University of Cincinnati

Home , Album leaf, Julius Klengel, Piano Lesson (Matisse), Piano repertoire, Quiet Song, Trio sonata

UNIVERSITY OF CINCINNATI

Date:______

I, ______, hereby submit this work as part of the requirements for the degree of: in:

It is entitled:

This work and its defense approved by:

Chair: ______

Chamber Music in Early Piano Study: A Guide to Repertoire

A thesis submitted to the

Division of Research and Advanced Studies Of the University of Cincinnati

In partial fulfillment of the requirements for the degree of

Doctor of Musical Arts (D.M.A.)

In the Division of Keyboard Studies of the College-Conservatory of Music

2004

Dianna Anderson

B.M., University of Idaho, 1996 M.M., University of Cincinnati, 1998

Committee Chairs: Dr. Michelle Conda and Dr. Karin Pendle

Abstract

The purpose of this thesis is to provide a resource from which piano teachers can obtain information about where to find appropriate chamber music literature for students beyond the range of piano duet and two-piano repertoire. The first chapter discusses incorporating chamber music literature into the established piano curriculum and sequencing chamber music repertoire. The second chapter is an annotated list of chamber music for piano and other instruments suitable for use by students. In addition to title, composer, and instrumentation, every entry includes information on the publisher, length, key, level for the piano part, and a brief description of pedagogical features of the piece. Some entries include biographical information about the composer, and list the composition date and level for the other instruments. A full explanation of the grading system used is given in Chapter One.

Music in the list includes representative examples of music from historical periods from the Baroque to the twenty-first century, by composers of numerous nationalities, using instrumental combinations of two to six instruments. Except for special cases, compositions included are currently available from publishers. The entries are indexed by composer, level, and instrumentation. An appendix supplies information on publishers.

Preface

In the traditional piano studio, students are not exposed to chamber music involving other instruments as part of the standard curriculum. Yet many of these students who do pursue music study beyond childhood find that most or all of their performance opportunities arise in ensemble music, whether amateur or professional. Through experience in collaborative pianism, students benefit in the areas of general musicianship, pianistic abilities and professional or amateur musical life.

The most important benefit from chamber music study is to the pianist’s general musicianship.

Students gain valuable information about the art of music through chamber music that can improve their performing and listening skills. When compared with study of solo piano music only, chamber music provides a vast expansion of musical experience that is gained through playing music with other instrumentalists. Students improve their knowledge of other instruments and their attributes, and are guided to a greater ability to listen to any instrumental music in a more informed way. They also develop an ability to read and transpose the parts of other players. Through the ensemble decision-making process, students gain insight into texture, form and phrase structure, thus to an increasing their ability to listen critically to music. Pianists have access to other instrumental teachers through coachings, exposing them to viewpoints other than those of their own teachers. Ac- knowledging different musical opinions allows a student to take their first steps toward making their own decisions about interpretation. Chamber music provides alternative performance circumstances,

including the opportunity to perform without the necessity of memorization, and to perform in a

venue other than a studio piano recital, solo festival, or competition. To students who find these

settings inhospitable, especially when coupled with performing from memory, chamber music

performance is a welcome option that can motivate students to continue their study without the

pressure of solo performance. Chamber music can help students make a connection with music as an

expressive art form. Unlike soloists, chamber players must communicate with each other verbally

and physically in order to develop a unified interpretation. As all of these benefits show, better

musicianship through chamber music study can foster more enthusiastic, well-informed, creative and

functional pianists who are welcome in any musical community.

Piano students also benefit in their specific pianistic abilities. The increased necessity of keeping

a steady tempo and comprehending rhythmic notation when playing with others contributes to better

developed sight-reading and developing general rhythmic abilities. The communication necessary to

achieve a unified performance among chamber players leads to improved expressive capabilities in

the pianist’s solo work. The focus on textural differences and matching sound with articulation and

dynamics when playing with other instruments build better listening skills. The rehearsal of trouble- some spots that must take place in a chamber music practice can transfer over to a student’s solo practice, guiding the student to more efficient practice. Chamber music study can also give a student much more confidence in overcoming obstacles as they learn to face the challenge of coming to a chamber music rehearsal prepared to play their part. These increased pianistic abilities help to give students the confidence and incentive to continue with their piano studies past childhood.

For those who do continue playing and studying the piano past high school years, piano students who study chamber music benefit in their professional or amateur pianistic lives. Both amateurs and

professionals will have a more positive attitude toward collaborative pianism if they study it early in

their lives, which leads to greater enjoyment of music-making as they spend much of their time at the piano collaborating with others. Amateurs are encouraged to maintain their skills by playing with others, whereas these hard-won skills can easily atrophy when adults practice only sporadically on solo music they do not intend to perform. Amateurs can also be musically useful in their communi- ties through their collaborative skills, by accompanying young instrumentalists for music festivals or playing in a group for a church or other organization. Professionals are rewarded artistically by collaborating with others. Chamber music provides increased opportunities for performance and learning new repertoire. Increased performance opportunities create more ways for professionals to make a living.

Taking all these advantages into account and wanting to provide the best education for their students, many preparatory departments include chamber music study as an option, or even a manda- tory course for their students. Fortunately, these institutions do not have to overcome many of the obstacles that lead independent studio piano teachers to prohibit early study in collaborative music- making. The main obstacle for the independent piano teacher is the established role of the profession itself.

Studio piano teachers usually see their students one-half hour to one hour per week. This is barely enough time to cover solo repertoire, technique and theory without adding extra ensemble repertoire. This problem stems partly from the tradition of the once-per-week piano lesson and partially from the emphasis on solo and piano ensemble music in the festivals and competitions that many teachers rely on to motivate their students (and themselves). Why would teachers and students choose to pursue chamber music when solo music provides a greater initial reward?

The music publishing industry responds to this demand for solo and piano ensemble literature by producing enormous amounts of new repertoire every year and promoting it to independent

piano teachers through magazine advertisements, workshops and other means. Some publishers even

have their own festivals for which the participants must play (and purchase) the publisher’s music.

Because there is little existing demand for new pedagogical chamber music for piano, there is very little published. Among the large North American publishers of pedagogical piano music, Frederick

Harris, Alfred, and Kjos, only Kjos publishes chamber music for piano and other instruments.

For those piano teachers with degrees in performance or pedagogy, it is very unlikely that they have had any formal instruction in the area of teaching collaborative music-making. This leads to a lack of confidence in approaching this kind of teaching, and an attitude that promotes only the study of solo and piano ensemble music. It is possible that this trend will change in the future as the pedagogical community continues to stress a well-rounded approach to teaching that emphasizes total musicianship. In her recent book, often used in college pedagogy courses, Marianne Uszler suggests,

“Ensemble opportunities can be wonderfully motivating for students of all ages, but especially for peer-minded adolescents who need opportunities to interact musically with friends. Such experiences also provide a dimension of musicianship impossible in solo playing. Listening to the performances of others, following their musical lead or leading oneself, asserting oneself tactfully but firmly, being able to understand different viewpoints and negotiate mutually agreeable settlements- these can be discussed by teacher and student but experienced only in a group.”1

Perhaps the greatest deterrent to piano teachers’ providing chamber music study in their studios

is the lack of knowledge among piano teachers of the available chamber music literature for stu-

dents. If teachers do not know that a piece of music exists, they are unlikely to assign it to students.

Although much has been written that encourages the inclusion of ensemble work in piano study,

there are few resources explaining where to find appropriate music. Harold Haynes’s Chamber

1 Marianne Uszler, Stewart Gordon and Scott McBride Smith, The Well-Tempered Keyboard Teacher, Second Edi- tion, (New York: Schirmer Books, 2000), 95.

Music Repertoire for Amateur Players: A Guide to Choosing Works Matching Players’ Abilities is

one such work. However, it is written from the perspective of a non-pianist and covers chamber

music for string quartet and wind quintet as well as other ensembles that do not involve piano; thus it

does not discuss chamber music with piano in great detail. The Well-Tempered Keyboard Teacher by

Marianne Uszler, Stewart Gordon, and Scott McBride Smith lists two collections of chamber music for intermediate students and includes one page on chamber music for the advanced student, listing three suitable anthologies. This list is a good starting place, but it does not fill the need for teachers wishing to branch out into other repertoire. The most helpful and comprehensive book available is

Maurice Hinson’s The Piano in Chamber Ensemble. This volume covers ensembles up to eight players and in all combinations. Further, Hinson grades the pieces according to difficulty. However, this resource is more useful to performers and college level teachers than to independent piano teachers because it rarely lists pieces that are graded as suitable for less than advanced students alongside the hundreds of works appropriate for college music majors and professionals. In addition to these books, independent piano teachers as well as those who teach in preparatory departments and music schools will benefit from having this resource encompassing a wider scope of literature for less advanced students and grading the available works in specific terms.

Table of Contents

Chapter One: Choosing and Using Repertoire Incorporating Chamber Music into the Piano Curriculum……………………………2 Sequencing Chamber Music Repertoire…………………………………………...... 5 Grading the Piano Part………………………………………………………..5 Grading the Ensemble………………………………………………………..12 Examples of Chamber Music Repertoire Choices and Use………………………….20

Chapter Two: A Teacher’s Graded Guide to Chamber Music with Piano Using this Resource………………………………………………………………….32 Content and Organization………………….………………………………...32 Grading Other Instrumental Parts……………………………………………33 Duos for Piano with Strings or Winds…...... 36 Classical……………………………………………………………………...36 Romantic……………………………………………………………………..43 Twentieth and Twenty-first Centuries……………………………………….45 Arrangements, Folk, Jazz, Popular, and Seasonal…………………………...72 Trios for Piano with Strings or Winds……………………………………………….86 Classical……………………………………………………………………...86 Romantic……………………………………………………………………..92 Twentieth and Twenty-first Centuries……………………………………….97 Arrangements, Folk, Jazz, Popular, and Seasonal………………………….102 Piano Quartets………………………………………………………………………104 Piano Quintets………………………………………………………………………107

Bibliography………………………………………………………………………………..110

Appendix Publishers’ Information…………………………………………………………….115

Index By Composer……………………………………………………………………….118 By Level…………………………………………………………………………….125 By Instrumentation………………………………………………………………….146

Chapter One: Choosing and Using Repertoire

Chamber music has not traditionally been a part of music education in the independent

American piano studio. However, providing chamber music study in the piano studio does not

necessarily mean breaking from the traditional piano curriculum. There are many cases in which

the areas of solo, piano ensemble, and chamber music with other instruments can overlap, com-

bining a well-rounded music education with the benefit of chamber music experience. This chap-

ter will discuss possibilities for using chamber music as an integral part of the piano curriculum

and how to choose appropriate chamber repertoire for a student’s pianistic ability and experience

with ensemble playing. The chapter will conclude with some examples of specific chamber lit-

erature being used to supplement method books and standard solo literature.

Incorporating Chamber Music Literature into the Piano Curriculum

In the first years of study, students in most American piano studios work mainly from

method books with supplementary material provided to develop particular skills, to experience a

wide variety of music, and to motivate a student to practice a special piece for a performance.

Many method books at this level publish teacher accompaniments for solo pieces that can be

adapted easily to suit one or two other instruments. In this way, the piano student is not expected to learn “extra” music, but at the same time can develop skills for playing in an ensemble. Older students can further their theory skills by orchestrating the accompaniment parts themselves, either handwritten or on a computer music-writing program.

2 For those students who desire the challenge and variety of supplementary repertoire, ensemble work at this level can be an excellent way to get all the benefits of more varied music and gain a first experience playing chamber music. Teachers can help to make this experience worthwhile and fun for the students by selecting music that emphasizes or reviews skills that the student has already mastered so that the technical requirements of the piano part do not distract from developing ensemble skills. Care should be taken to select music with an interesting piano part that has some special feature giving the student the feeling that the piano is an equal partner in the ensemble.

Once the initial period of method book study is finished and the basic skills of piano playing have been mastered, the focus of piano study for most students shifts to playing standard repertoire. Many organizations publish curricula intended to give piano teachers a guide for sequencing repertoire, setting goals for their students, and covering all the basics of theory, technique, and historical perspective. These syllabi range from flexible suggestions to highly sophisticated systems, but all have certain aspects in common. Some commonly used sources are the

Illinois State Music Teachers Association (ISMTA), the Royal Conservatory of Music, based in

Toronto, Canada (RCM), and the Music Teachers’ Association of California (MTAC) Certificate of Merit. The two former use ten-level systems and the latter a twelve-level system. Each level contains a list of repertoire, technical exercises or etudes, and theoretical/historical knowledge over which the student must pass an exam to move to the next level. Because of the individual nature of the exam, ensemble playing is not required to pass any level. In fact, out of these three syllabi, only the MTAC syllabus includes a piano ensemble option; however, ensemble compositions are not graded in the repertoire lists. Looking beyond the examinations, these graded syllabi provide foundations on which chamber music may be added to increase the students’ under-

3 standing of their solo repertoire, learn ability-appropriate ensemble skills, and make connections

with a larger world of music.

The repertoire lists are categorized by style period, and students must perform a piece from each category to fulfill the requirements. Study of a chamber music piece could fill in for

one historical period while other periods are represented in solo music. The technique requirements for the exams range from purely didactic five-finger patterns, scales, and arpeggios to per-

formance of selected etudes. Chamber pieces can reinforce the keys being studied in scale and arpeggio work, or the technical challenges of the etudes being studied. Theoretical knowledge is tested in the areas of transposition, rhythm, aural skills, terms and symbols, and analysis of form and harmony. Learning these skills can be enhanced through transposition of instrumental parts, development of the precise rhythmic skills required for playing with another person, development of aural skills as the pianist follows the instrumental parts while playing his own part, and analysis of form and harmony through the ensemble decision-making process. Historical knowledge, tested by written essays or oral responses to questions, includes general knowledge of style

periods, major composers, and genres. Through study of chamber repertoire, historical perspec-

tive grows with greater exposure to different composers and experience with the chamber music genres of familiar composers. In addition, chamber music provides an excellent opportunity to play music by women, composers of non-Western European descent, and living composers of both genders.

4 Sequencing Chamber Music Repertoire

In selecting a chamber music piece, a teacher must take into account both the piano skills and the ensemble experience of the student. The grading system used in Chapter Two and explained below assigns a grade both to the piano part and to the ensemble, helping the teacher to choose repertoire that sequences piano playing and ensemble skills.

Grading the Piano Part

To establish a practical grading system accessible to any piano teacher, I have consulted several familiar graded lists and syllabi, including the Royal Conservatory’s Celebration Series,

Jane Magrath’s The Pianist’s Guide to Standard Teaching and Performance Literature, the Illi- nois State Music Teachers Association’s Piano Syllabus, and the Music Teachers’ Association of

California’s Certificate of Merit Piano Syllabus. These systems all have enough gradations to be specific, but not so many that the detail is overwhelming. In my graded guide there are ten numbered levels plus a preparatory level. Teachers should keep in mind that a graded list helps to lo- cate repertoire within a general level and should give consideration to the student’s capabilities before assigning a piece.

Because the numbered levels represented here may deviate from other established grading systems, the following guide gives examples of common solo literature comparable to each of the levels, followed by a description of technical and musical skills required. For those familiar with grading by descriptors, such as Elementary, Intermediate, and Advanced, there are ap- proximate comparisons for each level.

5 • Preparatory Level

Türk Carefree from Handstücke für angehende Klavierspeiler, vol. 1 (1792)

Gurlitt Dance

Kabalevsky Dance Op. 39, No. 9

The Preparatory Level is comparable to elementary works listed under Level One in Jane

Magrath’s The Pianist’s Guide to Standard Teaching and Performance Literature as well as works found within the Preparatory Repertoire Book in the Celebration Series. Preparatory

Level students are able to play two-voice textures or melody plus simple chords confined to five- finger patterns with some extensions and finger crossings. This repertoire requires mastery of simple rhythms and understanding of eighth-note and dotted quarter-note rhythms. Terraced dynamics and legato and staccato articulation are common and some gradual dynamics and two- and three-note slurs are found in the scores. Students at this level use the damper pedal for ef- fects and are expected to learn overlapping pedal technique during this time. Music at this level

may be written in any key, but with no hand-position changes; or keys with one sharp or flat and simple position changes.

• Level One

Rameau Menuet en Rondeau

Türk The Hunting Horns and the Echo

Gurlitt Morning Greeting, Op. 117, No. 15

Rebikov The Bear

Level One students study late elementary repertoire with an emphasis on increasing independence of the hands and fingers. Knowledge of scale fingerings, triads and inversions in keys

6 up to three sharps or flats is necessary. Music at this level requires the ability to balance melody

and accompaniment and mastery of two- and three-note slurs as well as dotted and sub-divided

rhythms. Proficiency at overlapping pedal technique, playing gradual dynamics, and following

expressive directions such as fermatas, ritardandos, and accelerandos is expected at this level.

• Level Two

Scarlatti Sonata in C Major K. 73b

Attwood Sonatina No. 1 in G major (first movement)

Burgmüller Arabesque, Op. 100, No. 2

Persichetti Capriccio, Op. 60, No. 2

Level Two repertoire spans late elementary to early intermediate study. Music at this level promotes fluency in scale passages and playing two- and three-voice homophonic or imitative textures. Mastery of keys up to two sharps or flats including scales, primary chords, inversions, and arpeggios is necessary. Expressivity develops as students master use of the damper pedal, experiment with phrase shaping, and encounter more expression markings in the scores.

• Level Three

J.S. Bach Minuet in D Minor, BWV Anh. 132

Beethoven Sonatina in F Major, Anh. 5, No. 2

Gurlitt Valse Noble, Op. 101, No. 14

Bartók Children’s Game No. 8 from For Children Volume 1

Level Three repertoire spans early intermediate to intermediate repertoire. As the Anna

Magdalena Notebook becomes accessible, there is an increased emphasis on Baroque style and

7 dance forms, requiring the ability to articulate and shape contrapuntal lines. Pieces are longer

than in previous levels and include ternary and sonata forms. Music at this level encourages flu-

ency in various accompaniment patterns, including bass-chord and Alberti bass. Harmonic

knowledge expands to include secondary chords and seventh chords.

• Level Four

J.S. Bach Prelude in C Major, BWV 924

Clementi Sonatina in G Major, Op. 36, No. 2

Gurlitt By the Spring, Op. 101, No. 5

Bartók Syncopated Dance

Level Four represents the intermediate area of study. Three-voice textures found in Ro-

mantic and Twentieth-Century music place emphasis on controlling balance. This repertoire requires familiarity with mordents and cadential trills; understanding the harmonic concepts of modality, modulation, and chromaticism; and rhythmic concepts of changing meters and hemiola.

• Level Five

Zipoli Verso in E Minor

Clementi Sonatina in F Major, Op. 36, No. 4

Grieg Arietta, Op. 12, No.1

Violet Archer Jig from Habitant Sketches

Level Five encompasses the intermediate to late intermediate levels. Repertoire at this level can include many forms and styles, including a variety of Baroque dances, sonata form, and

8 character pieces from the Romantic era and twentieth century. Complex textures, such as that found in Grieg’s Arietta, place emphasis on balancing melody, bass, and inner voices.

• Level Six

Scarlatti Sonata in D Minor, K. 32

Kuhlau Sonatina in C Major, Op. 88 No. 1 (first movement)

Chopin Prelude in C Minor, Op. 28, No. 20

Kabalevsky Toccatina, Op. 27, No. 12

Level Six is comparable to the late intermediate area of study. The accessibility of character pieces by Chopin and Schumann as well as more extended twentieth-century works gives the student much opportunity for portraying mood and character. The technical challenges of this level require increased independence of hands and fingers, as well as the ability to play large chords, often with an octave span. This repertoire requires mastery of keys up to three sharps or flats and their corresponding scales, arpeggios, primary and secondary chords, and seventh chords.

• Level Seven

J.S. Bach Little Prelude in E Minor, BWV 938

Beethoven Bagatelle in F Major, Op. 33, No. 3

Mendelssohn Venetian Boat Song, Op. 30, No. 6

Kabalevsky Etude, Op. 27, No. 3

Level Seven provides a transition between late intermediate and early advanced levels. At this level, most students have encountered their first Bach Two-Part Inventions, and have in-

9 creased their ability to play more complex contrapuntal textures. Students are increasingly ex-

posed to Romantic compositions that require rubato and other personal style choices. Fluency in

scales and arpeggios is demanded at this level, as well as the ability to play double notes in one

hand, and polyrhythms.

• Level Eight

J.S. Bach Invention No. 6 in E Major, BWV 777

W.A. Mozart Sonata in G Major, K. 283

Field Nocturne No. 5 in B-flat Major, H 37

Debussy Album Leaf

Level Eight represents the early advanced level. Sensitivity to and control of tone color, expression, pedaling, phrase shaping, and rubato are increasingly required in advanced Romantic and twentieth century pieces. Students can play in any key at this level, and can recognize secondary dominants and augmented sixth chords. Technical challenges include parallel octaves, ca- denzas, and Romantic and Baroque ornamentation.

• Level Nine

J.S. Bach Sinfonia No. 2 in C Minor, BWV 788

J. Haydn Sonata in E Minor, Hob. XVI: 34

Chopin Mazurka in A Minor, Op. 68, No. 2

Shostakovich Three Fantastic Dances, Op. 5

Level Nine repertoire covers the advanced stage of study. Music at this level demands the ability to play three imitative voices, execute subtle differences in dynamics and articulation, and

10 comprehend more complex forms. Students require more endurance as they play longer, more

technically demanding repertoire from all periods.

• Level Ten

J.S. Bach Prelude and Fugue in D Major, BWV 850

Beethoven Sonata in C Minor, Op. 10, No. 1

Brahms Ballade in D Minor, Op. 10, No. 1

Bartók Six Dances in Bulgarian Rhythm

Level Ten represents the late advanced level. As students play more serious works by major composers for the piano, stylistic considerations come to the forefront. This repertoire fo- cuses on executing style-appropriate dynamics, articulation, pedaling, and phrasing; and bringing

out subtle differences in style between composers of the same style period.

11 Grading the Ensemble

The study of chamber music repertoire cultivates specific ensemble skills. It is important

to take sequencing of these skills taken into account when selecting repertoire. The ideal in any

chamber music performance is unity. The players should all be working toward a similar goal of

expressing the music to the listeners. This requires the players to communicate with each other, a

new concept for most solo pianists. Communication is achieved through the development of

three basic skills: the ability to read the score and interpret it, the ability to listen to the ensemble,

and the ability to apply knowledge of style to the performance. The following discusses these

basic skills of ensemble playing, and then breaks them down into three skill-level groups.

Reading the Score

From the score, the ensemble players get the facts of the music. The score shows the tex-

ture, tessitura, form and phrase structure, rhythmic characteristics, and harmonic language. The

score also gives the details of dynamics and articulation as well as some aspects of expression.

These facts determine what the players listen for and how they will apply their knowledge of

style to their interpretation. Because texture determines the roles of the instruments in the en-

semble, it is crucial for the players to recognize what kind of texture is present in the score and

what it means for balancing the ensemble. Tessitura also figures prominently in balance. Knowl- edge of form and phrase structure as well as the rhythmic characteristics helps the ensemble to

gain precision and unity. Harmonic language determines phrase shaping. Dynamics, articulation,

and expression markings help to define the style.

Listening

Ensemble players should constantly listen for two qualities: balance and precision. Bal-

ance is determined largely by texture and tessitura, but is also affected by the performing situa-

tion. Balance affects the details of dynamics, articulation, and pedaling. For an ensemble to have

precision, the players must all attack and release at the right time, match articulation, and shape

phrases together. Precision demands knowledge of form and phrase structure as well as rhythm.

Players must understand the properties of the other instruments and be able to signal cues effec-

tively and interpret the signals of others. Rhythmic interpretation and articulation are style

choices that affect the precision of the ensemble.

Style

Style is best described as the degree to which the facts of the score are interpreted. Ques-

tions of specific tempo, spectrum of dynamics, appropriate articulation, rhythmic interpretation,

ornamentation, pedaling, and overall expression of character are all addressed under the heading

of style. Teaching solo music also involves these properties, and most pianists will understand

their significance. However, achieving a stylistically unified performance with other instrumentalists involves addressing these questions of style with regard to balance and precision. In other words, a pianist should not assume that two similar passages, one in a solo piece and the other in a chamber piece, would be played the same way.

