixteenth rhythm( XTT1 H suggests a high stepping horse. The A sections contain combinations of fifths, thirds, octaves, sixths, and scalar passages at a "forte" level. In contrast, the B section changes to "p" with a calming rhythmic pattern of left-hand eighth notes while the right hand features a single legato line of dotted-eighth sixteenth-notes, creating a syncopated effect which is difficult to coordinate. 426

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Brief Tale," 1951 Opus 197, No.5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edwards B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

Stanford M1380 G78 OP.197 MUSC

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11) Letters to a Friend. O d u s 197

SUMMARY OF COMPOSITION

Tempo Moderato Key D major Meter 3/4 Length 43 measures m CD Form Two-part

ANNOTATION SUMMARY

The A section resembles a speech pattern, as if someone were narrating a story. A contrasting bright mood is presented in section B by changing the tempo to "Allegretto." Within the B section the right hand plays broken root-position and first-inversion chords while the left hand performs staccato chords. This is followed by a return of the second half of A

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Soldier's Song," 1951 Opus 197, No. 6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edwards B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

Stanford M1380 G78 OP. 197 MUSC

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Letters to a Friend. Opus 197

SUMMARY OF COMPOSITION

Tempo Allegro moderato Key G major Meter 2/2 Length 24 measures Form Ternary (A B A ' ) Classification March

ANNOTATION SUMMARY

Rolled chords are featured throughout this piece, and the fourth and fifth fingers of the right hand must project the melodic line. Although written in an easy key with few accidentals, the piece contains changing rhythmic patterns combined with frequently changing chords and chord arpeggiations which require an advanced technic. 428

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Lament, " 1953 Opus 198, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edvard B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M25 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Three Pieces for Piano. Opus 198 SUMMARY OF COMPOSITION

Tempo Andantino Key B Minor Meter 6/8 Length 30 measures Form Rondo (A BA' B'A' ' ) Classification Lament

ANNOTATION SUMMARY

"Lament" is written in a Chopinesque style with a legato right-hand melody featuring dotted rhythms and grace notes. The left hand supplies a broken-chord accompaniment containing several rolled chords. The use of half steps in the melodic line were also common in other laments and plaintes by Gretchaninoff. Use of the damper pedal is required. 429

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Romance," 1953 Opus 198, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M25 . G

GRADE LEVEL SUITE. SONATA. SONATINA

Intermediate (V-VI) Three Pieces for Piano. Opus 198 SUMMARY OF COMPOSITION

Tempo Andante Cantabile Key E major Meter 4/4 Length 33 measures Form Rondo (A B A'B'A") Classification Romance

ANNOTATION SUMMARY

"Romance" is more advanced rhythmically than "Lament." The right hand plays the melodic line in the A sections, but the melody is imitated between the two hands in the B sections, which contain two's against three's. Octaves, two- and three-note chords, leaps for the left hand, and arpeggiated figures appear throughout. 430

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Mazurka, " 1953 Opus 198, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M25 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Three Pieces for Plano. Opus 198 SUMMARY OF COMPOSITION

T empo Allegretto Key G major Meter 3/4 Length 48 measures Form Rondo (I;A:I:B A * : I : C A :I Coda) Classification Mazurka

ANNOTATION SUMMARY

The dance-like character of "Mazurka” appears in the A sections with dotted rhythms in the right-hand part, and a chordal left-hand accompaniment featuring leaps, staccato touch, and accents on beats two and three. The dynamic level of the A sections is "f," contrasting with "mf” for sections B and C. The B section features dotted rhythms for the right hand while the left hand supplies a "non legato" accompaniment of sixths and chords. The C section, marked "dolce, " features a legato melodic line and broken-chord accompaniment. The coda concludes with a heavy chordal style and six "sff” markings. 431

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Little Prelude," 1959 Opus 202, No.1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M24 .G795 op.202

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. O d u s 202

SUMMARY OF COMPOSITION

Tempo Andante Key d major Meter 4/4 Length 1 6 measures Form Through-composed Classification Fanfare

ANNOTATION SUMMARY

"Little Prelude" is written in a chordal style with a variety of rhythmic values including sixteenth notes, thirty second notes, triplet eighths against duplet eighths, double-dotted quarters, and a triple-dotted half notes. The chordal introduction is also found near the end. The entire piece is based on fanfare figurations, and rhythms are difficult throughout. 432

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"A New Friendship, " 1959 Opus 202, No. 2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M24 .G795 op.202

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary(I-II) Suite Miniature. O d u s 202

SUMMARY OF COMPOSITION

Tempo Allegretto Key G major Meter 6/8 Length 24 measures Form Rounded binary (A BA' Codetta) Classification Miniature

ANNOTATION SUMMARY

The A section features a thin descending melodic line with quarters and eighths <££/1^ & ClflfcuP while the left hand provides an accompaniment of syncopated harmonic thirds. The B section contains an ascending melody which is played by the left hand, then imitated by the right. Canonic imitation continues in the B section. The final two measures of the piece are marked "Presto." 433

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Come On, Let's Go 1, " 1959 Opus 202, No. 3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M24 .G795 op.202

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. Odus 202

SUMMARY OF COMPOSITION

Tempo Con moto Key C major Meter 3/4 Length 22 measures Form Ternary (A B A' ) Classification Fanfare

ANNOTATION SUMMARY

This piece contains fanfare figurations throughout with sixteenth- and thirty-second notes. The rhythms are complicated requiring rapid finger strokes because of the quick repeated notes. The B section contains rapid scalar passages, and the final A' section contains three difficult measures with chords involving the fifth, third, second, and first fingers of the left hand, and awkward rhythms for the right-hand part. 434

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Small Complaint," 1959 Opus 202, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M24 .G795 op.202

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. Opus 202

SUMMARY OF COMPOSITION

Tempo Moderato Key F major Meter 9/8 Length 21 measures Form Ternary (A B A' ) Classification Miniature

ANNOTATION SUMMARY

Half steps are used throughout Indicating complaining. The French title implies that the child is annoying. The right-hand melody is comprised of single eighths and the left hand supplies an accompaniment of broken chords. The final two measures, marked "Presto,” are preceded by an arpeggiated diminished vii chord. Hand positions change frequently. 435

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Scherzando," 1959 Opus 202, No.5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M24 .G795 op.202

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Suite Miniature, O d u s 202

