One Handed: A Guide to Piano Music for One Hand (Music Reference Collection)

ONE HANDED

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ONE HANDED A Guide to Piano Music for One Hand OS Compiled and Annotated by

Donald L. Patterson

Music Reference Collection, Number 80

GREENWOOD PRESS Westport, Connecticut • London

Library of Congress Cataloging-in-Publication Data Patterson, Donald L. One handed : a guide to piano music for one hand / compiled and annotated by Donald L. Patterson. p. cm.—(Music reference collection, ISSN 0736-7740 ; no. 80) "Selected discography": p. Includes bibliographical references (p. ) and index. ISBN 0-313-31179-X (alk. paper) 1. Piano music (1 hand)—Bibliography. I. Title. II. Series. ML128.P3P38 1999 016.7862—dc21 99-36260 British Library Cataloguing in Publication Data is available. Copyright © 1999 by Donald L. Patterson All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 99-36260 ISBN: 0-313-31179-X ISSN: 0736-7740 First published in 1999 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America

@r The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2

This book is lovingly dedicated to my wife, Janet.

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Contents Preface

ix

Acknowledgments

xi

Guide to Annotations and Abbreviations

xv

Introduction

3

1. Original Works for the Right Hand Alone

15

2.

Original Works for the Left Hand Alone

51

3.

Music Arranged or Transcribed for One Hand Alone

179

4.

Concerted Works for One Hand Piano and Orchestra Piano and Other Instruments Including Voice Anthologies - Three Hand, Five Hand, Seven Hand Composer Ensemble Music — Three Hands, Five Hands

211 223 231 233

5.

Repertoire Anthologies for One Hand Pedagogical Anthologies for One Hand

259 267

6.

Selected Discography

283

Bibliography

301

Index

309

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Preface I started looking for piano music for the right hand alone because of an injury to my left shoulder. I searched through my personal (rather substantial) library of piano music and found a few pieces. I also have access to a reference and music collection at the university where I teach piano. There I found a few more pieces; citations for others; and citations for works which turned out to be, contrary to the listing and title, not for one hand alone. It wasn't long before my search for right handed piano music was expanded to include music which I could also teach and it no longer mattered if it were for the right or left hand. I sensed that there must be more one-handed music than what had immediately turned up. The search was fun and it became, if not an addiction, an intense pursuit. This volume is the result of my research conducted over the last seven years. This work is a reference tool comprised of six main sections. First is an Introduction with my story, an overview of piano music composed for one hand, a few points on the difficulties and challenges of performing one-handed music, and some ideas for creating arrangements of standard literature for the onehanded pianist. Following the Introduction are four longer chapters. Each is an individual catalogue: one of original works for the right hand alone, followed by one of original works for the left hand alone, then music arranged or transcribed for one hand alone, and finally, concerted works for one hand in concert with other pianists, instruments, or voice. In each entry in these chapters I give an overview of the individual composition,, its quality, its difficulty, its particular appeal, and its uses. I have tried to provide the composer's full name, dates, and nationality. Unfortunately, this was not possible for all the composers. Some composers are obscured by national origin, the passing of time, or simply because they were never well known enough to appear in histories, lists, or biographical reference sources. Also, there is often little composer information available for composers of "pedagogy" pieces. Many of these works are available only in manuscript and, if published, enjoyed a single printing. Even determined contacts with publishers netted only occasional biographical information.

X

Preface

Not counting each individual movement of the larger works or many of the short folksong arrangements, this guide references over 2,100 works for one hand. Of this total at least 252 are for the right hand alone. There are also 36 concertos for one or three hands and orchestra, 14 pieces for one hand and one other instrument, 10 songs for one hand and woman's voice, 16 chamber works for several instruments and piano, 168 ensembles for three hands that would make good student works, 100 ensembles for three hands that could be effective concert pieces, 3 five-handed ensembles, and even one ensemble for seven hands. Additionally one chapter is a simple listing of the contents of 36 anthologies devoted to one-handed piano music. One-third of these anthologies contains concert music and the rest are designed for teaching purposes. Where appropriate, the titles of the individual compositions are followed by reference numbers to other chapters in the book. A selected discography of commercially produced phonodiscs, compact discs, and cassettes whether or not currently available is the last large chapter. Each entry in this discography includes names of performers, date of issue, and recording company. Reference numbers are given for the literature on the recordings that is found in the other chapters. The end matter contains a bibliography of 76 writings, books, articles, and theses about the literature annotated in this book, and finally an index concludes the volume.

Acknowledgments The research involved in compiling this reference work proved to be much more complicated and laborious than I had at first thought it would be. Many of the included works are only available in manuscript, published by small companies, or just plain out of print. It would not have been possible to see these works without the help of the following people and organizations. Some answered my queries about one specific piece of music, others aided in finding dates and publication information, many provided scores and biographical information, and still others helped with the mechanics of interlibrary loan and on-line searching. Library, Foundation, and Personal Assistance: Kathleen Henning and Mary Finseth, Interlibrary Loan Department and Daniel Norstedt, Reference Department of the University of Wisconsin-Eau Claire. Music Collection Staff of the Library of Congress, Washington, DC. Mr. Charles Eubank, Acting Division Chief and staff of the Music Division of the Library for the Performing Arts, Performing Arts Research Center, New York Public Library. Roni Armstrong, Sounding Board, the magazine of Sound Sense: The National Community Music Association of the National Music and Disability Information Service, United Kingdom. The American Music Center, 30 West 26th Street, 10th floor, New York, NY 10010. M. Pierre Chiasson and M. Sam King, Centre de Musique Canadienne, 416 rue McGill, Montreal (Quebec) H2Y 2GI.

Xll

Acknowledgments

Richard Griscom, Director Dwight Anderson Music Library, Mark Dickson, Circulation Supervisor, and Mrs. Stephens, Administrative Supervisor, University of Louisville, Louisville, Kentucky. Karen D. Drickamer, Assistant Professor of Library Affairs, Curator of Manuscripts and Assistant University Archivist, Morris Library, Southern Illinois University, Carbondale, Illinois. Heidi Owen, Sibley Music Library Interlibrary Loan, Eastman School of Music, University of Rochester, Rochester, New York. Photoduplication Office, Cleveland Public Library. Cleveland, Ohio. Sheryl Kieselhorst, Mukwonago, WI. Music minor. University of WisconsinEau Claire alumna. Charles King, Director, Music Library, Arizona State University. Susan Reiss, Music Library and Suzanne T. Jones, Music Office, Bennington College, Bennington, Vermont. Suzanne Suttner, Svensk Musik, the Swedish Music Information Center, Stockholm, Sweden. Mr. Paul von Wichert, Music Advisor, The Eckhardt-Grammate Foundation, 54 Harrow Street, Winnipeg, Manitoba R3M 2Y7 Brooks Whitmore, Doctoral piano student, University of Texas-Austin. Dr. Florian Ruker, Institute of Applied Microbiology, University of Agriculture, Nussdorfer Lande 11, A-1190, Vienna, Austria. Anne Tracy, Chris Miko, Bowling Green State University, Bowling Green, Ohio. Composers: Marshall Bialosky, Sanjo Music Co., Palos Verdes Peninsula, California 90274. Gian Paolo Chiti, Deputy Director Conservatorio di Santa Cecilia, Rome, Italy. Curtis Curtis-Smith, The University of Michigan. Tina Davidson, Philadelphia, Pennsylvania. Imelda Delgado, Corpus Christi, Texas.

Acknowledgments

Xlll

Kay Gardner, Stonington, Maine. Peter Golub, Pacific Palisades, California. Christine Graham (for Louis Calabro), South Burlington, Vermont. Betty and Sydney Hodkinson, Eastman School of Music. Elizabeth Lauer, Wilton, Connecticut. David Litpak, Eastman School of Music. Timothy Meier, Bethel Pennsylvania. Kathryn Mishell, Austin, Texas. Alison Nowak, New York, New York. L. Augustus Nowak, Lexington, Massachusetts. John Railton, Greenaway Lodge, Ashburton, Devon, United Kingdom. Allen Shawn, Bennington College, Bennington, Vermont. Raoul Sosa, Montreal, Quebec, Canada. Sotireos Vlahopoulos, Naples, Florida. Rebecca Wilkinson, Eau Claire, Wisconsin. Publishers: Mrs. Martha K. Cox, Permissions/Archives: Theodore Presser Co. David Engle, Editor. The Willis Music Co. Doreen Marshall, Publications Department, The Boston Music Co. Katie Argyle, Allans Music, Melbourne, Victoria, Australia. American Composers Alliance, 170 W. 74th Street, New York, New York. Mary Kay Moeller, Schmitt Music Center, Eau Claire, Wisconsin. Hank O'Neal, Chiaroscuro: Fine Jazz Recordings. New York, New York. Selma Epstein, Chromattica USA, Dickeyville, Maryland. Mr. Wayne Rapier, Boston Records Classical Corp., Duxbury, Massachusetts. Confidant and Special Aide: Janet Patterson

Additional Help: In addition to the specific help given by the above mentioned people and libraries, scores were graciously loaned through Interlibrary Loan Services from the following libraries: Arizona State University, Ball State University, Boston Conservatory of Music, Boston University, Carnegie Library of Pittsburgh, Carnegie Mellon University, Chicago Public Library, Cleveland Institute of

xiv

Acknowledgments

Music, Cleveland Public Library, College of St. Catherine, Columbus State College, Columbus Metropolitan Library, Denver Public Library, Eastman School of Music, Florida State University, Free Library of Philadelphia, Grand Valley State University, Haverford College, Illinois State University, Indiana University, Kansas State University, Kent State University, Mills College, Milwaukee Public Library, Minneapolis Public Library, Mississippi State University, Northern Kentucky University, Northwestern University, Oberlin College, Oster Nationalbibliothek, Vienna, Austria, Richmond Public Library, Saint Joseph's College, San Jose State University, Smith College, Southern Baptist Theological Seminary, Southern Illinois at Carbondale, State University - Potsdam, Swarthmore College, Texas Christian University, Texas Womans University, Toledo-Lucas County Public Library, University of Alabama at Birmingham, University of Arizona, University of Arkansas, University of California at Berkeley, University of California at Los Angeles, University of California at Santa Barbara, University of Cincinnati, University of Colorado at Boulder, University of Denver, University of Georgia, University of Illinois at Champaign-Urbana., University of Kansas, University of Kentucky, University of Maryland, University of Michigan, University of Minnesota, University of New Mexico, University of North Carolina, University of Northern Colorado, University of Pittsburgh, University of Tennessee, University of Texas at Austin, University of Washington, University of Wisconsin-Madison, University of Wisconsin-Milwaukee, University of Wisconsin-Superior, Vanderbilt University, Washington University, Wayne State University, Wisconsin Conservatory, Wheaton College.

Guide to Annotations and Abbreviations The works included in this annotated bibliographical catalogue are placed in chapters by type of composition as shown in the Table of Contents. Each chapter lists the works by corresponding cataloguing letter and number. These letters and numbers then are used as references throughout the book.

A

= Anthologies containing music for one hand.

B

= References to the Bibliography chapter.

C

= Concertos for right or left hand alone.

CE = Ensemble pieces, piano duet, piano trio, etc. CH = Concerted works for voice or other instruments and piano one hand. D =

Recordings.

HOF = References to pages in the Hofmeister catalogues: Handout der Musikalischen Literatur oder Verzeichniss der im deutschen Reiche und in den angrenzenden Landern erschienen musikalien auch musikalischen Schriften, Abbildungen und plastischen Darstellungen mit Anzeige der Verleger und Preise. Covering the literature from 1828 to 1903. [B28andB71]

Guide

XVI

INS = A number of works were listed in various source catalogues, but were not obtainable by this author. Because the music has not been reviewed and assessed, the information garnered was insufficient for detailed annotation. L = Solo works for left hand alone. LA = Solo works arranged or transcribed for left hand alone. p = Any work or anthology conceived for pedagogical purposes. R = Solo works for right hand alone. Asterisks (*) before entries indicate that the work has been edited/fmgered or composed for either hand alone. The LOCATION of works that are not personally owned by the author is placed in parentheses at the end of the citations, e.g. (University of Wisconsin-Madison). Three of these locations were sources for many entries and have been abbreviated as listed below: LOC = Library of Congress: Music Collection. NYPL = The Library of Performing Arts at Lincoln Center of the New York Public Library. AMC = American Music Center, 30 West 26th Street, 10th floor, New York,N.Y. 10010.

ONE HANDED

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Introduction MYSTORY: On December 12, 1991,1 slipped and fell on the ice in a parking lot in Eau Claire, Wisconsin, where I am a professor of piano at the University of Wisconsin-Eau Claire. It had been a severe winter even for Wisconsin. Not only had we been having our usual bitter cold and inches and inches of snow, but we were now experiencing rain and freezing cycles which put a slippery glaze over everything. When my feet went out from under me, I landed rigidly on my left side with my left arm extended over my head. The full force of the fall was broken by my left shoulder joint. I still remember blanching and almost passing out when the orthopedic surgeon, Dr. Leland Mayer, showed me the xrays the following Monday. The jagged bones stared at me from the x-ray screen. It was much worse than I had ever expected. The damage was substantial. That week I underwent reconstructive surgery. Pins and screws were inserted to hold the shoulder in place with the hope that the ball of the joint would not collapse. I began recuperative therapy the day after surgery. I hoped I would be able to use my shoulder in a normal fashion and play the piano again. The surgery and the therapy, however, were not completely successful. At first it appeared that the shoulder would live, but with each check-up, it became apparent that complete arm motion would not return and Dr. Mayer told me that when the cartilage wore away, I would need a shoulder replacement. This is not a good option for a pianist. A shoulder replacement would almost certainly reduce the mobility of the arm joint. And now with each passing year my shoulder has continued to deteriorate and I am left with the prospect of being a onearmed pianist. During the months immediately following the accident, I began to explore the piano literature for one hand. Off of the top of my head I knew of a few one-handed pieces in my file cabinets. I read through these works, all for the left hand alone, and tried to adapt them for right handed pianism. I prepared a couple little concert pieces, Prelude-Etude by Arthur Foote and two longer

4

One Handed

studies by Hermann Berens, for a small public performance which took place a few weeks after my surgery. My left arm was still in its protective supporting sling as I played. This was fine, but I needed more music and wanted to exhaust all the possibilities. If being a one-handed pianist was my fate, I knew I could not perform and study just a few pieces for the remainder of my career. It is an extremely discouraging and frustrating situation to find oneself limited to playing with one hand, so being able to find as much literature as possible became very important to me. There is a tremendous psychological stress when you realize the tenuousness of your physical condition and your professional life. Just the act of searching for literature was therapeutic, giving a purpose to my being and renewing my enthusiasm. I have always taken an intense interest in piano literature of all kinds and had amassed a substantial library of solo and ensemble music. But in my own files, I had only a few single sheets and the Raymond Lewenthal anthology, Piano Music for One Hand: A Collection of Studies, Exercises and Pieces. As I started to order music, I found, to my surprise, not many works were readily available. At that time no reference book was published which dealt exclusively with one-handed repertoire nor did the standard piano literature guides offer many citations. I searched through periodicals and found just a few articles scattered over a number of years. These furnished some skeletal lists. So now the hunt was on so to speak. I started looking through master's theses and doctoral dissertations. These works, included in my Bibliography chapter, provide much information of an historical and practical nature, but the details for the most part were sketchy and imprecise and as I was later to discover, there are errors in nearly all of these published lists. Next came my searching on FIRSTSEARCH, WORLDCAT, OCLC, and the on-line library catalogues of various universities and public libraries throughout the nation and world. I searched for one, three, five, and sevenhanded music. I used the keywords of piano and one hand, right hand, left hand, main gauche, main droit, linke hand, rechte hand, mano sinistra, mano destra, mano izquierda, mano derecho, lev roko, and desno roko. All of this netted me a large pile of titles and composers but no actual music. Sorting through the available lists, I came upon many citations with "left hand" in the title or that appear to be for the left hand alone, but instead only emphasized the left hand and were not written exclusively for it. I began to feel driven to compile a list myself that included as much accurate data as possible and to locate and survey as many works as I could. But the sticking point came in viewing much of this literature. Many of the composers who have written to satisfy the needs of the one-handed pianist are not well known. Others have written only a work or two and sometimes these works were only available in manuscript or, if printed, enjoyed only one printing. Pedagogical literature written for students with one hand has often gone out of print because of a lack of a sales market and because of the constant change in pedagogical literature trends and styles.

Introduction

5

But, as a Hindu Proverb states: "The patient does not recover health by hearing the medicine described." I knew I could not play the music without seeing it. I knew that I needed to touch it and experience it, not just have a title and composer listing. I purchased as much as I could. I also requested what I could through the Interlibrary Loan service at the university where I teach. The participating libraries provide a wonderful service. When I think of the many libraries which so kindly sent scores for me to look at, I am truly grateful. These scores I carefully reviewed and annotated. However, due to the rare nature of some of these works and due to the Interlibrary Loan policies of some institutions, there were still many scores that I couldn't get. So what was I to do for the scores that could not be acquired in this fashion? I applied for a Summer Research Grant from the University of Wisconsin-Eau Claire. This grant helped fund travel to the east coast where I visited the music collections of the Music Division of the Library of Congress, the Free Library of Philadelphia, and the Performing Arts Library of the New York Public Library, as well as some smaller collections along the way where only one score was housed. I was making progress in filling in the holes on my list, but I still had dozens of scores I had not seen. I then wrote dozens of letters to individual composers, performers, spouses, record companies, foundations, artist representatives, and publishers. Most responded graciously and generously. Some sent scores and recordings, some provided biographic and bibliographic information, and some gave me tips to find additional works as well. With each answer to my queries I got a bit closer to sorting through the errors on the published lists and to completing my own personal catalogue of works. I became ever so indebted for the replies to my requests. I also inquired on the Internet through various music and piano discussion groups. Most of the answers were a re-hash of the information about a few really famous works that I already knew. But one e-mail reply was an exception and that came from Dr. Florian Rtiker, a professor from Vienna, Austria. He was kind enough to go the Viennese publisher, Ludwig Doblinger, and obtain some scores for me that are only in the archives of that publishing house. Even as I complete this manuscript, I have not seen all of the music for the titles that I have included. I am still searching and writing letters with the hope that I will find other pieces and be able to enlarge and improve the present work in the future. But I hope this volume will give the pianist, student, or professional a resource for finding music that has been written for the one-handed performer. "INS" (Insufficient) marks pieces in the book which could not be adequately annotated. If the reader owns any of the works listed as "INS", I would greatly appreciate seeing them. In this book I have included annotated lists of solo literature for right and left hand alone, teaching pieces for either hand, concerted literature (concertos, chamber music, vocal accompaniments, and duets, trios, quartets, etc.)

6

One Handed

for the one-handed pianist, as well as lists of anthologies, arrangements, recordings, and bibliographic resources. I have tried to verify the accuracy of all entries to make sure that no music was listed that really is for two hands. I have estimated the difficulty of each work surveyed and provided as much information as I thought appropriate to aid in selection of repertoire for teaching or performing. Fortunately for me, at the moment I am still a two-handed pianist. My shoulder is not healthy though. It aches. It is clumsy and tires very quickly. I cannot program some of the big concert works that I would have in the past. But now in my filing cabinet, I have many more one-handed pieces to choose from than I did on December 12, 1991.

"For all this his anger is not turned away, but his hand is stretched out still. " Ecclesiastes V:25.

WHY PIANO MUSIC FOR ONE HAND? For two centuries, composers have been writing one-handed works. As I sorted through the literature I was acquiring, I began to realize that there are many reasons for studying music for one hand besides my present situation. Some composers have had a didactic purpose. Pianists have always tried to make each hand and each finger independent even though the two sides of the body are not naturally alike and the fingers are not equally strong. They have tried to increase dexterity and control of both hands. It is common for teachers to assign "hands alone" practice to students and to use it to secure technical skill in difficult passages. This helps the pianist ensure s/he has the necessary muscular coordination in each hand and also encourages the pianist to listen carefully to what each hand is doing, thereby guaranteeing that the composer's intentions are being accurately observed. It is also a natural outgrowth of this type of practice to compose exercises and literature that would try to strengthen the left hand or right hand and be musically satisfying at the same time. Many composers wrote or arranged works for one hand as a result of injuries they had sustained or because a close friend or relative had been injured. There are several sponsoring societies such as the Music Therapy Society in Australia and the National Music and Disability Information Service of the United Kingdom, which have commissioned and promoted works for the physically challenged. The challenges of creating a piece for the one-handed are substantial. Not only must a composer write a musically satisfying work, but s/he must write one that sounds as if two hands are playing instead of one. Some one-handed pieces were written just as a test of ingenuity for the composer and just because pianists can play with only one hand. Performers often have a good deal of showmanship in them. They love to take chances and

Introduction

7

explore repertoire that makes a grand effect and excites the audience. The audience, in turn, can truly appreciate the display of skill and musicianship required by the performance of a one-handed work. There is the immediate empathy for the "victim" pianist and an inordinate interest in the playing and physical spectacle. And of course, with the audience watching a pianist using only one arm, there can be a little bit of the circus act involved as well. The emphasis and goal of some of these works was solely bravura display and so because of this, the intrinsic musical quality is not always of the highest caliber. In all, I have been able to document over 1800 pieces for one hand alone with 35 being concerted works for orchestra and piano one hand or three hands. There is also a small amount of chamber music written for voice and one hand or a solo instrument and one hand. A limited quantity of ensemble music was also composed for 3 hands, 5 hands, and even one piece for 7 hands. With all this variety, it is unfortunate that all of the attention has gone to just a few masterpieces. Much of the music for one hand is original - written specifically for the solo hand. However, there are also a number of transcriptions and arrangements from the standard piano repertoire that were made possible by a few mechanical adjustments to the original. At times the arranger would have to leave out some notes or dictate that the pianist roll or arpeggiate a chord rather than play it as written. While at other times, an adjusted fingering was all that was necessary. Studying these arrangements and analyzing the techniques involved in creating them should inspire ideas for producing more repertoire for one hand or developing arrangements for our students. Many teaching pieces could easily be created from the standard method books and accompanying literature and new larger scale works could come from many traditional solos. There has been a slight resurgence in writing one-handed music in the latter part of this twentieth century. A group of composers in the Netherlands have written a number of works for the pianist, Cor de Groot who has recorded under the name of Guy Sherwood. And American pianists Leon Fleisher, Gary Graffman, and Lionel Nowak have inspired many major solo pieces and concertos. Several publishing houses have issued teaching volumes for the onehanded student and the National Federation of Music Clubs has included the category "One Hand Piano Music" in its yearly Junior Festival Auditions. PERFORMING ONE-HANDED MUSIC: In studying and reviewing this literature, I came to realize, first hand, many of the difficulties confronted by a one-handed performer: A. Positioning at the piano. The pianist is required to sit more to one side or the other of the keyboard than when playing two-handed music. Since the playing arm must travel constantly from side to side, the keys that were once

8

One Handed

directly and comfortably in front of that arm or shoulder become awkward because of the reaches and body shifts. The pianist must plan ahead and perhaps will even have to slide from side to side on the bench some. The left-handed performer must sit more to the right of the keyboard to allow more keys to be within easy reach of the that hand. The right hand can be left in the lap or used as a support for the body when placed on the edge of the piano especially when playing in the upper registers. Naturally the opposite positioning is indispensable for the right-handed pianist. In speaking about left-handed positioning, Sandra Wing-Yee Lau states: Because of the changes in the nature of hand distribution and use of the instrument, the physical balance of the pianist's body and hand needs to be modified. This balance that operates almost subconsciously in normal circumstances has to be adjusted consciously because its immediate physical base is no longer the tripod (i.e., right hand/arm, left hand/arm, and torso). In order to prevent any further injury, the more precarious stability between torso and the one hand must be considered when addressing any musical passage. The torso, for instance, needs to be much closer and more responsive to the activity in the left hand and arm. The left hand is now entirely responsible for projecting sound into the hall and would rely on the weight of the arm, powered by the torso, to do so. Instead of acting as a fulcrum between two active hands and stabilizing the body primarily from side to side movement, the torso now serves as a weighted support of the left arm so that the elbow feels as though it is an outgrowth of the torso itself. The pianist's entire body needs to be behind the hand, supporting it, with every note struck in order to avoid straining. ([B39] - p. 3) Paul Wittgenstein suggests in his Schule fiir die linke Hand that for playing with the left arm: "The student should sit in the center of the piano with the little finger on'Middle C . The arm should be parallel to the keyboard. He should sit slightly off center which will be more to the treble part of the piano." B. Physical balance. Another aspect of the positioning problem is physical balance. It is surprisingly easy to get off balance when using only one hand. Some pianists use the inactive arm to balance themselves especially when reaching to the extremities of the keyboard, but this is not always possible if you no longer have the inactive arm. It is not easy to maintain balance on a swiveling piano stool, artist's bench, or small chair. A wide seat or large bench is the safest and most logical to use. Placing one's feet in a triangular shape with the buttocks helps when the pedal is not being employed. A footstool or foot support is recommended for use by the very young to help them feel planted and comfortable as they play.

Introduction

9

C. Damper Pedal. The damper pedal is critical to sustain harmonies and provide a feeling of legato and continuity when none really exists. When two hands are playing, it is not as necessary to employ this pedal because the fingers may depress the keys and hold down the harmonies. But with only one hand involved, and this hand frequently jumping all over the keyboard, it can no longer hold the keys down and provide a sustained sound. There is no other hand to use as cover-up or camouflage. So the damper pedal must be used more frequently. It is the damper pedal that makes left hand or right hand solo playing possible to a great extent. If the physical capabilities are present, the damper pedal needs to be used right from the beginning of study. Young children may need to stand to be able to use the pedal and of course, this could cause some problems as well. D. Fingering. Normally there are prescribed formulas for fingering piano music, but these must be altered frequently when using only one hand. These new fingerings may appear unconventional, unorthodox, and even bizarre, but they are necessary in order to achieve the correct sound and balance in one-handed music. At times fingers will repeat where they might have changed before. They will slide from one key to the next or be used several times in a row on several different keys. The hand might be called on to cross awkwardly under or pass over fingers that in normal fingering patterns would not be allowed. No two fingers are alike in strength, independence, length, leverage or angle of attack. The most individual and independent digit of the hand is the thumb. The thumb, in some respects, does the work of the right hand when playing left-handed music. It often plays the melody, and thus, it must be flexible and must be able to strike the black keys at an indirect angle and in a musically satisfying manner. It is uniquely suited to bringing out the top note of a chord and for producing a singing, melody tone. It can generate more quantity of sound than any other finger in either hand. Piano music is often written with a predominant melody and a subordinate accompaniment. Normally different hands execute these two musical functions. Now you must play both with the one hand. Melody and accompaniment are in the one hand only. The melody must still be predominant and the accompaniment must still be subordinate. Weak fingers are called into play to become prominent and strong fingers must be subdued. In music written for the right hand, the melody is often played with the weaker fingers, 5 and 4 and the stronger, heavier fingers must play the accompanying parts. Strong digits, like the thumb of the right hand, will often be playing notes that are not nearly as important as the melody which is being played by the little finger. So the weight of the thumb must be carefully balanced in attack and volume. These accompanying parts must be sublimated so as not to disturb the natural balance between melody and accompaniment, between prominent ideas and secondary ones. The pianist should work out the fingerings according to musical concepts and keyboard geography and not according to traditional patterns.

10

One Handed

Stefan Bardas [B2] who has been enthusiastically exploring fingering alternatives throughout his long career, believes thatfingeringproblems "should be solved with imagination and by no means in the belief that good fingering consists in being obvious or simply consistently putting the nearest available finger on every next note...Any phrase that requires an eloquent, relaxed, and fluent execution must be performed with the right combination of finger- and arm-technique." E. Technical Requirements. All things being equal, we are twosided, but most people do not have two perfectly equal hands. Their left hands are often underdeveloped. When the left hand is exposed without the right hand covering it up, we hear that the left hand is often clumsy and imprecise. So it is necessary to mark these problems in order to cure them and provide the necessary training to improve this sluggishness. The left hand has generally been assumed, throughout the history of piano playing, to be the weaker and less controllable member. Passages where notes lie closely together such as scale patterns, use finger action primarily. Passages, in which the notes are spread more widely over the keyboard, arpeggios for example, employ a combination of finger and hand action. And chordal playing requires equal and accurate balance of the hand and equal distribution of the weight of the arm. In accomplishing large leaps, the technique "should be that of a quickly traveling hand passing laterally, easily, and effortlessly from the accompanying bass to the singing melody line of the treble." [B2] All technical areas including arpeggios, double notes, chords, extensions, broken chords, trills, scales, chord voicing, leaps, octaves, balance of parts, and sophisticated pedaling must be particularly well learned and secure when playing one handed music. F. Specific Problems for Right-Handers. The right hand, because it is used in daily life morefrequentlythan the left by most people, is more apt to be injured. This is one reason why perhaps 80 percent of all one-hand piano pieces are for left hand alone. Also the left hand has always seemed to be the least trainable of the hands and has needed specific technical repertoire written to aid in its development and strengthening. Teachers have always known that beginning piano students seem to have the greatest amount of difficulty with the left hand. It is the hand that is least coordinated and it is also the hand that gets the least amount of exercise, unless the child is left-handed. Nevertheless, the left hand is more readily adaptable for one-hand piano playing because the strongest part of the hand commands the upper and usually more melodic part of chords. The left hand normally plays in the lower parts of the piano where there is more sonority and where a more mellow and rich tone can be projected. This fullness of sound gives the music written for the left hand alone a distinct advantage. Much of the literature for the right-hand alone sounds as if there is no foundation, no anchoring sonorities to ground the listener's ear. To increase the number of right hand solos and ensemble literature, it is necessary to utilize the left-hand repertoire with the right hand. There are some

Introduction

11

specific adjustments that must be made when playing left-handed music with the right hand. Fingers of differing strengths are needed to play parts of varying degrees of importance. The thumb is very strong and antagonistic to the other fingers. If the left hand music puts the thumb on the melody notes to bring them out, to voice them, then when the right hand plays this music, the little finger or the fourth finger must take on this responsibility. Oftentimes chords must be broken rather than played simultaneously when the notes do not all easily fit under the span of the hand. A passage that might be easy for the left hand may be very awkward when played by the right hand. Grabbing the bottom note of a chord with the fifth finger by the left hand will be a different sound entirely than grabbing the same note with the right hand thumb. The principle that needs to always be applied when playing "one-hand" music is to make it sound as though played with two hands. A general warning must be given for the pianist to always be careful not to strain the hand by forcing it too quickly to do things it has not often done before.

REPERTOIRE AVAILABLE TO THE ONE-HANDED PIANIST: One-hand music was very uncommon in the contrapuntal era. Composers in those days tried to use all possible digits rather than eliminating some. The earliest one-hand piece that I have found is the little piece in A major by C. P. E. Bach, Klavierstiick, sometimes called, Solfeggio. It is interesting to note that many of the earliest writers of left-hand music were Italian. In fact, "/a mano sinistrd" seems to have enjoyed quite a vogue in Italy during the first half of the last century. Training of the Left Hand {Die Pflege der linken Hand in Clavierspiet) by Hermann Berens (1826-1880) appears to be the first technical group of exercises and studies published for left hand alone. Among the earliest one-handed pianists we have Count Geza Zichy, born in Sztara, Hungary, July 23, 1849. This distinguished nobleman lost his right arm in a hunting accident when he was fourteen. Already showing talent as a pianist, he refused to let the catastrophe deter him. Instead he became the first eminent, left-handed concert pianist in history. He was determined to prove that this handicap could be used in a constructive manner to demonstrate the resourcefulness and versatility that the left hand is capable of producing. In 1878 Zichy started his solo career. He was extremely wealthy and played only for charitable events during his forty-six years before the public. He composed many works for the left-hand alone most of which are rather awkward and undistinguished. His Six Etudes pour la main gauche seule are dedicated to his friend and teacher, Franz Liszt. Zichy composed his Concerto in E-flat in 1895, which probably is the earliest example of a concerted work for piano lefthand and orchestra.

12

One Handed

The Viennese pianist, Paul Wittgenstein, born in Vienna in 1887 lost his right arm in the First World War. He was responsible for the creation of a large body of music for left hand. Some composers wrote specifically for him and others he commissioned to write left-handed works for him. Thus it was that pieces by such composers as Sergei Prokofieff, Benjamin Britten, Richard Strauss, Erich Korngold, Franz Schmidt and Maurice Ravel came into being. Most of these commissioned works were concertos for piano and orchestra or chamber works for piano and strings. Unfortunately, many of these compositions have remained unpublished. He also compiled and wrote a lengthy threevolume treatise for the left hand that contains exercises, transcriptions and arrangements, and some original pieces. This Schule filr die Linke Hand is a remarkable source of performance information about positioning, fingering, pedaling, etc. This volume's purpose is not to recount the history of one-handed piano music, but it is important for the reader to know that there have been several remarkable contributors to the corpus of one-handed literature. Pianists and composers such as Leopold Godowsky (the Apostle of the Left Hand), Adolpho Fumagalli, Ferdinando Bonamici, Otakar Hollmarm, Siegfried Raap, Cor de Groot, Cyril Smith, and Lionel Nowak have been a part of this tapestry of onehanded pianism. Actually, any pianist who has struggled with the task of trying to play with only one hand or arm has contributed to the history of this interesting field. The quality of the literature for one hand is not extremely good for the most part, but it can be used and made to sound musically convincing. There are two basic types of one-hand piano pieces, monophonic and contrapuntal/homophonic. The monophonic pieces are those consisting predominantly of single-note passage work in which the bass and harmony are implied, often through double stemming. The contrapuntal/homophonic pieces are those in which the one hand, with the aid of the damper pedal, performs the task of playing a melody, a bass-line, and an accompaniment figure, and is thus made to sound like two hands at one time. These contrapuntal/homophonic pieces pose an added challenge. The pianist must keep all of these elements on different dynamic planes, with the melody always dominate. In dealing with students and pianists of limited abilities, many traditional elementary level pieces can be played by one hand if the fingerings are adjusted for that one hand. The teacher and pupil can often play pieces from standard beginners' books as duets. Other music might also be arranged for use, such as recorder music, music for organ, and simple classical guitar music. A soloist can also study and adapt the solo instrumental music of the sixteenth and seventeenth centuries. Bach's solo violin and cello sonatas and suites can make excellent study material as well as convincing recital works. Overall, solo violin music and solo cello music appear both physically and musically made to order for the one handed pianist with little revision or adjustment necessary. Well-

Introduction

13

known instrumental and vocal solos, orchestral themes, and operatic melodies (arias and choruses) might also be sources of transcriptions and arrangements for one hand or for ensemble. There are a number of ways that studying and performing one-handed piano music can have value for the pianist. Using these arrangements might be an interesting way to train the left hand rather than always regarding it as the ugly stepsister of the right hand. It will enable the student pianist to achieve better chord voicing, more intuitive use of the pedal, and better musical and technical control. One handed literature could be helpful for those handicapped either with a muscular disease, broken limb, or by the loss of an arm. Therapists, dealing with clients that are physically challenged, will appreciate the positive effect music making brings and the personal success one can achieve with music making even on an elementary level. Students and audiences alike will appreciate the novelty of one-handed literature and the variety it adds to recital performances. Most of this literature whether original or arranged is unknown by audiences and can give a fresh concert experience.

MY WISH FOR THE READER: The adventure now comes with discovering something to play, playing it musically, and communicating these musical ideas with yourself, your friends, or an audience. Being a one-armed or one-handed pianist is not an ideal state. It is the author's wish that this catalogue of piano music for one hand will provide sources for finding music, ideas for creating other works, and the hope of continued musical involvement when all is not as we would want it to be. "So every bondman in his own hand bears The power to cancel his captivity. " William Shakespeare Julius Caesar

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Chapter 1

Original Works for the Right Hand Alone The compositions listed here are arranged alphabetically by composer's last name. "R" numbers identify original works for the right hand. Number designations that include a "p" are assigned to works that are more suitable for pedagogical purposes. Reference numbers in brackets at the end of citations, e.g. [A12], refer the reader to entries in other chapters in the book. An asterisk (*) before a listing indicates that the work has been edited/fingered or composed for either hand. Rl.

Absil,Jean (1893-1974) Belgium Trois Pieces de piano pour la main droite (Three Pieces for the Right Hand Alone): Piece heroi'que, Piece tendre, Piece gaie, Op. 32. Paris: Max Eschig, c. 1961. For Frans Brouw. Duration: 9:30. 12 p. Piece heroi'que is also found in Bruxelles: La Revue Internationale de musique, Tome 1 no. 2, supplement, p. 6-8. Beautiful linear writing. Contains octaves, glissandi, thick chords, and ad libitum sections. Wide dynamic contrasts, frequent meter changes, and some rather complex rhythms. Covers the entire keyboard. Dissonant, difficult concert pieces. These are wonderful and sparkling additions to the right-handed repertoire. Pedal indicated. (LOC) [Dla]

R2.

Alkan, Charles-Henri Valentin (1813-1888) France Introduction, variations et finale, Op. 76 No. 2. (No. 2 from Trois grandes etudes pour les deux mains separees et reunies, Op. 76). Paris: Editions M. R. Braun or Gerard Billaudot Editions Musicales. Edited by E. M. Delaborde (the son of Alkan) and Isidor Philipp. Some fingering and pedaling are indicated. 22 p. D major, "...it seems to us to be most profitable to all pianists that the genial productions of Ch.-V Alkan should at last

16

ne Handed take the primary place to which they have the right in the estimation of all artists, professors and amateurs...His continual striving after perfection, his rare technique, his very original harmonic system elevate the idea which with him is always interesting and make his work a perfect school of improvement...There is no doubt that all musicians who are interested in the history and the development of the art of piano playing will give us their cordial support in helping us to restore Alkan's works and to make known his name as one of the greatest glories of the French School of Piano." This work is from a group of three etudes, the first is for the left hand alone [LI3] and the third is for both hands together. A sectional work delineated by meter changes beginning with a broad, hymn-like introduction marked Largamente. This leads to the contrasting Andante dolcemente in A major that is a theme and variations. Many cadenza-like passages, frequent use of arpeggios and broken chords. Very difficult, large-scale work, requiring sure and complete technical control. Right hand music in the grandest style. (University of Wisconsin-Madison) [D2a-c]

R3p.

Bach, Carl Philipp Emanuel (1714-1788) Germany *Klavierstuck in A major. [W.117:3]. Vienna: Universal and Kassel-Wilhelmshohe: Nagel [Barenreiter]. 1 p. Easy, giguelike. Perhaps the earliest work for one hand alone. May be played by right or left hand. This work serves as the foundation for a clever, more elaborate composition by Michael Bialosky. [R7] [A5&A9] [D23a]

R4.

Bennett, Richard Rodney (1936) Great Britain Five Studies for Piano. London: Universal Edition, c. 1965. "To Paul Jacobs and Yonty Solomon." No. 2, "Presto e leggiero" is for the right hand alone, "mano destra." 3 p. Linear writing. Fast, whirling, sixteenth note triplets. Wispy with biting seconds. Dynamic nuances carefully given. No fingering or pedal marks suggested. A moderately difficult concert work. No. 4 is for the left hand alone. [L34]

R5.

Berberian, Cathy (1925-1983) USA Morsicat(h)y, per la mano destra: un'azione musicale (Morse Code) segue il mio interesse nelPonomatopeia: Zanzara. Cover design by Roberto Zamarin. London: Universal Edition, c.1971. For piano or harpsichord right hand. 4 pages of music plus 3 pages of notes. "To Luciano." This is a chance composi-

Right Hand Alone

17

tion and more of a musical joke than concert literature. The right hand simulates the sound of a mosquito as the left hand attempts to swat it. So two hands are really needed to satisfactorily perform the work, but only one plays the piano. Included is a sketch of the score and a sample version of the possible execution of the piece. Both the sketch and the sample are single lines with no meter signature and never more than one note at a time with the alphabetical code printed below. (University of WisconsinMadison). Performance instructions are in English. From these instructions: The author, on receipt of the coupon to be found in the envelope in the back cover, will write a personal message to the pianist...The performer will then 'translate' the letters of that message into notes and rhythm, according to the codes on page 5. Punctuation marks are translated into 'rests' with a fermata. (This is no longer possible since the composer's death.) Berberian then gives more specific details on the procedures for realizing this work. To conclude the work, "the left hand flattened out stamps down on the right hand, causing a wide tone cluster. At the same moment the pianist says 'Splat.' After the count of three, the performer rubs the fingers of his left hand together, as if freeing them from the remains of the dead mosquito, the right hand drops off the keyboard and the piece has finished." Morsicat(h)y is a pun with four parts to it. Morsi = morse code used for rhythm. Cat(h)y - author of the message and the piece. Morsicat(h)y = in Italian phonetically "morsicati" means bitten— the fate of mosquito victims. Mors = Latin for death, the fate of this mosquito. R6.

Bernal, Miguel Jimenez (1910-1956) Mexico Toccatina para la mano derecho (Toccatina for the right hand alone) from Antigua Valladolid (The Ancient City) for piano. New York: Peer International Corp., c. 1954. A suite of four short character pieces about the colonial name of a town east of Mexico City. The first movement is the only one for one hand alone. 2 p. D minor. Fast, flowing sixteenth notes in the style of a short toccata. Single notes only. About one minute in length. Not much substance. It serves as a prelude to the rest of the suite. Lower Intermediate difficulty. (The other three movements are: Minues encadenatos (Double Minuet); Gavota; Humorada (Pleasantry). (Indiana University)

18

One Handed

R7.

Bialosky, Marshall (1923) USA "Carl Phillip Emanuel Bach Comes to the American Southwest" An Improvisation for Piano Right Hand Alone. Palos Verdes Peninsula, CA 90274: Sanjo Music Co., P. O. Box 7000-104, c. 1982. 8 pages of clear manuscript, easy to read. "To Lionel Nowak on his 70th Birthday, September 25, 1981." Duration: 7:50. Free metamorphosis of the C. P. E. Bach Klavierstiick [R3p]. Carefully edited with frequent meter and tempo changes, pedaling, and performance suggestions. Quiet ending. A very clever transformation and expansion of the original. Immediately appealing for performer and listener as well. Moderately difficult; no chord playing involved. Truly does have southwestern color.

R8.

Twelve Variations on an Imaginary Jewish Folk Song for Piano, Right Hand alone. Palos Verdes Peninsula, CA 90274: Sanjo Music Co., P. O. Box 7000-104, c. 1982. Reproduced clearly from computer manuscript. 12 p. Wide keyboard range, including the highest note on the piano. More complex than either of the two other right hand works by Bialosky. The theme is modal and middle-eastern in tonal organization. Each variation uses frequent shifts of meter and has a mood of its own. All tempos are indicated by metronome markings; Var. IV is also marked "like a free rhapsody," Var. VIII is "Very fast, like a gigue; Var. IX is "Molto espressivo"and Var. XII is "Slowly and with the utmost simplicity." Some variations are to be played "attacccT while others are to have a short pause, 3-second pause, 4-5 second pause, etc. between them. No chord playing involved, but there are a few sustained tones. Some complex rhythms. Sostenuto pedal required occasionally and damper pedal marked. A rather fascinating moderately difficult work intended for concert use.

R9.

Two Meditations on Music of John Dunstable: 1. Puisque M'Amour. 2. O Rosa Bella. Palos Verdes Peninsula, CA 90274: Sanjo Music Co., P. O. Box 7000-104, no date given on score. 3 pages each. Printed in clear manuscript. Using these two Dunstable melodies, Bialosky freely transforms them with tempo and meter changes, a wide variety of dynamics, and subtle color changes. The Sostenuto pedal is required in No. 1. Both lie primarily in the center of the keyboard and do not require chord playing. Bialosky has carefully edited the music for effective performance, giving such markings as "delicate, slow grace note, light and 'feathery,' ponderously, slightly hurried and out of

Right Hand Alone

19

time." A knowledge of the original works and their style adds to the effective interpretation of this work. Intermediate difficulty. RIO.

Blank, Allan (1925) USA *Six Studies for Piano One Hand (Left or Right), Set 1: I. Limited Shapes; II. Around Sustained Tones; III. Contrasts; IV. Riding the Beat; V. Semi-Improvisation (without bar-lines); VI. Serious Events. New York: American Composers Editions, 170 w. 74th Street, c. 1993. 17 p. Composed between 1987 and 1992 and reproduced from the composer's manuscript. None is over 4 pages in length. The composer makes the following comments: "Tempo indications are approximate. In IV [Riding the Beat], a piano with a sostenuto pedal is required. In III [Contrasts] and VI [Serious Events], accidentals hold within the figure and for ties. Pedaling may be changed to accommodate the sense of the passage. Titles are afterthoughts, but may point the performer in the right direction." Textures throughout are thin and dry, mostly single notes. Some complex rhythmic groupings and complicated digital manipulations. The first, third and fifth lie most easily under the range of the right hand while the second, fourth, and sixth would be more easily executed by the left. [L54] Pedal is marked. Difficult.

Rl 1.

*Six Studies for One Hand (Left or Right), Set II: Numbers I. Staccato Sempre; III. The Ballerina's Flute Dance; V. Dramatic Fantasy. (Nos. II, IV, and VI are for left hand [L55]). New York: American Composers Editions, 170 w. 74th Street, c. 1993. 19 pages total. None is over four pages in length. Performance Notes: "Tempo indications are approximate. No pedal show [sic] be used in number I, and a pedaling that overlaps the sounds show [sic] be aimed for in number VI. These studies are formally thought of in groups of two (I, II; III, IV; V, VI). Pauses may be used to set off these three groupings." Very similar in style, texture, and technical demands to the composer's first set of studies, although these seem to be less free and more rhythmically organized. Pedal is marked. Difficult.

R12p.

Bliss, Paul (1872-1933) USA Two Compositions for Right Hand Alone. Philadelphia: Theodore Presser, c. 1926. Forest Echoes 2p. E-flat major. Gavottelike. The Winding Road, 2 p. F major. A gentle waltz. Both are teaching pieces of upper elementary difficulty. They are well written and effective for students with emphasis on double notes,

20

One Handed staccato, and arpeggios. Pedaling and fingering are provided. (LOC)

R13.

Boer, Ed de (1957- ) The Netherlands Toccata: piano rechtshandig. Donemus: Amsterdam, c.1978. 11 p. "voor Marie-Jose Verstralen." In the composer's manuscript. Free, sectional composition. Frequent tempo and dynamic changes. Perpetual motion accompanying figures, alternating sections of declamation and melody amid the very active accompaniment figures, including many arpeggios and trill patterns. Wide variety of registers and colors. Some fingerings suggested. Difficult concert piece ending pianpianissimo. Requires mature technique and musicianship. (New England Conservatory of Music)

R14.

Bowen, Edwin York (1884-1961) Great Britain Caprice, for the right hand alone from Curiosity Suite, Op. 42. London: J. Williams, c. 1916 (Berners Edition). 6 p. C major. Bowen notes above this piece: "To those who revel in right hand dexterity." Scherzo-like, presto in 3/4 meter. Wide range of dynamics and pitches. Very comfortably written for the right hand. Ternary form. Some cadenza-style passages before the return of the "A" section. The entire suite is composed tongue-in-cheek. Pedaling, fingering, and performance suggestions given. Moderately difficult. (UCLA) [L66]

R15.

Five Sketches. De Wolfe, Ltd. Three of these pieces are for the right hand and two are for the left hand alone. Moderately difficult. (INS)

R16p.

Branson, John (1923) USA Prelude for right hand alone. Cincinnati, Ohio: Willis Music, c. 1989. 3 p. C major. Flowing, perpetual motion sixteenth notes with melody notes double-stemmed, most often in dotted quarter and sixteenth note groupings. Single notes only with the exception of two arpeggiated chords at the final cadence. Central three octaves of the piano. Some rather pleasant "impressionistic" harmonies and a tuneful melody. Pedaling marked and necessary. Fingering suggested. Useful upper elementary student repertoire. [B75]

Right Hand Alone

21

R17p.

Brumby, Collin (1933) Australia *Reverie. Melbourne: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 3 p. Tranquillo, 3/4 meter. Waltz-like. Pedaling and fingering suggested. Tonally organized ternary composition. Single melody notes and three note accompanying chords. May be performed by either hand alone according to the composer. Suitable for an upper elementary student. [A32p] [L81p]

R18p.

Buttner, Maria Austria *Sechs Oesterreichische Tanze fiir Klavier fiir die linke oder rechteHand. Wien: L. Doblinger, c. 1946. 7p. Dedicated to the soldiers wounded in the Second World War. Charming, pedagogically useful Austrian landlers.

R19.

Butterworth, Neil (1934) Great Britain Adagio and rondo a la scherzo for piano right hand. 8 pages. London: BBMP, 1985. (NYPL-missing; INS)

R20p.

Cafaro, Sergio Italy *Per un gruppo di allievi: raccolta di brani. For one or two pianos, 2-4 hands. 41 p. Rome: Edi-Pan Musicisti Contemporanei, 1982. Most of the fourteen pieces in this group are ensemble works [CE20p]. Contrary to the information on the cover page, there is also one solo piece for either hand alone. Gruppi e note isolate, 2 p. The pedal is held throughout the entire piece. Single note heads are pointillistically played ad libitum.

R21.

Calabro, Louis (1926-1994) USA Solo Piano Fantasy (for the right hand), 1984. Written for Lionel Nowak. 8 p. Duration: ca 6:30. Calabro states in the notes to the Nowak recording: "The Fantasy for Piano Right Hand was composed with the thought of using the entire range of the piano. It deals with digital aspects, in ways that I might not have considered when writing for the normal two hands. For example, a passage occurs that used a steady Alberti bass with fingers 1,3, and 5 while the 2nd and 4th fingers play staccato notes around it. The form of the piece is free and I just let my imagination roam." Very interesting writing using many different techniques and a wide keyboard range for interesting sonorities. Much implied counterpoint, some recurring motives. A fun piece to listen to as well as to perform. Difficult, but remarkably well conceived for the right hand. Available from Mr. Calabro's

22

One Handed widow, Christine Graham (CPG Enterprises, 60 Bartlett Bay Rd. South Burlington, VT 05403). [D36a]

R22.

Czerny, Carl (1791-1857) Austria *Etude in A major. New York: G. Schirmer. [A9] 3p. Frequently changing tempo markings and key signatures. A variety of techniques are used including scales, arpeggios, chords, sustained tones, implied counterpoint, trills, octaves, etc. Fingering is given for both hands by Isidor Philipp. Moderately difficult.

R23.

Davidson, Tina (1952) USA I am the Last Witness (companion piece to Day of Rage, for two hands, piano partially prepared). Unpublished MS, c. 1985. Written for Lionel Nowak. 10 p. Both pieces make up the Phantasy for Piano Solo. 20 pages total. According to the composer: "These pieces were written as companion pieces and should be performed together. However, they can be played separately." I am the Last Witness (9 p.) is a slow, poignant, and atmospheric work that serves as a striking contrast to the bristling and rhythmically exciting first movement. Marked by freedom in rhythmic groupings, short phrases of melodic and declamatory interest, and various ostinato patterns, this movement ends peacefully. Carefully edited with some pedalings supplied. (AMC)

R24.

Dupont, Auguste (1827-1890) Belgium Fantaisie et Fugue, Op. 41. c. 1875. Mainz: Schott. (HOF 18741879) (INS)

R25.

Eckhardt-Gramatte, Sophie-Carmen (Sonia) (1899-1974) Canada (born Russia) Piano Sonata No. 6 (Drei Klavierstiicke), E. 130. Duration: ca. 14:30. Published in Volume 17 of her selected works. Available from the Eckhardt-Gramatte Foundation, 54 Harrow Street, Winnipeg, Manitoba, Canada, R3M 2Y7 which was set up by her second husband, an art critic, Dr. Ferdinand Eckhardt. The scores are obtainable from the Canadian Music Centre, 1263 Bay Street, Toronto, Canada, M5R 2Ca. This Sonata was begun in 1928 and finished in 1952. The first movement, "For left hand alone, Prestissimo, e molto preciso? was written in 1928 and is almost identical to the last movement of Sonata No. 4. The second movement, "For right hand alone, Lustig und mit Witz? was composed in 1951. And by coinci-

Right Hand Alone

23

dence the two movements may be played together to form the third movement, "For both hands, Vivo assai e marcato." From the CD notes by Michael Pisani: "The first movement is a perpetuum mobile in continuous demi-semiquavers, with few pauses. The second movement is angular, with rhythms purposefully contrasting with each other...The first movement sustains one texture and one key, conceived like an etude for the co-ordination and strengthening of the left hand; the second is full of character and bizarre humour, capricious and mercurical [sic] with frequent changes of tonal centre. The step-by-step process of bringing the two together; slightly prolonging one measure to allow another to catch up, subtly altering pitches to compensate, transferring lefthand material to the right and vice versa offers an experiment unique not only in this composer's works, but probably in all of modern music." This is a brilliant and exciting concert work that deserves performance and widespread use. The manuscript score, c. 1952, is very meticulously written and includes some fingerings and pedal markings. [LI 18] [D9a-c] R26p.

Edwards, Ross (1943- ) Australia Three Little Pieces for Right Hand Alone. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. I. Allegro; II. Andante; III. Molto Vivace. 3 p. Pedaling suggested and absolutely necessary. Second and Third movements have alternating meters. Tonally organized. Interesting shift of meters and accents. Lots of contrapuntal writing with one hand. Suitable for upper elementary students. [A32p]

R27.

Erlich, Ed. Zwei Universal-Etiiden fiir Pianoforte, Op. 83 for the right hand. Vienna: Wetzler. (HOF 1887: CXXIIL20) (INS)

R28.

Elias, Brian (1948- ) Great Britain Five Piano Pieces for Right Hand. London: J. & W. Chester, c. 1972. 4 p. Duration: ca 2:27 with a distinct pause in between. "For Eli." Composed in London, 1969. Short, pointillistic, twentieth century miniatures with thin textures, complex rhythms, and frequently changing meter signatures. Each has metronome markings, very precise dynamic indications, pedaling, and articulations given. Entire keyboard range is used. Interesting works for upper intermediate students or concert performance. (Ball State University)

24

One Handed

R29.

Fine, Vivian (1913) USA The flicker (for solo flute or piano right hand). New Centre, MA: Gunmar Music, Inc., c. 1983. 5 leaves of manuscript music. Duration: 4:00. Composed in 1973. On the title page: "'The flight is deeply undulating, produced by several quick beats and a pause.' Roger Tory Peterson. Bird-song is also heard, and flight and song intermingle." Performance notes and biographical information are provided. Tempo markings with metronome indications and the infrequent bar lines are helpful to organize the work into musical thoughts. There are numerous dynamic shifts, use of a wide upper keyboard range, many bird-like trills, and fast notes. The sectional structure gives the work an improvisatory feel. Single line at all times, no chords used. Dramatic ending with some histrionics indicated by the composer: "Performer slowly lifts and turns head and eyes as if following an ascending trajectory disappearing into space, holding final position for a moment." Pedal marked for the pianist. A serious concert work. Perhaps more suitable for the flute than the piano. (Boston Conservatory of Music) [D36a]

R30p.

Fisk, Beatrice Hatton (1903-1977) USA A Right Hand Trick. New York: Schroeder and Gunther, Inc., c. 1944. 2 p. "For Gladys Walter." This teaching piece is a traditional upper elementary level flowing waltz. Ternary form. G major-D major-G major, conventional harmonies. There are simple chords, single notes, chromatic passages, and some arpeggios. Pedaling and fingering given. (LOC)

R31.

Foote, Arthur William (1853-1937) USA Prelude-Etude, Op. 37 No. 1. Boston: Arthur P. Schmidt, 1897, 1925, 1930. 4 p. An arrangement of the same piece which was originally written for the left hand [LI31]. This work is effective for the left hand and equally so for the right. This arrangement is considerably easier than the original. It shows a marked Baroque influence with free recitative-like sections, many arpeggiated passages, and toccata inspired figurations. Fingering and pedaling indicated. Moderately difficult. (LOC)

R32.

Fricker, Peter Racine (1920-1990) Great Britain/USA Twelve Studies for Piano, Op. 38. London: Schott & Co. 23 minutes total for the twelve. They were first performed on July 9, 1961 by Lamar Crowson at the Cheltenham Festival. Of the twelve Studies, only Number 9 is for the left hand alone [LI38]

Right Hand Alone

25

and Number 5 is for the right hand alone. 4 p. A slow, free opening introduces the flowing eighth note pattern that predominates the entire study. The melody rises sonorously out of this flowing pattern. Sectional in nature; the opening idea returns in the center and at the end. Beautiful legato and fluid passage work required. A fine, inviting concert work. Difficult. R33p.

Gallasch, David (1934) Australia Space Music. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 1 p. "for James." "Space Music was conceived in the presence of a very bright student... James Hunwick." This piece is atonal, but revolves around tone clusters on A-flat and D-flat. Pedaling is indicated, but may be omitted for the very young. No meter is given to provide a feeling of timelessness. Performance notes by the composer. Gallasch has tried to stimulate intellectual curiosity with the instructions and musical parameters. Elementary. [A32p]

R34.

Ganz, Rudolph (1877-1972) Switzerland/USA Capriccio in E-flat for the Right Hand, Op. 26 No. 2. New York: G. Schirmer, 1917 and 1945. Publisher plate number 27932. Dedicated to Lester Donahue. 7 p. Allegro moderato — Tempo di Gavotta. Concert piece which could be paired with No. 1 from this set for left hand alone. Thin texture, dance-like with a walloping big ending. Ternary form. Middle section is contrasting in nature. Coda builds to a climax. Fingering and pedaling suggested. Use of sustaining pedal required in "B" section. Published with Op. 26 No. 1 for the left hand alone. [LI47] [A9]

R35p.

Germer, Heinrich (1837-1913) Germany The Technics of Pianoforte-Playing: Musical Ornamentation: Manual of Tone-Production in Pianoforte playing, Op. 28. Leipzig: C. F. Leede, c. 1886. This volume contains many excellent exercises for strengthening the left or right hand as well as a number of two-handed studies. None are repertoire pieces, but all are clever and worthwhile for dexterity and control. Most are few lines long and each involves a specific technical task that must be mastered. Fingerings carefully provided. Moderately difficult. (Milwaukee, WI Public Library)

R36.

Giorni, Aurelio (1895-1938) Italy 24 Concert etudes in all major and minor keys for piano: No. 22 Etude for the right hand alone. New York: G. Schirmer, c.

26

One Handed 1927. (Composed July 20, 1923). 3 p. Most of these etudes are for two hands. No. 20 is for the left hand alone [LI55]. No. 22 is in G minor, Adagio, 5/4 meter. It is a trill study in every sense of the word. "NB: May be played without trills-when trills are played the number of notes given for their execution is to be looked upon as a minimum..." Some of the trills are on the top, some in the middle and others on the bottom of the three voices. Difficult.

R37.

Golub, Peter (1952) USA Six Pieces: Rhapsodically; Smoothly; Sprightly; Ringing; Majestically; Playful. Manuscript, c. 1980. Written for and dedicated to Lionel Nowak. Duration: 5:46. 7 p. None of these short and delightful pieces is more than two pages in length. Golub states in the notes to the recording by Nowak [D36a]: "These pieces explore the sound of the piano. One hand (the hand of a master) seems like two." Thin textures, rarely more than two notes at one time. Contrast in mood, tempi, and sonorities between each piece. Middle to upper keyboard range. Some pedal marked and very important for the sonorities. Interesting contrasts in tempi and moods between the movements. Upper intermediate difficulty. [D36a]

R38p.

Grill, Joyce USA * Either/Or: Nine Pieces for Left Hand or Right Hand: Duet for One Hand; One-Hand Boogie; Reaching Out; See-Saw; Singing; Trumpet Fanfare; Tubas on Parade; Waltzing Alone; Woodpeckers. Miami, Florida: Belwin Studio Series, Belwin Mills, 1992. Mostly one page each. Very elementary pieces with no more than one note played at a time. Range is centered on the keyboard and staff. All in C major or F major with the use of accidentals. Would provide good sight-reading material for the very young and could be expanded into creative exercises as well. No rhythm values faster than eighth notes. Composer's suggestions: "Fingering for each hand should be written in...Experiment with articulation and dynamics...Also add either chords or accompaniment patterns with the 'other' hand." Contains illustrations. (See [A16p] for the contents.) [L184p]

R39p.

*Left Alone—Right On!: 12 pieces for left hand alone or right hand alone. Those for right hand include: Right On!, Inside Out, Solitude, Ripples, Melancholy, Little Lively Latin. Miami, FL: Belwin Mills, c. 1995. The other six pieces are for the

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left hand alone [L185p]. Elementary solos that could serve as learning experiences for students who are temporarily incapacitated. Some fingering suggested. Pedaling is to be experimented with, but a few suggestions are marked. Contains illustrations. No rhythms more complex than eighth note triplets. (See [A19p] for the contents.) R40p.

*More Left Alone-Right On! for left hand alone or right hand alone. Miami, FL: Belwin Mills, c. 1996. Those for the right hand include: Strolling Right Along, I Wish I Knew, Sara's Song. The other six solos are for the left hand alone [L186p]. Upper elementary level for these works. They are more difficult than either of the previous volumes. Few chords make the texture sparse and sometimes too bare. I Wish I Knew is probably the most effective of the solos for the right hand alone. Fingering is marked. Pedaling is suggested in several of the pieces, but often is not necessary. Solid study works. Could be effective for young student recital. (See A19p for the contents.)

R41.

Groot, Cornelius Wilhelmus de (1914-1993) The Netherlands "In any Direction," a poem for the right hand only with 2 pedals. Amsterdam: Donemus, 1974. 4 p. Duration: 5:20. Precisely edited. Performance suggestions include: "keeping both pedals down during the whole piece, using slow tremolo pedal or half pedal with the right foot, and holding the last fermata for 25 seconds." Free, declamatory style, but in strict tempo in each section as indicated by metronome markings. Frequent changes in articulation and dynamic nuance. Some fingerings suggested. Quiet, slow ending. Moderately difficult technically, but musically advanced. Conceived as a concert work. (Eastman School of Music)

R42p.

Gross, Eric (1926- ) Austria/Australia Three Pieces for 5 Fingers or 1 hand (Pfte), Op. 133. No. 1 Scherzino: Allegretto; No. 2 Contemplation: Lento ma un poco rubato; No. 3 Discussion: Allegro. Melbourne: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 4 p. Contrasting in texture and mood. Tonally organized but with splashes of dissonance. No. 2 contains many expanded harmonies. Conventional forms. Pedaling suggested. Suitable for upper elementary to lower intermediate students. [A32p]

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One Handed

R43p.

Hannan, Michael (1949- ) UK/Australia *Modal Melodies for Single Hands. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Single line melodies alternately for right hand and left hand. Twelve melodies total. None is over three lines in length. Contrast of modes and moods. "Each of these pieces, grouped in pairs for right and left hand, explores one of the Church Modes...Although those melodies written in the treble clef are intended for right hand, and those in bass clef for left hand, it is obviously possible to play them all with either one hand or the other." Elementary. [A32p]

R44p.

Harris, Shirley (1941- ) Australia *Study in A minor. Melbourne: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 1 p. Running sixteenth notes in scalar and chord inversion patterns. Might be played by either hand. No chords, pedaling, or fingering. Upper elementary. [A32p]

R45p.

Hawkey, William R. New Zealand *Play Mates and Colours. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 1 p. Two contrasting slowish pieces for the upper elementary student. Might be played with either hand, but most appropriate for the right hand. Tonally conceived. Composer's directions for Colours: "Repeat as many times as you wish. The final time only get softer and softer and let the final two bars be sustained with the pedal until the sound is no longer heard." Pedaling and precise articulations given. [A32p]

R46p.

Hicks, Marjorie Kisbey (1905) Canada Two Indispositions: #2 Indisposed Left Hand. Don Mills, Ontario: BMI Canada Limited, 1969. 3 p. Marked Scherzino. This sarcastic, biting little work flies by somewhat in the style of Prokofieff, all tongue-in-cheek. Sharp seconds and pungent chords with crisp disjunct rhythms. It lies mostly in the middle register and has fingerings and pedalings marked. Contains some glissandi for additional color. Intermediate level technical difficulty and charming musically. (University of Maryland) [L215p]

R47.

Hodkinson, P. (1934) Canada Minnie-rag (Kwazy-Kwilt for Minnie Mouse's Birthday) for Piano: Right Hand. November, 1990. Manuscript available from the composer on the faculty of Eastman School of Music in Rochester, New York. Commissioned by and dedicated to Rebecca Penneys. 3 p. Duration: ca. 2:15. The composer stated:

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"This brief bagatelle was composed on Thanksgiving Day of 1990 in Ormond, Florida, honouring a request from the American pianist Rebecca Penneys for a short recital 'opener' written for piano right hand only. Perhaps the relative proximity to, and a recent return from, Disney World reminded me that also paying homage to one of America's 'leading ladies' might be fitting for such a work. While strongly tonal, with the second strain in the obligatory subdominant, the rag meanders around a bit, with a Trio in G-flat and a somewhat silly battle between C and E-flat occurring in the principal melody. C major wins." The catchy, syncopated rhythms and the familiar and not so familiar chord progressions give an almost "heard-it-before" feeling to this short work. Hodkinson has been quite precise in his markings for articulation and dynamic nuance. The predominance of upper register tones makes the piece sound a little incomplete aurally, almost lacking a foundation. Some pedaling is marked. Moderately difficult and exceedingly cute. [D18a] R48.

Hoenderdos, Margriet (1952) The Netherlands Es verjiingt sich nach unten: (It rejuvenates as it goes down) piano solo (right hand). Amsterdam: Donemus, c. 1986. 14 p. Duration: ca. 10:00. Composed in 1983. A free, rhapsodic work filled with melodic tones that aurally "appear" between multinoted, chromatic melismas. From the composer's performance notes: "The image: the pianist, cigaret [sic] in the left hand, staring at the keyboard. Casually and with sure ease his right hand is playing from one melody tone to the next one, slurring grace notes in between; in short, endlessly 'noodling'... A game is created between the melody/main tones and the density of the grace notes." No meter or bar lines. A pulse bar is placed below or above the music staff to indicate the various metronome markings for the keyboard registers. On this line pulses are presented as noteheads (quarter or half) with metronome numbers above. Mostly legato. No pedal is to be used. A very complex, concert work. (Northwestern University) [D19a]

R49.

Holland, Dulcie Sybil (1913) Australia *Quiet Procession for Piano Solo for One Hand. [L226]

R50.

Huss, Henry Holden (1862-1953) USA Prelude III in E major from Quatre Preludes en forme d 'etudes, Op. 17. New York: G. Schirmer, Inc., c. 1901. 3 p. The other Preludes from this opus are for two hands. "Pour la main droite

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One Handed (ad lib)" Dedicated to Miss M. Wood. Allegretto. Full chords alternating with arpeggios that reinforce the harmonies provide an embellished chorale-style work. Pleasant harmonies and chromatic chord progressions lead to a climax in the center followed by a quiet ending. Simple charm. Pedaling and fingering indicated. Moderately difficult. (Indiana University)

R51.

Hutchens, Frank (1892-1965) New Zealand Vienna Interlude: Piano Study for the right hand, optional, both hands). "To Valda Johnstone." Melbourne: Allan & Co., 1954. 6 p. A Viennese style waltz filled with grace and exuberance. The middle section is broader and denser in texture and after a return to the material of the first section, an accelerando brings the performer to a dazzling end. Requires ease in playing thirds, broken chords, and quick register shifts. Upper intermediate. Pedal marked. Encore type work. (LOC)

R52.

Hyde, Miriam (1913) Australia These three studies were written by the composer for her own concert use in 1982 after she had broken her left arm in an accident. Study in C Minor. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 4 p. Moderato, poco maestoso. Modulates to other tonal centers. Ternary form with center section in contrasting triplet rhythm. "This sounds far more like a structure for two hands...It deals with the quick release of the last semiquaver of the bar and immediate location of the next note, which may be far below, or above it...There is a quite real possibility of losing one's balance or even falling off the stool when the right hand moves to the lowest bass notes..." Quite a challenging piece for an intermediate student. Would serve well as a recital piece. Fingering is suggested. [A32p]

R53.

Staccato Study in E major. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Molto allegro, scherzando. Ternary in form. Perpetual motion, sixteenth notes, always staccato. Interspersing of chords and single notes throughout the rhythmic groupings. "It is playful in spirit, with teasing off-beat accents." Fingering and pedaling are suggested. A challenging intermediate level student recital piece. [A32p]

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R54.

Study on the White Keys. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Presto. Continual running sixteenth notes. Thinner texture than either of the above. Mostly single notes with only a few triads interspersed. "This is a 'motto [sic] perpetuo', requiring sheer finger fluency and equality...The compass is wide-ranging...The object was to create interest within the limits of the white keys only, and to tax the consequent technical accuracy of the player, through touch and visual perception..." Carefully designed to fit neatly under the hand. Intermediate level. [A32p]

R55.

Kessler, Minuetta (1914) USA Awakening and Dance for right hand alone, Op. 169. Belmont, MA: Musical Resources, 1991. 5 p. Introduction: "Since most one-handed music is written for left hand alone, much of it is not comfortable for right-hand performance. This composition is written for and dedicated to Jeanne Tourin who, in her late seventies, suffered a paralytic stroke leaving her with a useless left hand. Having been a music student, a piano teacher, and a performer on piano, harpsichord and fortepiano all her life, and not yet ready to give music up, she was faced with the challenge of finding sufficient right-hand-only music to fill out an adequate and interesting repertoire. This is my contribution to her search. I hope this piece will also reach right-hand-only pianists." (Southern Baptist Theological Seminary) The one-page, introspective Awakening serves as a prelude to the longer, rhythmically exciting Dance which is filled with joy and exuberance. Colorful scale patterns and spicy harmonies. The pianist tumbles down the keyboard with several lines of 32nd note groupings to a ^fending. A very effective piece. Fingerings and pedalings marked. Upper intermediate difficulty.

R56p.

Ketterer, Ella (1889) USA *Valse Melodique (for either Right hand or Left hand alone). Philadelphia: Theodore Presser, c. 1951. 1 p. "To Barbara Blanck." The waltz is printed two times, once fingered for the left hand and once fingered for the right hand. Gentle, pedagogically conceived work. Arpeggiated first section in G major contrasts with the chordal middle section in D major before the da capo. Some closed position four note chords. Simple melody

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One Handed supported by the chords and arpeggios. (LOC)

Upper elementary.

R57.

Kohn, Karl (1926) Austria/USA Etude for the right hand (and foot). Available in manuscript from the American Music Center, 250 W. 54th Street, Room 300, New York, N. Y. 10019. 4 p. Duration: 5:00. Composed in Claremont, California, 1978. First performance by Audrey Grigsby, the dedicatee, in Los Angeles, April 23, 1979. A sectional work that begins with a brittle Allegro giusto; then moves into an poetic Largo. The Quasi doppio movimento serves as a bridge to the Tempo I that brings back the opening material. The sections are built on asymmetric rhythms and rhapsodic writing with thin textures and flashes of color. Kohn has marked the score meticulously with frequent dynamic changes, precise articulations, and careful use of the three pedals. Quiet ending. An interesting concert piece.

R58.

Kohs, Ellis Bonoff (1916) USA Etude-Variations on a Sestatonic Scale (A B C D D# E) After a Theme by Johannes Brahms (and E. B. Kohs' Fantasy II for Solo Violin) for piano right hand. Manuscript at the American Music Center, 250 W. 54th Street, Room 300, New York, N. Y. 10019. 7 p. Completed in Cannes, June 17, 1985. The Brahms theme is taken from Symphony No. 4, Op. 98 in E minor. This concert work has a distinct solo violin style with broken chords, single notes most of the time, implied polyphony, and a few "double stops." Twenty-two variations in all, each is eight measures in length and based on the same harmonic structure and bass line, somewhat like a passacaglia. The pedal is marked at desired spots. This is a mentally engaging work, but, perhaps not as interesting on the piano as on violin.

R59.

Ten Two-Voice Inventions for Piano. (October, 1949, c. 1954). Nos. 3 and 8 are for right hand alone. Unpublished manuscript. New York: American Composers Alliance, 170 W. 74th St. Also at the American Music Center. The ideas for each of these Inventions are derived from the J. S. Bach two-part inventions. Both have careful dynamic and articulation markings and indicate pedal as needed. Not technically more than upper intermediate difficulty, they require a mature musical mind.

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No. 3 is centered around B-flat. It is a graceful 6/8, one page in length. "Mono-tonal, binary form, use of inversion and cantus firmus in part two." No. 8 is based on a six-tone scale and is slightly reminiscent of J. S. Bach Invention No. 4 in D minor. 7/8 meter, 2 pages in length. "Ternary form, use of inversion 'inverted scale,' harmonics, fingering problems." In the last two measures No. 8 needs to have four notes pressed silently by a left hand. This may not be possible for some pianists. R60.

Lang, Walter (1896-1966) Switzerland 10 Klavier-Etuden, Op. 74. Hug, 1964. Of these ten studies only No. 4 is for the right hand alone. [L286] (INS)

R61.

Lauer, Elizabeth (1932) USA Dextravaganza. New York: American Composers Alliance, 170 W. 74th Street, c. 1992. Written for Lionel Nowak. First score 17 p. Final score 21 p. Lauer made some changes in the original score while preparing to perform the work herself three years after Nowak's death. The final amended score has the date of February 1999 and is a neatly printed, computer-generated publication. Duration: 10:00. From the composers notes: "The idea of writing a piano work for Lionel Nowak - for right hand alone - has been 'in the works' for several years. There have been many starts (followed by an equal number of 'stops'), countless 'sound' ideas, ruminations and the like, but an actual piece never materialized...There is just no way that I can express, in sheer music, the affection, admiration and honor that I have always paid to Lionel Nowak. Indeed (it finally came to me), that is not what writing music is for or about...Once I got rid of the overhang of non-musical 'responsibilities.' I was free to think about the idiosyncrasies of using the right hand only. This has been much more enjoyable - dealing with various aspects of registration, timbre, pedaling, touch, nuance, dynamics...all in terms of keyboard sound...Lionel always has been the best in an array (happily for me!) of marvelous teachers. He was always (during my undergraduate years), encouraging, demanding, goodhumored, enthusiastic and inspiring. I treasure the fact that he still wishes to keep our friendship very much alive. And I do hope that he finds some pleasure in the pages of 'Dextravaganza.'"

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One Handed This interesting work is built from sparks and flashes of sounds, washes of color caused by repeating rhythmic figures, pedal points with frequent use of the sostenuto pedal, passages of rapidly fluttering "Bebung" touch, and periods of turbulent activity contrasted with periods of static repose. Wide keyboard register with a predominance of sustained bass notes under high, fast keyboard figurations. Requires much use of the damper and sostenuto pedals. Sectional in structure with a bold, powerful ending. Difficult concert work.

R62p.

Leask, Jeffrey (1944- ) Australia *Film Theme (for the right hand alone). Melbourne, Australia: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 1 p. G major. Lyrical melody with simple chordal accompaniment underneath. Moderate tempo. Some modal harmonies. Pedal required. Upper elementary difficulty. [A32p]

R63.

Leeuw, Ton de (1926-1996) The Netherlands *Linkerhand en rechterhand voor piano (Left and Right Hand). Amsterdam: Donemus, c.1976. (Photograph of manuscript at NYPL-Lincoln Center). Reproduced from manuscript. 3 p. "in opdracht van de Rotterdamse Kunstichting." Almost totally single notes, lying in the center of the keyboard. This work is actually meant to be played by two hands with the single line being passed back and forth between the hands and increasing in speed. In one area the left hand is notated as holding an open fifth while the right hand continues the perpetual motion. This could be achieved, however, with the use of the sostenuto pedal and the passing back and forth can be achieved by one hand alone. Sectional by metronome markings. No note values faster than eight notes. Requires mature musicianship to perform well. Intermediate technical difficulty.

R64p.

Lemont, Cedric Wilmont (1879-1954) Canada Valse in C major. Philadelphia: Theodore Presser, 1929. (INS)

R65.

Levine, Jeffrey (1942) USA Soliloquy for Right Hand. (1982) Written for Lionel Nowak. Duration: ca. 5:00. Levine states: "Extracted from a set of variations, this piece could be described as a lyrical free fantasy on a compact motive. Lionel's persona and musical mastery elicited its invention, and his performance convincingly supports its existence as an independent solo work."

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Linear writing, freely expressive. Mostly single notes with occasional octaves and glissandi. The recurring motive which binds the sections together creates a feeling of exploration and introspection. Quiet ending. A very emotionally engaging work. Pedal is important for color and sustaining the harmonies. Moderately difficult. [D36a] R66.

Luening, Otto (1900-1996) USA The Right Hand Path. (1984) Written for Lionel Nowak. Duration: ca. 5:00. Luening says about the work: "The Right Hand Path for right hand alone is built out of segments of the overtone row, which have various degrees of resonance depending on both spacing and the dynamics and sometimes the rhythm. The opening measure, two whole steps, is immediately followed by two more whole steps on the second overtone of C, which is G; then E, which is the fourth overtone of C. The strict intervallic adherence brings fragments of C, G, E, and B major in the opening measures. Through contrapuntal manipulations, the intervallic motive expands further into almost polytonal harmonies. The sonority forms need to be kept in proportion through precise pedaling. The allegro of measure 13 compresses and inverts the materials; thirds become sixths, leading to a new resonance climax. The passage beginning at measure 30 is lyric though dynamically dramatic. It is based on previous materials: whole-tone steps and thirds. This material is developed and expanded using piano resonance as a formal means, leading to a climax and then a fadeout." Written on three staves that assist in delineating the various compositional lines. It lies mostly in the upper half of the keyboard range. The pointillistic writing allows tones with melodic inflection to emerge from the center of the piano with light filigree above. Luening has achieved a very interesting sound, somewhat like electronic music, but tonally conceived. There is an exciting and purposeful ending. Technically not demanding. Possibly one of the most interesting of the right hand works from this century. [D36a]

R67p.

Markiewiczowna, Wladyslawa (1900) Poland Coloured Pictures (Kolorowe obrazki). Polsie Wydawnictwo Muzyczne, 1979. Available through Universal. Six charming pieces, somewhat in the style of Bartok, using local folk music and extraordinarily clever drawings by Barbara Brzozowski. Only two of the six are for one hand. Pastuszek (The Shepherd Boy) is for right hand alone and Zniwiarze (The Harvesters)

36

One Handed [L318p] is for left hand alone. In the footnotes to these pieces the instructions are reversed, but the fingering indicates which piece is for which hand. Each is 2 pages long and is lower intermediate in difficulty. The scores are carefully edited and pedaling and fingering are indicated. (University of Illinois at ChampaignUrbana)

R68p.

Martyska, Barbara USA Waltzing in My Sneakers. Miami, FL: Belwin Mills, c. 1992. Belwin Banner Series. 2 p. This elementary level piano solo in C major was on the National Federation of Music Clubs, Junior Festival One Hand Piano Music list Elementary Class III, 19951997. Barbara Martyska is a music teacher living in Allentown, Pennsylvania. She says: "This piece is meant to be played by the right hand only. Allow your left hand to be resting in your lap throughout the entire piece." Her tempo marking is "trying to be graceful." A thoroughly charming solo for teaching purposes. Fingerings given. No pedal needed. [L319p]

R69p.

Meyerowitz, Harry Three piano compositions for the right hand alone: Gavotte; Waltzing Snowflakes; An Old Chinese Music Box. New York: G. Schirmer, Inc., c.1941, 1942, 1944. 8 p. Cute teaching pieces. Worthwhile for study. Each has a distinct character. An Old Chinese Music Box uses the pentatonic scale. Upper elementary level. Fingering and pedaling suggested. (Philadelphia, PA Free Library)

R70.

Migot, Georges (1891-1976) France Cinq etudes pour la main droite (en forme de suite). Paris: Alphonse Leduc, 1941. 12 p. Carefully conceived concert works that are a welcome addition to the literature for the right hand. They are meticulously marked with performance suggestions. These intriguing, tonally derived works are very suitable for recital. Since these pieces are often written on one staff, the linear direction and compositional plan is clear. Migot does not neglect the harmonic emphasis, however, and adds chords as the color and sonorities dictate. Migot has given precise fingerings and pedalings (including the soft pedal), but feels that the performer may determine the best pedal usage for the desired effects. Moderately difficult. (Philadelphia, PA Free Library) I. allant et decide, "pour Nicole Romeuf." 3 p. Some interesting 2-voice writing, with many thirds and sixths.

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II. andante et chantant. "pour France Chiron." 2 p. Richer in texture with more use of bass notes. III. allegre et legerement. "pour Yvette Barot." 1 p. Like a minuet and trio. The least difficult of the set. IV. lentement, avec emotion, "pour Marie-Therese Lacote." 2 p. Built as an expanded chorale and funeral march. Textures grow denser and denser throughout. V. final: decide et rythme. "pour Suzanne Parnaudeau." 4 p. The most complex of the set. The initial rhythmic motives give impetus to the entire movement. A cadenza area near the end prepares the coda and big ending. R71.

Mucci,John (1953) USA Elegy for the Left Hand (for the Right Hand Piano solo) c. 1985. Manuscript available from the American Music Center, Inc., 30 W. 26th Street, New York, NY 10010-2011. 6 p. "for Carlo Stea." Sectional work: Rubato-Lento-Allegretto. Contains interesting musical directives such as: "angrily," "resignedly," "trionfante." A cathartic and introspective work that is truly an elegy to the loss of or the loss of the use of the left hand. There is a tapestry of textures and timbres, thick chords, rich sonorities, declamatory phrases, thorny themes, cadenza passages, fist glissandi, and a very quiet ending. An interesting and moving concert piece. Moderately difficult.

R72p.

Murrow, Christine A. (1945) USA Sounds for One Hand: Five Lyric Studies for Either Hand Alone: September Waltz (A-flat major); Circus (C major); Mayday March (G major); Toe Dance (E minor); Bees (C major). Florence, KY: Willis Music, 1986. Dedicated to Lola Christiansen Dunn. Each is two pages long and of upper elementary to lower intermediate difficulty. Pedagogically conceived to fill the gap in literature for a young student with only one hand. They contain cheerful and creative writing for young children. The Circus and Toe Dance are especially effective and inviting. Murrow says: "While one-handed piano students such as mine may be rare, there are often occasions when a student has a finger, hand, or arm temporarily incapacitated. These pieces, fingered for either right or left hand, will be helpful at such times, or at any time, for developing the dexterity of either hand alone." Fingering is provided for either hand and pedaling is indicated where needed. All five of these pieces are included on the One

38

One Handed Hand Piano Music list for the National Federation of Music Clubs, Junior Music Festival, 1995-1997. [L344p]

R73p.

Nagy, Maryanne USA *One handed solitaire: No. 1, No. 2 (Peacefully), No. 3 (Martial). New York: Lee Roberts Publications (Recital Series for Piano), Agent G. Schirmer, c. 1970. 6 p. Dedicated to Laurie. Three short pedagogical pieces of varying moods which may be played with either hand or both hands according to the composer. These are excellent, carefully prepared, and charming upper elementary level works with tinges of modern colors. Pedaling and fingering for both hands precisely marked. [L345p]

R74.

Nowak, Alison (1948) USA View for Piano Right Hand. Manuscript. Available from American Composers Alliance, 170 West 74th Street, New York NY 10023. October 25, 1981. Written for her father, Lionel Nowak. Duration: 6:40 min. 7 large pages. Alison says: "I wrote the View for Piano Right Hand as a gift to my father on his 70th birthday in 1981. The 12-tone set (GEFACD/AbDbBbB DF#) on which it is based was originally created for an unfinished setting of Howard Nemerov's poem View from an Attic Window. The title is meant to reflect the continuous variations on a single theme (a point of departure for exploration) plus the tendency to return time and time again to certain 'landmarks' (in this case specific triads and specific rhythmic figures)." A slow, dramatic, pointillistic, twelve-tone work with flexible rhythms, wide upper keyboard range, effective dynamic contrasts, and snippets of clever melodic interest. Many nuances of articulation, tempo, and dynamics are marked by the composer. Technically only moderately difficult, but requires mature musicianship. [D36a]

R75.

Nowak, L. Augustus USA Theme and Variations. (1987) Written for his father, Lionel Nowak. 9 p. Duration: ca. 7:00. Unpublished manuscript. Nowak states in the notes to the recording by his father: "My intention in writing the Variations was to provide a traditional option in terms of tonality and phrasing to a repertoire that, from what I had heard, had tended to be more intricate and exploratory.

Right Hand Alone

39

I believe that the elementary lyric should maintain a segment of the spectrum in current composition." A simple, melancholy, and touching theme in the middle of the keyboard range is followed by nine variations. Linear writing with only a few chords, but interesting color subtleties and rhythmic nuances. Begins in D major, travels through d minor, A major, E major, and B major and then ends in E major. A rather solemn and dark work with some interesting "American" sounds. Moderately difficult. [D36a] R76.

Nowak, Lionel (Henry) (1911-1995) USA Lionel Nowak was a faculty member in composition and piano at Bennington College for more than forty-five years. He suffered a stroke in the Spring of 1980 that prevented him from using his left hand but continued his work as pianist, teacher, and composer, although restricted to playing with his right hand alone. Colleagues, friends, and family have written thirty works because of his disability. A cassette recording issued by Bennington College, entitled The Right Hand Path: Music for Piano Right Hand, is a collection of some of the works written for and played by Nowak. A brochure accompanies the recording and provides biographical notes and information about the various compositions. Most of the works have not been published but are sometimes available from the composers themselves. [SEE Calabro, Fine, Golub, Lauer, Levine, Luening, A. Nowak, L. Nowak, Shawn in this chapter.] Practice Piece. 2:29 min. Nowak stays: "Shortly after my stroke in spring, 1980, several composer friends signaled their sympathy by sending serious new scores for right hand alone. It occurred to me that certain finger and arm techniques were not in evidence so I decided to construct a piece for myself which could extend muscular facility by daily practice as warm-up...It has since served well in programming by giving contrast to the offerings which have come my way." A brisk study in repeated notes and octave displacements. Mostly single notes. Written somewhat like a set of variations with the texture becoming thicker and thicker as the work progresses. Repeated rhythm patterns and melodic motives bind the sections together. No pedal required. Covers the entire piano keyboard. Upper intermediate difficulty. [D36a]

40 R77.

One Handed Panni, Marcello (1940) Italy Appunto 8.68. Milan: Edizioni Suvini Zerboni, 1972. 2 p. Dedicated to Antonio Ballista. Printed on one staff. The entire piece revolves around pitches on the five lines of the staff, using the fingers of the right hand over these five notes. Since no clef is given, presumably these pitches are the lines of the treble clef, but any chord can be used according to the composer. From his notes: "Only one chord to use for every single performance. The same finger has to be used always for the same line of the pentagram, less during the passage in the dotted square, where different fingering is indicated. This passage should be played as fast as possible." These five pitches are played in various rhythms and combinations with many timbre and articulation changes. The composer has indicated the rhythms that are highly complex and agitated, but the notes are to be determined by the performer. Extremes of dynamic levels are suggested. "Play with only the right hand a whatsoever chord of five different sounds...Some dynamic indications are only imaginaries [sic] but not therefore negligibles. Advisable half note = not less than 60 MM." Some of the imaginary dynamics are crescendos and swells on half notes. Declamatory style. No pedal is employed. Minimalist. Difficult and cerebral. (University of Illinois at ChampaignUrbana)

R78p.

Payne, Cora Sadler USA *One-Hand Serenade. Mequon, WI: Schaum Publications, Inc., c. 1984. 2 p. C major. An elementary level pedagogy solo, single notes only. Contains fingering for either hand. Pedal marked. Thumb-under crossing necessary for the right hand. Some legato keyboard shifts are aided by the use of pedal. The cover design shows a young lady playing the piano with her left arm in a sling.

R79p.

Peter, Darrell (1918) USA Surf-Riding for Right Hand Alone. St. Louis: Art Publication Society, Progressive Series Compositions (Catalogue 602-2), c. 1961. 3 p. "To Karen and Craig." In the biographical sketch of Darrell Peter written by Jack Hurt, it is noted that he was born in Pawnee, Oklahoma and studied with Olga Samaroff and Sascha Gorodnitzki. There are notes "To the teacher" and "To the Student" by the composer. This is an intermediate level work of continuous sixteenths with some double stemming for melodic interest. Song form. Many dynamic contrasts in order achieve the ebb and flow of the "surf." Quiet ending. Nice student piece

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with pedaling and fingering provided. Peter writes: "SurfRiding has been designed to acquaint the student with playing legato arpeggios fluently, using them to build—by each crescendo and diminuendo-toward the principal climax and to give direction toward the coda." (LOC) R80.

Petyrek, Felix (1892-1951) Czechoslovakia/Austria *Zwei Tanzstuckettl. 2 p. A minor. A quiet, slowish waltz. Requires facility in keyboard shifts and chord voicing. Pleasing chromatic harmonies and some rhythmic devices. Pedaling carefully indicated. Fingering suggested. Intermediate difficulty. [A5] [L369]

R81p.

Pietsch, Edna Frieda (1894) USA * Waltz in C major. New York: G. Schirmer, 1957. (INS)

R82p.

Poe, John Robert (1926) USA Look Ma, One Hand: Pieces for One Hand Alone. San Diego, CA: Neil A. Kjos Company, 1990. Twelve single line, mostly one page, early elementary solos. Six for each hand alone. Dedicated to Jessica, who smashed her thumb. For Right Hand: Right Away; Right Foot Forward; Right on Target; You are so Right!; Right About Now; Two Rights Don't Make a Wrong! No fingerings were provided in order to stimulate the student's involvement. Circles are to be filled in with the correct fingerings. Tempos are to be determined by the performer. All pieces lie within a five finger position. Only one pedal is marked. Articulations and dynamic markings are provided. [L374p]

R83.

Pollock, Robert (1946) USA Short Study: for piano (right hand). Ship Bottom, New Jersey: Association for the Promotion of New Music, c. 1979 by Mobart Music Publications. 2 p. Duration: 2:00. Reproduced from holograph. For Gilman Collier. Freely written, declamatory concert study, covering a wide keyboard range and with many 20th century sounds. Linear writing, never more than two notes at a time, however. Changing meters. Broad range of dynamics and articulations. Metronome markings change frequently. Pedal indicated. Difficult. (Swarthmore College)

R84p.

Portnoff, Mischa (1901) USA Music Box for the right hand from Trilogy: Suite for piano solo. New York: Mesquite Music Corp., c. 1968. 2 p. Portnoff has

42

One Handed created this miniature suite as a result of his teaching experiences. Music Box, the first movement, is written to be played one octave higher than notated. Landmark fingerings are suggested. Con moto tempo in cut-time. Perpetual eighth note rhythm which includes double stemming to emphasize melody tones. Upper elementary level. From the Preface: "...compositions for the right hand alone seem to be non-existent. As the plans for a suite containing three pieces, one for the right hand alone, one for the left hand alone, and one for both hands together, were being formed, the familiar aphorism, 'Nothing is new under the sun', came to mind. It does not, I believe apply to the Trilogy." The second movement of the suite (Metronome) is for left hand alone [L381p] and the third movement, Mobiles, is for both hands together. A short biography of Portnoff is included. (University of Wisconsin-Madison)

R85.

Ragni, Valentino Mosaiken: fur eine Hand (1. Kleine Rhapsodie; 2. Farben; 3. Melodie; 4. B.A.C.H.; 5. Hommage a Usher [Edgar Allan Poe]; 6. Feuerspiele). Zurich: Musik Hug Verlage, c. 1982. 15 p. This work won the Premier prix de composition de la Societe Suisse de Pedagogie Musicale. French and German Instructions for performance along with a 2 page guide of non-traditional symbolic notations are given. Movements 2 and 5 are for left hand alone; movements 1 and 6 are for right hand alone; and movements 3 and 4 may be performed by either hand. The instructions are absolutely essential. Ragni uses traditional as well as non-traditional notation. Some movements use bar lines for rhythmic organization while others do not. Copiously marked with musical indications, durations, and frequent metronome changes. Some formulated improvisation is asked of the performer. Minimalist in texture and sound. Some of the movements would be more easily prepared than others. Pedaling is prescribed. Concert music. (Northwestern University) [L384]

R86p.

Riccardi, J., et al. *Elementary Piano for One Hand [A 15p].

R87p.

Ridout, Alan (1934) Great Britain Quick Dance from White Notes, Black Notes, Key Notes: Twelve Pieces on Modes. Published in the Easier Piano Series, No. 80. London: The Associated Board of the Royal Schools of Music, c. 1991. 1 p. The key note is F# for this cute, bright and

Right Hand Alone

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shiny, little piece. Uses only the black keys and the middle range of the keyboard. 5/4 meter divided into 3 and 2 in every grouping. Precisely marked for accent, staccato, slurs, and sustained tones. No pedal needed. Fingering suggested. Upper elementary technically and engaging musically. (National Music and Disability Information Service List) (University of Cincinnati) R88p.

Rocherolle, Eugenie Katherine Ricau (1936) USA Hands separately. San Diego, CA: General Words and Music Co., Neil A. Kjos Music Co. Distributor, 4380 Jutland Drive, c. 1989. This volume contains four pieces, two for each hand alone. [L397p] Pedagogically conceived works that are tuneful and harmonious. Waltz for the right hand (F major), 4 p.; Etude for the right hand (G-flat major), 2 p. The Waltz is strong and energetic and has a contrasting middle Andante section in common time while the Etude is a graceful flowing melody and accompaniment which reaches a strong climax before the return of the opening material. Pedaling and fingering are suggested. Clever learning experiences for the intermediate level student. [D44a]

R89.

Rorem,Ned (1923) USA Etude #7 from Eight Etudes for Piano. New York: Boosey and Hawkes, c. 1977. 2 p. Rorem states: "All with the right hand, without meter; Smooth and meandering and always expressivo [sic]. Filled with pedal." A very poetic concert etude with an extremely wide keyboard range. Improvisatory and free. Big climax and quiet ending. Lyrical piano sound of the utmost importance in this difficult work. Metronome indications at various cadence points. This set of etudes was commissioned by Emanuel Ax on a grant from the Edyth Bush Charitable Foundation, Inc., for the Bicentennial Piano Series of the Washington Performing Arts Society, and dedicated to the memory of Edyth Bush. The premiere, by pianist Emanual Ax, took place in Kennedy Center, Washington, D. C , on March 13, 1976. Composed in Nantucket during the summer of 1975.

R90.

Samazeuilh, Gustave (1877-1967) France Souvenir (pour la main droite seule) from Esquisses pour le Piano. Paris: Durand & Cie., 1945. 3 p. The Serenade from this suite is for the left hand alone and the other two movements are for two hands. [L414] Dedicated to Marcel Ciampi. A slow impressionistic work with a steady chromatic triplet accompani-

44

One Handed ment. Many nuances in tempo are indicated. Very free and rhapsodic at times, building to interesting climaxes. Quiet ending. Although the fingerings are for the right hand alone, Samazeuilh allows for a two-handed performance. Moderately difficult to difficult.

R91p.

Sauter, Maya (1910- ) Switzerland *Klaviermusik fiir eine Hand allein. Improvisationen zum Transponieren, Nos. 1-8; Ein- oder mehrstimmigen Studien, Nos. 1-12: Impromptus, Nos. 1-5. Zurich: Musikverlag Zum Pelikan, c. 1971. According to the composer, all of the pieces may be played by either hand and are fingered accordingly. Most seem more comfortable for the left hand because of the location on the keyboard. They range in difficulty from upper elementary to intermediate. The specific technical problems studied include transposition, staccato, appoggiaturas, firmness of attack, legato, broken chords, octaves, extension, black keys, inversions, and diminished seventh chords. Most of the writing is single note at a time with only occasional chords. Fingerings and pedal usage are marked. The Impromptus are given titles: 1. Sennentanz; 2. Allegro; 3. Ping-Pong; 4. Der Hampelmann; 5. Andantino. These are inviting, tonal works that would be suitable for student recitals.

R92.

Shawn, Allen (1948) USA Six Miniatures (for Piano Right Hand): Majestic and singing; With driving rhythm; Con brio; Molto tranquillo e espressivo; Brittle, angry; Maestoso; freely, Manuscript available from the composer at Bennington College, VT, c. 1988. Written for Lionel Nowak. 10 p. Duration: 10:25. This is an entertaining and mature work. The opening chorale requires ease with chords and the other pieces need an ear for color and shaping. Some very interesting rhythms provide the necessary vital force in the animated movements. Shawn has carefully marked all nuances of dynamics, articulation, and pedal including "una corda." Metronome markings are provided. Moderately difficult and could be highly effective in concert. Shawn says: "The Six Miniatures were written for Lionel and celebrate his playing. The harmonies of the opening chorale are echoed in No. 4, and form the basis of the cadenza-like sixth movement. Though also linked to the chorale, the remaining pieces provide contrast; numbers 2 and 3 are balletic in character, and No. 5 is a rather acerbic march." [D36a]

Right Hand Alone

45

R93.

For Lionel Nowak. Manuscript available from the composer at Bennington College, VT, c. 1989. 6 p. Duration: 4:30. This short work is somewhat like a meditation or an improvisation on the blues. It flows continuously from one idea to another and almost playfully works through each section, some loud, some soft, some fast, and some slow. Harmonies, scales, and accents give a true bluesy feel. Carefully edited for articulations, dynamics and pedal with some fingerings provided as well. Concert work.

R94.

Skerjanc, Lucijan Marija (1900-1973) Yugoslavia Sest klavirskih skladb za eno roko (Six pieces pour piano a une main seule). Ljubljana, Yugoslavia: Sloveska akademija znanosti in umetnosti, 1952. Composed in 1950. This large work is divided into two sections with three pieces for each hand in each section. Tri skladbe za desno roko (Trois pieces pour la main droite) 8 p. Preludio: A lyrical and rhapsodic melody supported by thick chromatic harmonies. Requires careful voicing and balance between accompaniment and melody. Comprehensive technical control is needed to adequately present this work filled with nuance and rubato. Quasi Valse: The light, thin melody is supported by synthetic scales and cleverly derived patterns that fit neatly under the five fingers. Toccatina: A lively, staccato, perpetual motion work that spans the keyboard with passage work which fits comfortably under the hand. These works are good concert fare. Interesting to the listener and challenging but not traumatic to the performer. Ingenious writing. There are three other pieces for the left hand [L440].

R95.

Sosa, Raoul (1939) Argentina/Canada Six Etudes. Montreal, Quebec: Centre de musique canadienne, 1984/1985. Score reproduced from manuscript. Dedicated to Franz Tournier. From this group of studies, there are two for the right hand, two for the left hand [L449] and two for two hands together. I. "pour la main droite seule: Allegro comodo." 3 p. Perpetual motion legato sixteenth notes with chords at the first of each grouping. Falls cleverly under the hand. Sosa has provided many fingering suggestions and musical instructions. An interesting concert work. IV. "main droite seule: Allegro non troppo." 4 p. Interesting sonorities derived from sustained (either physically or with the pedal) diads. Short sparks sound between the notes of the diads. There is a contrasting middle section that utilizes flowing and

46

One Handed somewhat blurry eighth note groups under sustained chords, some with as many as six notes. Difficult.

R96.

Sourget, E. de Santa Coloma Gavotte Variee pour la main droite seule. Brussels: Schott, 1881. (HOF1887: CXXIII:20).

R97p.

Steiner, Eric (1911) *One Hand only for the Young Pianist [A30p]

R98.

Stravinsky, Sviatoslav Soulima (1910-1994) Switzerland/USA Piano Suite for the Right Hand: Prelude; Marcia; Valse; Gavotte; Sarabande; Gigue. New York: C. F. Peters, c. 1980. 6 p. Composed in 1975. Duration: ca. 8:00. Based on a twelve-note row that is given at the beginning of the composition and employing the traditional dance rhythms from earlier musical style periods. Rather intriguing from a compositional standpoint. Thin, linear texture, rarely more than two notes at a time. Dynamic markings and articulations carefully indicated. Intermediate difficulty; advanced musically. A few fingerings furnished; no pedal marked. Later transcribed for viola solo.

R99.

Sonatina Terza. New York: C. F. Peters Corporation, c. 1967. This is one of six Sonatinas for Young Pianists by Soulima Stravinsky. Movement I, Fantasia piccola, is for the right hand. 1 p. Marked Corrente with no meter. A series of free flowing triplet figures punctuated by fermatas at resting spots. Carefully marked with many nuances of articulation essential. Thin, linear writing. Single notes only. Intermediate difficulty. Proceeds directly, attacca, into Movement II, Marcia, which is for both hands, but could be adjusted for either hand alone. Movement III Epilogue is written for left hand alone. [L477].

RIOOp.

Austria/USA

Sulpizi, Fernando (1936) Italy Contrapppunto per la mano destra from Album per secondo Daniela. Ancona: Edizioni Berben, c. 1975. There are seven pieces in this volume. Five are for two hands, one for the left hand alone [L480p] and the Contrappunto per la mano destra for the right hand alone. 1 p. The pitches are placed freely on one staff line, all in the treble clef. A rhythm bar is printed above for the white notes and below for the black notes. Suplizi gives the following instructions: "La nota seguita dalla linea, dovrd essere tenuta fin quando non sard sostituita dalla seguente dello

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stesso colored Sulpizi shows precisely how long the white and black notes must be held. Intellectually stimulating for the intermediate student. No fingerings given. R101.

Takahashi, Yuji (1938) Japan "Three Poems of Mao Tse-Tung: Tapoti (1933); Ode to the Plum Tree (1961); Reply to Comrade Kuo Mo-Jo (1963). Japan: Zen-On Music, c. 1976. 6 p. Only Tapoti and Ode to the Plum Tree are for one hand alone. Beautiful, evocative poems are printed in Japanese and English following each piece. Violin-like score. No bar lines, no meter. Unrestrained and rhapsodic. Metronome markings given. Interesting use of rolled chords. Some pedaling indicated. Location on the keyboard makes these poems perfectly suited for the right hand, but they could be played with the left hand alone as well. Many fourths, large leaps, and broken attacks. Requires especially artistic and sensitive performance. Moderately difficult. (University of Colorado at Boulder)

R102.

Tautenhahn, Gunther (1938) USA Bagatelle: for right hand piano #1. New York: Seesaw Music Corp., c. 1976. 2 p. Composed in July, 1975. E-flat major. Duration: ca. 1:15. Manuscript reproduction. A miniature threepart form with coda. The first part (moderato cantabile) is waltzlike in 3/4 meter; the second in 2/4 meter (piu mosso con spirito) is followed by a return of the first part slightly altered. Uses the center and upper registers of piano. Thin texture, rarely more than two notes at a time. Many dynamic markings are provided. Moderately difficult.

R103p.

Telfer, Nancy (1950) Canada Dance of the Moon Maidens from Put On Your Dancing Shoes. Princeton, New Jersey: The New School for Music Study Press, c. 1985. Published as a part of the "Frances Clark presents..." series. 1 p. Played entirely on the black keys. Written on one staff with the range of slightly more than one octave. No meter signature given. This is an interesting and atmospheric piece that allows the student to explore new sounds, notation, and one-handed playing. Easy. (Several other pieces from this suite could possibly be played with one hand if the student is agile. Dance of the Elephant, Rain Dance, and Dance through the Town.) Composer's Performance Notes: 1. Keep the damper pedal down throughout the piece.

48

One Handed 2. Eighth note groupings are to be played quickly and freely. 3. Pause after each phrase.

4. Use any fingering that is comfortable for your hand. R104.

Ussachevsky, Vladimir (1911-1990) Manchuria/USA These pieces for the right hand alone were written after an automobile accident in the summer of 1984 which totally impaired Ussachevsky's left hand. Suite for Right Hand: Right Hand Studies No. 1 and No. 2 and Three Voice Fugue for Right Hand Alone. In manuscript, c. 1984 Vladimir Ussachevsky. Reprinted and discussed in the Duehlmeier dissertation [B15]. 6 p. Very clever, rhythmically intriguing works. Carefully formulated and concisely edited with frequent meter changes, lots of articulation nuances, dynamic shifts, and clever pedaling. These Studies concentrate on sonority and timbre as well as on one-hand technique. While not difficult, they require a mature understanding of the piano and its performance requirements. The Fugue is written on three staves. Highly chromatic (all twelve tones) but with a traditional tonicdominant relationship. Frequent shifts of meter. The articulations that Ussachevsky has marked help delineate the voices and entries of the subject. Big ending. Intermediate level technically, but a mature work.

R105.

Wellman, Samuel (1951) USA Eight Waltzes for Left Hand (or for the right hand, ifyou insist), Op. 75. [L526]

R106p.

Wilkinson, Philip G. (1929) Great Britain Suite: Left Hand Right Hand: London: Ascherrerg, Hopwood & Crew, Ltd., 1966. Pavanne; Fughetta; Jig for right hand. The other three pieces are for the left hand alone. "To Cyril Smith, who prompted the idea." Each is about one page in length. Thin textures with not many chords. Some clever pedal usage. Distinct characterization. Tonal with tinges of biting harmonic colors. Interesting meter changes in Fughetta. Jig is rollicking and highly effective. Articulations are precise. Intermediate difficulty. (LOC) [L533].

R107.

Wissmer, Pierre (1915-1992) Switzerland Pour la main droite from Trois etudes pour piano. Paris: M. R. Braun, c. 1968. Edited by Gerard Billaudot. Dedicated to Madame Paulette Mayer. Duration: 3:20. There is also one etude for

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the left hand alone [L540] and a third etude for both hands together. Although grouped with these other studies, this work can stand alone as a moderately difficult concert work. Written in a three part form, the middle section is lyrical and provides a sharp contrast to the dissonances and agitation of the outer sections. Filled with colorful chords and interesting twenthieth century sounds. Wissmer provides clear tempo and metronome markings and some fingerings and pedalings. A very effective work. R108.

Wurm, Mary (Marie Verne) (1860-1938) Great Britain Etude fur die rechte Hand, Op. 42 No. 2, c. 1905. Leipzig: Steingraber. [L546 for Op. 42 No.l] (HOF 1904-08: 117:22) (INS)

R109p.

Yeager, Jeanine (1938) USA Beginnings from the set of pieces Especially for You. San Diego, CA: Kjos West, Neil A. Kjos Music Company, c. 1989. 2 p. C major. (This anthology was written for students who had had a left hand injury. All of the pieces use the left hand in nontraditional ways, i.e. one finger, two fingers, thumb, knuckles, etc.). But this piece, Beginnings, can be manipulated with only one hand although designed for two hands. Driving rhythmical fun. Triads and single notes only with many quick shifts. Fingering and pedaling suggested. Upper elementary. Also see Just forFun[L549p].

"Let not thy left hand know what thy right hand doeth. " Matthew VI:3

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Chapter 2

Original Works for the Left Hand Alone The compositions listed in this chapter are arranged alphabetically by composer's last name. "L" numbers indicate original works for the left hand. Number designations that include a "p" are assigned to works that are best suited for pedagogical purposes. Reference numbers in brackets at the end of citations, e.g. [A12], refer the reader to entries in other chapters in the book. LI.

Abrahamsen, Hans (1952) Denmark October. Copenhagen: Wilhelm Hansen, 1961; revised 1976. (INS)

L2.

Absil,Jean (1893-1974) Belgium Ballade, pour piano, main gauche seule, Op. 129. Brussels: Centre Beige Documentation Musicale, 1972. 5 p. Duration: ca 11-12:00 minutes. Composed in 1966. Reproduced from manuscript. "Lento recitativo con rubato." Many meter and tempo changes. Wide dynamic ranges. Contemporary harmonic structure. Bold ending to a bold work. Entire keyboard range with some octave, trill, and thirds technique required. A difficult concert piece. Some pedal indications. (Indiana University and LOC)

L3p.

Adair, Yvonne Madeleine (1897-1991) Great Britain Three Preludes (for the Left Hand). London: Joseph Williams (Stainer & Bell), c. 1930. 6 p. I. Moderato (E-flat major); II. Andante (G minor); III. Allegro (Gavotte-like; D major/minor). Decidedly tonal and straightforward student works. The melodies and accompaniments are clear and obvious. Some pleasant augmented and diminished chords in the harmonies. Mostly single lines with a few thicker chords. Fingering and some pedal sug-

52

One Handed gestions given. Middle to low keyboard range. Upper elementary to lower intermediate difficulty. (Free Library of Philadelphia and Chicago, IL Public Library)

L4.

Air and Variations for Left Hand. London: Joseph Williams (Stainer & Bell). (INS)

L5.

Adams, Mrs. Crosby (1858-1951) USA Left Hand Studies, Op. 7. Chicago: Clayton F. Summy. Nos. I and II listed in British Broadcasting Corporation Music Library, Piano and Organ Catalogue, Volume 1. Now published by Musigraphics. [B55] (National Music and Disability Information Service List [B57])

L6.

Adlam, Frank Great Briatin Triumph (Impromptu for the Left Hand). London: Nightingale & Co. (EMI), c. 1918. Listed in British Broadcasting Corporation Music Library, Piano and Organ Catalogue, Volume 1. E-flat major. 4 p. Salon music. Noble 3/4 time theme with contrasting sections. Rich chords and octaves create a full sound. Good control of octaves and chords necessary. Pedal marked. Intermediate difficulty. (LOC)

L7p.

Adoff, Stephen (1938) USA Left Alone and Blue (Piano solo for Left Hand Alone). Cincinnati: The Willis Music Company, c. 1988. 3 p. "For Gina, with love." Free and rhapsodic. Carefully edited and fingered. Effective, extended jazz harmonies are built with the use of the pedal. Clever piece that would interest most intermediate level students. Small cadenza area prepares the return for the opening theme one octave higher. Effective teaching solo.

L8.

Agee, Barbara Lee (1932) USA Ascent (for the left hand only). Unpublished manuscript which appears to have been torn from a spiral bound manuscript book, c. 1950 by the composer. 2 p. Three part form with traditional (although piquant) harmonies. Mixed meter signatures. Thick chords and octaves with some broken chords. No fingering or pedaling indicated. Intermediate level. (LOC)

L9.

Alden, John Carver (1852-1935) USA Gavotte for the left hand. Boston: B. F. Wood Co., c. 1902. 5 p. "To Mr. Arthur Foote" (Alden was a pupil of Carl Faelton and

Left Hand Alone

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on the faculty of the New England Conservatory of Music.) Ternary form in A-flat major to D-flat major and return to A-flat major. (Gavotte-Intermezzo-Gavotte). Tonal with pleasant deceptive cadences and Neapolitan sixth harmonies. Many, many arpeggiated chords. Careful use of the pedal indicated with the necessity for pedal point effects. Cadenza-like sixteenths prepare the return of the A section. Distinct melody. Fingering given. Intermediate level salon music. (Cleveland, OH Public Library) L1 Op.

Aldridge, Maisie The Bass Clef Book. [A13p]

Great Britain

Lll.

D'Alessandro, Raffaele (1911-1959) Switzerland Vingt-Quatre Preludes pour piano, Op. 30 (No. 20 pour la main gauche seule). Lausanne: Edition Maurice et Pierre Foetisch, c. 1951. There are 24 Preludes in this set which lasts 32 minutes. All are very pianistic with touches of Impressionism, and modern harmonies. They are well written for the piano, technically difficult, and employ the hands in somewhat novel fashion. Number 20 is the only one for left hand alone. It is two pages long, in A minor, rhythmically appealing, and marked vigoureux. It requires control of octaves, chords and top note voicing to be effective. Big ending. Pedal indicated and some crucial fingerings suggested. (UCLA)

L12p.

Alexander, Dennis (1947) USA *Elegy (For the Left Hand Alone). Van Nuys, CA: Alfred Publishing Company, Inc., c. 1994. 2 p. Composer's note: "This work could also be performed by right hand alone if desired. The performer would, of course, need to supply different fingerings than those indicated. Pedal markings should be strictly observed." A somber chord study with some pleasant harmonic surprises and extended chords. Has a little of the "cocktail piano" flavor, but is an appealing and sensitive student work. Lower intermediate level of difficulty.

L13.

Alkan, Charles Henri Valentin (1813-1888) France Fantaisie in A-Flat, Op. 76, No. 1. (No 1 from Trois Grandes Etudes pour les deux mains separees et reunies). Paris: Gerard Billaudot Editions Musicales. Edited by E. M. Delaborde (the son of Alkan) and Isidor Philipp. 14 p. The editors of this publication state in their forward to this series of compositions: "...it seems to us to be most profitable to all pianists that the genial

54

One Handed productions of Ch.-V Alkan should at last take the primary place to which they have the right in the estimation of all artists, professors and amateurs...His continual striving after perfection, his rare technique, his very original harmonic system elevate the idea which with him is always interesting and make his work a perfect school of improvement...There is no doubt that all musicians who are interested in the history and the development of the art of piano playing will give us their cordial support in helping us to restore Alkan's works and to make known his name as one of the greatest glories of the French School of Piano." This Fantaisie is from a group of three etudes, the second is for the right hand alone [R2] and the third is for both hands together. A sectional work, delineated by different tempo markings. Very difficult, large-scale, and virtuosic, requiring complete control of all aspects of one-handed playing, including thick chords and chord inversions, tremolo, arpeggios, octaves, and quick keyboard register shifts. (University of Wisconsin-Madison) [A9]. [D2a-c]

L14.

Aimer de Resimont, Emilie SEE: Resimont, Emilie Altner de [L393]

L15.

Andreoli, Guglielmo (I) (1862-1932) Italy Etude de concert: Barcarolle du Marino Faliero, Op. 5. Mainz: Schott. (HOF 1852-1859:107) (INS)

L16.

Andriessen, Jurriaan (Leslie Cool) (1925-1996) The Netherlands Quattro pezzi: Fanfare; Allegro deciso; Adagio; Vivo. Amsterdam: Donemus, c. 1961. l i p . Dedicated to Cor de Groot. Clever works which bristle with rhythmic excitement and modern dissonances. These spirited pieces require good chord facility and ease with rapid keyboard shifts. Thin textures predominate. They are only moderately difficult, but are clear and carefully conceived. They would make excellent concert fair. Pedaling is carefully marked and must be strictly observed to achieve the essential colors desired by the composer. [A8]

LI7.

Andriessen, Louis (1939) The Netherlands Trois Pieces: I. Promenade; II. Fracas; III. Hymne (Promenade II). (Six pieces by Netherlands composers for piano left hand). 6 p. Amsterdam: Donemus, 1961. Dedicated to Cor de Groot. These are very exhilarating works that have thoughtful and emotional appeal for the listener. Slow-Fast-Slow tempos of moderate technical difficulty but artistically mature. Frequently

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changing meters with wide variety of dynamics. Biting dissonances. Atonal. Entire piano range used. Pedaling suggested. [A7] LI8.

Andriessen, Wilhem (1887-1964) The Netherlands Preludium. Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, 1961. Composed in 1960. 3 p. Dedicated to Cor de Groot. A very slow, sad, dignified work of moderate difficulty, but definitely a concert work. Ternary form. Artistically conceived and rhapsodic in nature. Exciting harmonies and shifts in dynamic levels. Textures that are deceptively thick. Strong climax. [A7]

L19.

Anger, Joseph Humphrey (1862-1913) Canada, born Great Britain Impromptu. London: Weekes/Stainer & Bell. (National Music and Disability Information Service List [B57]) (INS)

L20.

Augieras, Pierre France Twenty-five studies for the left hand alone on the piano, 1917 (c. 1924). (New York: G Schirmer: Scholastic Series volume 149). (NYPL) (INS)

L21p.

Auzende, A. M. France Etude de rythme: Exercice pour la lecture de la cl6 de fa et pour la main gauche seule. (Exercise for reading the Bass Clef and the Left Hand alone.) Paris: Maison J. Hamelle. (INS)

L22p.

Bach, Carl Philipp Emanuel (1714-1788) Germany *Klavierstuck in A major, W.l 17:3. Vienna: Universal and Kassel-Wilhelmshohe: Nagel [Barenreiter]. 1 p. An easy, gigue-like original composition. May be played by right or left hand. If played by the left hand, it is suggested to play it one octave lower than written. This work serves as the foundation for a clever, more elaborate composition by Michael Bialosky [R7]. [A5 and A9] [D23a]

L23p.

Bailey, Freda Great Britain According to the (National Music and Disability Information Service List (B57]), Miss Bailey has composed and arranged some of her own piano music for one hand. (INS) Nocturne for a Right Handed Performer

L24p.

Nocturne for a Left Handed Performer

56

One Handed

L25p.

Under Water Ballet (with descriptive poem)

L26p.

Fun at the Fair: Dodgems; Helter Skelter; On the Horses; On the Big Wheel.

L27.

Ballata, Zeqirja (1943) Yugoslavia Dve Skladbi za Klavir: za levo roko (Due pezzi per pianoforte: a mano sinistra: I. Echi delle Montagne Maledette (Andante con variazioni). Composed in 1963; II. Fantasia rustica (Allegro non troppo). Composed in 1964. Vienna: Universal and Kassel-Wilhelmshohe: Nagel [Barenreiter]. Ljubljana: DruStvo Slovenskih Skladateljev, 1970. l i p . Dedicated to Tatjana Bu£ar. Ballata has created these two works in a rather improvisatory style. Both concert pieces employ frequently changing and sometimes unusual meters, wide dynamic range, and rather fluid mood shifts. They are rhythmically and harmonically exciting and fresh. Interesting moods are created through the use of dissonances and melodies that emerge from the textures. Moderately difficult. (University of Wisconsin-Milwaukee)

L28.

Bart6k,BSla (1881-1945) Hungary Etude for the Left Hand (Tanulmany balkezre): No. 1 from Four Piano Pieces. London and New York: Boosey and Hawkes #2335, c. 1950 and c. 1956; Melville, New York: Belwin Mills (Kalmus Piano Series #3128), 1970. Composed in Budapest in 1903. 13 p. Dedication: Mesterenek, Thoman Istvannak ajanlva. Advanced concert work in sonata form, somewhat rhapsodic in style. Tonally organized. Broad, sweeping lines. Requires complete control of octaves and chords. Resounding ending in B-flat major. Some performance suggestions included. This is a solid and important work for the left hand. [A9] [D8a, D23a]

L29.

Bax, Arnold (1883-1953) Great Britain Slow Movement from the Left Hand Concertante. A solo arrangement of this movement. London: Chappell & Co., Ltd., c. 1950. 5 p. Performed by Harriet Cohen. This is really for two hands and is an abridged version arranged by Lloyd Webber. Thick textures. (LOC)

L30.

Beachcroft, Richard Owen Great Britain Air and Variations. London: Oxford University Press, 1927.

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Oxford Piano Series: No. P85. Written in the summer of 1918. "For D. G. A. Fox." 12 p. A serious, single note, eight measure, g minor melody becomes the basis for these dramatic and very orderly variations. They are tonally conceived and vary in tempi, mood, length of theme, and sometimes key. I. Maestoso; II. Allegro e leggiere; III. Risoluto; IV. Scherzando; V. Largamente; VI. Vivace; VII. Recitativo Arioso; VIII. Abbandone; IX. Fuga Sciolta: chorale: vivo. All require excellent facility with chords, broken chords, and octaves. This is a powerful piece that should be used in concert. Difficult. (LOC) L3 lp.

Beard, Katherine K. (1926-1990) USA Song for Left Hand Alone. Florence, Kentucky: The Willis Company, 1987. 3 p. A lower intermediate level study piece which requires careful pedaling and expressive playing. Octaves create a pedal point. All of the chords are second-inversion dispositions (one of the pedagogical side benefits of studying this work). Fingering and pedaling suggested. Used on the Federation of Music Clubs Junior Festivals One-Hand Piano Music List for 1995-1997, Elementary Class II. [B75]

L32.

Beath, Betty (1932) Australia Black on White (Piano Piece for Left Hand). Grosvenor Place, Australia: Australian Music Center, PO Box N690, NSW 1220. Composed in 1983. Reproduced from the composer's autograph located at the Australian Music Center. 2 pages of music plus biographical and bibliographical data about the composer. Thin textures, many sustained and resonant sounds, passages of declamation and bebung, as well as a wide variety of distinct contrasts contribute to the special emotional color of this piece. Makes use of the sostenuto pedal. Intermediate technical difficulty, but with mature artistry required. From the composer's notes: "Black on White...was written following an invitation from Shirley Harris, Director, The Harbor Conservatory for Musical Growth and is a contribution to her collection of piano music for one hand. Black on White makes use of the full keyboard with the help of a ruler, thirty centimetres long, just the right length to depress two octaves of either black or white keys. By depressing the ruler and at the same time the sustaining pedal, the resulting gong-like cluster of sound can be maintained for as long as is musically appropriate. The tempo Andante has been chosen to accommodate varying skills but the

58

One Handed work needs to be kept moving. Clusters and groups of chords are designed to make use of all the black keys followed by a shift of interest to the white keys. This work was published in the third edition of Premiere, the only magazine to have music instead of words..."

L33.

Beecher, Karl Vier Praludien. Berlin: Schlesinger, 1928. (HOF1924-1928:29) (INS)

L34.

Bennett, Richard Rodney (1936) Great Britain Five Studies for Piano. London: Universal Edition, c. 1965. "To Paul Jacobs and Yonty Solomon." No. 4, "Recitando, mano sinistra" is for the left hand. 3 p. Written in 1962. Dark, wide keyboard range. Flexible rhythmic groupings. Dramatic ending. Thick chords. Outbursts of "musical speech." Dissonant. Carefully marked for all nuances. Concert work. (LOC) [R4]

L35p.

Bentley, Berenice Benson (1887-1971) USA Four Compositions for the Left Hand Alone. Chicago: C. F. Summy Co., 1944. All are upper elementary teaching pieces in a variety of keys and moods. Fingerings and pedal markings are provided. Useable teaching works. A Happy Heart. "To Trudi Roberts" C major, 3/4 meter, Merrily. Slightly easier than the other three. Just a-foolin' (Black Keys). "To Mary Jarman Nelson" G-flat major, 2/4 meter. Briskly, with humor. Prince Fairy Foot. "To Florence Fender Binkley" E minor, 2/4 meter. In a merry mood. Vagrant Breeze. "To Louise Garrow" G minor, 3/4 meter.

L36p.

Berens, Hermann (1826-1880) Germany/Sweden Die Pflege der linken Hand in Clavierspiel, (L'Scole de la main gauche or Training of the Left Hand): 46 exercises and 25 studies for the left hand alone, Op. 89. (This is the first time the terms "for the left hand alone" had been used by a composer.) Many publishers: Alphonse Leduc, G. Schirmer, Peters. The Breitkopf and Hartel edition was edited by Scharwenka. Moderately difficult. Technical exercises presented in a progressive order. Each is a few lines long and at least of moderate difficulty. The techniques encompass all aspects of traditional left hand playing. From the Introduction:

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These Exercises are intended to impart velocity, strength, and a uniform touch to the fingers. Those who have the patience to take up 6 to 8 numbers a day and to practice them for 10 to 15 minutes will soon be convinced of the utility of the same. Practice them at first at a moderate speed and accelerate the time with each repeat. All of the Exercises are to be played as powerfully and as loud [sic] as possible. The second set of 25 exercises is more involved and aims at musical problems as well as physical technique. A number of these (for example nos. 4, 11, 18, 23, 25) could be used individually or grouped as intermediate level recital pieces. They are slightly longer and more interesting. Several appear in other anthologies. Lewenthal includes nine of these Etudes, Nos. 4, 9, 10, 11, 12, 13, 16, 18, and 23. Moderate difficulty. [A9 and A6]. L37p.

Berger, Francesco (1834-1933) Great Britain Six Bagatelles. Philadelphia: Theodore Presser, c. 1929. All of these character pieces lie in the center of the keyboard. They increase in difficulty from number one to six. Not difficult, only upper elementary level. From the Foreword instructions: "...strict attention to the marked fingering which often requires the thumb on a black key...on no account is either pedal to be used." (LOC) I. A Good Old Fashion, 1 p. C major, single line, Cut time. II. Sweet Innocence, 1 p. D major, a few chords, 3/4 meter. III. In Sunny Spain, 1 p. G major, some arpeggiated chords and double stemming, 3/8 meter. IV. In Bonnie Scotland, 1 p. F major, 4-note chords. V. Dreaming in Venice, 1 p. F major, double stemming and melody voicing, 6/8 meter. VI. Polacca, 1 p. D major, 6/8 meter.

L38p.

Six Bagatelles for the Left Hand. London: Augener, Ltd., 1926. This is a different group from the one listed above with the same title. This group is simple; consisting mostly of single line pieces that are shorter than one page. Clever and useful for the purpose designed. From the Foreword: "...to supply the Pianoforte student in his early days, with little pieces that will train his Left Hand..." The rhythms are more complex than anything else. Upper elementary level. (LOC) 1. Slow with much expression, almost solemnly. 2. With spirit and accent (Irish Character) 3. Moderately slow with much sentiment, never very loud.

60

One Handed 4. 5. 6.

Lovely and lightly, mf throughout in colouring. Moderately fast, with smooth, elegant touch. Fairly quick, legato throughout, not much colouring.

L39.

Berger, Ludwig (Louis) (1777-1839) Germany Etude de Chant for the Left Hand, Op. 12, No. 9, from 12 Etudes for the Left Hand. Leipzig: Breitkopf & Hartel. 3 p. In Lewenthal [A9] and Kohler [A 10]. A gentle character piece in three part form, G major-G Minor-G major. Some very appealing and slightly unusual harmonies. The melody emerges from the arpeggiated accompaniment pattern. Mostly single notes sustained by the pedal with a few larger chords for color at the cadences. This is from one of several groups of etudes by this composer. In this opus, all of the other etudes are for two hands, but some give special training to the left hand. According to the introductory remarks by Carl Reinecke, Robert Schumann praised these etudes when they were published. Pedaling marked. The fingering provided in the original publication is that suggested by Berger himself and differs significantly from that supplied by Lewenthal. Intermediate level of difficulty. (Denver, Colorado Public Library)

L40.

Berger, Wilhelm (1861-1911) Germany Romanze, Op. 31 No. 5. Leipzig: V. Franquet. (HOF 18861891:60) (INS)

L41.

Bergman, Borah Three for the Left Hand Alone: River Shadows; Oranges; Horizons. 23 minutes. Recorded on Chiaroscuro Records; CR-158, 1977. New York: Borah Bergman Music. Duration: ca. 23:00. These works are improvisations by Bergman. [D4a] (INS)

L42p.

Berkowitz, Ralph (1910) USA The Right Hand's Vacation: Five Pieces for the Left Hand Alone. Philadelphia: Elkan-Vogel, 1952. 6 p. Charming and clever children's character pieces that are edited for student pianists. Sad Clowns and The Harp are the most difficult, but all are only lower intermediate difficulty. (LOC) Tuning-Up "for Larry" 1 p. Two Sad Clowns "for Doane and Roddy" 1 p. The Harp "for Cara" 2 p. Spanish Dance "for Kathy" 1 p. Contains a glissando. Circus March "for Joan" 1 p.

Left Hand Alone

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L43.

Besly, Maurice (1888-1945) Great Britain Eidullion, Piece for One Piano Left Hand Alone, Op. 29 #3. From Three Pieces for Piano Solo. London: Winthrop Rogers, c. 1928. "To Mrs. James Pearce." Ternary form E major-C major-E major. "Eidullion" means a little picture. The "A" section is slow and sarabande-like. rolling, double stemmed eighth notes in the "B" section and then the "A" idea returns embellished with arpeggiated accompaniment. Pedaling is marked. Slightly above the quality of the salon style music of the period. The other two pieces from this group are for two hands: Berceuse and Pulcinello. (LOC)

L44.

Bial, Carl Vier Clavierstucke: Serenade, Gavotte, Polka, Menuetto, Op. 30. (1884) Berlin: Ries & Erler. (HOF 1887: CXXIIL20) (National Music and Disability Information Service List [B57])

L45p.

Bilbro, Anne Mathilde (1880) USA Melody in D-Flat for the left hand. Boston: White-Smith Music, c. 1912. 3 p. A lyrical, rich melody with off-beat chords and accompanying tones. Ternary form. Some interesting harmonic progressions. One cadenza area. Lower intermediate level. (NYPL)

L46p.

Two friends (right hand and left hand). First grade piano studies for equalizing the two hands. New York: G. Schirmer ~ Schirmer's scholastic services, vol. 89, c. 1917 and 1920. Ms. Bilbro has composed these teaching pieces for two reasons. First, to build up the strength and increase the independence of the left hand and secondly, to train the eye to read quickly and readily from staff to staff. This is a suite of twenty-four pieces, eight of which are for the left hand alone while none are for the right hand alone. All are titled and some contain words for singing or chanting. Fingerings are given. Pedaling is not required. Upper elementary difficulty. The titles listed below are the titles for the left hand. All of the pieces are between two and five lines in length. (Eastman School of Music) Little Left Hand's Resolution ("I'm tired of being so slow.") Left Hand Begins Work ("I must begin my work by noticing that lazy little Fourth Finger.") At Home ("I am not making any visits in Treble-Clef-ville today. I am staying close at home, because I have work to do.")

62

One Handed Practice Makes Perfect ("I must work by myself now and then, for I feel that Right Hand is still ahead of me.") Lullaby ("Of course, the effect is better when Right Hand helps me; but just the same, I can make a little melody entirely by myself") A Long Walk ("I've never yet taken a very long walk alone. I wonder if Right Hand is at home to-day? I looked all over his house up to the fourth floor; and he wasn't there!") An Excursion ("I'm getting used to long walks. I do not grow so tired now, and I'm not afraid to go anywhere."") A Happy Heart ("Even when you are alone you can be happy.")

L47p.

Birkedal-Barfod, Ludvig Harbo Gote (1850-1937) Denmark Etuderfor venstre Haand (EtUdenfur die linke Hand), Op. 8. 2 volumes. Kjobenhavn: Wilhelm Hansen #12146-12147, 1850. Dedicated to Ove Christensen. [L96] Exercise No. 7 from Volume I is available on p. 17 of Grade IV in Standard Graded Course of Studies for the Pianoforte in Ten Grades, Bryn Mawr, PA: Theodore Presser Co. This same piece is printed in [A21p] but given the title of Prelude by the editor, Charles Dennee. Volume I: 13 p. Ten studies of intermediate level difficulty from half page to two pages in length. Traditional harmonies; variety of tempos, major and minor keys, and technical difficulties studied. Some are simple and charming and could be used as student recital pieces. Fingering suggested. Volume II: l i p . Four studies more lengthy than those in Volume I. Presents a variety of tempos and technical problems to study. All tonally organized and traditional in form. No. 1 and No. 4 have programming possibilities. Fingering suggested. Moderately difficult. (University of Colorado at Boulder)

L48p.

Lette studier for venstre Haand (Leichte Studien fur die linke Hand), Op. 15. Kjobenhavn: Wilhelm Hansen #12766-12767. 2 volumes. Volume I: 9 p. Ten studies of half page to one page in length. Moderately easy studies with a variety of tempos, keys, and technical requirements. Pleasing and effective for developing cantabile style and good control of voicing. Volume II: 9 p. This is a continuation of the previous volume. Six longer studies of slightly more difficult nature. Tonally oriented in simple forms. True one-handed character studies in the style of Heller or Gurlitt. Many of these are useable as student recital works. Fingerings suggested. (University of Colorado at Boulder)

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L49.

Melodiske studier (Melodische Studien fiir die linke Hand), Op. 19. Kjobenhavn: Wilhelm Hansen #13080. 15 pages. Dedicated to Terman Windfeld. Five larger scale, very melodious studies in a variety of tempos. These are designed for concert use and are more musically mature and involved than any of the studies in the four volumes listed above. Moderately difficult, straightforward, but effective. Pedaling and fingering suggested. (University of Colorado at Boulder)

L50.

Blaesing, Felix Zwei Klavierstucke, Op. 24. Leipzig: F. Schuberth Jr. (HOF 1925:26) (INS)

L51p.

Blake, David (1936) Great Britain Shepherd's Evening Song. McKinley Publishing, Co. Early elementary level teaching piece. (INS)

L52.

Blanchet, Emile R. (1877-1943) Switzerland Treize etudes pour la main gauche seule (Thirteen Studies for the Left Hand Alone), Op. 53. Paris: Editions Max Eschig; New York: Associated Music, c. 1932. 32 p. Dedicated to Rodolphe (Rudolph) Ganz. These advanced virtuoso works are typical of the harmonic practices of the early twentieth century. They cover the gamut of pianistic techniques, moods, and styles, exhibiting a wide variety of textures and sonorities. They could be programmed individually or in groups. Some are as short as a page while others are up to 4 pages in length. Certainly these are important works for the one-handed pianist. However, their difficulty places great responsibility on the pianist technically as well as in interpretation and performance. Blanchet has given careful attention to articulations and interpretational markings. Some fingering suggestions are given. (Blanchet is the dedicatee for Godowsky's Etude Macabre [LI60]) (Northwestern University)

L53.

Serie IV: Exercices pour la main gauche seule, Op. 41. Etude contrapuntique de technique transcendante — Exercices pour la main gauche seule. Paris: Editions Max Eschig, c. 1927. Dedicated to Paderewski who also wrote the Preface to the volume. In this Preface Paderewski states: "It is modern music, without doubt, music that is original, personal, daring. Yet it has one priceless quality: that is 'sincerity'...The instructive value of the work is, I think, absolutely first-rate." Blanchet published 64

64

One Handed preludes for two hands in three Series. Then as a supplement, he published a fourth Serie which is for the left hand alone. This is divided into ten large sections and then these sections are subdivided into a varying number of drills. Most are one to four lines in length. Meticulously fingered and carefully conceived to instruct, they cover all aspects of the necessary training for the left hand and provide a thorough compendium in left hand techniques. Blanchet says in his Explanatory Notes: "The Preludes which form the first three books are primarily intended for the purposes of study. A certain number of them are equally suited for public performance. The left hand is often reduced to its simplest expression, however, a fourth book is specially set a part for it." Both of the last two Preludes are useable as recital works for the left hand alone. (Carnegie Library of Pittsburgh) I. Gammes (Scales) 16 exercises. II. Arpeges (Arpeggios) 24 exercises. III. Tierces (Thirds) 12 exercises, IV. Notes repetees (Repeated notes) 12 exercises. V. Octaves. 13 exercises. VI. Trilles (Trills) 4 exercises. VII. Divers (Various) 19 exercises. VIII. Sauts (Leaps) 1 exercise. IX. Prelude X. Prelude

L54.

Blank, Allan (1925) USA *Six Studies for Piano One Hand (Left or Right), Set 1: I. Limited Shapes; II. Around Sustained Tones; III. Contrasts; IV. Riding the Beat; V. Semi-Improvisation (without bar-lines); VI. Serious Events. New York: American Composers Editions, 170 w. 74th Street, c. 1993. 17 p. Composed between 1987 and 1992 and reproduced from the composer's manuscript. None is over 4 pages in length. The composer makes the following comments: "Tempo indications are approximate. In IV [Riding the Beat], a piano with a sostenuto pedal is required. In III [Contrasts] and VI [Serious Events], accidentals hold within the figure and for ties. Pedaling may be changed to accommodate the sense of the passage. Titles are afterthoughts, but may point the performer in the right direction." Textures throughout are thin and dry, mostly single notes. Some complex rhythmic groupings and complicated digital manipulations. The first, third and fifth lie most easily under the range of the right hand while the second,

Left Hand Alone

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fourth, and sixth would be more easily executed by the left. [RIO] Pedal is marked. Difficult. L55.

L56p.

*Six Studies for One Hand (Left or Right), Set II: Numbers II. Dirge; IV. Pantaloon's Dance; VI. Determination. (Nos. I, III, and V are for right hand [Rl 1]). New York: American Composers Editions, 170 w. 74th Street, c. 1993. 19 pages total. None is over 4 pages in length. Performance Notes: "Tempo indications are approximate. No pedal show [sic] be used in number I, and a pedaling that overlaps the sounds show [sic] be aimed for in number VI. These studies are formally thought of in groups of two (I, II; III, IV; V, VI). Pauses may be used to set off these three groupings." Very similar in style, texture, and technical demands to the composer's first set of studies, although these seem to be less free and more rhythmically organized. Difficult. Bliss, Philip Paul Jr. (1872-1933) USA Three fancies for the left hand alone. Boston: B. F. Wood Music, c. 1925. 6 p. Lower intermediate parlor music with modest, lyrical charm. Old-fashioned, pleasant melodies supported by chords and octaves. Middle keyboard range. Pedal indicated and some fingering provided. (Texas Christian University and LOC) No. 1 In Lilac Time. "Borne on the air, like Music, to enrich the soul." Ternary form ( F major-D-flat major~F Major). No. 2 A Summer Reverie. "Twitter of Birds and a flutter of leaves." Long arpeggios. No. 3 By Quiet Waters. "A lily bends and dips in the pool." Octave displacements. (E-flat major)

L57.

Blumenfeld, Felix (1863-1931) Russia Etude pour piano pour la main gauche seule (Etude for the Left Hand), Op. 36 A-flat major. Frankfurt: M. P. Belaieff; agents exclusifs Boosey and Hawkes, 1906. New York: Sole agents, C.F. Peters, c. 1987. 9 p. Dedicated to Leopold Godowsky. This highly regarded work is based on a lyrical melody surrounded by arpeggiated, chordal accompaniment made up of zephyr-like figurations. Contains cadenza-like passages and contrasting middle section in F minor. Quiet ending. Very difficult and quite charming. Blumenfeld wrote this work in 1905. It wasn't until 1918, however, when his right side became paralyzed due to an illness that he was forced to play it out of necessity. [A9] [D6aandD12a]

66 L58.

One Handed Bocca, Carlotta USA Ten melodious compositions for the left hand alone, Op. 2 Boston: B.F. Wood (Edition Wood no. 816), c. 1915. 40 pages. These tonal, character pieces are gentle and pleasant. No surprises in harmonic structure or form. