The Piano in Chamber Ensemble, Third Edition

An Annotated Guide

Maurice Hinson,Wesley Roberts

• Publisher: Indiana University Press
• Year: 2021
• ISBN:
  9780253056757
• Edition: 3
• Topic: Medios de comunicación y artes escénicas
• Subtopic: Teoría y apreciación musicales

In this expanded and updated edition, The Piano in Chamber Ensemble: An Annotated Guide features over 3200 compositions, from duos to octets, by more than 1600 composers.

Maurice Hinson and Wesley Roberts catalog published works for piano with two or more instruments with information on performance level, length, individual movements, overall style, and publisher. Divided into sections according to the number and types of instruments involved, The Piano in Chamber Ensemble then subdivides entries according to the actual scoring.

Keyboard, string, woodwind, brass, and percussion players and teachers will find a wealth of chamber works from all periods in this invaluable guide.

Part I

Music for Two Instruments

Duos for Piano and Violin

Evaristo Felice Dall’Abaco. Six Sonatas Op.1 (Kolneder—Schott 1956). Gamba or cello ad lib. Op.1/2, 4, 5, 6, 7, 11.

———. Six Sonatas Op.4 (Br&H). Cello ad lib.

———. Sonatas Op.1 and Op.4 are contained in DTB, Vol.I.

———. Two Sonatas (USSR).

———. Sonata a (Salmon—Ricordi R748).

———. Sonata F (Salmon—Ricordi R354).

See VKDR, I: pp. 84–86.

Carl Friedrich Abel. Sonatas (Bacher, Woehl—Bärenreiter). Vol.I: Sonatas e, D, G. Vol.II: Sonatas C, A, A. For viola da gamba (violin or flute) and basso continuo.

———. Sonata G (Broe—CFP B.330).

———. Two Sonatinas (Raphael—Hinshaw) Op.5/4 C and 5/5 A. Cello ad lib.

———. Sonata Op.13/A (F. Piersig—Br&H 4165 1928) 11pp. Editorial additions identified. Un poco moderato; Andante; Un poco vivace. Keyboard has a prominent part. Active melodic line in piano. M-D.

———. Sonata G (F. Brüggen—Br&VP 1960). For violin or flute.

———. Sonata B♭ (F. Piersig—Br&H 4104 1928) 9pp. Editorial additions identified. Allegro moderato: large movement; piano part more important than violin; broken-chord figuration, trills, triplets, p closing. Tempo di menuetto: tastefully edited. M-D.

Walter Abendroth. Sonata Op.26 (Simrock 1961) 20pp. Moderato opening with piano providing punctuated rhythmic chords. Leads to Andante section, more free and rhapsodic. Attacca moves to Energico (Allegretto) with more rhythmic propulsion, triplets, and syncopated usage. Centers around g or G with chromatically altered harmony. M-D.

Jean Absil. Sonata Op.146 1970 (CeBeDeM) 28pp. 18 min. Allegro moderato; Andantino; Vivo leggiero; Lento mysterioso; Allegretto. Displays a novel language with subtle rhythms of Romanian folklore and varied artistry throughout. D.

Joseph Achron. Suite II Op.22 1906 (UE 7692 1925) 28pp. En Passant; Menuet and Trio; Moulin; Intermezzo; Marionettes. Piano part very important. Colorful, post-Romantic writing. M-D.

———. Sonata Op.29 d 1910 (Belaieff 1914) 51pp. Bewegt und ausgeregt; Hirtenliebe (Traümend); Interludium; Keck und sehr freudig. Highly chromatic, thick textures, first-rate pianism required. D.

———. Deuxième Sonate Op.45 A 1918 (UE 7561 1924) 72pp. Giocondo; Misterioso e fantastico; Burla; Focoso. In Regerian harmonic style, virtuoso writing for both instruments. D.

John Adams. Road Movies 1995 (Hendon Music 1998) 37pp. 17 min. Three movements: [untitled]; Contemplative; “40% Swing.” Outer movements suggest perpetual mobiles in their motoric pace, punctuated with occasional syncopated interruptions. Middle movement introduces motivic idea in piano, a seven-note ascending sequence. Minimalist tendencies throughout. D.

Samuel Adler. Sonata II 1956 (OUP 1968) 23pp. 142 min. For piano or harpsichord. Allegro moderato; Lento espressivo; Allegro molto, ma non troppo. Neoclassical style. Numerous dynamic effects would not be possible on a harpsichord. M-D.

———. Sonata III 1965 (Bo&H 1974) 28pp. In six episodes to be performed without interruption. Fast and intense: serial, atonal, dissonant. Very slowly: sustained, chordal, with sudden interruptions of fast short sections. Very lively: linear, staccato left-hand chords, rhythmic melodies. Very slowly: requires large span, expressive. Like a waltz, gracefully: flowing lines, contains a few ff figuration surprises. Fast and intense: similar to opening episode, sparse textures. D.

———. Sonata IV 1989 (LMP 1999) 37pp. Quite fast; Quiet and dreamlike; Fast and very rhythmic. Three dramatic movements, sometimes requiring four staves for piano. Intricate rhythmic patterns. Second movement is most successful in its spacious and contemplative sonority. Requires seasoned performers. D.

———. Double Portrait (ST 785 1989) 19pp. Composed to honor the memory of two great artists and friends. In two attached sections: Slowly and serenely; Fast rhythmic, without letup. Wide span required as well as experienced performers. D.

———. Two Southern Appalachian Folk Songs 2013 (TP 114-41627 2014) 6pp. 4 min. I. Married and Single Life: “a slow dance, used in village dances stemming from rural North Carolina” (Cover Note). II. Brennan on the Moor: a fast dance, transformed into a reel, which recalls the location in Britain in a transplanted form to Virginia. Both pieces are based on original tunes. M-D.

Peter Stewart Adriaansz. Lines, Dots, and Crosses 1993 (Donemus 1993) 25pp. 21 min. In three distinct sections as titled, meant to be played as one continuous movement. Includes notes to performers. Piano part extends to four staves. M-D.

Hans Ahlgrimm. Sonata g (Lienau 1938) 20pp. 14 min. For violin or alto flute. Includes a separate part for alto flute. Moderato; Allegro non troppo. Chromatic, opening three bars in first movement contain thematic material for movement. Much alternating writing between hands in last movement. D.

Stephen Albert. Tribute 1988 (GS 3929 1988) 14pp. 9 min. “Tribute revolves on a dual axis comprised of two lyrical themes that generate the other musical ideas appearing throughout this one movement work. . . . [Two] themes are developed and elaborated on, woven in and around one another, until they are, at length, transformed into new themes that are more dramatic and rhythmic than their lyrical forebears. The end of the work is announced when a hymnlike section commences in the piano after a genuinely loud climactic section” (Composer’s Note). D.

Tomaso Albinoni. Six Sonatas Op.4 (W. Kolneder—Eulenburg 1973–74). Cello part optional. Melodies have a fine sweep about them. Good realization of the figured bass.

———. Trattenimenti Armonici per camera 12 Sonatas Op.6 (M. Talbot—EMA 106 1981). Vol.I (ISBN 0-906773-05-9): 1 C; 2 g; 3 B♭; 4 d. This group of solo sonatas was the only one Albinoni himself prepared for publication. The collective title of Trattenimenti Armonici was translated as “An Entertainment of Harmony” in the Walsh edition. Informative preface. Clean edition with fine realizations and editorial comments clearly indicated. M-D.

———. Two Chamber Sonatas Op.6/1 C, 2 A (W. Upmeyer—Nagel 9).

———. Three Sonatas Op.6/4 d, 5 F, 7 D (Reinhart—Hug). Cello part optional. No.4 is perhaps the finest in the set. M-D.

———. Sonata g Op.6/2 (F. F. Polnauer—Schott 1967).

———. Sonata a Op.6/6 (B. Paumgartner—Hug 1951). See VKDR, I: p. 83.

———. Sonata a (Schäfluer—Nagel). Cello part optional.

———. Sonata b (Scheck, Ruf—Symphonia SY502). Cello part optional.

William Alwyn. Sonatina 1933 (St&B 2010) 17pp. In three movements: Allegro e grazioso; Adagio; Vivace. Calm flowing lines and a gentle spirit prevails in the opening two movements, contrasted by an invigorating final movement, all with relatively facile technical demands harkening back unashamedly to mid-nineteenth-century Romanticism. M-D.

Amalie, Princess of Prussia. Sonata F (G. Lenzewski—Vieweg 108 1975) 8pp., parts for flute or violin. See detailed entry under Duos for Piano and Flute.

Rene Amengual. Sonata 1943–44 (IU) 26pp. Moderato: SA,

meter, freely tonal, flowing, imitation, centers around B♭; harmonic 9ths require large span. Recitado, libremente: declamatory opening; leads to Andante espressivo; flowing; hemiola; returns to dramatic opening mood to close out; centers freely around F. Presto: rondo, built on opening idea in piano, contrasting episodes. The whole work has an attractive gentle flowing quality about it. M-D.

Jan van Amerongen. Sonate No.1 1981 (Donemus 1982) 17pp. 15 min. Andante rubato; Adagio; Molto allegro. Conventional writing for the late twentieth century. M-D.

———. Sonate No.2 1990 (Donemus 1991) 22pp. 19 min. I. Fantasia: alternates between Adagio and Allegro non troppo in strongly contrasting characters. II. Largo: pensive with constantly repeated quarter notes. III. Scherzo: cast in

meter with many passages of fleeting 16th notes in octaves. M-D.

William Ames. Dust of Snow (CF 1946) 5pp., parts for violin and/or cello. Chordal with left-hand figuration. Descriptive. M-D.

———. Sonata (CFE).

David Amram. Sonata 1960 (CFP 6686) 25pp. 18 min. Allegro moderato; Andante espressivo; Theme and [8] variations. Thoroughly twentieth century, much dissonance, expert handling of both instruments, eclectic. Effective alternation of contrasting moods. D.

Elfrida Andrée. Sonata for Piano and Violin E♭ 1872 (S. Pickett—Hildegard 2000) 37pp. First publication. In three movements: Allegro; Andante cantabile; Finale–Allegro moderato e risoluto. Composed in a mid-nineteenth-century style free of chromaticism. Lyrical lines flow freely with engaging counterparts. Toward the end the melodies are often enhanced by octaves. D.

———. Sonata for Violin and Piano B♭ 1872 (S. Pickett—Hildegard 2000) 41pp. First publication. In three movements: Allegro con spirito; Andante; Allegro. Composed the same year as the Sonata E ♭; the order of instruments was changed in the title. Similar characteristics are found in the two works, bubbling over with lyric melodies and rhythmic vigor. Both Sonatas deserve to be better known. D.

Hendrik Andriessen. Sonate 1932 (Donemus 1948) 18pp. 12 min. Allegro–Adagio–Allegro moderato; Adagio; Allegretto leggiero. Expressive writing often characterized by the contrast of lyric and dramatic qualities. M-D.

———. Suite 1950 (Donemus 1950) 29pp. Preludio; Fughetta; Air Varié; Finale. Parallelism and planing techniques found in both block and broken chords. Imitative features in Fughetta become less technical as movement progresses. M-D.

Jurriaan Andriessen. Sonate 1946 (Donemus 1950) 22pp. Allegro molto; Molto lento; Allegro. Neoclassical style. M-D.

———. Quattro Movimenti 1992 (Donemus 1993) 14pp. 8 min. Largo; Allegro; Largo; Allegro. M-D.

Louis Andriessen. Disco 1982 (Donemus 1982) 16pp. 14 min. In one movement, packed with changing meters in the outer sections of its ternary form. Octaves; harmonics; rhythmic complexities. Both instruments must be amplified. Performance notes included. M-D.

George Antheil. Works for Violin and Piano (R. Erickson—GS 3905 1995) 207pp. Sonata I, II, III, IV, Sonatina. Antheil entitled Sonata IV “No. 2” and apparently had in mind “to consolidate the Sonata No. 1 with the third and ignore the second, so that all the violin and piano sonatas before 1940 would be known as...

Table of contents

• Cover
• Title Page
• Copyright
• Dedication
• Contents
• Preface
• Using the Guide
• List of Abbreviations
• Agents or Parent Companies of Music Publishers in the United States
• Music Publishers
• Part I: Music for Two Instruments
• Part II: Music for Three Instruments
• Part III: Music for Four Instruments
• Part IV: Music for Five Instruments
• Part V: Music for Six Instruments
• Part VI: Music for Seven Instruments
• Part VII: Music for Eight Instruments
• Anthologies and Collections
• Annotated Bibliography
• Index of Works for Two or More Pianos and Other Instruments
• Index of Works for Piano, Four Hands, and Piano, Left Hand
• Index of Works by Female Composers
• Index of Composers
• About the Authors