SUMMARY OF COMPOSITION

Tempo Allegretto Key A minor Meter 3/4 Length 40 measures Form Rounded binarv (A 1:B A':1 Coda) Classification Waltz

ANNOTATION SUMMARY

The A sections feature slurred single notes and chords for the right-hand part while the left hand supplies an syncopated accompaniment of single notes and chords. The B section features a legato melodic line and syncopated chordal accompaniment. Occasional stretches of a seventh are required. The final two measures are marked "Presto." 436

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Souvenir," 1959 Opus 202, No. 6 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M24 .G795 op.202

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. O d u s 202

SUMMARY OF COMPOSITION

Tempo Andante Key E major Meter 6/8 Length 25 measures Form Ternary (A B A' ) Classification Miniature

ANNOTATION SUMMARY

"Souvenir" refers to a memory. The A section, marked "Allegro moderate,” is preceded by two measures of introduction. The right hand plays an ascending melodic line in the A section and descending line in the B section. Dotted rhythms and eighth notes appear in both sections for the right hand. The left hand accompaniments contain thirds, broken chords, and octaves. 437

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Let's Play Tag, " 1959 Opus 202, No. 7 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M24 .G795 op.202

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. Odus 202

SUMMARY OF COMPOSITION

Tempo Allegro e sempre Key B major Meter 2/4 Length 22 measures Form Through-composed Classification Miniature

ANNOTATION SUMMARY

This black-key study presents two motives at the beginning, a two-note slur and a longer phrase, which are developed through the use of canonic imitation, expanding intervals, and diminution. The longer phrase is treated with canonic imitation. The two-note slur is then expanded, and the long phrase idea is treated with diminution then is imitated by the right hand. The final scale and two chords, marked ”sff," imply that someone has been caught in the game of tag. Frequent changes in positions often require awkward fingering. 430

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Ballad," 1959 Opus 202, No.0 PRINT STATUS

out-of-print

PUBLISHER EDITOR

Edward B. Marks Music Corporation LIBRARY LIBRARY CALL NUMBER

The Library of Congress M24 .G795 op.202

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Suite Miniature. Opus 202

SUMMARY OF COMPOSITION

Tempo Allegretto Key A major Meter 3/4 Length 42 measures Form Ternary (A B tr A'Coda) Classification Ballad

ANNOTATION SUMMARY

Passages of legato thirds and single eighths are played by the right hand In the A sections while the left hand plays a thin accompaniment of eighth notes In the middle register. The B section contains sustained notes below the melodic notes for the right hand while the left hand provides a broken-chord accompaniment. A transition in the key of A minor leads to the final the A' section. The coda appears also in A minor, with a passage of Neopolitan chords preceding the final V-I cadence in A major. 439

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Lullaby," 1952 Opus 203, No. 1 PRINT STATUS

out-of-print

PUBLISHER EDITOR

John Markert S> Company

LIBRARY LIBRARY CALL NUMBER

The New York Public Library *MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Mother's Album. Opus 203

CHARACTERISTICS OF COMPOSITION

Tempo Andantino Key A minor Meter 4/4 Length 24 measures Form Rounded binary (A 1:B A ':1 Codetta) Classification Lullaby

ANNOTATIOH SUMMARY

The right hand plays a legato melodic line while the left hand supplies an accompaniment of thirds and fifths. The B section modulates to C major with an accompaniment of broken I and V7 harmonies, and broken figurations in the melodic line. The codetta ends on the dominant, suggesting that another piece will follow. 440

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Good Morning," 1952 Opus 203, No.2 PRINT STATUS

out-of-print

PUBLISHER EDITOR

John Markert & Company

LIBRARY LIBRARY CALL NUMBER

The New York Public Library *MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11) Mother's Album. Opus 203

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key C major Meter 4/4 Length 21 measures Form Rounded binary (A l:B A ':1 Ext) Classification Miniature

AHNOTATIOH SUMMARY

The rhythmic pattern of the melodic line in the A sect ion < rJ-1 JTJ | JTJ J ) iS similar to that of the B section< I JTJ Prf3\jT3 ). The right hand plays the melodic line in both sections with sustained tones appearing in each measure of the A section, and several measures of the B section. In both sections the left hand plays broken-chord accompaniments with the A section containing contracting intervals and the B section containing several harmonic thirds. Two measures of the A section and two measures of extended harmony follow the B section. 441

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Begging of Mamma," 1952 Opus 203, No.3 PRINT STATUS

out-of-print

PUBLISHER EDITOR

John Markert & Company

LIBRARY LIBRARY CALL NUMBER

The New York Public Library *MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11) Mother's Album. O d u b 203

CHARACTERISTICS OF COMPOSITION

Tempo Allegretto Key D major Meter 6/8 Length 24 measures Form Ternary (A B A) Classification Miniature

ANNOTATION SUMMARY

The right-hand part contains a dotted rhythm (|’If ( f'-f f ) which also appears in the B section. The left hand supplies a broken-ohord accompaniment which becomes syncopated in the B section. Repeated notes played by the right hand require changing fingerings. 442

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Morning Promenade," 1952 Opus 203, No.4 PRINT STATUS

out-of-print

PUBLISHER EDITOR

John Markert & Company

LIBRARY LIBRARY CALL NUMBER

The New York Public Library *MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Mother's Album. O d u s 203

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key G major Meter 2/4 Length 24 measures Form Sectional (A A1 A2> Classification Miniature

ANNOTATION SUMMARY

The A section contains two contrasting phrases. The first phrase contains a simple melodic line of eighth and sixteenth notes performed by the right hand while the left hand mirrors the contours and rhythms. The second phrase is lively with a left-hand chordal accompaniment which imitates the right-hand rhythm in the last measures. The first phrase appears with variation in A1 and A2, and the second phrase appears with small modifications. The right hand plays the melodic line in the original A section, however, the melodic line is played by the left hand in A1 as the right hand supplies a varied accompaniment of sixteenth notes. In A2 the right hand performs an outline of the melodic line on the subdominant harmony, while the left hand supplies an accompaniment of sixteenth notes. 443

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Our Dancing Party, A: 1952 Polka,” Opus 203, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

John Markert & Company

LIBRARY LIBRARY CALL NUMBER

The New York Public Library *MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Mother'a Album. Opus 203

CHARACTERISTICS OF COMPOSITION

Tempo Grazloso Key C major Meter 2/4 Length 24 measures Form Ternary (I:A;I:B Ail) Classification Polka

ANNOTATION SUMMARY

The dance quality of "Polka" Is like that of the Schubert L&ndler. In the A section grace notes emphasize the "ands" of beats one and two, then the rhythmic pattern changes to sixteenth notes< JjJ ]£) 1 JD J I tXf-f P-/I > while the left hand provides a syncopated accompaniment. The sixteenth-note rhythm is carried into the B section as the left hand continues a syncopated accompaniment. Changes of hand position usually follow the repeated-note motives. 444

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Our Dancing Party, B: 1952 Valse," Opus 203, No.5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

John Markert & Company

LIBRARY LIBRARY CALL NUMBER

The New York Public Library *MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Mother*s Album. Opus 203

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key B-flat major Meter 3/4 Length 38 measures Form Ternary (I;A:I:B A:I Codetta) Classification Waltz

ANNOTATION SUMMARY

The melodic motive contained in the first four measures is the same as the one beginning Chopin's Nocturne Op.9, No.2, in E-flat major. In the A sections the melodic line must be sustained over chordal, accompaniment figures also played by the right hand, while the left hand provides a waltz bass accompaniment. The melodic line contains dotted rhythms in both sections. In the B section dotted rhythms are applied to a descending broken-chord f iguration( FJ r T f T Ifffffrl LT f f I f Of >• An echo effect appears in the coda; the first measure is "forte," the second "piano,” and the final measures "forte." SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Our Dancing Party, C: 1952 Mazurka," Opus 203, No. 5 PRINT STATUS

out-of-print

PUBLISHER EDITOR

John Markert & Company

LIBRARY LIBRARY CALL NUMBER

The New York Public Library *MYD

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary

CHARACTERISTICS OF COMPOSITION

Tempo Bravura Key D major Meter 3/4 Length 36 measures Form Ternary (I:A:I:B A :I Coda) Classification Mazurka

ANNOTATION SUMMARY

The A section contains chordal textures in both parts, requiring the right hand to project the melodic line from the top notes of chords. In the B section the right-hand part contains chordal and single eighth note textures with an arpeggiated figure appearing near the end of the section. The left hand supplies a chordal accompaniment which moves into the middle and upper registers. The coda rounds "Our Dancing Party" by concluding with the melody from "Polka"(A section, the first piece in "Our Dancing Party"), and combining it with the rhythm and texture from the A section of "Mazurka. " 446

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"At the Circus" 1944

PRINT STATUS

out-of-print

PUBLISHER EDITOR

J. Fischer & Bro.

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 . G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Solo

CHARACTERISTICS OF COMPOSITION

Tempo Tempo di marcia Key G major Meter 2/4 Length 60 measures Form Rondo (Intro A B A'B A'Coda) Classification March

ANNOTATION SUMMARY

In the A section the left hand crosses over the right hand to supply an accompaniment of eighth-note thirds and four-note clusters while the right-hand part provides a melodic line of eighth and sixteenth notes. In the B section the rhythm of the melodic line iB more varied while the left-hand part moves into the lower register playing single eighths, triads, and clusters. 447

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Berceuse" 1945

PRINT STATUS

out-of-print

PUBLISHER EDITOR

J. Fischer & Bro.

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Solo

CHARACTERISTICS OF COMPOSITION1

Tempo Lento Key G minor Meter 4/4 Length 25 measures m Form Rondo (ABA < * Classification Berceuse

ANNOTATION SUMMARY

The gentle character of "Berceuse" requires a legato touch. Both sections contain syncopations In the left- hand accompaniment which must remain subdued, keeping In character with the melodic line. The rhythm of the melodic line in the B sections is closely related to that of the A sections. Accompaniment figures occasionally occur in the right-hand part. 448

SUMMARY SHEET

COMPOSITION______COPYRIGHT DATE

"Chanson Militaire" 1947

PRINT STATUS

out-of-print

PUBLISHER EDITOR

J. Fischer & Bro.

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 . G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary <1-11) Solo

CHARACTERISTICS OF COMPOSITION

Tempo Allegro giocoso Key G major Meter 4/4 Length 28 measures Form Unipartite (Intro A Inter A Coda) Classification Song

ANNOTATION SUMMARY

Coordination difficulties arise in the introduction due to a repeated note played by the left hand while both hands perform in parallel motion. Dotted rhythms and occasional grace notes occur throughout the piece, creating a lively character. Thirds, fourths, and fifths are common in the right-hand part while thirds, triads, and octaves are played by the left hand. The coda, marked "Quasi tromba," is based upon the rhythmic pattern of the introduction. 449

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Chanson Pensive" 1936

PRINT STATUS

out-of-print

PUBLISHER EDITOR

Theodore Presser Co.

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Solo

CHARACTERISTICS OF COMPOSITION

Tempo Amoroso Key E major Meter 4/1 Length 25 measures Form Rondo (ABA 'BA') Classification Song

ANNOTATION SUMMARY

The right hand plays a lyrical melodic line enhanced with occasional grace notes, dotted rhythms, and rolled chords. The thin left-hand accompaniment of single notes and chords appears several times with syncopation and rolled chords. The Romantic style of this piece should appeal to teenagers and adults. 450

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Dance" 1969

PRINT STATUS

out-of-print

PUBLISHER EDITOR

Moscow Publishing House

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M22 .G785Z3

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced (VII-VIII) Solo

CHARACTERISTICS OF COMPOSITION

Tempo Allegro Key F-sharp major Meter 2/4 Length 40 measures Form Rondo (A BA' BA') Classification Dance

ANNOTATION SUMMARY

The A section of this folk dance features broken fifths, fourths, and octaves in the melodic line with dotted rhythms. The left hand plays an accompaniment of alternating eighth notes and chords. The A section also contains a difficult passage of harmonic thirds, fifths and sixths requiring finger crossings. The melodic line of the B section includes scalar passages while the left- hand accompaniment is comprised of four-note chords requiring the player to reach octaves and ninths. The A' sections break down the original accompaniment pattern to sixteenth-note figurations requiring wrist rotation. 451

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Quasi Valse" 1936

PRINT STATUS

out-of-print

PUBLISHER EDITOR

Theodore Presser Co.

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Upper Elementary (III-IV) Solo

CHARACTERISTICS OF COMPOSITION

Tempo Moderato Key D major Meter 3/4 Length 31 measures Form Rondo (A B A'C A') Classification Waltz

ANNOTATION SUMMARY

"Chanson Pensive” and "Quasi Valse” compliment each other; the latter changes meter and mood. It is lyrical, but brighter and more rhythmical in character. The A sections feature two-note slurs for the right hand while the left hand plays a chordal accompaniment shifting from beats one and two to beats two and three. The melodic line in the B section contains contrasting two-note slurs and six-note slurs, while the left-hand part provides a chordal texture with sustained notes. The C section features scalar patterns in the melodic line and an accompaniment similar to the B section, with larger intervals. 452

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Rapsodie Russe” 1931

PRINT STATUS

out-of-print

PUBLISHER EDITOR

Enoch & Cie Editeurs E. Pajot

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M25 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Advanced

CHARACTERISTICS OF COMPOSITION

Tempo Largo Key D major Meter 4/4 Length 131 measures Form CmD Ternary(A l:B A':IC A''I:B:I B A '''Cd) Classification Rhapsody

ANNOTATION SUMMARY

Lively rhythms, embellished accompaniment, and a simple melodic line are characteristic of Gretchaninoff's folk dances. The A section, marked "Allegro," is preceded by an introduction of octaves. The left-hand part contains pedal tones and large leaps between the low and middle registers in the A section. The C section, marked "L'Istess6 Tempo," contains a lyrical, less active melodic line and broken accompaniment with expanding intervals. The C section repeats with a chordal texture played by the right hand. The left-hand accompaniment becomes chordal in the last A''' section, omitting pedal tones found in the first A section. The coda contains tremolos, octaves, and trills reaching a "fff" peak, then two final "sff" chords. 453

SUMMARY SHEET

COMPOSITION COPYRIGHT DATE

"Waltz" 1944

PRINT STATUS

out-of-print

PUBLISHER EDITOR

J. Fischer & Bro.

LIBRARY LIBRARY CALL NUMBER

The Library of Congress M 1380 .G

GRADE LEVEL SUITE. SONATA. SONATINA

Lower Elementary (I-II) Solo

CHARACTERISTICS OF COMPOSITION

Tempo Moderato e tranquillo Key F major Meter 3/4 Length 55 measures Form Rondo (A B A 'B A'Coda) Classification Waltz

AHNOTATION SUMMARY

The right-hand melodic line must be projected from the top notes of chords while the left hand supplies an accompaniment of two- and three-note chords played mostly on beats two and three. Dotted rhythms occur in both sections while grace notes appear only in the A sections. Changing hand positions is required, and the largest interval is a seventh. APPENDIX C

TABLES

454 455

APPENDIX C

TABLE Is CLASSIFICATIONS

CLASSIFICATION LE UE I LA A TOT,

Ballad 1 2 __ _ __ 3 Berceuse 1 3 - 1 - 5 Canzonetta - - - 1 - 1 Caprice - -- 1 - 1 Character piece - - - 1 - 1 Dance/folk dance 7 9 8 3 - 27 Elegy - -- 1 - 1 Etude 1 3 - -- 4 Fanfare 4 2 --- 6 Folktune/Folksong 1 2 - -- 3 Humoresque - 1 -- - 1 Impromptu - - - 1 - 1 Lament - 2 1 - - 3 Lullaby 3 1 - - - 4 March 10 8 - -- 18 Mazurka 1 6 2 1 - 10 Meditation - - 1 1 - 2 Miniature 73 70 11 5 - 159 Minuet 1 - - -- 1 Minuet and Trio - - 1 -- 1 N/A - - 4 4 1 9 Nocturne - 1 1 -- 2 Novelette - 1 --- 1 Pastorale 2 - - -- 2 Plainte 2 1 1 -- 4 Polka 2 1 - -- 3 Prelude - - 3 1 - 4 Recitative - 1 --- 1 Reverie - 2 - - - 2 Rhapsody 1 - - 1 - 2 Romance - 1 1 -- 2 Roundelay - 1 - -- 1 Song 7 2 1 1 - 11 Waltz 10 14 - 1 - 25

127 136 35 24 1 323

LE - Lower Elementary LA - Lower Advanced UE - Upper Elementary A - Advanced I - Intermediate 456

APPENDIX C

TABLE 2: SUMMARY OF FORMS

FORM LE UE I LA A TO'

Phrase Group 6 1 1 1 - 9

Unipartite 10 2 - 1 - 13

Through-composed 1 4 5 3 - 13

Sectional 3 7 5 3 - 18

Binary - 1 1 - - 2

Rounded Binary 39 40 4 2 85

Two-part 1 3 - - - 4

Ternary 42 45 S 4 - 99

Inc Ternary 3 1 --- 4

Cmp Ternary 1 2 1 1 - 5

Rondo 20 29 7 4 - 60

Sonatina 1 - 2 - - 3

Sonata-allegro - - - 3 - 3

Theme/Var - - 1 1 3

Fugue - - - 1 - 1

Recitative 1 _ — - 1

127 136 35 24 1 323 APPENDIX C

TABLE 3: FORMS (MODIFICATIONS)

FORMS LE UE I LA A TOTAL

Phrase Group 6 1 1 1 - 9

Unipartite 10 2 - 1 - 13

(Arch) -- - 1 - 1 (A A ' ) 2 - - - - 2 (A A'Ctta) 1 -- - - 1 (A Inter A 'Post) 1 1 --- 2 (Intro A A'Intro Ctta) 1 ---- 1 (Intro A Inter A 'Post) 2 ---- 2 (Intro 1 :A Inter: 1 A ' ) - 1 - - - 1 (Intro A Inter A Coda) 1 - --- 1 <1:Pre:1 A 1:Inter A:1 Post) 1 - - - - 1 (Pre A br A'Inter A br A 'Post > 1 — — — — 1

Through-composed 1 4 5 3 - 13

Sectional 3 7 5 3 - 18

Binary - 1 1 - - 2

< A 1 :B: 1 ) - 1 --- 1 (A B Cd) —— 1 — 1

Rounded Binary 39 40 4 2 - 85

(A B A ') 6 5 2 1 - 14 (A 1:B A ':1) 20 20 2 1 - 43 (Intro A 1 :B A' : 1 ) - 1 - - - 1 (ABA'Ext) - 1 -- - 1 (A 1 :B A' : 1 Ext) 2 - - - - 2 (A B A'Ctta) 2 - - - - 2 (A 1:B A': 1 Ctta) 4 a --- 12 ( :A:1:B A': 1 Ctta) 1 - - - - 1 (A B A'Cd) - 2 - -- 2 (A 1 :B A' :1 Cd) 3 2 - -- 5 (Pre A l:B A':IPost) 1 1 - -- 2 Table 3 (continued' 458

LE UE I LA A TOTAL

Two-part 1 3 - - - 4

Ternary 42 45 a 4 - 99

(A B A) 4 -- -- 4 ( A 1 : B A : 1 ) 13 11 - -- 24 ( A : 1 : B A : 1 ) - 1 --- 1 (ABA Ext) 1 - - -- 1 (A 1 :B A: 1 Ext) 1 3 - - - 4 (ABA Ctta) - 1 - - - 1 (A 1 :B A: 1 Ctta) 5 1 - - - 6 (A:1:B A :1 Ctta) - 1 - -- 1 (A B A Cd) - 1 - -- 1 (A 1 :B A: 1Cd) 4 2 -- - 6 ( A : 1 : B A : 1Cd ) 1 2 --- 3 (Pre 1 : A : 1 B A Post) 1 --- 1 (Pre A 1:B A:1 Post) 1 -- - - 1 (Intro Al:B Intro A:1) - - l -- 1

(A B A ' ) 5 9 5 3 - 22 (A B A' Ctta) - 1 --- 1 (A 1 :B A ' : 1 Ctta) 1 2 - -- 3 (A B A 'Cd) - 1 -- - 1 (A B tr A 'Cd) - 1 -- - 1 (A 1 :B A' : 1 ) 3 4 1 -- 8 ( 1 :A: 1B A' ) - 1 - - - 1 ( ( 1 : A: 1 :B A' : 1 > - 1 - -- 1 (A 1 :B: 1 :A' : 1 Cd) - 1 - - - 1 <1:A:1:B A':l Inter A'') 1 ---- 1 (Intro ABA') - 1 - 1 - 2 (Intro 1:A:1:B A':l) 1 -- - - 1 (Intro A B Inter A'Cd) “ — 1 1 t Inc Ternary 3 1 - - — 4

Cmp Ternary 1 2 1 1 - 5

Rondo 20 29 7 4 - 60

(ABABA) 3 3 --- 6 (ABABA Ctta) 1 - -- - 1 (A B A B A Cd) 1 1 --- 2 Table 3 (continued) 459

FORM LE UE 1 LA A TOTAL

Rondo (continued)

(ABABA') 1 - --- 1 (A B A B A'Cd) -- 1 -- 1 (Intro ABABA') - 1 - -- 1 (A B A'B A) 1 -- -- 1 (A B A'B A') 6 a - 1 - 15 (Intro A B A'B A'Ctta) - i - - - 1 (A B A'B A'Ctta) - l --- 1 (A B A'B A'Cd) 1 i -- - (1:A:1B A'B A'Cd) 1 - - -- 1 (Intro A B A'B A'Cd) 1 -- -- 1 (A B A'B A'') 1 l - -- (A 1 :B A: 1B'A) 1 --- - 1 (A B A 'B'A' Ctta) -- 1 - - 1 (A B A'B'A ' ' ) 1 2 2 1 - 6 (A B A'B'A''Cd) - 2 --- 2 (Pre A B A'B'A''Post) - 2 - 1 - 3

(ABACA) - - 1 - - 1 (ABA Inter C A Post) - - 1 - - 1 (ABACA') - 1 --- 1 (A:1:B A':I:C A:l Cd) - 1 - -- 1 (A B A'C A') - 1 - -- 1 ( A 1 : B A ' : 1 : C A ' : 1 ) 1 - --- 1 (A 1 :B A' : 1C A ' ' > - 1 --- 1 (A:1:B A ' : 1 C A'') - - 1 - - 1

(Intro A B C B'A' Ctta) - 1 - - - 1

(A B A'C A B A') —-- 1 - 1 (ABACA B'A) 1 — — — 1

Sonat ina 1 - 2 - - 3

Sonata-allegro - -- 3 - 3

Theme/Var - - 1 1 1 3

Fugue 1 - 1

Recitat ive 1 1 APPENDIX D

PLATES

460 461

Plate II, Example 5. "Chant d'automne," Opus 3, No.3. Copyright by Belwin Mills Publishing Corp. Used by permission o.f Columbia Pictures Publications. 461

Ihant d'automne, " Opus 3, No. 3. s Publishing Corp. Used by ’ictures Publications.

^ f r f r r i

■ #- J

r t q i r i r ? 3 462

Plate III, Example 7. "A Morning Stroll," Opus 123, No.1. Copyright 1982 by Alfred Music Co., Inc. Used by permission.

09

mII 462

Morning Stroll," Opus 123, Alfred Music Co. , Inc. Used by

mH

mil dim 463 Plate IV, Example 8. "Horse and Rider,* Opus 98, No. 5. Copyright 1971 by Alfred Music Co. , Inc. Used by permission.

5. Horse and Rider

A llegro

fig —-Ji ! I

©

©

1 * ^ J : ^ J I*' 46 3 rse and Rider, " Opus 98, No.5. Music Co. , Inc. Used by

5. Horse and Itider 464

Plate V, Example 9. "Plainte," Opus 3, No.1. Copyright by Belwin Mills Publishing Corp. Used by permission of Columbia Pictures Publications.

5 LITTLE PIECES Plainte. H i u o t t .

AGmitnlin.OylHl

Pi&no.

m

• *j (Ii/V ; i n * i 1 - r X* r r T ' T T T ™ "1 i ^ 5 e aL

•EtWlfV WILLS rtiSLISMINC c o « r. MMTIO — us* 64

St A

rU. y

A t

a ^ . i»«««* * »

1'" /.' ■' i i j 1 • *-* 465

Plate VI, Example 10. "The Little Beggar," Opua 123, No.2. Copyright 1962 by Alfred Music Co., Inc. Used by permission.

p iu f

0 ttmpo po co m ii 4G6 Plate VII, Example 11. "In a Woodland Glade," Opus 38, No.6. Copyright 1971 by Alfred Music Co., Inc. Used by permission.

A l l r j l

| : ' i P. acceltrando

A 9 1 * * • 5*---- p - r r '<^ - L _ b _ c J — bssJ— -

a p - i = , = 'i 1 - i 466

11. "In a Woodland Glade," Opus 98, 971 by Alfred Music Co., Inc. Used by

77) a Icapr

A llr g r o . jfe » !» r ». * !* » f fl ft «< ft r ± f i £ s -H ----:----1----*---- - f —— kL- i ,.;l t atctltrando / r l * —1~~—V------£~ T3- > -- i — _j,— _— —J i

@ 467

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Plate IX, Example 13. "Travail du Matin," Opus 138, No.1. Copyright 1937 by Augener, LTD. Used by permission of Galaxy Music Corporation, New York, NY, sole U. S. agent.

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Plate X, Example 14. "A Tiresome Tale," Opus 98, No.8. Copyright 1971 by Alfred Music Co., Inc. Used by permission.

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with boredom APPENDIX E

CATALOG OF GRETCHANINOFF'S SOLO PIANO WORKS

470 471

APPENDIX E

CODE

Date: Refers to the year of composition. Dates marked with an asterisk <*) indicate the date of publication for the edition located by the writer, date of composition is unknown.

Opus: An asterisk next to the Opus number indicates that no copy could be found. Double asterisks indicate that the entire Opus was not located.

Title: Title translations were drawn from Smith's thesis, Gretchaninoff's catalogue, the publisher of the edition used for the annotations (Appendix B), or were provided by this writer.

Publieher: Current publisher or publisher for the library copy. One asterisk indicates that the music was currently in-print at the time of the study. The double asterick indicates that only part of the music is currently in­ print. No sign indicates that the music is out-of-print or could not be located. Those works published by MSPH were assumed to be out-of-print, and print status was unable to be verified.

Selections: Number of pieces or movements in the Suite, Sonatina or Sonata.

A Key to Publishers listing may be found on page 4B2. 472

APPENDIX E

GRETCHANINOFF SOLO PIANO WORKS

so* £ Co $ .o £ / & <§• $ 1893 Paatela. Album I BMPH< 1. "Complaint" 2. "Meditation" 3. "Autumn Song" 4. "Storm" 5. "Nocturne"

1905 37 Two Horceaux MSPH 1. "Impromptu" 2. "Prelude"

1911 53 Four Mazurkaa MSPH 1. "No.1 in G Minor" 2. "No.2 in F Major" 3. "No.3 in F Minor" 4. "No.4 in B Major"

1912 61 Paetele. Album II BMPH< 8 1. "Prelude" 2. "Caprice" 3. "Caress" 4. "Tale" 5. "Valse" 6. "Reproach" 7. "Sorrowful a. "Epilogue"

1913 Danza MSPH 1

1917 78 Momenta Lvriaui MSPH 3 1. "Prelude" 2. "Berceuse" 3. "Mazurka" Gretchaninoff's Solo Piano Works (continued' 473

1924 98 Children's Album A* 15 1. "Little Fairy Tale" 2. "In the Camp of the Lead Soldiers" 3. "Lead Soldiers on the March" 4. "Farewell" 5. "Hobby-Horse" 6. "On the Meadow" 7. "Nurse is Sick" 8. "Tedious School Work" 9. "Lullaby" 10. "Little Dance" 11. "Dreadful Event" 12. "Etude" 13. "After the Ball" 14. "On a Travel Tour" 15. "The Little Would-be Hero"

1924 99 On the Green Meadow S* 10 1. "On the Green Meadow" 2. "Mother's Song" 3. "Ballad" 4. "Lost in the Woods" 5. "On a Walk" 6. "Spring Morning" 7. "Fairy Tale" 8. "In the Country" 9. "In the Mountains" 10. "Serenade"

1924 104* Three Miniatures H 3 1. "Album Leaf" 2. "Prelude" 3. "Mazurka"

1927 109 A Child's Day EBM* 10 1. "Morning Prayer" 2. "At Work" 3. "My Little Horse" 4. "The Broken Toy" 5. "Father and Mother" 6. "A Visit to Grandmother" 7. "Grandmother's Waltz" 8. "The Happy Return Home" 9. "Nurse's Fairy Tale" 10. "Bed Time" Gretchaninoff's Solo Piano Works (continued) 474

1927 110 Two Sonatinas MSPH 6 No. 1 1. Allegretto 2. Largo 3. Allegro

No. 2 1. Allegro giocoso 2. Moderato e grazioso 3. Allegro

1927 112 Bagatelles WZ 15 1. "Early Morn" 2. "Scherzino" 3. "A Graceful Dance" 4. "Lament" 5. "Village Dance" 8. "In Token" 7. "Impulse" 8. "Grief" 9. "Dance of the Fauns" 10. "Funeral March" 11. "Reminiscences" 12. "A Dialogue" 13. "Farewell" 14. "A Dream Vision" 15. "Merry Departure"

1927 115 Fleeting Thoughts S** 15 1. "At Early Morning" 2. "Reprimand" 3. "A Happy Meeting" 4. "Misunderstanding" 5. "Urgent Request" 6. "Fairy Tale" 7. "Minuet" 8. "Appeal" 9. "Waiting" 10. "Reminiscences" 11. "In Folk-like Manner" 12. "Nightly Event" 13. "Calm Resolution" 14. "Unrest" 15. "Farewell"

1927 116 Three Pieces MSPH 3 1. "Prelude" 2. "Meditation" 3. "Mazurka" Gretchaninoff's Solo Piano Works (continued)

1928 118 Historiettes AL* 1. "Primavera" 2. "Solitude" 3. "Sur la Prairie Verte" 4. "L'Ombre" 5. "Refrain Joyeux" S . "Conte Terrible" 7. "Consolation" 8. "Orphelin" 9. "En Dansant” 10. "Heureux £v6nement" 11. "Orientale" 12. "Les Nuages Errants"

1928 119 Grandfather's Album S* 1. "My Dear Mummy" 2. "An Old Romance" 3. "The Joker" 4. "On the Meadow" 5. "Russian Dance" 6. "Little Waltz" 7. "Sad Story" 8. "The Dance of the Swallow" 9. "Nurse's Tale" 10. "March" 11. "Pussy Is 111" 12. "Out for a Walk" 13. "On the Swing" 14. "Little Ballad" 15. "Happy Meeting" 16. "Returning Home" 17. "Holidays"

1930 123 Glass-Beads A* 1. "Morning Promenade" 2. "Little Beggar" 3. "Etude* 4. "Sad Song" 5. "On a Bicycle" 6. "Waltz" 7. "Difficult Work" 8. "My First Ball" 9. "Complaint" 10. "On the Field" 11. "With Mother" 12. "Playing the Accordion" Gretchaninoff's Solo Piano Works (continued) 476