13 • Level One Skills

Score-reading:

Texture

-Recognizing the melody, countermelody, accompaniment, and bass in

duo and trio music

Tessitura

-Recognizing the relative tessitura of the instruments in duo and trio music

Form and Phrase Structure

-Recognizing and labeling regular phrases

Rhythmic Characteristics

-Recognizing simple meters and their attributes (strong-weak beats)

-Recognizing upbeats and downbeats

Listening:

Balance

-Adjusting balance according to texture in duo and trio music

-Adjusting balance according to tessitura in duo and trio music

Precision

Rhythm

-Playing with a steady beat in homorhythmic music

-Accompanying a melodic part with divided and subdivided

rhythms

-Playing accurate dotted quarter/eighth note combinations

14 -Playing accurate syncopated rhythms

-Starting together on a downbeat or upbeat

-Signaling entrances after short and long rests

Articulation

-Matching staccato and legato articulations

Form and Phrasing

-Signaling beginnings and endings of pieces

-Signaling texture changes

-Breathing together between phrases

Style:

Dynamics

-Recognizing the dynamic spectrum of a piece

-Adjusting dynamics for balance in duo and trio music

Pedaling

-Adjusting pedaling for balance in duo and trio music

Rhythmic Interpretation

-Interpreting fermata, ritardando, and accelerando

Articulation

-Playing staccato and legato

-Playing accents and tenuto

Expression

-Interpreting basic tempo markings

-Interpreting character 15 • Level Two Skills

Score-reading:

Texture

-Recognizing texture and instrumental roles in quartet and quintet

music

-Recognizing imitation

Tessitura

-Recognizing range of tessitura in quartet and quintet music

-Understanding tessitura problems in string and wind instruments

Form and Phrase Structure

-Recognizing and labeling binary and ternary forms

-Recognizing and labeling sonatina and sonata forms

-Recognizing overlapping phrases

Rhythmic Characteristics

-Recognizing compound meters and their attributes (strong-weak beats)

-Recognizing rhythmic characteristics of common Baroque dances

-Recognizing rhythmic characteristics of Romantic character pieces

-Understanding irregular meters

-Understanding meter changes

Listening:

Balance

-Adjusting balance according to texture in quartet and quintet music

16 -Adjusting balance according to tessitura in quartet and quintet music

-Adjusting balance in quickly changing textures

-Understanding balance in imitative textures

Precision

Rhythm

-Playing accurate dotted-eighth/sixteenth combinations

-Timing arrival of beat with string double and triple stops

-Timing arpeggiated chords and broken bass notes

Articulation

-Understanding and matching different bow strokes

-Understanding and matching different wind articulations

-Matching articulation in imitative music

Form and Phrasing

-Signaling events in binary, ternary, sonatina, and sonata forms

-Signaling entrances after a long cadenza, prelude, or interlude

-Signaling sudden tempo changes

-Handing off melodic phrases or small motives

Style:

Dynamics

-Controlling the overall dynamic range

-Adjusting dynamics for balance in quartet and quintet music

Pedaling

-Adjusting pedaling for balance in quartet and quintet music 17 -Using the una corda pedal for balance and tone color

Rhythmic Interpretation

-Playing music that requires rubato

-Interpreting rhythmic characteristics in Baroque dances

-Interpreting rhythmic characteristics in Romantic character pieces

Articulation

-Playing style-appropriate articulation

Expression

-Interpreting specific expression markings

• Level Three Skills

Score-reading:

Texture

-Recognizing three- or four-part imitative counterpoint

Tessitura

-Understanding tessitura problems in nontraditional notation

Form and Phrase Structure

-Recognizing and labeling forms in twentieth and twenty-first century idi-

oms

-Recognizing thematic connections

Rhythmic characteristics

-Recognizing hemiola

-Recognizing two vs. three and other polyrhythms

-Recognizing hocket 18 Listening:

Balance

-Adjusting balance in performing situations through dynamics,

articulation and pedaling

Precision

Rhythm

-Playing accurate double-dotted rhythms

-Pacing parallel ornamentation

-Playing hocket

-Pacing polyrhythms

Articulation

-Matching articulation in three- and four-part imitative

counterpoint

Form and Phrasing

-Signaling events twentieth and twenty-first century idioms

Style:

Dynamics

-Adjusting dynamics in performing situations

Pedaling

-Using nonconventional pedaling techniques

-Adjusting pedaling in performing situations

Rhythmic Interpretation

-Interpreting nonconventional rhythmic notation 19 Articulation

-Interpreting nonconventional articulation markings

Expression

-Interpreting unusual or vague expression markings

20 Examples of Chamber Music Repertoire Choices and Use

The following examples are given to illustrate ways in which teachers could approach the

selection of chamber music literature for students at several different piano playing levels.

• Beginning and Elementary Levels

The following examples show various approaches to choosing repertoire at two different

skill levels within the beginning to elementary years of study.

Example One

A student in Unit Eight of The Music Tree Part 2A2

• Skills mastered: landmarks on middle C, treble G and bass F, intervals up to a

fifth, major and minor five-finger patterns and triads, eighth-notes, accompanying

with perfect fifths, staccato and legato articulation, first and second endings, la-

beling simple forms

• Skills recently acquired: accompanying a melody with tonic and dominant,

landmarks on G5 and F2

• Skills in the process of acquiring: intervals up and down from G5 and F2

• Repertoire Choice One: Howard Lee Koch “The Jumping Frog” from

Accompanying the Violin3

• Review of Mastered Skills: middle C landmark, staccato articulation, first and

second endings, labeling simple forms

• Review of Recently Acquired Skills: Accompanying with tonic and dominant

• New Skills: intervals up and down from F2 landmark, interval of a sixth

2 Frances Clark, Louise Goss, and Sam Holland, The Music Tree Part 2A (Miami: Warner Bros. Publications, 2000), 48-53. 3 Katherine D. Johnson, Accompanying the Violin (San Diego: Neil A. Kjos Music Company, 1984), M8. 21 • Ensemble Skills Gained: matching string and piano staccato articulation, playing

right-hand off-beats softly, starting and ending phrases together.

• Repertoire Choice Two: Eugénie Rocherolle, “Indian Lore” from A Tableau of Piano

Trios for violin, cello, and piano4

• Review of Mastered Skills: Accompanying with perfect fifths, middle C land-

mark, eighth notes, labeling simple forms, playing in minor mode

• Review of Recently Acquired Skills: F2 landmark

• New Skills: Intervals up and down from F2 landmark, interval of a sixth, key sig-

nature with one sharp

• Ensemble Skills Gained: recognizing melody, countermelody, accompaniment,

and bass in trio music, adjusting balance according to texture in trio music, ac-

companying a melodic part with divided rhythms, signaling entrances after short

and long rests, interpreting ritardando

Example Two

A student in Unit Eight of Faber and Faber’s Piano Adventures Level 3A5

• Skills mastered: white-key major and minor five-finger patterns, keys of C, G

and F, including one-octave major scales, cross-hand arpeggios and primary tri-

ads, Alberti bass, syncopation, extension to sixths, labeling simple forms, ritar-

dando, gradual and terraced dynamics

4 Eugénie R. Rocherolle, A Tableau of Piano Trios (San Diego: Neil A. Kjos Music Company, 1995), 4-5. 5 Nancy and Randall Faber, Piano Adventures, Lesson Book Level 3A (Fort Lauderdale, FL: The FGH Music Com- pany, Inc., 1993), 51-52. 22 • Skills recently acquired: compound meter, triplet rhythms, swing rhythm, ledger

lines, chromatic scale, key of D, including one-octave scale and primary triads

• Skills in the process of acquiring: one-octave arpeggios involving an extension

of the hand to one octave

• Repertoire Choice One: Christopher Freyer “Red Balloons” from Musical Rainbow

for piano and flute, clarinet, or saxophone6

• Review of Mastered Skills: key of F Major, labeling simple forms, labeling pri-

mary triads, extension to sixths

• Review of Recently Acquired Skills: Chromatic scale (the special feature of the

piano part is a rising chromatic scale at the end, depicting the balloons floating up

into the sky)

• New Skills: None

• Ensemble Skills Gained: taking a breath cue from a wind instrumentalist, shap-

ing phrases together

• Repertoire Choice Two: Katherine D. Johnson, arr. “Hail to Springtime” from Ac-

companying the Violin.7 Note: this piece is written in the key of A major, but is

transposed to D major in this case and played with the viola or cello.

• Review of Mastered Skills: Alberti bass accompaniment pattern, simple finger

crossings, labeling simple forms, ritardando

• Review of Recently Acquired Skills: primary chords in the key of D

• New Skills: octave extension at cadences

6 Christopher Freyer, Musical Rainbow (Woodbridge, NJ: DUMA Music, Inc., 1998), 2-3. 7 Katherine D. Johnson, Accompanying the Violin (San Diego: Neil A. Kjos Music Company, 1984), M10. 23 • Ensemble Skills Gained: breathing together between phrases, pacing a ritar-

dando, playing a very soft Alberti bass accompaniment

• Intermediate and Advanced Levels

As with elementary level repertoire, teachers should continue to choose piano parts that have features supporting skills being gained in the student’s other solo repertoire. However, it

can be equally beneficial to choose repertoire that provides a contrast to the solo works being

studied. The following examples will show various approaches to selecting ensemble repertoire

for the intermediate to advanced student.

Example One

A student working on Study Module 6 of Level Four in Celebration Series (Royal Con-

servatory of Music)

• Repertoire:

Scarlatti Aria in D Minor, K 32

Gurlitt Sonatina in G Major, Op. 188, No. 3 (first movement)

Erkki Melartin Sonatina

Marcel Poot Across the Channel

Christopher Norton Play It Again

• Technical Studies:

Alexander Gedike Study in G Major, Op. 36, No. 26

Clifford Crawley You’re Joking!

Alexandre Tansman Skating

24 The selection of repertoire in the study module is based on the idea of contrasts within the

form of the sonatina, between different sonatinas, and between four pieces from the twentieth

century representing different styles. 8

• Skills mastered: major and minor keys with up to two sharps or flats, sonatina

form, binary and ternary forms, two-part counterpoint, Classical accompaniment

figures

• Skills recently acquired: changing meter, hemiola, three-part textures, projecting

melody in a three-part texture, whole-tone scales, one-octave scales in tenths, par-

allel sixths and triads, grace notes

• Skills in the process of acquiring: sonata-allegro form, fluid sixteenth-note pas-

sages in the right hand, Baroque performance practices: rolled chords, detached

long note values and ornamentation (written out and symbolic)

• Repertoire Choice One: Jaromír Weinberger Sonatine, for flute and piano9

• Review of Mastered Skills: playing in the key of G Major, two-part texture,

Classical accompaniment figures, ternary forms

• Review of Recently Acquired Skills: projecting melody in a three-part texture

• New Skills: recognizing and labeling sonata-allegro form and rondo form

• Ensemble Skills Gained: handing off of melody and motives, awareness of tes-

situra problems when playing with the flute

• Relation to Solo Repertoire: The two sonatinas in the study module provide two

contrasting ideas of form. The Gurlitt movement uses two contrasting themes with

8 Cathy Albergo, Reid Alexander, and Marvin Blickenstaff, Celebration Series, The Piano Odyssey, Handbook for Teaches (Mississauga, Ontario: The Frederick Harris Music Co., Limited, 2001), 103-104. 9 Jaromír Weinberger, Sonatine for flute and piano (New York: Carl Fischer, 1941). 25 movement to the dominant at the second theme and a predictable recapitulation

after a very short development. The Melartin piece, marked “Tempo di Menu-

etto,” uses a combination of features of sonatina and ternary forms, does not have

two contrasting themes in the exposition, and does not change keys until the dou-

ble bar. This topic of differing formal plans in

sonatina movements can be further explored by studying the Weinberger

Sonatine. The first movement shares some of the formal characteristics of the

Gurlitt, but moves to the relative minor in the second theme and has a closing

theme and a longer development. Ensemble sonata movements often have signifi-

cant variation in the distribution of melodic material between the

exposition and recapitulation, and the Weinberger movement gives a good

example of this feature. The concept of neoclassicism is introduced with the

Melartin Sonatina and can be expanded by discussing the style of the

Weinberger Sonatine. The Menuet movement can be compared to the

Melartin for examination of menuet phrase characteristics.

• Repertoire Choice Two: Christopher Norton “Changes” from Microjazz Collection 2

for cello and piano10

• Review of Mastered Skills: key of G Major, syncopation

• Review of Recently Acquired Skills: changing meter, parallel sixths

• New Skills: none

• Ensemble Skills Gained: handing off fragments of melodic phrases,

balancing loud dynamic markings with the timbre of the cello

10 Christopher Norton, Microjazz Collection 2, for cello and piano (London: Boosey & Hawkes, 1999), 5-6. 26 • Relation to Solo Repertoire: Pieces by Christopher Norton appear throughout

the Celebration Series and give examples of many different modern popular

styles. Changing meter is a skill recently learned in an earlier study module, and

this piece gives the teacher an opportunity to review this concept within a differ-

ent style of music. The form of this piece is A A1, with the instruments trading

melodic roles in the second section. The student can observe and discuss how

Norton achieves variety between the two sections while maintaining the harmonic

and melodic structure, and then compare this approach to the exposition of the

Melartin Sonatina, also in A A1 form.

Example Two

A student working toward passing level seven of the Illinois State Music Teachers’ Asso- ciation examination

• Repertoire:

J.S. Bach Invention No. 1 in C Major

Kuhlau Sonatina, Op. 55, No. 3, in C Major (first movement)

Kabalevsky Rondo-Toccata, Op. 60, No. 4

• Technical Studies:

Scales and arpeggios in keys up to five sharps and flats

Dominant seventh arpeggios

Scales in contrary motion

Scales in two vs. three rhythms

Four-note tonic chords and dominant sevenths in root position and inversions11

11 Carol Balboa, ed., Illinois State Music Teachers Association Piano Syllabus, Sixth Printing (Champaign, IL: IS- MTA Student Foundation, 1990), 115-123. 27 • Skills mastered: Baroque style dances in two- or three-part texture, classical so-

natinas, portraying mood and character in Romantic character pieces, familiarity

with twentieth century compositional practices such as bitonality and use of

modes

• Skills recently acquired: simple Baroque ornamentation, making individual

choices for dynamics and articulation in Baroque and Classical compositions,

two-against-three rhythm

• Skills in the process of acquiring: two-part imitative counterpoint, fluency in

fast scale passages and Classical accompaniment patterns, speed and endurance in

technically demanding repertoire, playing in keys with five sharps or flats

• Repertoire Choice One: Julius Klengel “Finale” from Kindertrio in F, Op. 39, No. 112

• Review of Mastered Skills: Classical sonatina form and texture

• Review of Recently Acquired Skills: Classical period articulation and dynamics

• New Skills: fluency in fast scale passages

• Ensemble Skills Gained: recognizing and labeling sonata forms, understanding

and matching different bow strokes, matching articulation in imitative music,

playing style-appropriate dynamics and articulation

• Relation to Solo Repertoire: This choice is a good companion for the Kuhlau

Sonatina, as both have similar primary themes and require a similar wrist-staccato

technique.

12 Joanne Haroutounian, ed., Chamber Music Sampler Book 1 (San Diego: Neil A. Kjos Music Company, 1992) ,15- 23. 28 • Repertoire Choice Two: Eugénie Rocherolle Vignette, for flute and piano13

• Review of Mastered Skills: Familiarity with various twentieth century composi-

tional practices such as modes

• Review of Recently Acquired Skills: Playing polyrhythms

• New Skills: playing in keys with five sharps or flats

• Ensemble Skills Gained: Understanding polyrhythms, understanding tessitura

problems in flute and piano music, matching articulation with wind instruments,

playing music that requires rubato

• Relation to Solo Repertoire: Vignette presents a contrast in mood and texture to

the three solo pieces being studied. It also emphasizes keys that are being studied

in scale and arpeggio work. While all three of the solo pieces emphasize clarity of

melodic material and phrase structure, Vignette has a more fluid form and much

less predictable phrase lengths. Not one of the solo pieces offers a challenge for

pedal technique but Rocherolle demands an expressive use of the damper and una

corda pedals.

Example Three:

A student working on Level Nine of the Celebration Series (RCM)

• Repertoire:

J.S. Bach Prelude and Fugue in C Minor from Well-Tempered Clavier Book 1

Beethoven Sonata in G Major, Op. 79 (first movement)

Sibelius Romance, Op. 24, No. 9

13 Eugénie Rocherolle, Vignette, for flute and piano, (King of Prussia, PA: Theodore Presser, 1999).

29 • Technical Studies:

Cramer Study in E Minor, Op. 39, No. 2

Heller Etude in G Major, Op. 47, No. 24

Bartók Bagatelle, Op. 6, No. 214

• Skills mastered: Tonal music written in any key, two-part imitative counter-

point, Classical sonata, rondo, binary, and ternary forms, short Romantic charac-

ter pieces in three or four-part texture, twentieth century compositional practices

such as modality, bitonality, use of tone rows

• Skills recently acquired: octave technique, fast chromatic scales, fast left-hand

arpeggios, long cadential trills

• Skills in the process of acquiring: Alternating octave technique, extended Ro-

mantic and twentieth-century forms, filled-in octave passages, three-voice imita-

tive counterpoint

• Repertoire Choice One: Haydn Trio in E-flat Major, H XV: 29, Finale (Allemande)15

• Review of Mastered Skills: Classical forms, two-part imitative counterpoint

• Review of Recently Acquired Skills: fast scale and arpeggio work, long caden-

tial trills

• New Skills: none

• Ensemble Skills Gained: recognizing thematic connections, handing off melodic

phrases or small motives, signaling sudden tempo changes, events in extended

forms, matching articulation in imitative music, pacing parallel ornamentation

14 Cathy Albergo, Reid Alexander, and Marvin Blickenstaff, Celebration Series, The Piano Odyssey, Handbook for Teachers (Mississauga, Ontario: The Frederick Harris Music Co., Limited, 2001), 209-211. 15 Joanne Haroutounian, Chamber Music Sampler Book 2 (San Diego: Neil A. Kjos Music Company, 1992), 4-19. 30 • Relation to Solo Repertoire: Many of the technical challenges present in the

Beethoven Sonata are found in the Haydn Trio, including fast-paced arpeggios,

parallel octaves in both hands, and quick scale figures. Both of these movements

have some interesting harmonic features: Beethoven begins the development in

the major submediant; Haydn applies augmented sixth chords in unexpected

places. The student can compare these and discuss the effect. Also prevalent in

both movements are accents on weak beats and sudden extreme dynamic changes.

• Repertoire Choice Two: Grazyna Bacewicz Easy Pieces for clarinet and piano (first

four movements)16

• Review of Mastered Skills: Irregular meter, changing meter and rhythmic com-

plexity created by syncopation and cross-rhythms

• Review of Recently Acquired Skills: Parallel octave technique

• New Skills: Interpreting detailed dynamic, articulation, and pedal markings in

twentieth century repertoire, playing legato parallel intervals

• Ensemble Skills Gained: Handing off short motives in a rhythmically integrated

texture, handling sudden character, texture, rhythm, and tempo changes

• Relation to Solo Repertoire: This student is not currently studying any post-

1950 repertoire; a trend at this level because many of the popular Classical and

Romantic masterworks are finally accessible. These pieces display a tremendous

variety of rhythm and texture. The student can compare the Bartók Bagatelle with

these pieces for discussion of unity and contrast in twentieth century music.

16 Grazyna Bacewicz, Easy Pieces for clarinet and piano (Krakow: Polskie Wydawnictwo Muzyczne, 1988). 31 Chapter Two: A Teacher’s Graded Guide to Chamber Music

Literature with Piano

• Using This Resource

Content

The music included on this list has been selected for its pedagogical value. These works provide technical and musical challenges to encourage growth at the piano, as well as a wide range of styles, genres, composers, and nationality to expand the students’ general musical experience. In addition, there is an emphasis on representing the stylistic development of major genres, given that historical perspective is an important part of any music student’s education.

Works are largely excluded whose function is not that of true chamber music, but are rather solo instrumental concert pieces with piano accompaniment. However, some pieces in which the piano fills an accompanimental role have been included in the lower levels to teach various homophonic textures. Works that designate continuo rather than piano in the keyboard role are not included. Continuo sonatas and trio sonatas are worthy of study and performance, but the skills involved are beyond the scope of this discussion. The guide includes works involving two to five musicians in instrumental combinations including piano with strings, brass, and/or woodwinds.

The main portion of the list consists of original works, but arrangements are included if the work is pedagogically sound. Most of the works on the list are available currently from publishers; however some out of print pieces appear if deemed to be of sufficient importance.

Organization

The works are arranged by the number of players in the ensembles. They are listed alpha- betically by composer within three historical periods (Classical, Romantic, and Twentieth and

32 Twenty-first centuries) for original compositions. A separate category covers arrangements of

classical pieces along with folk, popular, jazz, and seasonal music. The first entries in each cate-

gory are collections and anthologies, placed there for quick reference. The works within these

collections and anthologies are entered separately by composer. The teacher looking for music at

a particular level, by a specific composer, or for a particular instrumental combination should

consult the indexes following the appendix.

Every entry includes information on the following: composer, composer’s dates, national-

ity, title, translation if necessary, numbering, instrumentation, publisher, movement titles, length

in pages, key if applicable, and piano and ensemble levels. Most entries have a short description

of the piano part and its pedagogical applications, including technical, musical, and ensemble

requirements and suggestions for pairing and sequencing with solo repertoire. Some entries have

more detailed biographical information about the composer and a level designation for the other

instrumental parts (explained below).

Grading of Other Instrumental Parts

Whenever possible, a level has been assigned to the other instrumental parts of the works on the list. These levels are taken from available graded lists for the individual instruments.

Every graded entry has a reference to the source of this information. Teachers should consult these lists to help assign repertoire appropriate to the instrumentalists’ abilities. The graded lists consulted are annotated below and then listed for each applicable instrument.

String Syllabus, Volume I, Revised 1997, by the American String Teachers Association,

David A. Littrell, ed. (ASTA)

Literature for violin, viola, cello, double bass, and string ensembles is graded into six lev-

els, divided into categories of methods, studies, and repertoire. Entries include composer,

title, publisher, and in some cases a brief description of the work.

Royal Conservatory of Music (RCM) Canada

Literature for the RCM exams is graded into ten levels plus a preparatory level and per-

former’s and teacher’s ARCT, including technical requirements, repertoire and theory

skills. Syllabi are available for most solo and orchestral instruments.

OMEA Solo and Ensemble Contest Music (OMEA)

Literature for solo instruments and chamber music is listed under three ability levels.

Chamber Music Repertoire for Amateur Players by Harold Haynes (Haynes)

Chamber music literature for string ensembles and strings with piano is graded on a nine-

teen-level system plus a level for professional players.

National Federation of Music Clubs Festivals Bulletin 2004-2005-2006 (NFMC)

Chamber music with piano is listed under four to eight ability levels according to instru-

mentation. Other instruments may have up to nineteen levels.

Violin: ASTA, RCM, OMEA, Haynes, NFMC

Viola: ASTA, RCM, OMEA, Haynes, NFMC

Cello: ASTA, RCM, OMEA, Haynes, NFMC

Double Bass: ASTA, RCM, OMEA, Haynes, NFMC

Flute: RCM, OMEA, NFMC

Clarinet: RCM, OMEA, NFMC

Oboe: RCM, OMEA, NFMC

Bassoon: RCM, OMEA, NFMC

Trumpet: RCM, OMEA, NFMC

Saxophone: RCM, NFMC

Horn: RCM, OMEA, NFMC

35 Duos for Piano with Strings or Winds

• Collections and Anthologies

Accompanying the Violin Neil A. Kjos, 1984 Katherine D. Johnson, ed.

Böhmische Violinsonaten, II G. Henle, 1985 Sonja Gerlach and Zdenka Pilková, eds.

Frauenkomponieren (violin and piano) Schott Musik International, 1999 Barbara Heller and Eva Rieger, eds.

Nineteenth-Century Music for Cello and Piano Hildegard Publishing Company, 1998 Susan Pickett, ed.

Was ich gerne spiele (viola and piano) Universal Edition, 1997 Sándor Jánosi, arr.

The Young Cellist’s Repertoire, Book One Faber Music Limited, 1984 Simon Nichols and Julian Lloyd Webber, arrs.

The Young Violinist’s Repertoire, Book Two Faber Music Limited, 1982 Paul De Keyser and Fanny Waterman, arrs.

• Classical

Maria Barthélemon (1749-1799) England

Barthélemon was a well-known opera singer and a relative of Thomas Arne. These pieces come from a set of six sonatas which, along with a few vocal works, are her only surviving compositions.

Sonate No. 1 in G Major, for violin and piano Hildegard Publishing Company, 1999

I. Allegro 2 pages, G Major Piano Level: Five Ensemble Level: Two The right hand and violin share an imitative dialogue while the left hand accompanies in this simple binary movement.

II. Minuetto 2 pages, G Major Piano Level: Five Ensemble Level: Two This is an elegant but simply textured movement with much rhythmic variety.

Sonate No.5 in E Major, for violin and piano Hildegard Publishing Company, 1999

I. Andantino 4 pages, E Major Piano Level: Six Ensemble Level: Two The violin shares a more active melodic role in this movement than in some others from this set. The players will need to communicate a synchronized entrance after a fermata and rest.

II. Allegro non troppo 4 pages, E Major Piano Level: Seven Ensemble Level: Two A lighthearted dance movement in 12/8 meter, this movement requires the ability to execute quick trills.

Ludwig van Beethoven (1770-1827) Germany

Sonate in F Major, Op. 24, for violin and piano G. Henle, 1978

III. Scherzo: Allegro molto 2 pages, F Major Piano Level: Nine Ensemble Level: Three Although it is one of the easiest movements of the Beethoven violin sonatas, this humorous scherzo is very tricky rhythmically. The piano part requires excellent wrist staccato technique.

Sonate in G Major, Op. 30, No. 3, for violin and piano G. Henle, 1978 37

II. Tempo di Minuetto: ma molto moderato e grazioso 7 pages, E-flat Major Piano Level: Ten Ensemble Level: Three This expressive movement gives the duo an opportunity to discuss Beethoven’s detailed dynamic and articulation markings. Parallel ornamentation, duple versus triple rhythm, and offbeat accents will challenge the ensemble’s precision.

Anton Diabelli (1781-1858) Austria

Sehr leichte Stücke (Very easy pieces), for guitar and piano Gitarren-Archiv Schott 23; B. Schott’s Söhne, 1984 The following annotated pieces are representative of this collection of thirty pieces for guitar and piano. Most of the pieces are dance movements or small forms. The piano parts fall between levels four to nine.

No. 13 Andante 4 pages, C Major/Minor Piano Level: Six Ensemble Level: Two The piano controls the melody in the A sections while the guitar gets the tune in the B section. The piano part has an ornamented melodic line and bass-chord and Alberti accompaniment patterns.

No. 15 Largo (Marche funèbre) 1 page, D Minor Piano Level: Seven Ensemble Level: Two Students with a dramatic flair will enjoy performing this piece. It features the typical dotted rhythms and sudden accents of the funeral march. The pianist is challenged by octave melodies in the right hand.

No. 21 Andante cantabile 3 pages, F Major Piano Level: Six Ensemble Level: Two This songlike piece features some imitation between the two instruments.

No. 30 Hongroise 2 pages, G Major Piano Level: Seven Ensemble Level: Two

38 Grace notes, sixteenth-note figuration, trills, parallel thirds and offbeat accents are used to define the “Hungarian” style. This is an enjoyable but challenging piece that requires excellent finger dexterity.

Franziska LeBrun (1756-1791) Germany

Sonate in F Major, Op. 1, No. 3, for violin and piano MusicaLady 11, Tonger, 1999

I. Allegro 6 pages, F Major Piano Level: Ten Ensemble Level: Two The piano is definitely the leader in this movement, displaying a concerto-like flamboyancy over the more accompanimental violin part. An abundance of ornaments and figuration involving octaves make the piano part a challenge. This movement would be a good companion or preparatory piece for easier Mozart piano concerto movements.

II. Rondeau: Allegretto 5 pages, F Major Piano Level: Nine Ensemble Level: Two This movement is much simpler in texture and content than the first movement. The most difficult part involves the violin and piano playing continuous sixteenth-notes together marked smorzando. There are also some brief occurrences of parallel ornamentation.

Wolfgang Amadeus Mozart (1756-1791) Austria

Sonate in C Major, K. 6, for violin and piano Jugendsonaten, I, Bärenreiter, 1967

III. Menuets I and II 1 page, C Major/ F Major Piano Level: Four Ensemble Level: One The violin part was added to the original keyboard compositions, possibly by Leopold Mozart, and functions as support to the simply textured piano part.

Sonate in D Major, K. 7, for violin and piano Jugendsonaten, I, Bärenreiter, 1967

III. Menuets I and II 1 page, D Major/ D Minor Piano Level: Six Ensemble Level: Two 39 The piano part requires confident trilling skills and good hand independence.

Sonate in B-flat Major, K. 8, for violin and piano Jugendsonaten, I, Bärenreiter, 1967

III. Menuets I and II 1 page, B-flat Major/B-flat Minor Piano Level: Six Ensemble Level: Two The predominant sixteenth-dotted eighth note combination of the first Menuet is reversed to dotted eighth- sixteenth note in the second Menuet. The second Menuet is an excellent introduction to playing in the key of B-flat Minor.

Sonate in G Major, K. 9, for violin and piano Jugendsonaten, I, Bärenreiter, 1967

III. Menuets I and II 2 pages, G Major/ G Minor Piano Level: Six Ensemble Level: Two Duple versus triple rhythm pervades both menuets.

Joseph Mysliweczek (1737-1781) Bohemia

Sonate in D Major, c. 1775, for violin and piano Böhmische Violinsonaten, II, G. Henle, 1985

I. Allegro 4 pages, D Major Piano Level: Nine Ensemble Level: Three Mysliweczek’s keyboard writing style is similar in figuration to Haydn’s, making this fully realized sonata-allegro movement a good companion to Haydn sonatas at this level.

II. Andante 3 pages, D Minor Piano Level: Six Ensemble Level: Two The piano part has a sparse texture consisting of a bass line and one syncopated voice for the right hand. This movement is a good exercise in hearing the left hand equally to the right hand.

III. Menuetto 1 page, D Major Piano Level: Four Ensemble Level: Two

40 The regular phrase structure of the minuet, with its characteristic quarter rest at the end of every four bars provides a good opportunity for breathing together between phrases.

Maria Hester Park, née Reynolds (1760-1813) England

Park was a keyboard performer and teacher who wrote mainly keyboard and chamber music. This piece comes from a collection of six sonatas for harpsichord or piano and violin.

Sonate C Major, Op. 1, No. 1, for violin and piano Hildegard Publishing Company, 1996

I. Allegro 9 pages, C Major Piano Level: Ten Ensemble Level: Two This movement displays exuberant writing throughout with a sometimes unpredictable contrast between loud and soft dynamics. The piano writing is similar to Haydn’s, making use of variations on Alberti bass, hand crossings, and some imitation.

II. Rondo Pastorale: Allegretto 9 pages, C Major Piano Level: Ten Ensemble Level: Two The piano writing is concerto-like, making use of techniques such as broken octaves, parallel thirds, and quick figuration.

Christoph Schaffrath (1709-1763) Germany

Schaffrath was a harpsichordist and composer at the court of Frederick II of Prussia.

Duetto in G Minor, for bassoon and piano B. Schott’s Söhne, 1980

I. Andante 4 pages, G Minor Piano Level: Six Ensemble Level: Two The left hand plays a continuo-like bass line while the right hand and the bassoon share a largely imitative dialogue. There is much opportunity to insert ornamentation in the right hand line.

II. Allegro assai 5 pages, G Minor Piano Level: Seven 41 Ensemble Level: Three Parallel ornamentation and quickly moving homorhythmic sections make this movement a challenge for the duo. The pianist will need to avoid covering the bassoon with the repeated notes in the left hand.

III. Allegro 4 pages, G Minor Piano Level: Eight Ensemble Level: Three This is the most rhythmically varied music in the piece, using alternations between duple and triple divisions of the beat.

Johan Baptist Wanhall (1739-1813) Bohemia

Sonate in D Minor, Op. 43, No. 3, for violin and piano Böhmische Violinsonaten, II, G. Henle, 1985

I. Allegro 8 pages, D Major Piano Level: Ten Ensemble Level: Three This is a dramatic sonata-allegro movement with many changing moods and textures. A student playing the easier Beethoven Piano Sonatas would find that Wanhall’s writing shares many characteristics with Beethoven’s, including sudden extreme changes in dynamics and dramatic pauses.

II. Andante sostenuto 4 pages, D Major Piano Level: Ten Ensemble Level: Three The writing in this movement is similar to slow movements in Haydn, Mozart and Beethoven piano sonatas. There is emphasis on ornamented melody and variation on the main theme throughout the movement.

III. Finale: Allegro 4 pages, D Major Piano Level: Ten Ensemble Level: Three This is a virtuoso piece for the piano featuring an initial “Mannheim Rocket” motive and fast scalar passages for the right hand. Like the first two movements, the style is similar to Beetho- ven’s.

42 • Romantic

Amy Marcy Cheney Beach (1867-1944) United States

La Captive, Op. 40, No. 1, for violin and piano Hildegard Publishing Company, 1994 2 pages, G Minor Piano Level: Eight Ensemble Level: Three Violin Level: Four (ASTA) This is a very expressive piece that requires rubato and an extreme range of dynamics. It would make a good companion or preparatory piece for a student playing easier Chopin Nocturnes.

Berceuse, Op. 40, No. 2, for violin and piano Hildegard Publishing Company, 1994 3 pages, D Major Piano Level: Eight Ensemble Level: Three Violin Level: Four (ASTA) The piano plays a typical berceuse ostinato in the left hand while the right hand provides ornamentation and countermelody. This is a very expressive piece with some unusual harmonies, and would make a good companion piece to Chopin Nocturnes or Preludes.

Mazurka, Op. 40, No. 3, for violin and piano Hildegard Publishing Company, 1994 3 pages, F-sharp Minor Piano Level: Eight Ensemble Level: Three Violin Level: Four (ASTA) The piano provides the characteristic mazurka rhythm while the violin has ornamented melody. This is a good companion piece for students learning Chopin Mazurkas.

Clara Mathilde Faisst (1872-1948) Germany

Adagio Consolante, for cello and piano Nineteenth-Century Music for Cello and Piano, Hildegard Publishing Company, 1998 7 pages Piano Level: Ten Ensemble Level: Three Faisst displays a wonderful gift for melody and a Romantic sense of harmony and texture. The piano part is similar in style to those in Felix Mendelssohn’s chamber works, filling out harmony with arpeggiated figures, adding inner voices frequently, and using thick repeated chords to build

43 phrases to climax. This is a good preparatory piece for Mendelssohn’s piano trios and cello sonatas.

Allegretto Grazioso, for cello and piano Nineteenth-Century Music for Cello and Piano, Hildegard Publishing Company, 1998 2 pages, F Major Piano Level: Ten Ensemble Level: Three This short piece is a good etude for developing left hand arpeggios, a skill that must be mastered before playing chamber works by Brahms and Mendelssohn.

Mélodie nach einer alten Ballade (Song after an old ballade), Op. 5, for cello and piano Nineteenth-Century Music for Cello and Piano, Hildegard Publishing Company, 1998 5 pages, A Major Piano Level: Ten Ensemble Level: Three The piano part has some extended interludes that reiterate melodic phrases heard in the cello part and develop new harmonic material.

Maria Szymanowska (1789-1831) Poland

Szymanowska was a virtuoso pianist and composer of mainly solo pieces and songs. She is con- sidered an important forerunner of Chopin.

Sérénade, for cello and piano Hildegard Publishing Company, 1998. 7 pages, C Minor Piano Level: Ten Ensemble Level: Three Szymanowska designates this piece as “for the piano with accompaniment of the cello.” The piano plays many melodic passages as well as several different accompaniment styles, varying from block chords to ornate arpeggiated patterns. There are several ornamented passages similar to those found in Chopin Nocturnes.

Pauline Viardot (1821-1910) France

Viardot was a famous singer and vocal pedagogue, as well as a composer of songs and chamber music.

Sonatine, for violin and piano Hildegard Publishing Company, 1993.

I. Adagio 3 pages, A Minor Piano Level: Eight 44 Ensemble Level: Two Violin Level: Four (ASTA) The piano plays a duet with the violin over the bass line.

II. Allegro 7 pages, A Minor Piano Level: Eight Ensemble Level: Two Violin Level Four (ASTA) This movement is in scherzo and trio form. The scherzo is based on a five-note ascending scale, with much dialogue on this motive between the two instruments. The trio is folk-like in character and features an F pedal throughout the section.

III. Allegro 9 pages, A Minor Piano Level: Eight Ensemble Level: Two Violin Level: Four (ASTA) The violin and piano trade off playing the melody of the rondo theme. This movement provides good practice for the pianist in following fast scalar passages in the violin part, timing arpeggiated triple-stops, and following spiccato passages.

• Twentieth and Twenty-first Centuries

Violet Archer (1913-2000) Canada

Archer was an important figure in Canadian music. She studied composition with Bartók and Hindemith and her compositions are best described as neoclassical with an emphasis on folk music.

Little Suite, 1975, for trumpet and piano Manitou Music, 1979, available through MCA

I. Song 3 pages, F Lydian Piano Level: Four Ensemble Level: One Except for one interlude, the piano functions as harmonic support. The slow harmonic rhythm and repetitive accompaniment patterns make this a good piece for working on the skill of following an instrumental line.

II. Quiet Time 3 pages, A Minor Piano Level: Four Ensemble Level: One The left hand plays a slow extended-position ostinato for most of the piece while the right hand plays a countermelody to the trumpet line.

III. Fanfare 1 page, G Mixolydian Piano Level: Four Ensemble Level: One Archer recalls the sound of a brass fanfare by using melodic fourths and fifths and polytonal root-position triads.

IV. Jig 3 pages, D Minor Piano Level: Four Ensemble Level: One The piano part moves mainly in five-finger positions with some extensions, making this lively piece easier to learn than it looks.

Twelve Miniatures, for violin and piano Waterloo Music Company Limited, 1982.

1. Jig 1 page, D pentatonic Piano Level: Two Ensemble Level: One Violin Level: One (RCM) This piece requires a strong sense of pulse in 6/8 meter. The piano part is mainly rhythmic and harmonic while the violin has the melody.

2. A Quiet Song 1 page, D Dorian Piano Level: Two Ensemble Level: One This piece is a good introduction to the Dorian mode. The piano part is written in two-voice counterpoint and is a good companion to pieces of the same texture and level by Bartók.

3. On Tip-toe 1 page Piano Level: Two Ensemble Level: Two

46 Violin Level: One (RCM) This piece provides a good introduction to quartal harmony. The pianist must count short rests accurately, and play well-voiced chords at every dynamic level.

4. Serious Mood 1 page, A Aeolian Piano Level: Two Ensemble Level: Two Marked Largo molto, this piece is a rhythmic challenge. The two instruments must pass off phrases to one another.

5. Marching Along 1 page, A Minor Piano Level: Two Ensemble Level: One This piece provides good practice for off-beat accompaniment.

6. With Determination 1 page, D Dorian Piano Level: Two Ensemble Level: One The piano part is written entirely in parallel motion. The emphasis in the piece is on overlapping phrases between the violin and piano.

7. In Church 1 page, G Major Piano Level: Three Ensemble Level: One Violin Level: Two (RCM) The piano provides harmonic support for the violin melody. The technique requires an octave reach and some finger independence.

8. Joyous 1 page, E Phrygian Piano Level: Two Ensemble Level: One Violin Level: Three (RCM), Elementary Class II (NFMC) The piano provides harmonic support for the violin melody with bass-chord and block chord accompaniment patterns.

9. Lullaby 1 page, A Aeolian Piano Level: Two Ensemble Level: One

47 The piano has an unusual ostinato accompaniment using arpeggiated quartal harmonies.

10. Waltzing 2 pages Piano Level: Three Ensemble Level: One Violin Level: Two (RCM) This piece is good practice for waltz-bass accompaniment patterns.

11. Sunny Skies 1 page, D Major Piano Level: Three Ensemble Level: One The pianist plays off-beat and broken chord accompaniment patterns. This piece uses some quartal harmony.

12. A Whim 1 page Piano Level: Three Ensemble Level: One This light-hearted piece employs glissandi in the violin and piano parts. An octave reach is required.

Grazyna Bacewicz (1909-1969) Poland

Bacewicz is regarded as one of the most important Polish composers of her time. She was also well known as a violinist and pianist. This set of pieces comes from her first period, distin- guished by an emphasis on neoclassicism.

Easy Pieces, 1948, for clarinet and piano Polskie Wydawnictwo Muzyczne, 1988

I. Vivo 2 pages, E-flat Major Piano Level: Nine Ensemble Level: Three The piano supplies a vigorous mazurka-style rhythm for most of the piece. There is a challenging section for the ensemble in which the two players trade off a trill figure.

II. Andante 1 page, A Minor Piano Level: Eight Ensemble Level: Three 48 Arpeggiated chords spanning a tenth provide an opportunity for working on this technique and the challenges it poses when playing in an ensemble.

III. Allegro non troppo 3 pages, F Major Piano Level: Nine Ensemble Level: Three The piano part is athletic, involving hand-crossing, wide leaps, and fast scales.

IV. Andante 1 page, D Minor Piano Level: Nine Ensemble Level: Three The primary interest in the piano part is the inner-voice countermelody.

V. Vivo 4 pages, B-flat Major Piano Level: Ten Ensemble Level: Three The piano part is technically challenging, with many wide leaps that must be executed quickly.

Boris Blacher (1903-1975) Germany

Spiel mit (mir)… oder Die 7 Plagen, für die lieben Kinder, armen Eltern und beklagenswerten Musiklehrer (Play With Me... or The Seven Plagues, for Lovely Children, Poor Parents, and Lamentable Music Students), for violin and piano Bote & Block, 1968.

This score is not widely available, but worth searching for in libraries.

1. Leere Saiten (Open Stings) 1 page Piano Level: Two Ensemble Level: One Violin Level: One (RCM) The hands play in parallel motion two octaves apart. The chromaticism and off-beat entrances make this piece more difficult than it looks at first. The violin plays dotted half-notes on open strings.

2. Dur und Moll (Major and Minor) 1 page Piano Level: Three Ensemble Level: One

49 The piano has an imitative texture with much chromaticism, while the violin plays ascending and descending scales in quarter notes. This would make a good supplementary piece for students studying early intermediate contrapuntal works by Bartók or Persichetti.

3. Pausen zählen! (Count the Rests!) 1 page Piano Level: One Ensemble Level: One The piano has a simple imitative texture moving stepwise through several five-finger patterns. The style and difficulty are akin to Bartók’s Mikrokosmos Book Two.

4. Achtung! 4 Finger auf der D-Saite! (Attention! Fourth Finger on the D-String!) 1 page Piano Level: Three Ensemble Level: One The pianist must count short rests and follow the violin part.

5. Sorgfältig zählen! (Count Carefully!) 1 page Piano Level: Two Ensemble Level: One Featuring many rhythmic surprises, this is a good exercise in counting short rests.

7. Die verflixte Sieben 2/4+3/8=? (Tricky Seven 2/4+3/8=?) 1 page Piano Level: Two Ensemble Level: Two This study in seven uses alternating 2/4 and 3/8 bars, requiring good rhythmic abilities for this level.

Lili Boulanger (1893-1918) France

Cortège, for violin or flute and piano Masters Music Publications, Inc., 1994. 5 pages, B Major Piano Level: Ten Ensemble Level: Three Violin Level: Four (ASTA), Eight (RCM), Moderately Difficult Class I (NFMC) The detailed requirements for articulation and dynamics as well as the constant extended- position accompaniment patterns make this a challenge for the pianist.

50 Nocturne, for violin or flute and piano Masters Music Publications, Inc., 1994. Frauenkomponieren, Schott Musik International, 1999, Barbara Heller and Eva Rieger, eds. 4 pages, F Major Piano Level: Nine Ensemble Level: Three Violin Level: Four (ASTA), Eight (RCM), Moderately Difficult Class I (NFMC) This piece requires much attention to color. It would make a good companion piece to early De- bussy works such as Réverie or Clair de lune or to easier works by Fauré.

Alan Bullard (b. 1947) England

Party Time! for cello and piano ABRSM, 1996

1. Clog Dance 1 page, D Major Piano Level: Three Ensemble Level : One The duo can practice cueing upbeats, matching accents, and releasing together after a fermata in this lively tune in which the cello plays only open strings.

5. Country Walk 1 page, D Major Piano Level: Three Ensemble Level: One The pianist will need to keep the right hand accompaniment quiet so as not to overpower the cello playing in the same register. A short series of parallel thirds will require careful fingering.

7. Lullaby 1 pages, D Major Piano Level: Four Ensemble Level : One The piano part is divided between a smoothly flowing accompaniment in the right hand, a slowly moving bass line, and inner voices playing a duet with the cello.

8. Graceful Waltz 1 page, G Major Piano Level: Four Ensemble Level: One The piano part requires sophisticated pedaling technique to play the left-hand accompaniment smoothly.

Charles Camilleri (b. 1937) Malta

Barcarolle, A Song of the Sea, for trumpet and piano Roberton Publications, 1997 4 pages, C Major Piano Level: Eight Ensemble Level: Three The piano part sets the mood for this piece with long bass pedals and constant wandering arpeggios in the high register. The extreme registers make this piece a challenge to read.

Enyss Djemil a.k.a. Francis-Paul Demillac (b. 1917) France

Cing miniatures briochines (Five Little Brioches), for violin and piano Editions L. Philippo et M. Combre, 1973.

1. Le Carillon du Gouëdic (The Carillon of Goëdic) 1 page, A Major Piano Level: Two Ensemble Level : One Breath marks are inserted at phrase endings to suggest communication between the players.

2. Le Bateau de Rémi (Rémi’s Boat) 2 pages, D Minor Piano Level : Four Ensemble Level : One The piano has bass-chord and extended arpeggio accompaniment patterns. The players will need to rehearse two tempo changes during the piece.

3. Le Moulin de Pordic (The Mill of Pordic) 2 pages, A Mixolydian Piano Level: Six Ensemble Level : Two The piano part is an etude in slow legato thirds and sixths for the right hand. The pianist will be challenged to imitate the violin’s initial accompaniment figure.

4. L’Histoire de Marie-Jeanne (The Story of Marie-Jeanne) 2 pages, F-sharp Minor Piano Level: Four Ensemble Level: One

52 Breath marks are placed in the piano part where the pianist will initiate pauses and continuation. The left hand carries a countermelody that must be shaped and balanced.

5. Le Coucou de Plaintel (The Cuckoo of Plaintel) 1 page, A Major Piano Level: Five Ensemble Level : Two The pianist follows the violin through several tempo changes. The imitative texture provides an integrated piece with much interest for the ensemble.

Christopher J. Freyer (dates unknown) United States

Musical Rainbow, for flute, clarinet or alto saxophone, and piano DUMA Music, Inc., 1998 The pieces in this collection provide an excellent introduction to playing with wind instruments. The pianist will need to take a breath cue for the beginning of each piece, but subsequent breaths are written into the wind part with rests.

1. Red Balloons 2 pages, F Major Piano Level: One Ensemble Level: One The left hand plays counterpoint to the instrumental melody while the right hand fills in the harmony. The pianist portrays the red balloons floating away at the end with an ascending chromatic scale.

2. Blue River 2 pages, C Major Piano Level: One Ensemble Level: One This piece provides a good introduction to twelve-bar blues form as well as two blues-style accompaniment patterns.

3. Green Grasshopper 1 page, E-flat Major Piano Level: Two Ensemble Level: One The piano part portrays the hopping of the grasshopper through octave leaps and quick grace notes.

4. Yellow Moon 2 pages, D Minor Piano Level: One Ensemble Level: One

53 This piece provides good practice for reading with both hands in bass clef and playing a predictable pattern in an extended position.

5. Orange Sunset 2 pages, C major Piano Level: Four Ensemble Level: One This piece requires a reach of a ninth or the ability to arpeggiated for large intervals. A mid-piece ritardando will require the pianist to follow the wind player.

6. Purple Shadows 3 pages, G Minor Piano Level: Four Ensemble Level: Two The piano and wind instrument “shadow” each other with imitation. Long graduated dynamic markings allow for some discussion on dynamic pacing. This is a rhythmically challenging but rewarding piece to play.

7. White Clouds 4 pages, C Mixolydian Piano Level: Four Ensemble Level: Two The piano plays different triads alternating between the hands over long pedal markings, resulting in a blurred bitonal “foggy” sound. Long graduated dynamic markings require good focus on pacing and balance for both players.

8. Black Fortress 3 pages, C Minor Piano Level: Five Ensemble Level: Two The thick chords and octaves as well as the similar key make this piece a somewhat easier but good companion to Chopin’s C Minor Prelude. This piece requires a good sense of dynamic pacing, as the last two pages are a continuous crescendo.

Alexander Gretchaninoff (1864-1956) Russia

In aller Frühe (In Early Morning), Op. 26, for violin or cello and piano Schott & Co., n.d.

1. Morgenspaziergang (Morning Stroll) 1 page, G Major Piano Level: Three Ensemble Level: One 54 Cello Level: Class C (OMEA), One (RCM) The piano part is significantly more difficult than the violin or cello part. It provides good practice for arpeggiated accompaniment patterns, synchronized phrase beginnings, and rallentandos.

2. Heimweh (Homesick) 1 page, E Minor Piano Level: Six Ensemble Level: Two Cello Level: Class C (OMEA), Two (RCM) The piano and string parts are of equal importance and interest. The violin or cello plays a lyric melody while the piano embellishes with grace notes and countermelody.

3. Spaβvogel (The Jester) 1 page, G Major Piano Level: Five Ensemble Level: Two Violin Level: Two (RCM) Cello Level: Class C (OMEA), Four (RCM) The piano part is much more difficult than the string part and is an etude in quickly arpeggiated chords and trills. A ritardando before the return of the A theme will require careful cueing from the string player. The pianist will need strong left-hand technique to execute octaves.

4. In der Dämmerrung (At Dusk) 1 page, A Minor Piano Level: Five Ensemble Level: Two Cello Level: Class C (OMEA) This expressive piece requires careful attention to balance for the three-voice texture with an inner-voice countermelody. The players will have to navigate several gradual tempo changes at phrase endings.

5. Kleiner Reitersmann (The Little Horseman) 3 pages, G Major Piano Level: Seven Ensemble Level: Two Cello Level: Class C (OMEA) The piano provides the perpetual motion of the galloping horse with staccato eighth notes. The piano part is patterned and not hard to learn, but challenging to play at a convincing allegro tempo.

6. Am Winterabend (On a Winters Eve) 1 page, B Minor Piano Level: Six Ensemble Level: Two Cello Level: Class C (OMEA), Four (RCM)

7. Burleske 1 page, G Minor Piano Level: Seven Ensemble Level: Two Cello Level: Class C (OMEA), Three (RCM) The two instruments trade four-bar sixteenth-note passages, an excellent opportunity for matching articulation, dynamics, and phrasing. Several passages involving ritardando and accelerando provide good experience in planning and executing tempo changes.

8. In der Feltung (In a Fortress) 1 page, A Minor Piano Level: Five Ensemble Level: Two Cello Level: Class C (OMEA), Three (RCM) This is a dramatic piece with many sudden changes in dynamics and articulation. Several fermatas necessitate communication between the instrumentalists.

9. Räuber und Gensdarm (Thieves and Robbers) 1 page, B-flat Major Piano Level: Seven Ensemble Level: Two Cello Level: Class C (OMEA) This piece is an etude for left hand octaves that requires much endurance.

10. Walzer 2 pages, G Major Piano Level: Six Ensemble Level: Two Cello Level: Class C (OMEA), Four (RCM) The piano has a typical two-hand waltz-bass accompaniment style punctuated by brief spurts of ornamentation while the violin or cello has a longer note value.

Colin Hand (b. 1929) England

Progressive Pieces for Viola, for viola and piano Schott & Co., 1977

1. Hurdy Gurdy 1 page, G Minor Piano Level: One Ensemble Level: One Viola Level: One (ASTA) 56 Both hands stay in a G Minor five-finger position for most of the piece.

2. Lazy River 1 page, C Major Piano Level: Two Ensemble Level: One Viola Level: One (ASTA) The left hand uses extended positions and the right hand plays arpeggiated chords.

3. Hill Walking Tune 2 pages, G Major Piano Level: Five Ensemble Level: Two Viola Level: One (ASTA) The three- and four-voice textures in this piece are a challenge to balance.

4. Waltz 1 page, G Major Piano Level: Two Ensemble Level: One Viola Level: One (ASTA) The pianist is responsible for the initial cue in this piece.

5. Song of the Norsemen 1 page, E Minor Piano Level: Six Ensemble Level: Two Viola Level: One (ASTA) Marked pesante, with many octaves in the left hand, this piece is a good study in balancing a thick texture at a loud dynamic level.

6. Soaring 1 page, D Major Piano Level: Four Ensemble Level: Two Viola Level: One (ASTA) This piece is a good example of quickly changing textures, each with its own balancing challenges.

Pál Járdányi (1920-1966) Hungary

Sonatina, for cello and piano Editio Musica Budapest, 1972 57

I. Larghetto 3 pages, D Major Piano Level: Five Ensemble Level: Two This is an expressive movement that exploits the low register of the cello. There are many overlapping phrases between the two instruments, requiring careful listening and cueing from both players. The harmonic language is based on fourths and fifths with mild dissonances.

II. Allegro assai 7 pages, D Major Piano Level: Six Ensemble Level: Two This is a dance-like movement with much imitation between the two instruments. The rondo form with varied repetitions of the main theme provides variety through changes in texture and mood.

Dmitri Kabalevsky (1904-1987) Russia

Twenty Pieces, Op. 80, for violin and piano Leeds Music, 1963, available through MCA

1. A Stroll 1 page, D Major Piano Level: Three Ensemble Level: One Violin Level: Two (ASTA) The left hand bass-chord accompaniment makes the piano part significantly more difficult than the violin part.

2. In the Forest 1 page, D Major Piano Level: Three Ensemble Level: One Violin Level: Two (ASTA) The expressive interludes provide contrast in the piano part.

3. Games 1 page, C Major Piano Level: Three Ensemble Level: One Violin Level: Two (ASTA), One (RCM)

58 The violin plays frequently on the G string and in the same register as the piano, creating a po- tential balance problem. The pianist should use crisp staccato and pay careful attention to chord voicing.

4. Waltz 1 page, G Major Piano Level: Two Ensemble Level: Two Violin Level: Two (ASTA) This is a playful and witty piece with irregular phrase structure and unpredictable harmony. The pianist will need to match the articulation of the violin pizzicato.

5. March 1 page, A Major Piano Level: Two Ensemble Level: One Violin Level: Two (ASTA), One (RCM) The contrasting B section will challenge the players to change character through dynamics and articulation.

6. A Song 1 page, C Major Piano Level: Two Ensemble Level: One Violin Level: Two (ASTA), One (RCM) The piano part is a study in reading chord inversions.

7. Tale of a Hero 1 page, F Minor Piano Level: Five Ensemble Level: Two Violin Level: Two (ASTA) The forte marcato chords require an octave reach and strong technique.

8. Skipping and Hopping 1 page, F Major Piano Level: Five Ensemble Level: Two Violin Level: Two (ASTA), Two (RCM) This is an exciting piece with many quick changes in texture, dynamics, and articulation. The piano and violin exchange rhythmic and melodic figures, making this a truly collaborative piece. The pianist must have facile scale technique.

9. Light and Shadows 1 page, D Major

59 Piano Level: Four Ensemble Level: One Violin Level: Two (ASTA) The focus in this piece is on contrast between piano and forte dynamics. The piano and violin exchange accompanimental and melodic material.

10. Dance Song 1 page, E Minor Piano Level: Five Ensemble Level: Two Violin Level: Two (ASTA), Two (RCM) The piano part is an etude for repeated notes and finger independence for the right hand and ostinato in extended positions for the left hand (similar to “Clowns” by Kabalevsky). The violin and piano have synchronized rhythm throughout, requiring careful and slow rehearsal.

11. Etude 2 pages, A Minor Piano Level: Six Ensemble Level: Two Violin Level: Two (ASTA) This piece is a good work to teach counting rests, keeping a steady tempo, and following the violin part. The accented forte chords require an octave reach and strong technique.

12. At the Monument 1 page, C Major/Minor Piano Level: Five Ensemble Level: Two Violin Level: Two (ASTA) Synchronized phrase beginnings and pauses in the music make this a good piece for working on ensemble communication. It is a very expressive piece with a wide dynamic range. Pianists with small hands will need to arpeggiated the tenths in the left hand.

13. Polka 2 pages, C Major Piano Level: Seven Ensemble Level: Two Violin Level: Two (ASTA), Two (RCM) The piano has a staccato accompaniment pattern punctuated by short scale passages. This piece requires a facile left-hand technique.

14. Melody 1 page, B-flat Major Piano Level: Four Ensemble Level: Two Violin Level: Two (ASTA), Two (RCM)

60 Three different accompaniment patterns are used. The bass line must be brought out to support the melody.

15. On Holiday 3 pages, C Major Piano Level: Seven Ensemble Level: Two Violin Level: Two (ASTA), Three (RCM) This is a challenging piece both in the piano part and for the ensemble. The piano part has four- note chords in the right hand with many accidentals and quick, large leaps in the left hand. The ensemble will be challenged to start together on quick upbeats.

16. Summer Song 2 pages, C Major Piano Level: Four Ensemble Level: Two Violin Level: Two (ASTA) Lyric melody and beautiful harmony combine to make this a rewarding piece for the ensemble. Pianists with smaller hands will find the arpeggiated tenths difficult.

17. The Procession 3 pages, E-flat Major Piano Level: Seven Ensemble Level: Two Violin Level: Two (ASTA) The piano has ostinato figures for most of the piece. An imitative section on the last page gives the piano some textural contrast. 19. Dreamers 2 pages, A Minor Piano Level: Five Ensemble Level: Two Violin Level: Two (ASTA) The piano plays three different types of bass-chord accompaniment. The ensemble will need to employ some rubato at the climax of the piece.

20. En Route 2 pages, F Major Piano Level: Six Ensemble Level: Two Violin Level: Two (ASTA) The pianist must provide the beginning cue. The extended bass accompaniment pattern is a challenge.

61 Jean-Marie Londeix (b. 1932) France

Tableaux Aquitains, (Scenes from Aquitaine), for alto saxophone and piano Alphonse Leduc & Cie, 1974

2. La gardeuse de porcs (The Shepherdess of the Pigs) 2 pages, B-flat Major Piano Level: Two Ensemble Level: Two Closely spaced seventh and ninth chords imitate the snuffling of the pigs cited in the title.

James Macmillan (b. 1959) Scotland

Northern Skies, for cello and piano Boosey & Hawkes, 2001

1. March 2 pages, G Major Piano Level: Eight Ensemble Level: Two The thick chords in the piano part require careful voicing to avoid overpowering the cello.

2. Shifting Sands 2 pages, C Major Piano Level: Eight Ensemble Level: Three Meter changes, sudden tempo changes, and quick mood shifts require slow practice and precise rehearsal skills.

3. Celtic Hymn 2 pages, D Minor Piano Level: Eight Ensemble Level: Two The duo will need to address timing in arpeggiated chords, rubato, and pacing over long crescendos and diminuendos.

4. Barn Dance 2 pages, D Major Piano Level: Eight Ensemble Level: Two This hoedown requires good octave technique and crisp articulation.

5. Nocturne 2 pages, C Major 62 Piano Level: Eight Ensemble Level: Three Pervading syncopation results in a fluid, nonmetric phrase structure that makes this piece unpredictable. Pianists will be challenged by the numerous hand-crossings, which must be made to sound seamless.

6. Sabre Dance 2 pages, E Minor Piano Level: Eight Ensemble Level: Three Accents, a large dynamic range, and meter changes create an exciting virtuoso piece for both players.

7. Northern Skies 3 pages, E-flat Major Piano Level: Eight Ensemble Level: Two The spaciousness of the North is depicted through use of extreme registers of the piano.

Simon Nichols (dates unknown) England

Canon, for cello and piano The Young Cellist’s Repertoire, Book One, Faber Music Limited, 1984, Simon Nichols and Julian Lloyd Webber, arrs. 1 page, D Major Piano Level: One Ensemble Level: One The piano plays a parallel octave canon with the cello. This piece is a good exercise in playing simple scalar patterns in D major.

Echoes, for cello and piano The Young Cellist’s Repertoire, Book One, Faber Music Limited, 1984, Simon Nichols and Julian Lloyd Webber, arrs. 1 page, D Major Piano Level: Preparatory Ensemble Level: One The focus in this piece is on contrasting dynamics. The piano part moves by octaves in a D major five-finger pattern.

63 Serenade, for cello and piano The Young Cellist’s Repertoire, Book One, Faber Music Limited, 1984, Simon Nichols and Julian Lloyd Webber, arrs. 1 page, F Major Piano Level: Two Ensemble Level: One The piano plays a two-hand bass-chord accompaniment punctuated by ascending and descending pentascales.

Christopher Norton (b. 1953) New Zealand

Diversions, for violin and piano Boosey & Hawkes, 1996

1. Melody 5 pages, D Major Piano Level: Ten Ensemble Level: Three Meter changes and syncopation contribute to an improvisatory piece that will appeal to students interested in jazz. The piano functions mainly as accompaniment with seventh and ninth chords in jazz voicings.

2. Serenade 4 pages, A Minor Piano Level: Ten Ensemble Level: Three The piano has an extended prelude that presents the motives used throughout the piece as improvisatory cells.

3. Finale 7 pages, A Major Piano Level: Ten Ensemble Level: Three This exciting movement requires much endurance and facile technique. The two players alternate sixteenth-note passages, requiring the pianist to switch quickly from the melodic to accompanimental role. A cantabile B section provides some contrast.

Sonatina, for flute and piano Boosey & Hawkes, 1997

I. Allegretto 6 pages, D Major Piano Level: Eight Ensemble Level: Three 64 The piano part consists mainly of two-hand arpeggio figures with some melodic interludes. The players will be challenged by changing meters, as well as gradual tempo changes. The flute line rests mainly in the middle and high registers, and Norton thins the piano part when the flute plays in its lowest register.

II. Andante espressivo 2 pages, E Minor Piano Level: Eight Ensemble Level: Three The most difficult part in this movement is a section where the flute has trills alternating with glissandi, and the piano has the melody in octaves. The ensemble will need a very good sense of pulse to bring it off successfully. This is a lovely lyrical piece with interesting harmony and a very well-paced climax.

III. Fast 7 pages, A Major Piano Level: Ten Ensemble Level: Three This movement is essentially the same music as the Finale from Diversions, for violin and piano.

Eugénie R. Rocherolle (b. 1936) United States

Vignette, for flute and piano Theodore Presser, 1999 3 pages, A Major Piano Level: Seven Ensemble Level: Three Colorful harmony, lyrical melody, and textural variety make this piece quite successful. The pianist must be comfortable with three vs. four cross-rhythms and key signatures up to five sharps and flats. This expressive piece offers many opportunities for discussing rubato and phrase shaping.

Seymour Shifrin (1926-1979) United States

Duettino, for violin and piano Merion Music, Inc., 1972, available through Theodore Presser. 2 pages Piano Level: Nine Ensemble Level: Three This is a rhythmically challenging piece for both players involving hemiola, meter changes and quick off-beat entrances. It would make an ideal companion piece for students playing Schoen- berg’s Sechs Kleine Stücke, Op. 19, or Muczynski’s Preludes, Op. 6. 65

Robert Starer (1924-2001) Austria/United States

Colloquies, for flute and piano MCA Music, 1975

I. Fast, a little gawkily 4 pages Piano Level: Ten Ensemble Level: Three Written as a dialogue between the flute and the piano, this is an excellent piece for developing the skill of handing off phrases between the players.

II. Moderate, with shifts in mood 5 pages Piano Level: Ten Ensemble Level: Three This piece consists of two opposing textures. It begins with a cadenza in dialogue between the flute and piano and continues with a homophonic texture, the flute playing a melody and the piano supplying a rhythmic ostinato. The alternation of these textures supplies a challenge for both players to quickly change character, tempo, dynamic level and textural role.

III. Stealthily, with elegance 3 pages Piano Level: Ten Ensemble Level: Three This movement has an athletic part for the piano involving many hand crossings, extreme leaps, trills and rapid repeated notes. The underlying dotted rhythm gives the ensemble a change to work on playing this rhythm precisely together.

IV. Slowly, with freedom 2 pages Piano Level: Eight Ensemble Level: Two The main challenge for the pianist is to track the flute as it plays cadenza-like material through most of the piece.

V. Vigorously, a little raucously 6 pages Piano Level: Ten Ensemble Level: Three This piece has a technically challenging piano part incorporating wide leaps and quick rhythmic and textural changes. The meter changes frequently, mainly in alternation between 4/4 and 41/2/4.

66 Elegy, for violin and piano MMB Music, Inc., 1985. 6 pages Piano Level: Ten Ensemble Level: Three The closely spaced, often dissonant harmonies pose a challenge for voicing. As the piece grows in intensity toward the climax, the piano part becomes much more active, using arpeggios in cross-rhythms and parallel intervals.

Halsey Stevens (1908-1989) United States

Hungarian Children’s Songs, for cello and piano Peer International, 1957

1. “Hej, vára, vára, Eger vára” 5 pages, D Major Piano Level: Five Ensemble Level: Two Cello Level: Two-Three (ASTA), Primary Class I (NFMC) The focus of this piece is on articulation and dynamic contrasts.

2. “Hatan vannak a mi ludaink...” 2 pages, G Major Piano Level: Five Ensemble Level: Two Cello Level: Two-Three (ASTA), Primary Class I (NFMC) The piano entrances are consistently on the second beat of the phrase, offering a cueing challenge for the ensemble.

3. “A váradi kapitány” 2 pages, C Major Piano Level: Ten Ensemble Level: Three Cello Level: Two-Three (ASTA) Many of the piano entrances are syncopated, requiring well-developed listening and rhythmic skills.

4. “Kiskomárom, Nagykomárom” 1 page, D Minor Piano Level: Three Ensemble Level: Two Cello Level: Two-Three (ASTA) The cello and piano play an initial canon that is expanded into three-part counterpoint in the second phrase. 67

5. “Kender buga, mag van benne” 1 page, G Minor Piano Level: Four Ensemble Level: Two Cello Level: Two-Three (ASTA) The piano part emphasizes the intervals of the octave and perfect fifth.

6. “Haja, haja, mënnyei lëcske” 2 pages, C Major Piano Level: Five Ensemble Level: Two Cello Level: Two-Three (ASTA), Primary Class I (NFMC) The piano part requires a solid parallel octave technique.

Music for Christopher, for cello and piano Peer International, 1968

1. Andante 1 page, D Major Piano Level: Four Ensemble Level: Two Cello Level: Two (ASTA) The piano part is written in four-voice chorale style.

2. Con moto moderato 1 page, D Major Piano Level: Six Ensemble Level: Two Cello Level: Two (ASTA) Written mainly in 5/4 meter with some meter changes, this piece requires confident rhythmic ability for both players. The piano part provides a challenge in reading quickly moving four- voice texture.

3. Andante con moto 2 pages, E Phrygian Piano Level: Six Ensemble Level: Two Cello Level: Two (ASTA) Imitative phrase beginnings provide an opportunity for practicing matching melodic shaping, dynamics, and articulation.

4. Allegretto 2 pages, A Minor Piano Level: Six

68 Ensemble Level: Two Cello Level: Two (ASTA) This is the most pianistically rewarding piece of the set. The pianist is required to play quick repeated notes and match the sound and phrase shaping of the cello line in imitative passages.

Sylvain Thomas (dates unknown) France

La boîte à joue-joue (The Toy Box), 1995, for violin and piano Editions Max Eschig, 1997

These pieces were not included in any of the graded lists for violin music that I consulted. How- ever, it is evident from looking at the score that the violin part is intended for beginners playing only in first position. Some of the pieces use only open strings.

1. Grignotin l’écureuil (Nibbling Squirrel) 1 page, D Major Piano Level: Two Ensemble Level: One The pianist will be challenged to execute an extended bass-chord accompaniment pattern.

2. le conte (A Story) 1 page, D Major Piano Level: Two Ensemble Level: One The piano part has an interesting harmonic progression that colors and shapes the piece.

3. le joyeux ressort (The Joyful Spirit) 1 page, D Minor Piano Level: Preparatory Ensemble Level: One Students at this level will find the cadences difficult, but the rest of the piece stays in a single position.

4. le petit train (The Little Train) 1 page, D Major Piano Level: Two Ensemble Level: One The piano part has a two-hand arpeggio accompaniment figure in the A section and a block chord figure in the B section.

5. promenade 1 page, D major Piano Level: Two Ensemble Level: One 69 The pianist will be challenged to switch accompaniment patterns frequently.

6. feuille d’automne (Autumn Leaves) 1 page, D Minor Piano Level: Two Ensemble Level: One The piano part switches frequently among three accompaniment figures.

7. le kangourou boxeur (The Boxing Kangaroo) 1 page, G Major Piano Level: One Ensemble Level: One The right hand represents the hopping of the kangaroo. This is a good piece for introducing the concept of blocking chords.

8. polo le lapin (Polo the Rabbit) 1 page, A Major Piano Level: Three Ensemble Level: One The piano part is athletic, involving much jumping around in the right hand, with extended arpeggios in the left hand.

9. balalaika 1 page, G Minor Piano Level: Three Ensemble Level: One Some tricky upbeat entrances will require much rehearsal for the ensemble.

10. la rose (The Rose) 1 page, D Major Piano Level: Three Ensemble Level: One The pianist will be in charge of setting the tempo at the beginning.

Henri Tomasi (1901-1971) France

Nocturne, for clarinet and piano Gérard Billaudot Éditeur, 1999 4 pages Piano Level: Ten Ensemble Level : Three This is a very expressive piece, requiring the pianist to have great sensitivity for rubato, color, pedaling and balance. The many accidentals in the piano part make it challenging to read.

70 Jean-François Verdier (dates unknown) France

Cartes Postales, (Postcards), for clarinet and piano Gérard Billaudot Éditeur, 2002 This is a collection of thirty-two pieces in various styles. The following are those that have the most interesting and involved piano parts.

2. Les chameaux (The Camels) 1 page, G Minor Piano Level: Two Ensemble Level: One This piece shows a good application of harmonic minor scales. The piano plays a simple ostinato in the left hand under melody and countermelody in the right hand and clarinet part.

10. Tango! 1 page, C Minor Piano Level: Four Ensemble Level: One The piano part requires an octave reach.

14. Fleur bleue (Blue Flower) 1 page, F Major Piano Level: Three Ensemble Level: One The piano part requires strong arpeggio skills.

22. Valse gliiiiiissante (Gliding Waltz) 2 pages, E-flat Major Piano Level: Five Ensemble Level: One This is a good preparatory piece for playing waltzes by Tchaikovsky, Grieg, and Chopin.

Jaromír Weinberger (1896-1967) Czechoslovakia/USA

Sonatine (1940), for flute and piano Carl Fischer, 1941 The form is labeled clearly in every movement, helping to create a connection from the various forms studied in solo sonatinas and similar forms in ensemble literature.

I. Con moto 5 pages, G Major Piano Level: Five Ensemble Level: Two

71 Weinberger gives much attention to the relationship between the two instruments. There is much subtle imitation and sharing of phrases.

II. Menuet- Allegretto 2 pages, D Major Piano Level: Four Ensemble Level: Two This would be an excellent companion piece for students working on Classical period menuets.

III. Rondo- Allegro 6 pages, G Major Piano Level: Five Ensemble Level: Two This is a truly collaborative piece involving swift exchange of rhythmic and melodic ideas.

• Arrangements, Folk, Jazz, Popular, and Seasonal

Johann Sebastian Bach (1685-1750) Germany

Gavotte ou la Musette, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984; Katherine D. Johnson, ed. 1 page, D Major Piano Level: Two Ensemble Level: One This piece is an arrangement of the well-known Musette in D Major, BWV Anh. 126. The arrangement is somewhat easier than the original, but would make a good companion piece for comparison. It requires communication between the players to begin and end each phrase.

Ludwig van Beethoven (1770-1827) Germany

Ode to Joy, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984; Katherine D. Johnson, ed. 1 page, G Major Piano Level: One Ensemble Level: One The challenge for the duo is to shape phrases dynamically together and to coordinate dotted rhythms.

72 Joseph Boismortier (1689-1755) France

Boismortier was a prolific composer of chamber music for amateurs and very successful in the sale of his published works.

Allemande, for violin and piano, arranged by Paul De Keyser and Fanny Waterman The Young Violinist’s Repertoire, Book Two; Faber Music Limited, 1982 The original source for this arrangement is not indicated in the score. 1 page, A Minor Piano Level: Four Ensemble Level: Two The violin and the pianist’s right hand are in strict canon at the unison for most of the piece, while the left-hand plays ornamented bass notes. This is a good introduction to the concept of imitation as well as simple written-out ornamentation.

Esprit-Philippe Chédeville (1696-1762) France

Chédeville was a well-known composer and musette maker.

Gavotte, for violin and piano, arranged by Paul De Keyser and Fanny Waterman The Young Violinist’s Repertoire, Book Two; Faber Music Limited, 1982 The original source for this arrangement is not indicated in the score. 1 page, A Major Piano Level: Three Ensemble Level: Two The characteristic upbeat of the gavotte will pose a challenge to the ensemble at the start of every phrase. The piano part is active, filling in sixteenth-note motion when the violin has longer note values.

William Duncombe (dates unknown) England

Fanfare Minuet, for cello and piano, arranged by Simon Nichols and Julian Lloyd Webber The Young Cellist’s Repertoire, Book One; Faber Music Limited, 1984 1 page, G Major Piano Level: Two Ensemble Level: One Cello Level: Three (RCM), Pre-Primary Class (NFMC) This arrangement of a popular solo piano teaching piece is a good introduction to a realized continuo texture. Terraced dynamics give the players an opportunity to discuss balance at piano and forte levels.

73 Alan Haughton (dates unknown) England

Rhythm & Rag, for alto saxophone and piano ABRSM, 2000

1. Prelude 2 pages, B-flat Major Piano Level: Six Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) The piano has an extended arpeggio accompaniment in the left hand with double-notes in the right hand following the saxophone line.

2. Flying High 1 page, C Minor Piano Level: Five Ensemble Level: One Saxophone Level: Two-Five (ABRSM) The piano plays a bass-chord accompaniment with occasional inner voices in the right hand.

3. Slow Motion 2 pages, F Major Piano Level: Five Ensemble Level: One Saxophone Level: Two-Five (ABRSM) This piece is a good example of 12-bar blues form and has an interesting ostinato for the piano.

4. Three’s Company 2 pages, F Minor Piano Level: Five Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) This jazz waltz has a syncopated ostinato for the piano.

5. Nocturne 2 pages, E-flat Major Piano Level: Five Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) The long melodic lines provide good practice for shaping long phrase units together.

6. Blues 9 1 page, F Major Piano Level: Four Ensemble Level: One

74 Saxophone Level: Two-Five (ABRSM) Marked “Tempo di Boogie,” this is another piece in 12-bar blues form.

7. Fives 1 page, C Major Piano Level: Five Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) This piece is a good introduction to 5/4 meter in the jazz idiom.

8. Valse-Barcarolle 2 pages, C Minor Piano Level: Five Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) The piano plays an extended arpeggio ostinato, with the right hand adding a duet line to the saxophone melody in the B section.

9. Cakewalk 2 pages, G Minor Piano Level: Five Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) This piece shows an example of syncopated melody over a stride bass accompaniment and would be a good preparatory piece for rags by Scott Joplin.

10. Recitative 2 pages, F Minor Piano Level: Five Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) The recitative sections provide good experience following an ornamented melodic line with rubato and accurately placing block chords into the rhythm.

11. Iberia 2 pages, F Major Piano Level: Six Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) This piece has a challenging piano part with an extended habanera-type left hand ostinato and right hand duet with the saxophone. A small cadenza at the end provides experience placing arpeggiated chords within an ornamented cadenza.

12. Monkey Nuts 2 pages, E-flat Major

75 Piano Level: Six Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) The harmony in this piece provides good practice for reading jazz-style chords with syncopated rhythm.

13. Cabana 2 pages, D Minor Piano Level: Six Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) Marked “Tempo di Rumba,” this piece is a good introduction to Latin style rhythmic ostinati.

14. Green Tomatoes 2 pages, B-flat Major Piano Level: Six Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) The piano part is an excellent written-out example of comping in the swing idiom.

15. On Time 2 pages, B-flat Major Piano Level: Six Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) This piece provides practice for reading jazz-style chords with constant syncopation.

16. Rag-a-muffin 2 pages, E-flat Major Piano Level: Six Ensemble Level: Two Saxophone Level: Two-Five (ABRSM) Marked “Tempo di Rag,” this piece encompasses all the stylistic features of classic ragtime music.

Franz Joseph Haydn (1732-1809) Austria

German Dance, for violin and piano, arranged by Paul De Keyser and Fanny Waterman The Young Violinist’s Repertoire, Book Two; Faber Music Limited, 1982 The original source for this arrangement is not indicated in the score. 1 page, A Major Piano Level: Four

76 Ensemble Level: One The minuet and trio form provides many opportunities for signaling significant musical events and the contrasts between them in dynamics, articulation, and character. The piano plays an accompanimental role and many times doubles the violin’s melodic line, posing a challenge for balance and voicing.

Katherine D. Johnson (dates unknown) United States

Several of these pieces are taken from the Suzuki Violin School, Book One, with the piano parts adapted for beginning students. The piano parts can easily be transposed and played with viola or cello.

Hail to Springtime, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984; Katherine D. Johnson, ed. 1 page, A Major Piano Level: One Ensemble Level: One The piano plays Alberti bass accompaniment in the left hand and countermelody in the right hand. The textural change in the B section demands a change of mood.

Lightly Row, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984; Katherine D. Johnson, ed. 1 page, A Major Piano Level: Preparatory Ensemble Level: One Violin Level: One (ASTA) The piano plays a left-hand block chord accompaniment using I and V7 chords.

Oh Come, Little Children, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984; Katherine D. Johnson, ed. 1 page, A Major Piano Level: One Ensemble Level: One Violin Level: One (ASTA), Introductory (RCM) The piano plays a left-hand block chord accompaniment using I and V7 chords.

The Thieving Fox, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984; Katherine D. Johnson, ed. 1 page, A Major Piano Level: Preparatory Ensemble Level: One The piano plays a two-hand bass-chord accompaniment using I and V7 chords.

77 The Sad Snake, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984; Katherine D. Johnson, ed. 1 page, E Minor Piano Level: One Ensemble Level: One The piano plays block interval accompaniment in the left hand and a chromatic countermelody in the right hand. This piece provides a good example of timing an arpeggiated chord with the violin’s attack.

Yodeler’s Tune, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984; Katherine D. Johnson, ed. 1 page, C Major Piano Level: One Ensemble Level: One The piano plays several different quickly changing textures. This piece provides good practice for counting short rests and matching articulation with the violin.

Thierry Masson (dates unknown) France

Mes premiers pas (My First Steps), for viola and piano Editions Henry Lemoine, 1996

1. Sur un fil (On a Thread) 1 page, G Major Piano Level: Preparatory Ensemble Level: One The piano part stays in the same position centered around middle C while the viola plays pizzicato on open strings only.

3. Le petit ours (The Little Bear) 1 page, G Major Piano Level: One Ensemble Level: One The right hand plays a scalar melody over a left hand ostinato and half notes in the viola played on open strings only.

7. Bebe elephant (The Baby Elephant) 1 page, G Major Piano Level: One Ensemble Level: One This piece is a good introduction to the waltz-bass accompaniment pattern. Small hands may have difficulty reaching sevenths in the left hand.

8. Le moine (The Monk) 1 page, D Minor 78 Piano Level: Two Ensemble Level: One The pianist will need to cue entrances after fermatas. This is a good piece for discussing of melody and accompaniment, as the right and left hands trade roles mid-piece.

12. L’escargot (The Snail) 2 pages, G Major Piano Level: One Ensemble Level: One This is a good piece for discussing ostinato.

Thierry Masson and Patrick Guillem (dates unknown) France

Mes premiers pas (My First Steps), for guitar and piano Editions Henry Lemoine, 2001

1. Ostinato 3 pages, A Minor Piano Level: One Ensemble Level: One The piano and guitar trade off playing a simple ostinato and a syncopated melody. Except for small shifts to accommodate accidentals, the piano part remains in middle-C position for the entire piece.

2. Rumbacada 2 pages, D Minor Piano Level: One Ensemble Level: One The piano and guitar trade off a syncopated ostinato and a lyric melody. The last phrase, in unison between the two instruments, poses a challenge for rhythmic precision.

3. Halloween Rock 2 pages, A Major Piano Level: One Ensemble Level: One This is a jaunty piece in twelve-bar blues form. The piano and guitar alternate between a walking bass accompaniment and a treble ostinato.

4. Valse 2 pages, E Major/Minor Piano Level: Two Ensemble Level: One This piece is a good introduction to melody and countermelody. The treble of the piano and the guitar play a lyrical duet over a simple waltz-bass accompaniment. 79

5. Espace lointain (Outer-space) 2 pages, Whole-tone Piano Level: Two Ensemble Level: One An eerie “space music” effect is achieved by means of whole-tone and chromatic scales played simultaneously. This piece requires rhythmic confidence for both players.

6. Twin’s Boogie 2 pages, F Major Piano Level: Two Ensemble Level: One The pianist will be challenged to play softly enough in sections where the guitar has the melody, as the accompaniment figures are active.

7. Masques 1 page Piano Level: One Ensemble Level: One This piece is a good exercise in soft dynamics. The guitar plays harmonics throughout.

Leopold Mozart (1719-1787) Austria

Bourrée, for viola and piano, arranged by Sándor Jánosi Was ich gerne spiele, Universal Edition, 1997, Sándor Jánosi, arr. 2 pages, D Minor Piano Level: Three Ensemble Level: One The bourrée provides very good practice for phrases beginning with upbeats. In this arrangement, the left hand of the piano part plays counterpoint to the viola and needs to be brought out while the right hand fills out the harmony.

Wolfgang Amadeus Mozart (1756-1791) Austria

The Bells, from The Magic Flute, for violin and piano, arranged by Katherine D. Johnson Accompanying the Violin; Neil A Kjos, 1984 1 page, G Major Piano Level: Two Ensemble Level: One The quick upbeat phrase beginnings provide a challenge for the ensemble.

80 Christopher Norton (b. 1953) New Zealand

The Microjazz Cello Collection 2, for cello and piano Boosey & Hawkes, 2000

All the pieces in this collection are recommended as companion or preparatory pieces for students playing jazz-style music by Robert Vandall or Christopher Norton.

1. Knife Edge 1 page, G Major Piano Level: Five Ensemble Level: Two Cello Level: Five (RCM) Marked “Cutting,” this is a rhythmically driving piece with much syncopation and attention to staccato and accented articulation. The players must have a good sense of rhythm and popular style.

2. Inter-city Stomp 2 pages, G Minor Piano Level: Five Ensemble Level: Two Cello Level: Five (RCM), Primary Class II (NFMC) The piano plays right hand four-note chords in the same register as the cello, so care must be taken not to overpower the melodic line. This piece requires very good rhythmic skills form both players in several syncopated homorhythmic sections.

3. Changes 2 pages, G Major Piano Level: Five Ensemble Level: Two Cello Level: Five (RCM), Primary Class II (NFMC) The changes from the title are meter changes, requiring good rhythmic skills from both players. This is a good introduction to this compositional technique as well as a good companion piece to solo repertoire using shifting meters.

4. Seascape 1 page, D Major Piano Level: Five Ensemble Level: One Cello Level: Five (RCM) This is a peaceful, lyric piece in which the piano functions mainly as harmonic support and ornamentation. The left hand will be challenged with an extended arpeggio accompaniment pattern.

81 5. The Huntsman 1 page, G Major Piano Level: Five Ensemble Level: Two Cello Level: Five (RCM) This is a heavily syncopated piece that requires rhythmic accuracy from both players.

6. With a Swagger 2 pages, F Mixolydian Piano Level: Six Ensemble Level: Two Cello Level: Five (RCM) This is a technically challenging piece for the piano involving quickly moving parallel chords in the right hand and some parallel octaves in the left hand.

7. Blues for Gerry 2 pages, D Major Piano Level: Six Ensemble Level: Two Cello Level: Five (RCM), Intermediate Class I (NFMC) This is a heavily syncopated piece with an unusual 12/8 meter which compounds the rhythmic difficulty. Some short blues scale riffs in the piano part provide a good introduction to the blues scale.

8. An Elusive Thought 2 pages, F Major Piano Level: Six Ensemble Level: Two Cello Level: Five (RCM) Some rubato will be required in this expressive piece. The piano functions mainly as harmonic support and for ornamentation through a florid accompaniment style.

9. Dawn in the City 2 pages, D Mixolydian Piano Level: Five Ensemble Level: Two Cello Level: Five (RCM), Intermediate Class II (NFMC) The piano part consists of a staccato chord accompaniment punctuated by short outbursts of ornamentation.

10. Song Without a Title 2 pages, G Major Piano Level: Five Ensemble Level: Two Cello Level: Five (RCM)

82 The piano plays a mostly chordal accompaniment involving sevenths and ninths, interrupted by florid jazz-style ornamentation.

11. String Boogie 2 pages, C Major Piano Level: Five Ensemble Level: Two Cello Level: Five (RCM), Intermediate Class II (NFMC) The 12/8 meter allows the swing style to be notated rather than assumed, which could be helpful to students new to the swing concept. The piano part consists of staccato sixth and seventh chords interrupted by short blues scale riffs.

12. Rough Justice 2 pages, C Major Piano Level: Six Ensemble Level: Two Cello Level: Six (RCM) The challenge of this piece comes with the quick changes in rhythm, texture, and tessitura. The piano part provides some good practice for counting short rests and entering on off-beats.

13. Outdoors 2 pages, E Major Piano Level: Six Ensemble Level: Two Cello Level: Six (RCM) The piano part provides a challenge for shaping and balancing an active arpeggiated accompaniment under long notes in the cello melody.

14. Still Day 2 pages, A Minor Piano Level: Six Ensemble Level: Two This lyric piece provides a good introduction to offbeat accompaniment patterns. The pianist will be challenged to play the off-beats with the thumb very quietly and without any accent.

15. At Rest 2 pages, C Major Piano Level: Five Ensemble Level: One The repeated chord accompaniment pattern provides an opportunity to discuss the difference between playing down into the keys (resulting in accent and little sense of forward motion) and playing with the wrists moving up and away from the keys.

83 16. Scoring Highly 2 pages, G Dorian Piano Level: Seven Ensemble Level: Two The challenge of this piece comes form the opposing articulations between the hands. The left hand has an octave two-note slur pattern while the right hand plays mainly staccato articulation in a variety of syncopated rhythms.

17. Simple But True 2 pages, D Lydian Piano Level: Six Ensemble Level: Two The four-part texture of the piano part provides a good opportunity for discussion of bringing out inner voices. This is an expressive piece requiring rubato and a wide dynamic range.

18. Warm Day 2 pages, G Major Piano Level: Six Ensemble Level: Two Cello Level: Six (RCM) The pianist will be challenged to shape and balance an active and thick-textured accompaniment to the cello melody.

19. Into the Unknown 3 pages, E Minor Piano Level: Six Ensemble Level: Two The piano and cello trade off short phrases, requiring the players to match articulation, phrases shaping, and dynamics. This is a dramatic piece with much rhythmic drive.

Vladimir Rebikov (1866-1920) Russia

Böhmischer Tanz (Bohemian Dance), for viola and piano, Sándor Jánosi, arr. Was ich gerne spiele, Universal Edition, 1997, Sándor Jánosi, arr. 1 page, D Major Piano Level: Preparatory Ensemble Level: One Although the piano part consists of nothing but tonic and dominant chords over a predictable bass line, this piece is good preparation for following other instrumental parts while reading the piano score.

Franz Schubert (1797-1828) Austria

Wiegenlied, (Lullaby), for viola and piano, Sándor Jánosi, arr. Was ich gerne spiele, Universal Edition, 1997, Sándor Jánosi, arr. 84 2 pages, D Major Piano Level: Four Ensemble Level: One This piece requires a very soft right hand accompaniment and good support from the bass line. The short interludes between “verses” help to develop a sense of different balance in accompanimental vs. solo roles for the piano.

Robert Schumann (1810-1856) Germany

Of Strange Countries and People, for oboe and piano First Solos for the Oboe Player, Faber Music, Limited, 1971, Jane Craxton and Alan Richardson, arr. 1 page, G Major Piano Level: Three Ensemble Level: One The oboe plays the melodic line, making this arrangement significantly easier for the piano than the original. This piece provides good practice for following the phrase shaping of the melodic line.

Piotr Illych Tchaikovsky (1840-1893) Russia

Old French Song, Op. 39, No. 16, for viola and piano, Sándor Jánosi, arr. Was ich gerne spiele, Universal Edition, 1997, Sándor Jánosi, arr. 1 page, E Minor Piano Level: Two Ensemble Level: One This arrangement of this popular piano teaching piece challenges the pianist with two contrasting accompanimental figures. The A section presents a countermelody in the right hand and the B section uses an arpeggiated staccato accompaniment.

Old French Song, Op. 39, No. 16, for cello and piano, arranged by Simon Nichols and Julian Lloyd Webber The Young Cellist’s Repertoire, Book One, Faber Music Limited, 1984, Simon Nichols and Julian Lloyd Webber, arr. 1 page, E Minor Piano Level: Two Ensemble Level: One The piano part is similar to that of the preceding entry.

85 Trios for Piano and Strings or Winds

• Collections and Anthologies

Chamber Music Sampler, Book 1 (piano, violin, and cello) Neil A. Kjos, 1992 Joanne Haroutounian, ed.

Chamber Music Sampler, Book 2 (piano, violin, and cello) Neil A. Kjos, 1992 Joanne Haroutounian, ed.

Chamber Music Sampler, Book 3 (piano, violin, and cello) Neil A. Kjos, 1992 Joanne Haroutounian, ed.

• Classical

Ludwig van Beethoven (1770-1827) Germany

Trio in B-flat Major, WoO 39, for violin, cello, and piano Allegretto Chamber Music Sampler, Book 3, Neil A. Kjos, 1992, Joanne Haroutounian, ed. 9 pages, B-flat Major Piano Level: Nine Ensemble Level: Two Violin Level: 14 (Haynes), Difficult Class I (NFMC) Cello Level: 14 (Haynes), Difficult Class I (NFMC) This trio in one movement is an example of chamber music in the truest sense. The piano part requires a steady rhythmic sense, facile left-hand technique, and the ability to balance repeated chords against string melody. The ensemble will be challenged by the sudden dynamic changes and rhythmic surprises.

Muzio Clementi (1752-1832) Italy

Trio in D Major, Op. 22, No. 1, for violin, cello and piano Allegretto Chamber Music Sampler, Book 1, Neil A. Kjos, 1992 5 pages, G Major Piano Level: Six Ensemble Level: Two

86 This short movement in ternary form is an ideal introduction to the Classical piano trio. The phrase structure and harmony are predictable and the texture is clear, making it accessible to an inexperienced ensemble.

Trio Sonata, Op. 35, No. 2, for violin, cello, and piano Allegro Chamber Music Sampler, Book 2, Neil A. Kjos, 1992 10 pages, G Major Piano Level: Eight Ensemble Level: Two Violin Level: Difficult Class I (NFMC) Cello Level: Difficult Class I (NFMC) This movement is essentially an accompanied piano sonata, with the violin and cello doubling lines in the piano part most of the time. There are also several long passages where the piano plays alone. This would be a good companion piece for a student playing sonatinas by Clementi, Kuhlau, Haydn, or Mozart.

Rondo: Allegro Chamber Music Sampler, Book 2, Neil A. Kjos, 1992 10 pages, G Major Piano Level: Eight Ensemble Level: Two Violin Level: Difficult Class I (NFMC) Cello Level: Difficult Class I (NFMC) The texture in this movement is similar to that of the Allegro from the same piece.

Franz Joseph Haydn (1732-1809) Austria

Trio in G Minor, Hoboken XV: 1, for violin, cello, and piano G. Henle Verlag, 1987; C.F. Peters, n.d.

II. Menuetto 3 pages, G Minor/B-flat Major Piano Level: Six Ensemble Level: Two Violin Level: 9 (Haynes) Cello Level: 4 (Haynes) This is among the easiest movements from the Haydn trios. The pianist must negotiate numerous trills in the A section. The texture of the Trio is similar to that of J.S. Bach’s Prelude in B-flat Major from The Well-Tempered Clavier, Book I.

III. Presto 4 pages, G Minor Piano Level: Nine

87 Ensemble Level: Three Violin Level: 13 (Haynes) Cello Level: 8 (Haynes) Contrasting dynamics are a main feature of this movement. The piano part has many ornaments and wide leaps.

Trio in D Major, Hoboken XV: 7, for violin, cello, and piano G. Henle Verlag, 1987; C.F. Peters, n.d.

I. Andante 6 pages, D Major Piano Level: Eight Ensemble Level: Three Violin Level: 15 (Haynes) Cello Level: 11 (Haynes) This theme and variation movement presents a chance for both the pianist and the violinist to practice accompanying an ornamented melodic line in a slow tempo.

II. Andante 3 pages: attacca, D Minor Piano Level: Nine Ensemble Level: Two Violin Level: 13 (Haynes) Cello Level: 7 (Haynes) This movement provides an extreme contrast to the following Allegro. It has many harmonic surprises.

III. Allegro assai 8 pages, D Major Piano Level: Nine Ensemble Level: Two Violin Level: 15 (Haynes) Cello Level: 8 (Haynes) The cello has a more independent line in this movement than in most Haydn trios.

Trio in A Major, Hoboken XV: 9, for violin, cello, and piano G. Henle Verlag, 1987; C.F. Peters, n.d.

II. Vivace 9 pages, A Major Piano Level: Nine Ensemble Level: Two

88 Violin Level: 14 (Haynes) Cello Level: 13 (Haynes) The ensemble will be challenged to adjust to the contrasting themes while keeping a steady tempo.

Trio in E-flat Major, Hoboken XV: 10, for violin, cello, and piano G. Henle Verlag, 1987; C.F. Peters, n.d.

II. Presto assai 10 pages, E-flat Major Piano Level: Ten Ensemble Level: Three Violin Level: 15 (Haynes) Cello Level: 14 (Haynes) This has a bravura piano part requiring exceptional facility and endurance.

Trio in C Minor, Hoboken XV: 13, for violin, cello, and piano G. Henle Verlag, 1987; C.F. Peters, n.d.

I. Andante 8 pages, C Minor/Major Piano Level: Nine Ensemble Level: Three Violin Level: 14 (Haynes) Cello Level: 13 (Haynes) This set of alternating minor/major variations requires sophisticated cueing skills.

II. Allegro spiritoso 11 pages, C Major Piano Level: Nine Ensemble Level: Three Violin Level: 13 (Haynes) Cello Level: 7 (Haynes) The piano part requires facility for playing parallel thirds and scalar passagework.

Trio in B-flat Major, Hoboken XV: 20, for violin, cello, and piano G. Henle Verlag, 1987; C.F. Peters, n.d.

III. Finale Chamber Music Sampler, Book 2, Neil A. Kjos, 1992 7 pages, B-flat Major Piano Level: Nine Ensemble Level: Two

89 Violin Level: 14 (Haynes) Cello Level: 12 (Haynes) The piano part requires an excellent sense of rhythm and motivic construction of phrases. The middle section, written in B-flat minor, can be a challenge for students unfamiliar with this key.

Trio in D Major, Hoboken XV: 24, for violin, cello, and piano Dover, 1995 (reprinted from C.F. Peters, violin and cello parts not included) G. Henle Verlag, 1987; C.F. Peters, n.d.

I. Allegro 9 pages, D major Piano Level: Nine Ensemble Level: Three Violin Level: 16 (Haynes) Cello Level: 11 (Haynes) Numerous fermatas create ensemble problems that must be solved through breathing together.

Trio in G Major, Hoboken XV: 25, for violin, cello, and piano Dover, 1995 (reprinted from C.F. Peters, violin and cello parts not included) G. Henle Verlag, 1987; C.F. Peters, n.d.

I. Andante 6 pages, G Major Piano Level: Nine Ensemble Level: Three Violin Level: 15 (Haynes) Cello Level: 9 (Haynes) The piano part contains parallel thirds that must be played smoothly.

II. Poco Adagio 4 pages, E Major Piano Level: Eight Ensemble Level: Two Violin Level: 14 (Haynes) Cello Level: 6 (Haynes) This spacious adagio movement presents a chance to practice blending tone within the ensemble.

III. Rondo all’ Ongarese Chamber Music Sampler, Book 3, Neil A. Kjos, 1992 12 pages, G Major Piano Level: Nine Ensemble Level: Three Violin Level: 14 (Haynes) Cello Level: 12 (Haynes)

90 This piece requires excellent control of tempo, dynamics, and articulation. Marked presto, it is a true virtuoso showpiece for the piano and violin.

Trio in C Major, Hoboken XV: 27, for violin, cello, and piano Dover, 1995 (reprinted from C.F. Peters, violin and cello parts not included) G. Henle Verlag, 1987; C.F. Peters, n.d.

III. Finale 11 pages, C Major Piano Level: Ten Ensemble Level: Three Violin Level: 16 (Haynes) Cello Level: 13 (Haynes) This energetic finale requires quick changes in dynamics, articulations, and register.

Trio in E-flat Major, Hoboken XV: 29, for violin, cello, and piano Dover, 1995 (reprinted from C.F. Peters, violin and cello parts not included) G. Henle Verlag, 1987; C.F. Peters, n.d.

I. Poco Allegretto 8 pages, E-flat Major/Minor Piano Level: Nine Ensemble Level: Three Violin Level: 14 (Haynes) Cello Level: 14 (Haynes) The prevailing dotted rhythms require much listening and discussion between the pianist and violinist.

II. Andantino ed innocentemente 2 pages: attacca, B Major/E-flat Major Piano Level: Eight Ensemble Level: Two Violin Level: 12 (Haynes) Cello Level: 9 (Haynes) The players must focus on blending tone in this expressive movement. The mediant relationship between this and the next movement is an excellent example of Haydn’s typical harmonic language.

III. Finale: Presto assai (Allemande) Chamber Music Sampler, Book 2, Neil A. Kjos, 1992 16 pages, E-flat Major Piano Level: Nine Ensemble Level: Three

91 Violin Level: 15 (Haynes) Cello Level: 12 (Haynes) Hemiola, grand pauses, and tricky entrances for the strings make this movement a test for rehearsal skills.

Pius Köhler (dates unknown)

Trio in B-flat Major, Op. 49, No. 2, for violin, cello, and piano

III. Scherzo Chamber Music Sampler, Book 1, Neil A. Kjos, 1992 5 pages, B-flat Major Piano Level: Eight Ensemble Level: Two This short movement has some awkward voice-leading in the piano part that makes the fast tempo difficult to achieve. The tempo change in the trio section is a good opportunity for practicing contrasts in dynamics and mood in a ternary form.

Wolfgang Amadeus Mozart (1756-1791) Austria

Trio VI, K. 254, for violin, cello, and piano

I. Allegro assai Chamber Music Sampler, Book 3, Neil A. Kjos, 1992 12 pages, B-flat Major Piano Level: Nine Ensemble Level: Two Violin Level: 13 (Haynes) Cello Level: 5 (Haynes) The dynamic contrasts and rhythmic drive of the primary theme make this an exciting piece to play. In the second theme, violin and piano play a unison section of sixteenth/dotted-eighth notes that will require a good rhythmic sense from both players and much rehearsal.

• Romantic

Max Bruch (1838-1920) Germany

Eight Pieces, Op. 83, for clarinet, viola, and piano Masters Music Publications, 1993

92 These pieces require excellent technical and musical abilities, as well as sophisticated ensemble skills. They are very helpful pieces to study in preparation for playing chamber works by Brahms or Mendelssohn.

1. Andante 4 pages, A Major Piano Level: Ten Ensemble Level: Three Viola Level: Medium Class (NFMC) Clarinet Level: Medium Class (NFMC) The texture provides a good opportunity for working on voicing thick chords with the melody on the highest pitch.

2. Allegro con moto 5 pages, B Minor Piano Level: Ten Ensemble Level: Three Viola Level: Difficult Class (NFMC) Clarinet Level: Difficult Class (NFMC) The piano part contains some challenging arpeggio work.

Fanny Hensel (1805-1847) Germany

Piano Trio in D Minor, Op. 11, for violin, cello, and piano Hildegard Publishing Company, 1998

IV. Lied 2 pages, D Major Piano Level: Ten Ensemble Level: Three The piano is the prominent instrument in this short movement in song style. The piano part is intricate, involving inner voices and counterpoint. Although the other movements of this trio are far beyond the scope of this list, this movement is an excellent introduction to the Romantic piano trio.

Theodor Kirchner (1823-1903) Germany

Kindertrios, Op. 58, for violin, cello, and piano Amadeus Verlag, 1995

1. Andantino 1 page, C Major 93 Piano Level: Five Ensemble Level: Two The imitative texture provides good practice for matching motives and listening for the imitation between the instruments.

2. Lebhaft 5 pages, C Major Piano Level: Five Ensemble Level: Two This scherzo and trio shows many different textural possibilities for the piano trio. The players will need to have an awareness of their function at all times. The synchronized upbeat beginning will be a challenge for the ensemble.

3. Andantino 2 pages, C Major Piano Level: Five Ensemble Level: Two Homorhythm between the piano and violin or piano and cello requires constant communication between the players. The legato three-voice texture in the piano part requires a good sense of balance and finger independence.

4. Poco vivace 1 page, C Major Piano Level: Four Ensemble Level: Two Sudden tempo and meter changes require much rehearsal and communication. The piano part has a thin texture that moves through five-finger positions with some extensions.

5. Einfach, ruhig 1 page, E-flat Major Piano Level: Five Ensemble Level: Two The prevalent three-voice texture in the piano part and the constantly changing roles of all three instruments create a challenge for balance.

6. Scherzando 1 page, E-flat Major Piano Level: Five Ensemble Level: Two This piece is a good exercise in coordinating dotted rhythms within the ensemble.

7. Etwas betrübt 1 page, G Minor Piano Level: Five Ensemble Level: Two

94 This expressive and melodic piece provides good practice for handing off melodic phrases from instrument to instrument.

8. Moderato 2 pages, C Major Piano Level: Six Ensemble Level: Two This piece would make a good companion for students playing late intermediate etudes and character pieces by Heller, Gurlitt, or Burgmüller. Several different accompaniment patterns are used and the texture changes frequently.

9. Moderato 2 pages, A-flat Major Piano Level: Five Ensemble Level: Two The piano part provides a good introduction to off-beat accompaniment patterns.

10. Allegro ma non troppo 1 page, C Major Piano Level: Six Ensemble Level: Two Sudden dynamic, articulation, and texture changes are features of this piece.

11. Andantino 2 pages, C Major Piano Level: Four Ensemble Level: Two The piano has a two-part texture with a simple accompaniment pattern. The instruments are integrated rhythmically and melodically, making this a truly collaborative work.

12. Allegretto vivace 1 page, C Major Piano Level: Four Ensemble Level: Two Technical challenges in this piece include quick repeated notes and parallel 6/3 chords. Ensemble challenges include counting short rests, quick changes in dynamics, and entrances on upbeats.

13. Moderato 3 pages, C Major Piano Level: Seven Ensemble Level: Two Short motives with constantly changing rhythms and textures make the piano part a challenge. There are many quick entrances on upbeats that require careful listening and following of the string parts.

95 14. Mäβiges Tempo 5 pages, G Major Piano Level: Seven Ensemble Level: Two This piece uses the piano in a mainly accompanimental function while the strings trade melodic phrases.

15. Etwas langsam 1 page, C Major Piano Level: Four Ensemble Level: Two This is a sparsely scored piece in which the piano functions in an accompanimental and orna- mental capacity.

Julius Klengel (1859-1933) Germany

Kindertrio in G, Op. 35, No. 2, for violin, cello, and piano

I. Allegro Chamber Music Sampler, Book 1, Neil A. Kjos, 1992 6 pages, G Major Piano Level: Six Ensemble Level: Two Violin Level: Medium Class I (NFMC) Cello Level: Medium Class I (NFMC) A simple texture, with a pleasing melody and an equal share of material for all three instruments, make this an excellent introduction to the piano trio.

II. Andante con moto Chamber Music Sampler, Book 2, Neil A. Kjos, 1992 8 pages, G Major Piano Level: Nine Ensemble Level: Three Violin Level: Medium Class I (NFMC) Cello Level: Medium Class I (NFMC) This movement in ABA1 form would be a good complement to character pieces by Robert Schumann or Mendelssohn at the same level. The outer sections feature active inner voices in the piano part; the contrasting B section (Intermezzo: Vivace) demands the ability to play quick repeated notes.

Kindertrio in F, Op. 39, No. 1, for violin, cello, and piano

III. Finale 96 Chamber Music Sampler, Book 1, Neil A. Kjos, 1992 6 pages, F Major Piano Level: Seven Ensemble Level: Two This movement requires the pianist to play wrist staccato for most of the piece. It would be a good companion piece for a student playing Mendelssohn’s Scherzo in E Minor, Op. 16, No. 2, or Kabalevsky’s Dance, Op. 27, No. 27.

Franz Schubert (1797-1828) Austria

Trio in E-flat Major, Op. 100, for violin, cello, and piano

III. Scherzo: Allegro moderato Chamber Music Sampler, Book 3, Neil A. Kjos, 1992 9 pages, E-flat Major Piano Level: Nine Ensemble Level: Two Violin Level: 14 (Haynes) Cello Level: 17 (Haynes) Taken at a true Allegro moderato tempo, the melodies played in octaves and the double thirds in the piano part are manageable at this level. This movement is the most accessible of all of Schu- bert’s chamber music with piano and is a good introduction to his writing in the piano trio genre.

• Twentieth and Twenty-first Centuries

Ernest Bloch (1880-1959) Switzerland/United States

Three Nocturnes, for violin, cello, and piano Carl Fischer, 1925

I. Andante 4 pages, E Minor Piano Level: Eight Ensemble Level: Three Violin Level: Difficult Class I (NFMC) Cello Level: Difficult Class I (NFMC) The atmospheric piano part makes use of extreme registers, encouraging imaginative pedaling and tone color. Syncopation, tempo changes, and fermatas make this piece difficult to play with rhythmic precision.

97 II. Andante quieto 5 pages, A-flat Major Piano Level: Nine Ensemble Level: Three Violin Level: Difficult Class I (NFMC) Cello Level: Difficult Class I (NFMC) This expressive movement is an exercise in rubato and large-scale phrasing.

III. Tempestoso 9 pages, C Minor Piano Level: Ten Ensemble Level: Three Violin Level: Difficult Class II (NFMC) Cello Level: Difficult Class II (NFMC) This is a driving movement with rhythmic intensity created by syncopation and accents. The piano part requires facile arpeggio technique and exceptional endurance.

Frank Bridge (1879-1941) England

Miniatures, for violin, cello, and piano Galaxy Music, 1960

1. Minuet: Tempo di Menuetto 3 pages, G Major/C Major Piano Level: Six Ensemble Level: Two Violin Level: 6 (Haynes) Cello Level: 10 (Haynes) The piano part requires the ability to balance closely spaced chords with the cello and violin, especially when sharing the same register, and when the violin and cello are playing pizzicato.

2. Gavotte: Moderato 3 pages, F Major Piano Level: Six Ensemble Level: Two Violin Level: 7 (Haynes) Cello Level: 8 (Haynes) This movement sets up discussion of the rhythmic characteristics of the Gavotte, and how to cue upbeat entrances.

3. Allegretto con moto 2 pages, G Major Piano Level: Seven Ensemble Level: Two 98 Violin Level: 8 (Haynes), Medium Class I (NFMC) Cello Level: 6 (Haynes), Medium Class I (NFMC) The ensemble will need to unify the articulation and accentuation of the beginning motive, which permeates the piece. Several surprising pauses, sudden dynamic changes and an integrated texture make this an ideal movement for discussing communication within the ensemble.

4. Romance: Andante 5 pages, F Major Piano Level: Eight Ensemble Level: Three Violin Level: 7 (Haynes) Cello Level: 10 (Haynes) Duple vs. triple rhythm, both within the piano part and between the instruments requires players with secure rhythmic abilities. This is an ideal preparatory piece for easier chamber music by Brahms and Schumann.

5. Intermezzo: Allegretto 3 pages, A Major Piano Level: Seven Ensemble Level: Two Violin Level: 11 (Haynes) Cello Level: 15 (Haynes) The offbeat entrances require careful cueing and slow practice for a precise performance. The ensemble skills required for this piece are good building blocks toward playing Scherzos by Mendelssohn and Brahms.

6. Saltarello: Allegro vivo 6 pages, D Minor Piano Level: Eight Ensemble Level: Three Violin Level: 12 (Haynes) Cello Level: 15 (Haynes) The piano part requires facile scale technique and the ability to play quick octaves in the right hand. A large-scale accelerando at the end requires careful pacing and cueing.

Wilfred Josephs (b. 1927) United States

A Trio of Trios, Variations on Well-known French Tunes, Op. 87, for violin, cello, and piano Boosey & Hawkes, 1982

I. “Ah vous dirai-je maman” (Mother, I Tell You) 8 pages, G Major 99 Piano Level: Seven Ensemble Level: Two The variation form requires all the players to be able to switch tempo and mood quickly. There are many interesting challenges for the ensemble in timing, rhythm, and balance that will require good communication.

II. “Frère Jacques” (Brother Jack) 6 pages, G major Piano Level: Seven Ensemble Level : Two The piano part ranges in texture from chordal accompaniment in the theme to quasi-fugal writing in the finale.

III. “Au clair de la lune” (In the Moonlight) 8 pages, G Major Piano Level: Seven Ensemble Level: Two This piece is the most rhythmically varied of the set. Variation I has a challenging section with an extended arpeggio accompaniment in the left hand and double-note legato lines in the right hand. An ossia is provided in this section for those not ready for this technique. The finale is a Quodlibet on all three French tunes.

Eugénie R. Rocherolle (b. 1936) USA

A Tableau of Piano Trios, for violin, cello, and piano Neil A. Kjos, 1995

1. Antique Lace 3 pages, B-flat Major Piano Level: Two Ensemble Level: One The piano part uses three different accompanimental ostinati. Balance skills come to the forefront as the violin and cello both have long melodic lines over piano accompaniment.

2. Daydreaming 3 pages, C Minor Piano Level: Three Ensemble Level: One The pianist will be challenged by the thick texture in the B section.

3. Indian Lore 2 pages, E Minor Piano Level: One 100 Ensemble Level: One Violin Level: Elementary Class I (NFMC) Cello Level: Elementary Class I (NFMC) The piano provides a drum-like ostinato in the bass and a countermelody in the right hand. The players will need to navigate through a short ritardando midway through the piece.

4. Parade 4 pages, C Mixolydian Piano Level: Two Ensemble Level : Two Dotted eighth/sixteenth note combinations make this piece a test for rhythmic skills at this level. The mode and rhythm make this an ideal companion to the piano solo Playing Soldiers by Re- bikov.

5. The Setting Sun 5 pages, E Minor Piano Level: Three Ensemble Level: One Violin Level: Elementary Class I (NFMC) Cello Level: Elementary Class I (NFMC) The piano provides a shimmering treble ostinato over the long melodic lines in the violin and cello. The pianist will need to cue two tempo changes at the end.

6. Swing Your Partner 2 pages, G Major Piano Level: Two Ensemble Level: One The piano part initiates the hoedown rhythm at the beginning. The ensemble will be challenged by some unison syncopation.

Alexandre Tansman (1897-1986) Poland

Children’s Trio, for violin, cello, and piano Editions Max Eschig, 1991

I. Gavotte 3 pages, G Major Piano Level: Four Ensemble Level: One The piano plays a Baroque-style bass line in the left hand and ornamentation and countermelody in the right hand. This has an active piano part that requires much attention to the texture and tessitura of the other instruments.

II. Arioso 2 pages, A Minor

101 Piano Level: Four Ensemble Level: One The parallel harmonies moving by step in the piano part are similar to Khachaturian’s “Ivan Sings” and Chopin’s E Minor Prelude. Although somewhat easier, this movement would be an ideal companion for either of these popular solo repertoire choices.

III. Danza Senza Fine 3 pages, C Major Piano Level: Four Ensemble Level: One The left hand is paired with the cello and the right hand with the violin, providing an opportunity for rehearsing with this polarization in mind.

Nous jouons pour maman (We Are Playing for Mama),1938, for violin, cello, and piano Editions Max Eschig, 1938

1. Air Champêtre (A Country Air) 2 pages, G Major Piano Level: Three Ensemble Level: One The violin, cello, and piano right hand have independent contrapuntal lines over a slow-moving harmony in the left hand.

2. Gavotte 2 pages, A Minor Piano Level: Two Ensemble Level: One This is a very well-written easy trio, giving equal importance to all three instruments. Each player has a chance to experience melody, counter-melody, and accompaniment.

3. Orientale 2 pages, A Minor Piano Level: Two Ensemble Level: One Tansman uses augmented seconds to achieve an exotic sound. The entire piece is marked pianissimo, providing good practice for phrase shaping within a soft dynamic spectrum.

• Arrangements, Folk, Jazz, Popular, and Seasonal

Eugénie R. Rocherolle, Arr. (b. 1936) USA

A Christmas Tableau of Piano Trios, for violin, cello, and piano Neil A. Kjos, 1995 102

1. Bring a Torch, Jeanette, Isabella 3 pages, G Major Piano Level: Four Ensemble Level: Two The piano plays a light-hearted rhythmic ostinato over the melody played in the violin and cello. The pianist will need to cue entrances several times.

2. The First Noel 3 pages, D Major Piano Level: Four Ensemble Level: Two Rocherolle gives the piano many harmonic suspensions, providing a good opportunity for discussing the purpose and effect of suspensions.

3. A Holly Jolly Christmas 3 pages, C Major Piano Level: Three Ensemble Level: Two The distinguishing dotted-rhythm motive at the beginning of this well-known tune provides a chance for the ensemble to rehearse this tricky rhythm for precision.

4. It Came Upon a Midnight Clear 3 pages, A Major Piano Level: Four Ensemble Level: Two The piano and cello play a countermelody in sixths under the violin melody.

5. Jingle Bells 4 pages, B-flat Major Piano Level: Four Ensemble Level: Two This is one of the more interesting arrangements in this collection. Rocherolle incorporates several tempo changes and different accompaniment ostinati to create the mood.

6. O Holy Night 5 pages, D Major Piano Level: Four Ensemble Level: Two This is a lovely but simple arrangement of the well-known tune. The piano plays arpeggios throughout, occasionally coming out of the texture to supply an inner voice. A meter change at the end will require some discussion and rehearsal among the member of the ensemble.

7. Rudolph, the Red-Nosed Reindeer 5 pages, D Major

103 Piano Level: Four Ensemble Level: Two The pianist will need to cue entrances after a long prelude and four-bar interlude. The jazz-style rhythmic ostinato will require a good rhythmic sense.

8. Silent Night 3 pages, D Major Piano Level: Four Ensemble Level: Two The pianist will be challenged to bring out the inner voices and to time arpeggiated chords with the strings. This is an arrangement with an interesting harmonic treatment.

9. What Child Is This? 6 pages, E Minor Piano Level: Four Ensemble Level: Two The distinguishing bass-line under the tune is provided solely by the piano, opening up the topic of balancing the trio with a strong bass.

104 Piano Quartets

Ludwig van Beethoven (1770-1827) Germany

Quartet in C Major, WoO 36/3, for violin, viola, cello, and piano Breitkopf & Härtel, n.d.

I. Allegro vivace 10 pages, C Major Piano Level: Nine Ensemble Level: Three This quartet is treated much like a piano concerto, with the strings playing sustained and melodic material while the piano adds ornamentation. Clearly defined contrasting themes will help inexperienced ensemble players shape their interpretation. Typical Beethoven expressive devices, such as extreme dynamic changes, offbeat accents, and crescendos culminating in piano will stimulate discussion of style.

II. Adagio con espressione 4 pages, F Major Piano Level: Eight Ensemble Level: Two This is a very expressive movement in which the violin, viola, and piano each have a turn to play concerto-like material while the others accompany.

III. Rondo: Allegro 6 pages; C Major Piano Level: Ten Ensemble Level: Two The treatment of piano and strings is similar to the first movement. The left hand part requires facility for executing quick Alberti bass figures.

Felix Mendelssohn (1809-1847) Germany

Quartet in C Minor, Op. 1, for violin, viola, cello, and piano Peters, n.d.

I. Allegro vivace 13 pages, C Minor Piano Level: Ten Ensemble Level: Three Violin Level: 13 (Haynes) Cello Level: 15 (Haynes) The piano part always has a clearly defined role in this movement, making this an ideal, albeit pianistically challenging introduction to piano quartets. Several different textures are used, in-

105 cluding piano solo accompanied by string trio, string trio accompanied by piano, and string quartet, the right hand of the piano filling in for the second violin.

II. Adagio 6 pages, A-flat Major Piano Level: Ten Ensemble Level: Three Violin Level: 12 (Haynes) Cello Level: 13 (Haynes) This movement contrasts a melodically oriented A section with a B section that is centered on slow harmonic movement and a slow build-up from pianissimo to fortissimo.

III. Scherzo: Presto 10 pages; C Minor Piano Level: Nine Ensemble Level: Three Violin Level: 13 (Haynes) Cello Level: 15 (Haynes) Aside from several imitative phrase beginnings, the figuration is predictable and easily played, often with the two hands playing scales in parallel motion. The trio is unusual, as there is no violin part and the pianist plays only with the left hand.

Quartet in F Minor, Op. 2, for violin, viola, cello, and piano Peters, n.d.

III. Intermezzo: Allegro modeato 4 pages, F Minor Piano Level: Eight Ensemble Level: Three Violin Level: 13 (Haynes) Cello Level: 14 (Haynes) Off-beat entrances will require the ensemble to breathe together and the pianist to make numerous cues.

Wolfgang Amadeus Mozart (1756-1791) Austria

Quartet in G Minor, K. 478, for violin, viola, cello, and piano G Henle, 1974

I. Allegro 12 pages, G Minor Piano Level: Ten Ensemble Level: Three

106 The piano part is often treated like a soloist pitted against the rest of the ensemble; however there are some sections where the writing is more integrated. This is an ideal movement for a piano student who is ready to play a Mozart concerto movement but wants to perform in a concert rather than a contest.

II. Andante 7 pages, B-flat Major Piano Level: Ten Ensemble Level: Three Again the writing is concerto-like with the strings often alternating with solo piano.

III. Rondeau 13 pages, G Major Piano Level: Ten Ensemble Level: Three The rondo form leads to discussion of changing repetitions of the A theme, and transitions back to the A theme. Again, an ideal piece for a student interested in playing a Mozart concerto movement.

Carl Maria von Weber (1786-1826) Germany

Quartet in B-flat Major, Op. 8, for violin, viola, cello, and piano International, 1952

III. Menuetto 3 pages, G Minor/ B-flat Major Piano Level: Seven Ensemble Level: Two Violin Level: 14 (Haynes) Cello Level: 13 (Haynes) The texture is integrated in this short movement, involving every instrument in thematic and accompanimental roles. The piano part requires good octave technique.

107 Piano Quintets

Luigi Boccherini (1743-1805) Italy

Quintet in E Minor, Op. 56, No. 1, for 2 violins, viola, cello, and piano G. Zanibon, 1986

III. Minuetto: Con moto 6 pages, E Minor Piano Level: Six Ensemble Level: Two The piano part has a simple texture and is usually paired with one of the violins in the right hand and the cello in the left hand.

Quintet in F Major, Op. 56, No. 2, for 2 violins, viola, cello, and piano G. Zanibon, 1986

III. Minuetto: Amoroso 5 pages, F Major/ D Minor Piano Level: Seven Ensemble Level: Two The A section features lyrical dolcissimo phrases interrupted by aggressive fortissimo outbursts. The B section requires good octave technique in the piano part.

Quintet in D Major, Op. 56, No. 5, for 2 violins, viola, cello, and piano G. Zanibon, 1986

II. Minuetto: Allegro 6 pages, A Major/ D Major Piano Level: Six Ensemble Level: Two The trio is significantly easier than the Minuetto proper and could easily be extracted for a pianist at Level Four.

Enrique Granados (1867-1916) Spain

Quintet in G Minor, 1898, for 2 violins, viola, cello, and piano Union Musical Española, 1973

I. Allegro 29 pages, G Minor Piano Level: Ten Violin Level: 15 (Haynes) 108 Cello Level: 15 (Haynes) After a unison opening featuring syncopated dotted rhythms, the piano and strings play opposing roles. The piano part is fairly sparse, but has some technical challenges, including quick two- hand arpeggios and octave passages.

II. Allegretto quasi andantino 9 pages, A Minor/Major Piano Level: Nine Violin Level: 14 (Haynes) Cello Level: 14 (Haynes) This movement features a long, ornamented melody that is passed between the piano and first violin with some participation by the other strings.

III. Largo-Molto presto 12 pages, G minor Piano Level: Ten Violin Level: 17 (Haynes) Cello Level: 17 (Haynes) This is a showpiece for all the instruments in the ensemble consisting of presto sixteenth-note passages alternating with improvisatory solos for the first violin and viola. The piano writing looks intimidating at first glance, but uses patterns that are idiomatic.

Gustav Holst (1874-1934) England

Quintet in A Minor, Op. 3 (H. 11) for oboe, A clarinet, horn, bassoon, and piano Novello & Company, 1996

II. Scherzo: Allegro vivace 21 pages, E Major Piano Level: Ten Ensemble Level: Three Hemiola and syncopation require good rhythmic skills across the ensemble. Holst’s piano writing uses technical tricks such as diminished arpeggios played in contrary motion, and small motives played in several octaves successively.

Germaine Tailleferre (1892-1983) France

Sérénade in A Minor, for two oboes, B-flat clarinet, bassoon, and piano or harpsichord Musik Fabrik, 1998

I. Prologue 3 pages, attaca; A Minor Piano Level: Seven Ensemble Level: Two 109 The simple texture and rhythm create an accessible quintet with very few ensemble problems. Most pianists will find the stark writing, devoid of articulation, pedal, and expressive markings, a challenge to play.

II. Rondeau: Allegro 4 pages, attacca; A Minor Piano Level: Seven Ensemble Level: Two This movement is written in short, regular, repeated sections, giving the ensemble ample opportunity for portraying contrasting character through dynamics and articulation.

III. Epilogue: Tempo Primo: Andantino 3 pages, A Minor Piano Level: Seven Ensemble Level: Two This movement is a reiteration of material from the Prologue, with a similar treatment of the instruments.

110 Bibliography

Adler, Kurt. The Art of Accompanying and Coaching. Minneapolis: University of Minnesota Press, 1965.

Agay, Denes, ed. Teaching Piano, Volume 1. New York: Yorktown Music Press, Inc., 1981.

______, ed. Teaching Piano, Volume 2. New York: Yorktown Music Press, Inc., 1981.

Albergo, Cathy, Reid Alexander, and Marvin Blickenstaff. Celebration Series, The Piano Odyssey, Handbook for Teachers. Mississauga, Ontario: The Frederick Harris Music Co., Limited, 2001.

______, and Reid Alexander. Intermediate Piano Repertoire; A Guide for Teaching, Fourth Edition. Mississauga, Ontario, Canada: The Frederick Harris Music Co., 2000.

Altmann, Wilhelm. Kammermusik-Katalog: Ein Verzeichnis von weit 1841 veröffentlichen Kammermusikwerken. 6th Edition. Leipzig: Friedrich Hofmeister, 1945.

Berg, Margaret Haefner. “Social Construction of Musical Experience in Two High School Chamber Music Ensembles.” PhD Dissertation, Ball State University, 1998.

Baron, John H. Chamber Music: A Research and Information Guide. New York: Garland Publishers, 1987.

Berger, Melvin. Guide to Chamber Music. New York: Dodd, Mead & Company, 1985.

______. Guide to Sonatas. New York: Anchor Books, 1991.

Bononi, Robert Andrew. “Student Learning in a Chamber Music Ensemble: A Study of Transfer.” DMA thesis, University of Cincinnati, 2000.

Bos, Coenraad V. The Well-Tempered Accompanist. Bryn Mayr, PA: Theodore Presser Co., 1949.

Brown, Leon F. Handbook of Selected Literature for the Study of Trombone at the University-College Level. Denton, TX: Leon Brown, 1972.

Brown, Michael R. “Chamber Music for Better Bands.” Teaching Music, 6 n5 (1998): 38-39.

Cobbett, Walter Willson, ed. Cobbett’s Cyclopedic Survey of Chamber Music, Volume I. London: Oxford University Press, 1929. 111

______, ed. Cobbett’s Cyclopedic Survey of Chamber Music, Volume II. London: Oxford University Press, 1930.

Cranmer, Philip. The Technique of Accompaniment. London: Dennis Dobson, 1979.

Drucker, Arno. P. American Piano Trios. Lanham, MA: Scarecrow Press, Inc., 1999.

Fong, Maimy. “Plays Well With Others: An Annotated Bibliography of Materials About Accompanying.” Treatise the University of Texas at Austin, 1997.

Forsyth, Ella Marie. Building a Chamber Music Collection. Metuchen, NJ: The Scarecrow Press, Inc., 1979.

Friedberg, Ruth C. The Complete Pianist: Body, Mind, Synthesis. Metuchen, NJ: The Scarecrow Press, Inc., 1993.

Glazer, Gilda. “Training the Pianist as an Ensemble Player” American Music Teacher 16 n.5 (1967): 28-29.

Goodman, A. Harold. Instrumental Music Guide. Provo, Utah: Brigham Young University Press, 1977.

Gordon, Stewart. Etudes for Piano Teachers. New York: Oxford University Press, 1995.

Grill, Joyce. Accompanying Basics. San Diego, CA: Neil A. Kjos Music Co., 1987.

Haroutounian, Joanne, ed. Chamber Music Sampler, Books 1, 2, and 3. San Diego, CA: Neil A. Kjos Music Co., 1992.

Haynes, Harold. Chamber Music Repertoire for Amateur Players: A Guide to Choosing Works Matching Players’ Abilities, Second Edition. Cambridge, Great Britain: H. Haynes, 1996.

Hefling, Stephen E., ed. Nineteenth-Century Chamber Music. New York: Schirmer Books, 1998.

Hinson, Maurice. Guide to the Pianist’s Repertoire, Third Edition. Bloomington: Indiana University Press, 2000.

______. The Piano in Chamber Ensemble; An Annotated Guide. Bloomington: Indiana University Press, 1978.

Hughes, C.W. Chamber Music in American Schools. New York: Freybourg Printing Company, INC., 1933.

112

Johnson, Katherine D. Accompanying the Violin. San Diego, CA: Neil A. Kjos Music Company,1984.

Keating, Patricia B. “The Junior Piano Student as Accompanist and Chamber Music Player.” American Music Teacher 4 n. 3 (1955): 15, 33.

Lehmann, Andreas C,. and K. Anders Ericsson. “Performance Without Preparation: Structure and Acquisition of Expert Sight-Reading and Accompanying Performance.” Psychomusi- cology 15 (1996): 1-29.

______. “Sight-Reading Ability of Expert Pianists in the Context of Piano Accompanying.” Psychomusicology 12 (1993): 182-195.

Lindo, Algernon H. The Art of Accompanying. New York: G. Schirmer, Inc., 1916.

Littrell, David A., ed. String Syllabus, Volume 1, revised 1997. Bloomington: Tichenor Publishing for American String Teachers Association, 1997.

Loft, Abram. Violin and Keyboard: The Duo Repertoire, Volume I. New York: Grossman Publishers, 1973.

______. Violin and Keyboard: The Duo Repertoire, Volume II. New York: Grossman Publishers, 1973.

______. “Chamber Music Pedagogy at International Workshops.” American String Teacher 49 (May 1999): 44-51.

Magrath, Jane. The Pianist’s Guide to Standard Teaching and Performance Literature. Van Nuys, CA: Alfred Publishing Co., Inc., 1995.

McCalla, James. Twentieth-Century Chamber Music. New York: Schimer Books, 1996.

Moore, Gerald. Singer and Accompanist. New York: Macmillan Co., 1954.

______. The Unashamed Accompanist. New York: Macmillan Co., 1956.

Music Educators National Conference. Materials for Miscellaneous Instrumental Ensembles. Washington, D.C.: MENC, 1960.

______. Selective Music Lists 1972. Washington, D.C.: MENC, 1972.

National Association of Schools of Music. Chamber Music: Performance and Study at Music Training Institutions. Reston, VA: NASM, 1982.

113 National Interscholastic Music Activities Commission. Selective Music Lists 1965. Washington, D.C.: MENC, 1966.

Ohio Music Education Association. OMEA Solo and Ensemble Contest Music: Required Music for Senior High School. Columbus, OH: OMEA, 1991.

Price, Deon Neilsen. “Group Instruction in Accompanying.” Clavier 20 n.9 (1981): 30-36.

______. “The Special Skills of an Accompanist.” Clavier 17 n.7 (1978): 37-41.

Rasmussen, Mary. A Teacher’s Guide to the Literature of Brass Instruments. Durham, NH: Brass Quarterly, 1964.

______, and Donald Mattran. A Teacher’s Guide to the Literature of Woodwind Instruments. Durham, NH: Brass and Woodwind Quarterly, 1966.

Richter, Johannes Friedrich. Kammermusik-Katalog; Verzeichnis der von 1944 bis 1958 veröffentlichen Werke. Leipzig: Hofmeister, 1960.

Robinson, Helene, and Richard L. Jarvis, eds. Teaching Piano in Classroom and Studio. Washington: MENC, 1967.

Royal Conservatory of Music. Cello Syllabus, 1995 Edition. Mississauga, Ontario: Frederick Harris Music Co., 1995.

______. Viola Syllabus, 1994 Edition. Mississauga, Ontario: Frederick Harris Music Co., 1994.

______. Violin Syllabus, 1999 Edition. Mississauga, Ontario: Frederick Harris Music Co., 1999.

Smallman, Basil. The Piano Quartet and Quintet. Oxford: Clarendon Press, 1994.

______. The Piano Trio. Oxford: Clarendon Press, 1990.

Smith, Alan L. “Should I Encourage Accompanying as a Career?” American Music Teacher 42 n. 1 (1992): 22-24.

Spillman, Robert. The Art of Accompanying: Master Lessons from the Repertoire. New York: Schirmer Books, 1985.

Starker, Janos. “Partner, not Accompanist.” Clavier 21 n. 9 (1982): 18-19.

Stewart, Sandra K. “Developing Student Accompanists.” Teaching Music 3 n. 4 (1996): 36-37.

114

Tuthill, Burnet C. Concertos for Clarinet, Sonatas for Clarinet and Piano: Annotated Listings. Washington, DC: Music Educators National Conference, 1971.

Wilson, Geoffrey. Handbook for Art Song Accompanists. Canberra, Australia: the author, 1997.

Wingard, Elizabeth. “Training the Student Accompanist,” Music Educators Journal 49 n. 4 (1963): 144-5.

Uszler, Marianne, Stewart Gordon, and Scott McBride Smith. The Well-Tempered Keyboard Teacher, Second Edition. New York: Schirmer Books, 2000.

Yates, Peter. An Amateur at the Keyboard. London: George Allen & Unwin LTD, 1965.

Zorn, Jay D. “Effectiveness of Chamber Music Ensemble Experience.” Journal of Research in Music Education 11 n. 1 (1973): 40-47.

115 Appendix: Publishers’ Information

Alphonse Leduc 175, rue Saint-Honoré, 75040 Paris cedex 01 http://www.alphonseleduc.com/english/

Amadeus Verlag Jan Udo Holey, Birkenweg 6, 74579 Fichtenau, Deutschland http://www.amadeus-verlag.com/

The Associated Board of the Royal Schools of Music (Publishing) Limited 14 Bedford Square, London WC1B 3JG, United Kingdom http://www.abrsmpublishing.co.uk

Boosey & Hawkes Music Publishers Limited 295 Regent Street, London W1R 8JH http://www.boosey.com

Breitkopf & Härtel Walkmühlstrasse 52, D-65195 Wiesbaden http://www.breitkopf.com

Carl Fischer LLC 2480 Industrial Blvd. Paoli, PA 193102480 Industrial Blvd http://www.carlfischer.com/

DUMA Music, Inc. http://dumamusic.com/

Editions Max Eschig 215, rue du Fbg Saint-Honoré, Paris VIII˚ [email protected]

Editio Musica Budapest P.O.Box.322, H-1370, Budapest, Hungary http://www.emb.hu/

Editions Salabert 22 rue Chauchat 75009 Paris

Faber Music Limited 3 Queen Square, London, WCIM 3AU http://www.fabermusic.co.uk/

116 G. Henle Verlag Forstenrieder Allee 122, 81476 München http://www.henle.de/

Gérard Billaudot, Éditeur 14, rue de l’Échiquier, 75010 Paris http://www.billaudot.com/anglais

Hildegard Publishing Company Box 332, Bryn Mawr, PA 19010 http://www.hildegard.com

Neil A. Kjos Music Company http://www.kjos.com/

Manhattan Beach Music 1595 East 46th Street, Brooklyn NY 11234-3122 http://members.aol.com/mbmband/

Masters Music Publication, Inc. P.O. Box 810157, Boca Raton, Florida 33481-0157 http://www.masters-music.com/

MCA Music 1755 Broadway 8th Floor, New York, NY 10019 http://www.mpa.org/agency/239p.html

MMB Music, Inc. Contemporary Arts Building, 3526 Washington Ave., Saint Louis, Missouri 63103-1019 http://www.mmbmusic.com/

Musik Fabrik (La Fabrique Musique) [email protected]

Nova Music Goldsmid Mews, 15a Farm Road, Hove, Sussex BN3 1FB

Novello and Company Chester Music Ltd. & Novello Publishing Ltd., 8-9 Frith Street, London W1D 3JB, England http://www.chester-novello.com

Peer International http://www.peermusic.com/

117 Polksie Wydawnictwo Muzyczne Krakow, al. Krasinskiego 11 a. http://www.pwm.com.pl

Roberton Publications The Windmill, Wendover, Aylesbury, Bucks, HP22 6JJ http://www.impulse-music.co.uk/roberton.htm

Schott Musik International http://www.schott-english.com

Theodore Presser 588 North Gulph Road, King of Prussia, PA 19406 USA http://www.presser.com/

Universal Edition 331 West 57th Street #380, New York, NY 10019 http://www.universaledition.com/usa/

Waterloo Music Company Limited 3 Regina St. N., Waterloo, Ontario, Canada N2J4A5 http://www.waterloomusic.com

118 Index by Composer

Archer, Violet (1913-2000) Canada Little Suite, for trumpet and piano; p. 45 Twelve Miniatures, for violin and piano; p. 45

Bacewicz, Grazyna (1909-1969) Poland Easy Pieces, for clarinet and piano; p. 48

Bach, Johann Sebastian (1685-1750) Germany Gavotte ou la Musette, for violin and piano, arr.; p. 72

Barthélemon, Maria (1749-1799) England Sonate No. 1 in G Major, for violin and piano; p. 36 Sonate No. 5 in E Major, for violin and piano; p. 37

Beach, Amy Marcy Cheney (1867-1944) United States La Captive, Op. 40, No.1, for violin and piano; p. 43 Berceuse, Op. 40, No. 2, for violin and piano; p. 43 Mazurka, Op. 40, No. 3, for violin and piano; p. 43

Beethoven, Ludwig van (1770-1827) Germany Ode to Joy, for violin and piano, arr.; p. 72 Quartet in C Major, WoO 36/3, for violin, viola, cello, and piano; p. 105 Sonate in F Major, Op. 24, for violin and piano; p. 37 Sonate in G Major, Op. 30, No. 3, for violin and piano; p. 38 Trio in B-flat Major, WoO 39, for violin, cello, and piano; p. 86

Blacher, Boris (1903-1975) Germany Spiel mit (mir)… oder Die 7 Plagen, für die lieben Kinder, armen Eltern und beklagenswerten Musiklehrer, for violin and piano; p. 49

Bloch, Ernest (1880-1959) Switzerland/United States Three Nocturnes, for violin, cello and piano; p. 97

Boccherini, Luigi (1743-1805) Italy Quintet in E Minor, Op. 56, No. 1, for two violins, viola, cello, and piano; p. 108 Quintet in F Major, Op. 56, No. 2, for two violins, viola, cello, and piano; p. 108 Quintet in D Major, Op. 56, No. 5, for two violins, viola, cello, and piano; p. 108

Boismortier, Joseph (1689-1755) France Allemande, for violin and piano, arr.; p. 72 119

Boulanger, Lili (1893-1918) France Cortège, for violin or flute and piano; p. 50 Nocturne, for violin or flute and piano; p. 50

Bridge, Frank (1879-1941) England Miniatures, for violin, cello, and piano; p. 98

Bruch, Max (1838-1920) Germany Eight Pieces, Op. 83, for clarinet, viola, and piano; p. 92

Bullard, Alan (b. 1947) England Party Time!, for cello and piano; p. 51

Camilleri, Charles (b. 1937) Malta Barcarolle, A song of the sea, for trumpet and piano; p. 51

Chédeville, Esprit-Philippe (1696-1762) France Gavotte, for violin and piano, arr.; p. 73

Clementi, Muzio (1752-1832) Italy Trio in D Major, Op. 22, No. 1, for violin, cello, and piano; p. 86 Trio Sonata, Op. 35, No. 2, for violin, cello, and piano; p. 87

Diabelli, Anton (1781-1858) Austria Sehr Leichte Stücke, Volumes 1-4, for guitar and piano, p. 38 No. 13 Andante No. 15 Largo (Marche funèbre) No. 21 andante cantabile No. 30 Hongroise

Djemil, Enyss a.k.a. Francis-Paul Demillac (b. 1917) France Cinq miniatures briochines, for violin and piano; p. 52

Duncombe, William (dates unknown) England Fanfare Minuet, for cello and piano, arr.; p. 73

Faisst, Clara Mathilde (1872-1948) Germany Adagio Consolante, for cello and piano; p. 43 Allegretto Grazioso, for cello and piano; p. 44 Mélodie nach einer alten Ballade, Op. 5, for cello and piano; p. 44

Freyer, Christopher J. (dates unknown) United States Musical Rainbow, for flute, clarinet, or alto saxophone, and piano, p. 53

120 Granados, Enrique (1867-1916) Spain Quintet in G Minor, for 2 violins, viola, cello, and piano; p. 108

Gretchaninoff, Alexander (1864-1956) Russia In aller Frühe, Op. 26, for violin or cello and piano; p. 54

Hand, Colin (b. 1929) England Progressive Pieces for Viola, for viola and piano; p. 56

Haughton, Alan (dates unknown) England Rhythm & Rag, for alto saxophone and piano; p. 73

Haydn, Franz Joseph (1732-1809) Austria German Dance, for violin and piano, arr.; p. 76 Trio in G Minor, HXV: 1, for violin, cello, and piano; p. 87 Trio in D Major, HXV: 7, for violin, cello, and piano; p. 88 Trio in A Major, HXV: 9, for violin, cello, and piano; p. 88 Trio in E-flat Major, HXV: 10, for violin, cello, and piano; p. 89 Trio in C Minor, HXV: 13, for violin, cello, and piano; p. 89 Trio in B-flat major, HXV: 20, for violin, cello, and piano; p. 89 Trio in D Major, HXV: 24, for violin, cello, and piano; p. 90 Trio in G Major, HXV: 25, for violin, cello, and piano; p. 90 Trio in C Major, HXV: 27, for violin, cello, and piano; p. 91 Trio in E-flat Major, HXV: 29, for violin, cello, and piano; p. 91

Hensel, Fanny (1805-1847) Germany Piano Trio in D Minor, Op. 11, for violin, cello, and piano; p. 93

Holst, Gustav (1874-1934) England Quintet in A Minor, Op. 3 (H. 11), for oboe, clarinet, horn, bassoon, and piano; p. 109

Járdányi, Pál (1920-1966) Hungary Sonatina, for cello and piano; p. 57

Johnson, Katherine D., arr. (dates unknown) United States Hail to Springtime, for violin and piano; p. 76 Lightly Row, for violin and piano; p. 76 Oh Come, Little Children, for violin and piano; p. 77 The Thieving Fox, for violin and piano; p. 77 The Sad Snake, for violin and piano; p. 77 Yodeler’s Tune, for violin and piano; p. 77

Josephs, Wilfred (b. 1927) United States

121 A Trio of Trios, Variations on Well-known French Tunes, Op. 87, for violin, cello, and piano; p. 99

Kabalevsky, Dmitri (1904-1987) Russia Twenty Pieces, Op. 80, for violin and piano; p. 58

Kirchner, Theodor (1823-1903) Germany Kindertrios, Op. 58, for violin, cello, and piano; p. 93

Klengel, Julius (1859-1933) Kindertrio in G, Op. 35, No. 2, for violin, cello, and piano; p. 96 Kindertrio in F, Op. 39, No. 1, for violin, cello, and piano; p. 96

Köhler, Pius (dates unknown) Trio in B-flat Major, Op. 49, No. 2, for violin, cello, and piano; p. 92

LeBrun, Franziska (1756-1791) Germany Sonate in F Major, Op. 1, No. 3, for violin and piano; p. 39

Londeix, Jean-Marie (b. 1932) France Tableaux Aquitains, for alto saxophone and piano; p. 61

Macmillan, James (b. 1959) Scotland Northern Skies, for cello and piano; p. 61

Masson, Thiery (dates unknown) France Mes premiers pas, for viola and piano; p. 77

Masson, Thiery and Patrick Guillem (dates unknown) France Mes premiers pas, for guitar and piano; p. 78

Mendelssohn, Felix (1809-1847) Germany Quartet in C Minor, Op. 1, for violin, viola, cello, and piano; p. 105 Quartet in F minor, Op. 2, for violin, viola, cello, and piano; p. 106

Mozart, Leopold (1719-1787) Austria Bourrée, for viola and piano, arr.; p. 79

Mozart, Wolfgang Amadeus (1756-1791) Austria The Bells, from The Magic Flute, for violin and piano, arr.; p. 80 Quartet in G Minor, K. 478, for violin, viola, cello, and piano; p. 106 Sonate in C Major, K. 6, for violin and piano; p. 39 Sonate in D Major, K. 7, for violin and piano; p. 39 Sonate in B-flat Major, K. 8, for violin and piano; p. 39 Sonate in G Major, K. 9, for violin and piano; p. 40

122 Trio VI, K. 254, for violin, cello, and piano; p. 92

Mysliweczek, Joseph (1737-1781) Bohemia Sonate in D Major, for violin and piano; p. 40

Nichols, Simon (dates unknown) England Canon, for cello and piano; p. 63 Echoes, for cello and piano; p. 63 Serenade, for cello and piano; p. 63

Norton, Christopher (b. 1953) New Zealand Diversions, for violin and piano; p. 63 The Microjazz Cello Collection 2, for cello and piano; p. 80 Sonatina, for flute and piano; p. 64

Park, Maria Hester, née Reynolds (1760-1813) England Sonate in C Major, Op. 1, No. 1, for violin and piano; p. 41

Rebikov, Vladimir (1866-1920) Russia Böhmischer Tanz, for viola and piano, arr.; p. 84

Rocherolle, Eugénie R. (b. 1936) United States A Christmas Tableau of Piano Trios, for violin, cello, and piano, arr.; p. 102 A Tableau of Piano Trios, for violin, cello, and piano; p. 100 Vignette, for flute and piano; p. 64

Schaffrath, Christoph (1709-1763) Germany Duetto in G Minor, for bassoon and piano; p. 41

Schubert, Franz (1797-1828) Austria Trio in E-flat major, Op. 100, for violin, cello, and piano; p. 97 Wiegenlied, for viola and piano, arr.; p. 84

Schumann, Robert (1810-1856) Germany Of Strange Countries and People, for oboe and piano, arr.; p. 84

Shifrin, Seymour (1926-1979) United States Duettino, for violin and piano; p. 65

Starer, Robert (1924-2001) Austria/ United States Colloquies, for flute and piano; p. 65 Elegy, for violin and piano; p. 66

Stevens, Halsey (1908-1989) United States Hungarian Children’s Songs, for cello and piano; p. 66

123 Music for Christopher, for cello and piano; p. 67

Szymanowska, Maria (1789-1831) Poland Sérénade, for cello and piano; p. 44

Tailleferre, Germaine (1892-1983) France Sérénade, for two oboes, B-flat clarinet, bassoon, and piano or harpsichord; p. 109

Tansman, Alexandre (1897-1986) Poland Children’s Trio, for violin, cello, and piano; p. 101 Nous jououns pour maman, for violin, cello, and piano; p. 102

Tchaikovsky, Piotr Illych (1840-1893) Russia Old French Song, Op. 39, No. 16, for viola and piano, arr.; p. 84 Old French Song, Op. 39, No. 16, for cello and piano, arr.; p. 85

Thomas, Sylvain (dates unknown) France La boîte à joue-joue, for violin and piano; p. 68

Tomasi, Henri (1901-1971) France Nocturne, for clarinet and piano; p. 70

Viardot, Pauline (1821-1910) France Sonatine, for violin and piano; p. 44

Verdier, Jean-François (dates unknown) France Cartes Postales, for clarinet and piano; p. 70

Wanhall, Johan Baptist (1739-1813) Bohemia Sonata in D Minor, Op. 43, No. 3, for violin and piano; p. 42

Weber, Carl Maria von (1786-1826) Germany Quartet in B-flat Major, Op. 8, for violin, viola, cello, and piano; p. 107

Weinberger, Jaromír (1896-1967) Czechoslovakia/United States Sonatine, for flute and piano; p. 71

124 Index by Level

• Preparatory Level

Johnson, Katherine D., arr. Lightly Row, for violin and piano; p. 76 The Thieving Fox, for violin and piano; p. 77

Masson, Thiery Mes premiers pas, for viola and piano; p. 77 1. Sur un fil

Nichols, Simon Echoes, for cello and piano; p. 63

Rebikov, Vladimir Böhmischer Tanz, for viola and piano, arr.; p. 84

Thomas, Sylvain La boîte à joue-joue, for violin and piano ; p. 68 3. le joyeux resort

125 • Level One

Beethoven, Ludwig van Ode to Joy, for violin and piano, arr.; p. 72

Blacher, Boris Spiel mit (mir)… oder Die 7 Plagen, für die lieben Kinder, armen Eltern und beklagenswerten Musiklehrer, for violin and piano; p. 49 3. Pausen zählen!

Freyer, Christopher J. Musical Rainbow, for flute, clarinet or alto saxophone, and piano; p. 52 1. Red Balloons; 2. Blue River; 4. Yellow Moon

Hand, Colin Progressive Pieces for Viola; p. 56 1. Hurdy Gurdy

Johnson, Katherine D., arr. Hail to Springtime, for violin and piano; p. 76 Oh Come, Little Children, for violin and piano; p. 77 The Sad Snake, for violin and piano; p. 77 Yodeler’s Tune, for violin and piano; p. 77

Masson, Thiery Mes premiers pas, for viola and piano ; p. 77 3. Le petit ours ; 7. Bebe elephant; 12. L’escargot

Masson, Thiery, and Patrick Guillem Mes premiers pas, for guitar and piano; p. 78 1. Ostinato; 2. Rumbacada; 3. Halloween Rock; 7. Masques

Nichols, Simon Canon, for cello and piano; p. 63

Rocherolle, Eugénie R. A Tableau of Piano Trios, for violin, cello, and piano; p. 100 3. Indian Lore

Thomas, Sylvain La boîte à joue-joue, for violin and piano; p. 68 7. le kangourou boxeur

126 • Level Two Archer, Violet Twelve Miniatures, for violin and piano; p. 46 1. Jig; 2. A Quiet Song; 3. On Tip-toe; 4. Serious Mood; 5 Marching Along; 6. With Determination; 8. Joyous; 9. Lullaby

Bach, Johann Sebastian Gavotte ou la Musette, for violin and piano, arr.; p. 72

Blacher, Boris Spiel mit (mir)… oder Die 7 Plagen, für die lieben Kinder, armen Eltern und beklagenswerten Musiklehrer, for violin and piano; p. 49 1. Leere Saiten; 5. Sorgfältig zählen!; 6. Sich nicht herausbringen lassen; 7. Die verflixte Sieben 2/4+3/8=?

Djemil, Enyss a.k.a. Francis-Paul Demillac Cinq miniatures briochines, for violin and piano; p. 51 1. Le Carillon du Gouëdic

Duncombe, William Fanfare Minuet, for cello and piano, arr.; p. 73

Freyer, Christopher J. Musical Rainbow, for flute, clarinet, or alto saxophone and piano; p. 52 3. Green Grasshopper

Hand, Colin Progressive Pieces for Viola; p. 56 2. Lazy River; 4. Waltz

Kabalevsky, Dmitri Twenty Pieces, Op. 80, for violin and piano; p. 58 4. Waltz; 5. March; 6. A Song

Londeix, Jean-Marie Tableaux Aquitains, for alto saxophone and piano ; p. 61 2. La gardeuse de porcs

Masson, Thiery Mes premiers pas, for viola and piano; p. 77 5. Le tourniquet; 8. Le moine

Masson, Thiery, and Patrick Guillem Mes premiers pas, for guitar and piano; p. 78 4. Valse; 5. Espace lointain; 6. Twin’s Boogie 127

Mozart, Wolfgang Amadeus The Bells, from The Magic Flute, for violin and piano, arr.; p. 80

Nichols, Simon Serenade, for cello and piano; p. 63

Rocherolle, Eugénie R. A Tableau of Piano Trios, for violin, cello, and piano; p. 100 1. Antique Lace; 4. Parade; 6. Swing Your Partner

Tansman, Alexandre Nous jouons pour maman, for violin, cello, and piano; p. 102 2. Gavotte; 3. Orientale

Tchaikovsky, Piotr Illych Old French Song, Op. 39, No. 16, for viola and piano, arr.; p. 84 Old French Song, Op. 39, No. 16, for cello and piano, arr.; p. 85

Thomas, Sylvain La boîte à joue-joue, for violin and piano; p. 68 1. Grignotin l’écureuil ; 2. le conte ; 4. le petit train ; 5. promenade; 6. feuille d’automne ; 11. le petit pos souteur

Verdier, Jean-François Cartes Postales, for clarinet and piano; p. 70 2. Les chameaux

128 • Level Three

Archer, Violet Twelve Miniatures, for violin and piano; p. 46 7. In Church; 10. Waltzing; 11. Sunny Skies; 12. A Whim

Blacher, Boris Spiel mit (mir)… oder Die 7 Plagen, für die lieben Kinder, armen Eltern und beklagenswerten Musiklehrer, for violin and piano; p. 49 2. Dur und Moll; 4. Achtung! 4 Finger auf der D-Saite!

Bullard, Alan Party Time! for cello and piano; p. 51 1. Clog Dance; 5. Country Walk

Chédeville, Esprit-Philippe Gavotte, for violin and piano, arr.; p. 73

Gretchaninoff, Alexander In aller Frühe, Op. 26, for violin or cello and piano; p. 54 1. Morgenspaziergang

Kabalevsky, Dmitri Twenty Pieces, Op. 80, for violin and piano; p. 58 1. A Stroll; 2. In the Forest; 3. Games

Mozart, Leopold Bourrée, for viola and piano, arr.; p. 79

Rocherolle, Eugénie R. A Christmas Tableau of Piano Trios, for violin, cello, and piano, arr.; p. 102 3. A Holly Jolly Christmas A Tableau of Piano Trios, for violin, cello, and piano; p. 100 2. Daydreaming; 5. The Setting Sun

Schumann, Robert Of Strange Countries and People, for oboe and piano, arr.; p. 84

Stevens, Halsey Hungarian Children’s Songs, for cello and piano; p. 66 4. “Kiskomárom, Nagykomárom”

Tansman, Alexandre Nous jouons pour maman, for violin, cello, and piano; p. 102 1. Air Champêtre 129

Thomas, Sylvain La boîte à joue-joue, for violin and piano; p. 68 8. polo le lapin ; 9. balalaika ; 10. la rose

Verdier, Jean-François Cartes Postales, for clarinet and piano ; p. 70 4. Fleur bleue

130 • Level Four

Archer, Violet Little Suite, for trumpet and piano; p. 45 I. Song; II. Quiet Time; III. Fanfare; IV. Jig

Boismortier, Joseph Allemande, for violin and piano, arr.; p. 72

Bullard, Alan Party Time! for cello and piano; p. 51 7. Lullaby 8. Graceful Waltz

Djemil, Enyss a.k.a. Francis-Paul Demillac Cinq miniatures briochines, for violin and piano; p. 51 2. Le Bateau de Rémi; 4. L’Histoire de Marie-Jeanne

Freyer, Christopher J. Musical Rainbow, for flute, clarinet or alto saxophone, and piano; p. 52 5. Orange Sunset; 6. Purple Shadows; 7. White Clouds

Hand, Colin Progressive Pieces for Viola; p. 56 6. Soaring

Haughton, Alan Rhythm & Rag, for alto saxophone and piano; p. 73 6. Blues 9

Haydn, Franz Joseph German Dance, for violin and piano, arr.; p. 76

Kabalevsky, Dmitri Twenty Pieces, Op. 80, for violin and piano; p. 58 9. Light and Shadows; 14. Melody; 16. Summer Song

Kirchner, Theodor Kindertrios, Op. 58, for violin, cello, and piano; p. 93 4. Poco vivace; 11. Andantino; 12. Allegretto vivace; 15. Etwas langsam

Mozart, Wolfgang Amadeus Sonate in C Major, K. 6, for violin and piano; p. 39 III. Menuets I and II 131

Mysliweczek, Joseph Sonate in D Major, for violin and piano; p. 40 III. Menuetto

Rocherolle, Eugénie R. A Christmas Tableau of Piano Trios, for violin, cello, and piano, arr.; p. 102 1. Bring a Torch, Jeanette, Isabella; 2. The First Noel; 4. It Came Upon a Midnight Clear; 5. Jingle Bells; 6. O Holy Night; 7. Rudolph, the Red- Nosed Reindeer; 8. Silent Night; 9. What Child Is This?

Schubert, Franz Wiegenlied, for viola and piano, arr.; p. 84

Stevens, Halsey Hungarian Children’s Songs, for cello and piano; p. 66 5. “Kender buga, mag van benne”

Tansman, Alexandre Children’s Trio, for violin, cello, and piano; p. 101 I. Gavotte; II. Arioso; III. Danza Senza Fine

Verdier, Jean-François Cartes Postales, for clarinet and piano; p. 70 10. Tango!

Weinberger, Jaromír Sonatine, for flute and piano; p. 71 II. Menuet: Allegretto

132 • Level Five

Barthélemon, Maria Sonate No. 1 in G Major, for violin and piano; p. 36 I. Allegro; II. Minuetto

Djemil, Enyss a.k.a. Francis-Paul Demillac Cinq miniatures briochines, for violin and piano; p. 51 5. Le Coucou de Plaintel

Freyer, Christopher J. Musical Rainbow, for flute, clarinet or alto saxophone, and piano; p. 52 8. Black Fortress

Gretchaninoff, Alexander In aller Frühe, Op. 26, for violin or cello and piano; p. 54 3. Spaβvogel; 4. In der Dämmerung; 8. In der Feltung

Hand, Colin Progressive Pieces for Viola; p. 56 3. Hill Walking Tune

Haughton, Alan Rhythm & Rag, for alto saxophone and piano; p. 73 2. Flying High; 3. Slow Motion; 4. Three’s Company; 5. Nocturne; 7. Fives; 8. Valse-Barcarolle; 9. Cakewalk; 10. Recitative

Járdányi, Pál Sonatina, for cello and piano; p. 57 I. Larghetto

Kabalevsky, Dmitri Twenty Pieces, Op. 80, for violin and piano; p. 58 7. Tale of a Hero; 8. Skipping and Hopping; 10. Dance Song; 12. At the Monument; 19. Dreamers

Kirchner, Theodor Kindertrios, Op. 58, for violin, cello, and piano; p. 93 1. Andantino; 2. Lebhaft; 3. Andantino; 5. Einfach, ruhig; 6. Scherzando; 7. Etwas betrübt; 9. Moderato

Norton, Christopher The Microjazz Cello Collection 2, for cello and piano; p. 80 1. Knife Edge; 2. Inter-city Stomp; 3. Changes; 4. Seascape;

133 5. The Huntsman; 9. Dawn in the City; 10. Song Without a Title; 11. String Boogie; 15. At Rest

Stevens, Halsey Hungarian Children’s Songs, for cello and piano; p. 66 1. “Hej, vára, vára, Eger vára”; 2. “Hatan vannak a mi ludaink…”; 6. “Haja, haja, mënnyei lëcske” Music for Christopher, for cello and piano; p. 67 1. Andante

Verdier, Jean-François Cartes Postales, for clarinet and piano ; p. 70 22. Valse gliiiiiissante

Weinberger, Jaromír Sonatine, for flute and piano; p. 71 I. Con moto; III. Rondo: Allegro

134 • Level Six

Barthélemon, Maria Sonate No. 5 in E Major, for violin and piano; p. 37 I. Andantino

Boccherini, Luigi Quintet in E Minor, Op. 56, No. 1, for two violins, viola, cello, and piano; p. 108 III. Minuetto: Con moto Quintet in D Major, Op. 56, No. 5, for two violins, viola, cello, and piano; p. 108 II. Minuetto: Allegro

Bridge, Frank Miniatures, for violin, cello, and piano; p. 98 1. Minuet: Tempo di Menuetto; 2. Gavotte: Moderato

Clementi, Muzio Trio in D Major, Op. 22, No. 1, for violin, cello, and piano; p. 86 Allegretto

Diabelli, Anton Sehr leichte Stücke, Volumes 1-4, for guitar and piano; p. 38 No. 13 Andante; No. 21 Andante cantabile

Djemil, Enyss a.k.a. Francis-Paul Demillac Cinq miniatures briochines, for violin and piano; p. 51 3. Le Moulin de Pordic

Gretchaninoff, Alexander In aller Frühe, Op. 26, for violin or cello and piano; p. 54 2. Heimweh; 6. Am Winterabend; 10. Walzer

Hand, Colin Progressive Pieces for Viola; p. 56 5. Song of the Norsemen

Haughton, Alan Rhythm & Rag, for alto saxophone and piano; p. 73 1. Prelude; 11. Iberia; 12. Monkey Nuts; 13. Cabana; 14. Green Tomatoes; 15. On Time; 16. Rag-a-muffin

Haydn, Franz Joseph Trio in G Minor, HXV: 1, for violin, cello, and piano; p. 87 135 II. Minuetto

Járdányi, Pál Sonatina, for cello and piano; p. 57 II. Allegro assai

Josephs, Wilfred A Trio of Trios, Variations on Well-known French Tunes, Op. 87, for violin, cello, and piano; p. 99 I. “Ah vous dirai-je maman;” II. “Frère Jacques;” III. “Au clair de la lune”

Kabalevsky, Dmitri Twenty Pieces, Op. 80, for violin and piano; p. 58 11. Etude; 20. En Route

Kirchner, Theodor Kindertrios, Op. 58, for violin, cello, and piano ; p. 93 8. Moderato; 10. Allegro ma non troppo

Klengel, Julius Kindertrio in G, Op. 35, No. 2, for violin, cello, and piano; p. 96 I. Allegro

Mozart, Wolfgang Amadeus

Sonate in D Major, K. 7, for violin and piano; p. 39 III. Menuets I and II Sonate in B-flat Major, K. 8, for violin and piano; p. 39-40 III. Menuets I and II Sonate in G Major, K. 9, for violin and piano; p. 40 III. Menuets I and II

Mysliweczek, Joseph Sonate in D Major, for violin and piano; p. 40 II. Andante

Norton, Christopher The Microjazz Cello Collection 2, for cello and piano; p. 80 6. With a Swagger; 7. Blues for Gerry; 8. An Elusive Thought; 12. Rough Justice; 13. Outdoors; 14. Still Day; 17. Simple But True; 18. Warm Day; 19. Into the Unknown

Schaffrath, Christoph Duetto in G Minor, for bassoon and piano; p. 41 I. Andante

136

Stevens, Halsey Music for Christopher, for cello and piano; p. 67 2. Con moto moderato; 3. Andante con moto; 4. Allegretto

137 • Level Seven

Barthélemon, Maria Sonate No. 5 in E Major, for violin and piano; p. 37 II. Allegro non troppo

Boccherini , Luigi Quintet in F Major, Op. 56, No. 2, for two violins, viola, cello, and piano; p. 108 III. Minuetto: Amoroso

Bridge, Frank Miniatures, for violin, cello, and piano; p. 98 3. Allegretto con moto; 5. Intermezzo: Allegretto

Diabelli, Anton Sehr leichte Stücke, Volumes 1-4, for guitar and piano; p. 38 No. 15 Largo (Marche funèbre); No. 30 Hongroise

Gretchaninoff, Alexander In aller Frühe, Op. 26, for violin or cello and piano; p. 54 5. Kleiner Reitersmann; 7. Burleske; 9. Räuber und Gensdarm

Kabalevsky, Dmitri Twenty Pieces, Op. 80, for violin and piano; p. 58 13. Polka; 15. On Holiday; 17. The Procession

Kirchner, Theodor Kindertrios, Op. 58, for violin, cello, and piano; p. 93 13. Moderato; 14. Maβiges Tempo

Klengel, Julius Kindertrio in F, Op. 39, No. 1, for violin, cello, and piano; p. 96 Finale

Norton, Christopher The Microjazz Cello Collection 2, for cello and piano; p. 80 16. Scoring Highly

Rocherolle, Eugénie R. Vignette, for flute and piano; p. 64

Schaffrath, Christoph Duetto in G Minor, for bassoon and piano; p. 41-42 II. Allegro assai 138

Tailleferre, Germaine Sérénade, for two oboes, B-flat clarinet, bassoon, and piano or harpsichord; p. 109 I. Prologue; II. Rondeau; III. Epilogue

Weber, Carl Maria von Quartet in B-flat Major, Op. 8, for violin, viola, cello, and piano; p. 107 III. Menuetto: Allegro

139 • Level Eight

Bacewicz, Grazyna Easy Pieces, for clarinet and piano; p. 48 II. Andante

Beach, Amy Marcy Cheney La Captive, Op. 40, No.1, for violin and piano; p. 43 Berceuse, Op. 40, No. 2, for violin and piano; p. 43 Mazurka, Op. 40, No. 3, for violin and piano; p. 43

Beethoven, Ludwig van Quartet in C Major, WoO 36/3, for violin, viola, cello, and piano; p. 105 II. Adagio con espressione

Bloch, Ernest Three Nocturnes, for violin, cello, and piano; p. 97 I. Andante

Bridge, Frank Miniatures, for violin, cello and piano; p. 98 4. Romance: Andante; 6. Saltarello: Allegro vivo

Camilleri, Charles Barcarolle, A Song of the Sea, for trumpet and piano; p. 51

Clementi, Muzio Trio Sonata, Op. 35, No. 2, for violin, cello, and piano; p. 87 I. Allegro; III. Rondo: Allegro

Haydn, Franz Joseph Trio in D Major, HXV: 7, for violin, cello, and piano; p. 88 I. Andante Trio in G Major, HXV: 25, for violin, cello, and piano; p. 90 II. Poco Adagio Trio in E-flat Major, HXV: 29, for violin, cello, and piano; p. 91 II. Andantino ed innocentemente

Köhler, Pius Trio in B-flat Major, Op. 49, No. 2, for violin, cello, and piano; p. 92 Scherzo

Macmillan, James Northern Skies, for cello and piano; p. 61 1. March; 2. Shifting Sands; 3. Celtic Hymn; 4. Barn Dance; 140 5. Nocturne; 6. Sabre Dance; 7. Northern Skies

Mendelssohn, Felix Quartet in F Minor, Op. 2, for violin, viola, cello, and piano; p. 106 III. Intermezzo: Allegro moderato

Norton, Christopher Sonatina, for flute and piano; p. 64 I. Allegretto; II. Andante espressivo

Schaffrath, Christoph Duetto in G Minor, for bassoon and piano; p. 41 III. Allegro

Starer, Robert Colloquies, for flute and piano; p. 65 IV. Slowly, with freedom

Viardot, Pauline Sonatine, for violin and piano; p. 44 I. Adagio; II. Allegro; III. Allegro

141 • Level Nine

Bacewicz, Grazyna Easy Pieces, for clarinet and piano; p. 48 I. Vivo; III. Allegro non troppo; IV. Andante

Beethoven, Ludwig van Quartet in C Major, WoO 36/3, for violin, viola, cello, and piano; p. 105 I. Allegro vivace Sonate in F Major, Op. 24, for violin and piano; p. 37 III. Scherzo: Allegro molto Trio in B-flat Major, WoO 39, for violin, cello, and piano; p. 86 Allegretto

Bloch, Ernest Three Nocturnes, for violin, cello, and piano; p. 97 II. Andante quieto

Boulanger, Lili Nocturne, for violin or flute and piano; p. 50

Granados, Enrique Quintet in G Minor, for 2 violins, viola, cello, and piano; p. 108 II. Allegretto quasi andantino

Haydn, Franz Joseph Trio in G Minor, HXV: 1, for violin, cello, and piano; p. 87 III. Presto Trio in D Major, HXV: 7, for violin, cello, and piano; p. 88 II. Andante; III. Allegro assai Trio in A Major, HXV: 9, for violin, cello, and piano; p. 88 II. Vivace Trio in C Minor, HXV: 13, for violin, cello, and piano; p. 89 I. Andante; II. Allegro spiritoso Trio in B-flat major, HXV: 20, for violin, cello, and piano; p. 89 III. Finale Trio in D Major, HXV: 24, for violin, cello, and piano; p. 90 I. Allegro Trio in G Major, HXV: 25, for violin, cello, and piano; p. 90 I. Andante Trio in E-flat Major, HXV: 29, for violin, cello, and piano; p. 91 I. Poco Allegretto; III. Finale: Presto assai (Allemande)

Klengel, Julius Kindertrio in G, Op. 35, No. 2, for violin, cello, and piano; p. 96 142 II. Andante con moto

LeBrun, Franziska Sonate in F Major, Op. 1, No. 3, for violin and piano; p. 39 II. Rondeau: Allegretto

Mendelssohn, Felix Quartet in C Minor, Op. 1, for violin, viola, cello, and piano; p. 105 III. Scherzo: Presto

Mozart, Wolfgang Amadeus Trio VI, K. 254, for violin, cello, and piano; p. 92 I. Allegro assai

Mysliweczek, Joseph Sonate in D Major, for violin and piano; p. 40 I. Allegro

Schubert, Franz Trio in E-flat major, Op. 100, for violin, cello, and piano; p. 97 Scherzo: Allegro moderato

Shifrin, Seymour Duettino, for violin and piano; p. 65

143 • Level Ten

Bacewicz, Grazyna Easy Pieces, for clarinet and piano; p. 48 V. Vivo

Beethoven, Ludwig van Quartet in C Major, WoO 36/3, for violin, viola, cello, and piano; p. 105 III. Rondo: Allegro Sonate in G Major, Op. 30, No. 3, for violin and piano; p. 38 II. Tempo di Minuetto: ma molto moderato e grazioso

Bloch, Ernest Three Nocturnes, for violin, cello, and piano; p. 97 III. Tempestoso

Boulanger, Lili Cortège, for violin or flute and piano; p. 50

Bruch, Max Eight Pieces, Op. 83, for clarinet, viola, and piano; p. 92 1. Andante; 2. Allegro con moto

Faisst, Clara Mathilde Adagio Consolante, for cello and piano; p. 43 Allegretto Grazioso, for cello and piano; p. 44 Mélodie nach einer alten Ballade, Op. 5, for cello and piano; p. 44

Granados, Enrique Quintet in G Minor, for 2 violins, viola, cello, and piano; p. 108 I. Allegro; III. Largo-Molto presto

Haydn, Franz Joseph Trio in E-flat Major, HXV: 10, for violin, cello, and piano; p. 89 II. Presto assai Trio in C Major, HXV: 27, for violin, cello, and piano; p. 91 III. Finale

Hensel, Fanny Piano Trio in D Minor, Op. 11, for violin, cello, and piano; p. 93 III. Lied

Holst, Gustav Quintet in A Minor, Op. 3 (H. 11), for oboe, clarinet, horn, bassoon, and piano; p. 109 144 II. Scherzo: Allegro vivace

LeBrun, Franziska Sonate in F Major, Op. 1, No. 3, for violin and piano; p. 39 I. Allegro

Mendelssohn, Felix Quartet in C Minor, Op. 1, for violin, viola, cello, and piano; p. 105 I. Allegro; II. Adagio

Mozart, Wolfgang Amadeus Quartet in G Minor, K. 478, for violin, viola, cello, and piano; p. 106 I. Allegro; II. Andante; III. Rondeau

Norton, Christopher Diversions, for violin and piano; p. 63 1. Melody; 2. Serenade; 3. Finale Sonatina, for flute and piano; p. 64 III. Fast

Park, Maria Hester, née Reynolds Sonate in C Major, Op. 1, No. 1, for violin and piano; p. 41 I. Allegro; II. Rondo Pastorale: Allegretto

Starer, Robert Colloquies, for flute and piano; p. 65 I. Fast, a little gawkily; II. Moderate, with shifts in mood; III. Stealthily, with elegance; V. Vigorously, a little raucously Elegy, for violin and piano; p. 66

Stevens, Halsey Hungarian Children’s Songs, for cello and piano; p. 66 3. “A váradi kapitány

Szymanowska, Maria Sérénade, for cello and piano; p. 44

Tomasi, Henri Nocturne, for clarinet and piano; p. 70

Wanhall, Johan Baptist Sonata in D Minor, Op. 43, No. 3, for violin and piano; p. 42 I. Allegro; II. Andante sostenuto; III. Finale: Allegro

145 Index by Instrumentation

• Bassoon and Piano

Schaffrath, Christoph Duetto in G Minor;p. 41

• Cello and Piano

Bullard, Alan Party Time! ; p. 51

Duncombe, William Fanfare Minuet, arr.; p. 73

Faisst, Clara Mathilde Adagio Consolante; p. 43 Allegretto Grazioso; p. 44 Mélodie nach einer alten Ballade, Op. 5; p. 44

Gretchaninoff, Alexander In aller Frühe, Op. 26; p. 54

Járdányi, Pál (1920-1966) Hungary Sonatina; p. 57

Macmillan, James Northern Skies; p. 61

Nichols, Simon Echoes; p. 63 Serenade; p. 63 Canon; p. 63

Norton, Christopher The Microjazz Cello Collection 2; p. 80

Stevens, Halsey Hungarian Children’s Songs; p. 66 Music for Christopher; p. 67

Szymanowska, Maria Sérénade; p. 44 146 Tchaikovsky, Piotr Illych Old French Song, Op. 39, No. 16, arr.; p. 85

• Clarinet and Piano

Bacewicz, Grazyna Easy Pieces; p. 48

Freyer, Christopher J. Musical Rainbow ; p. 52

Verdier, Jean-François Cartes Postales; p. 70

Tomasi, Henri Nocturne; p. 70

• Flute and Piano

Boulanger, Lili Cortège; p. 50 Nocturne; p. 50

Freyer, Christopher J. Musical Rainbow; p. 52

Norton, Christopher Sonatina; p. 64

Rocherolle, Eugénie R. Vignette; p. 64

Starer, Robert Colloquies; p. 65

Weinberger, Jaromír Sonatine; p. 71

• Guitar and Piano

Diabelli, Anton 147 Sehr leichte Stucke, Volumes 1-4; p. 38

Masson, Thiery and Patrick Guillem Mes premiers pas; p. 78

• Oboe and Piano

Schumann, Robert Of Strange Countries and People, arr.; p. 84

• Saxophone and Piano

Freyer, Christopher J. Musical Rainbow (alto saxophone); p. 52

Haughton, Alan Rhythm & Rag (alto saxophone); p. 73

Londeix, Jean-Marie Tableaux Aquitains (alto saxophone); p. 61

• Trumpet and Piano

Archer, Violet Little Suite; p. 45

Camilleri, Charles Barcarolle, A Song of the Sea; p. 51

• Viola and Piano

Hand, Colin Progressive Pieces for Viola; p. 56

Masson, Thiery Mes premiers pas; p. 77

Mozart, Leopold 148 Bourrée, arr.; p. 79

Rebikov, Vladimir Böhmischer Tanz, arr.; p. 84

Schubert, Franz Wiegenlied, arr.; p. 84

Tchaikovsky, Piotr Illych Old French Song, Op. 39, No. 16, arr.; p. 84

• Violin and Piano

Archer, Violet Twelve Miniatures; p. 46

Bach, Johann Sebastian Gavotte ou la Musette, arr.; p. 72

Barthélemon, Maria Sonate No. 1 in G Major; p. 36 Sonate No. 5 in E Major; p. 37

Beach, Amy Marcy Cheney La Captive, Op. 40, No.1; p. 43 Berceuse, Op. 40, No. 2; p. 43 Mazurka, Op. 40, No. 3; p. 43

Beethoven, Ludwig van Ode to Joy, arr.; p. 72 Sonate in F Major, Op. 24; p. 37 Sonate in G Major, Op. 30, No. 3; p. 38

Blacher, Boris Spiel mit (mir)… oder Die 7 Plagen, für die lieben Kinder, armen Eltern und beklagenswerten Musiklehrer; p. 49

Boismortier, Joseph Allemande, arr.; p. 72

Boulanger, Lili Cortège; p. 50 149 Nocturne; p. 50

Chédeville, Esprit-Philippe Gavotte, arr.; p. 73

Djemil, Enyss a.k.a. Francis-Paul Demillac Cinq miniatures briochines; p. 51

Gretchaninoff, Alexander In aller Frühe, Op. 26, p. 54

Haydn, Franz Joseph German Dance, arr.; p. 76

Johnson, Katherine D., arr. Hail to Springtime; p. 76 Lightly Row; p. 76 Oh Come, Little Children; p. 77 The Thieving Fox; p. 77 The Sad Snake; p. 77 Yodeler’s Tune; p. 77

Kabalevsky, Dmitri Twenty Pieces, Op. 80; p. 58

LeBrun, Franziska Sonate in F Major, Op. 1, No. 3; p. 39

Mozart, Wolfgang Amadeus The Bells, from The Magic Flute, arr.; p. 80 Sonate in C Major, K. 6; p. 39 Sonate in D Major, K. 7; p. 39 Sonate in B-flat Major, K. 8; p. 39 Sonate in G Major, K. 9; p. 40

Mysliweczek, Joseph Sonate in D Major; p. 40

Norton, Christopher Diversions; p. 63

Park, Maria Hester, née Reynolds Sonate in C Major, Op. 1, No. 1; p. 41

Shifrin, Seymour

150 Duettino; p. 65

Starer, Robert Elegy; p. 66

Thomas, Sylvain La boîte à joue-joue ; p. 68

Viardot, Pauline Sonatine; p. 44

Wanhall, Johan Baptist Sonata in D Minor, Op. 43, No. 3; p. 42

• Violin, Cello, and Piano

Beethoven, Ludwig van Trio in B-flat Major, WoO 39; p. 86

Bloch, Ernest Three Nocturnes; p. 97

Bridge, Frank Miniatures; p. 98

Clementi, Muzio Trio in D Major, Op. 22, No. 1; p. 86 Trio Sonata, Op. 35, No. 2; p. 87

Haydn, Franz Joseph Trio in G Minor, HXV: 1; p. 87 Trio in D Major, HXV: 7; p. 88 Trio in A Major, HXV: 9; p. 88 Trio in E-flat Major, HXV: 10; p. 89 Trio in C Minor, HXV: 13; p. 89 Trio in B-flat major, HXV: 20; p. 89 Trio in D Major, HXV: 24; p. 90 Trio in G Major, HXV: 25; p. 90 Trio in C Major, HXV: 27; p. 91 Trio in E-flat Major, HXV: 29; p. 91

Hensel, Fanny Piano Trio in D Minor, Op. 11; p. 93 151

Josephs, Wilfred A Trio of Trios, Variations on Well-known French Tunes, Op. 87; p. 99

Kirchner, Theodor Kindertrios, Op. 58; p. 93

Klengel, Julius Kindertrio in G, Op. 35, No. 2; p. 96 Kindertrio in F, Op. 39, No. 1; p. 96

Köhler, Pius Trio in B-flat Major, Op. 49, No. 2; p. 92

Mozart, Wolfgang Amadeus Trio VI, K. 254; p. 92

Rocherolle, Eugénie R. A Christmas Tableau of Piano Trios, arr.; p. 102 A Tableau of Piano Trios; p. 100

Tansman, Alexandre Children’s Trio; p. 101 Nous jouons pour maman; p. 101

Schubert, Franz Trio in E-flat major, Op. 100; p. 96

• Violin, Viola, Cello, and Piano

Beethoven, Ludwig van Quartet in C Major, WoO 36/3; p. 104

Mendelssohn, Felix Quartet in C Minor, Op. 1; p. 104 Quartet in F minor, Op. 2; p. 105

Mozart, Wolfgang Amadeus Quartet in G Minor, K. 478; p. 105

Weber, Carl Maria von Quartet in B-flat Major, Op. 8; p. 106

152 • Two Violins, Viola, Cello, and Piano

Boccherini, Luigi Quintet in E Minor, Op. 56, No. 1; p. 107 Quintet in F Major, Op. 56, No. 2; p. 107 Quintet in D Major, Op. 56, No. 5; p. 107

Granados, Enrique Quintet in G Minor; p. 107

• Other Combinations

Bruch, Max Eight Pieces, Op. 83, for viola, clarinet, and piano; p. 92

Tailleferre, Germaine Sérénade, for two oboes, B-flat clarinet, bassoon, and piano or harpsichord; p. 109

Holst, Gustav Quintet in A Minor, Op. 3 (H. 11), for oboe, clarinet, horn, bassoon, and piano; p. 108

153