1930 127a Dew Drops S* 9 1. "What a Lovely Morning" 2. "In the Garden Picking Flowers" 3. "Dolce far niente" 4. "Elephant's Dance" 5. "The Peasant Girl" 6. "Grand-mama's Tale" 7. "Monkey's Dance" 8. "First Tears" 9. "Basque Fandango"

1930 127b En Barque S 7 1. "Early Start" 2. "Slight Breeze" 3. "On the Peer" 4. "In a Boat" 5. "Sad Melody" 6. "An Angler" 7. "Merry Dance*

1931 129 First Sonata (G Minor) S 3 1. Allegro 2. Canzonetta 3. Finale

1931 130 Russian Folk Dances S 12 Volume I : 1. "In My Garden" 2. "In the Sun-clad Plain Stands a Birch Tree" 3. " 'Mid the Towering Rocks" 4. "In the Fields" 5. "Peasant Dance" 6. "On the Hill An Oak"

Volume II: 7. "The Capricious 'Barinya' " 8. "Sometimes in the Garden, Sometimes in the Fields" 9. "0 Ivan Mine, 0 Ivan" 10. "The Long Trail is Ended" 11. "Kasatschok" 12. "Russian Dance" Gretchaninoff's Solo Piano Works (continued) 477

1932 131 Sketchbook S 12 1. Moderato 2. Allegretto grazioso 3. Quasi Marcia 4. Allegretto grazioso 5. Moderato 6. Moderato 7. Moderato 8. Moderato 9. Allegro 10. Moderato 11. Largo 12. Lento. Quasi berceuse.

1932 133 Andriuaha'a Album E 10 1. "Old Children's Song" 2. "Little Dreamer" 3. "Naughty Girl" 4. "Little Elegant" 5. "The Dance of the Gold Fishes" 6. "The Mountebank" 7. "Gallant Cavalier" 8. "My Little Dog Joujou" 9. "Invitation to a Walk" 10. "Children's Dance"

1933 138 Brimborions(Knicknacks) G* 12 1. "Travail du Matin" 2. "Une Journ^e Grise 3. "La Fet£" 4. "Plainte" 5. "En Route t" 6. "Pastoral" 7. "La Demande" a. "Le Soir" 9. "En Avant" 10. "Mazurka” 11. "S6v6re Reprimande 12. "L'Adieu"

1933 139* Feuilles d'Album D 10 Gretchaninoff's Solo Piano Works (continued) 478

1933 141 Fragments Lvrlauea E 10 (Album of Nina) 1. "R£ve D'Enfant" 2. "Chansonnette" 3. "Apres la Hesse" 4. "Songerie" 5. "Marche" 6. "M£lodie Antique" 7. "Au Rouet" 8. "Au Cr6puscule" 9. "Nuages du Soir" 10. "En Promenade"

1934 143 Promenade au Bois AL* 10 (Suite Enfantine No. 1) 1. "Pr6paratifs Pour la Promenade" 2. "Toujours Avec Maman" 3. "Danse des Papillions" 4. "Danse des Grenouilles" 5. "Danse des Oursons" 6. "Les Champignons S 'en vont en Guerre" 7. "I'1 S'est &gar£” 8. "Fatigu^" 9. "Retour a la Maison" 10. "Au Lit"

1934 145 Suite Miniature AL* 10 (Suite Enfantine No. 2) 1. "Chanson d'Aurore" 2. "Chant d'Artisan" 3. "Humoresque" 4. "Bal Champdtre" 5. "Fanfare de Coquelicots 6. "Vers la Maison" 7. "Souvenir de l'Ami Lointain" 8. "Au Foyer" 9. "Phantasme" 10. "Valse dans le Soir"

1935 146 Aquarelles AU 5 1. "Elegy" 2. "Dixil" 3. "Prayer" 4. "Chimera" 5. "And Dance, Dance" Gretchaninoff's Solo Piano Works (continued) 479

1932 150 Arabesques E 10 1. "Pastorale" 2. "Danse des Elfes" 3. "Chanson Populaire Russe 4. "De Bonne Humeur" 5. "Mignonne" 6. "Plainte" 7. "Par un Soir d'Hiver" a. "Novelette" 9. "Une Triste Historiette" 10. "En Barque"

1938 156* Eight Simple Pieces B 8

1942 167** Four Horceaux EBM 4 1. "Au Lointain" 2. "Joyeux Retour" 3. "Conte Russe" 4. "Orientale"

1943 170 Four Plano Pieces for HMP 4 Children 1. "See Saw" 2. "Polka" 3. "My First Ball" 4. "Berceuse"

1944 173 Petite Suite ODC 3 1. "At Sunrise" 2. "Confession" 3. "Village Dance"

1944 174 Second Sonata AP 1 1. Allegro vivo 2. Tema con Variazioni 3. Conclusione

1944 176 Petite Suite C* 5 1. "Etude" 2. "Romance" 3. "Polka" 4. "Wistful Mazurka" 5. "Russian Dance” Gretchaninoff's Solo Piano Works (continued) 480

1947 182 12 Little Sketches for I* 12 Children 1. "Sunrise" 2. "With the Fishing Rod" 3. "Returning Home with a Bouquet of Field Flowers" 4. "The Orphan" 5. "A Hew Friend" 6. "On the Swing" 7. "At Grandma's" 8. "A Country Lad” 9. "Asking for a New Doll" 10. "The New Doll" 11. "Tag" 12. "It's Time to Go Home"

1947 183 Au Fover BH 10 1. "Merry Departure" 2. "Homesickness" 3. "Plaintive Song" 4. "Folk Song" 5. "Sad Song" 6. "In the Country" 7. "Italian Song" 8. "Lullaby" 9. "Spring Morning" 10. "Russian Dance”

1947 184* Two Morceaux MS 1. "Melodie" 2. "Bagatelle"

1948 189 Gouaches L 1. "At Joyful Work" 2. "In Solitude" 3. "Encounter"

1950 194* Three Morceaux L

1950 196 Five Miniatures EBM 1. "Etude" 2. "Mazurka" 3. "Little Rhapsody" 4. "Insistence" 5. "Ballad" Gretchaninoff's Solo Piano Works (continued) 481

1950 197 Lettres Amicalea EBM 6 1. "Letter to a Friend" 2. "Plaintive Song" 3. "Roundelay" 4. "Little Cavalier" 5. "Brief Tale" 6. "Soldier's Song"

1951 198 Three Pieces EBM 3 1. "Lament" 2. "Romance" 3. "Mazurka"

1959* 202 Suite Miniature EBM 8 1. "Little prelude" 2. "A New Friendship" 3. "Come On, Let's Go" 4. "Small Complaint" 5. "Scherzando" 6. "Souvenir" 7. "Let's Play Tag" 8. "Ballad"

1952* 203 Mother's Book M 1. "Lullaby" 2. "Good Morning" 3. "Begging of Mamma" 4. "Morning Promenade" 5. "Our Dancing Party" a) "Polka" b) "Valse" c) "Mazurka"

Solos

1944* "At the Circus" F

1945* "Berceuse" F

1947* "Chanson Militaire" F

1936* "Chanson Pensive" P

1936* "Quasi Valse" P

1931* "Rapsodie Russe" EC

1944* "Waltz" F APPENDIX E

KEY TO PUBLISHERS

A Alfred Publishers, Sherman Oaks, California.

AL Alphonse Leduc, Paris, France.

AP Axelrod Publications, Providence, Rhode Island

AU Augener Limited, London, England.

B Belaieff.

BH Boosey & Havkes, New York, N.Y.

BMPH Belwin Hills Publishing Corporation, Melville, N.Y. (Columbia Pictures Publications, Miami, Florida)

C Century Music Publishing Company, New York, N.

D Durand, Paris, France.

E Editions Max Eschig, Paris,France.

EBM Edward B. Marks, New York, N.Y. (Hal Leonard, Milwakee, WI).

EC Enoch & Cie Editeurs, Paris

F J. Fischer & Bro.

G Galaxy Music Corporation, New York, N.Y.

H Heugel, Paris, France.

HMP Hargail Music Press, New York, N.Y.

I International Music Company, New York, N.Y. (Bourne Co., Music Publishers, New York, N.Y.)

L Leeds Music Corporation, New York, N.Y. Key to Publishers (continued) 483

M John Markert & Company, New York, N.Y.

MS Manuscript

MSPH Moscow State Publishing House

ODC Oliver Ditson Company

P Theodore Presser Co.

S Schott Music Corporation (Associated Music Publisners), New York. (European American Music Dist. Corporation, Valley Forge, PA).

WZ Wilhelm Zimmermann, Berlin, Germany. APPENDIX F

WORKS RECOMMENDED FOR REPUBLICATION

4 8 4 a p p e n d i x f

WORKS RECOMMENDED FOR REPUBLICATION

"At Joyful Vork", Gouaches. Opus 189, No.1 "In Solitude", Gouaches. Opus 189, No.2 "Encounter", Gouaches. Opus 189, No.3 "Mazurka", Five Miniatures. Opus 196 No.2 "Lament", Three Pieces. Opus 198, No.1 "Romance", Three Pieces. Opus 198, No.2 "At Sunrise", Petite Suite. Opus 173, No.1 "Confession", Petite Suite. Opus 173, No.2 "Village Dance", Petite Suite. Opus 173, No.3 "Danse des Elfes", Arabesques. Opus 150, No.2 "Mignonne", Arabesques. Opus 150, No.5 "En Barque", Arabesques. Opus 150, No.10 "Elegy", Aquarelles. Opus 146, No.1 "Prayer", Aquarelles. Opus 146, No.3 "Apres la Messe", Fragments Lvrloues. Opus 141, No.3 "Old Children's Song", Andriusha's Album. Opus 133, No. "Little Dreamer", Andriusha's Album. Opus 133, No.2 "Naughty Girl", Andriusha's Album. Opus 133, No.3 "Little Elegant", Andriusha's Album. Opus 133, No.4 "The Dance of the Gold Fishes", Andriusha's Album. Opus 133, No. 5 "Mountebank", Andriusha's Album. Opus 133, No.6 "Gallant Cavalier", Andriusha's Album. Opus 133, No.7 "My Little Dog Joujou", Andriusha's Album. Opus 133, No "Invitation to a Walk", Andriusha's Album. Opus 133, No "Children's Dance”, Andriusha's Album. Opus 133, No. 10 "Prelude", Three Pieces. Opus 116, No.1 "Meditation", Three Pieces. Opus 116, No.2 "Mazurka", Three Pieces. Opus 116, No.3 "Early Morn", Bagatelles. Opus 112, No.1 "Scherzino", Bagatelles. Opus 112, No.2 "A Graceful Dance", Bagatelles. Opus 112, No.3 "Lament", Bagatelles. Opus 112, No.4 "Village Dance”, Bagatelles. Opus 112, No.5 "In Token", Bagatelles. Opus 112, No.6 "Impulse", Bagatelles. Opus 112, No.7 Works Recommended for Republication (continued) 486

"Grief", Bagatelles. Opus 112, Ho. 8 "Dance of the Fauns", Bagatelles. Opus 112, No. 9 "Funeral March", Bagatelles. Opus 112, No.10 "Reminiscences", Bagatelles. Opus 112, No.11 "A Dialogue", Bagatelles. Opus 112, No.12 "Farewell", Bagatelles. Opus 112, No.13 "A Dream Vision", Bagatelles. Opus 112, No.14 "Merry Departure", Bagatelles. Opus 112, No.15 "Prelude", Moments Lvrlgues. Opus 78, No. 1 "Berceuse", Moments Lvrlgues. Opus 78, No. 2 "Mazurka", MomentB Lvrlgues. Opus 78, No. 3 Four Mazurkas. Opus 53 "Prelude", Two Morceaux. Opus 37, No. 2 "Chanson Pensive" "Quasi Valse" APPENDIX G

WORKS NOT APPEARING IN THE ANNOTATIONS

487 488

APPENDIX G

SOLO PIANO WORKS NOT APPEARING IN ANNOTATION SUMMARIES

DATE* OPUS TITLE PUBLISHER** SELECTIONS

1924 104 Three Miniatures Heugel 1. "Album Leaf" 2. "Prelude" 3. "Mazurka"

1933 139 Feullles d'Album Durand 10

1938 156 Eight Simple Pieces Belaieff 8

1942 167 Four Morceaux EBM 1. "Au Lointain" 2. "Joyeux retour" 3. "Conte russe" 4. "Orientale"

1947 184 T»o Morceaux manuscript 1. "Melodie" 2. "Bagatelle"

1950 194 Three Morceaux Leeds

* Date of composition ** Original Publisher BIBLIOGRAPHY

4 8 9 490

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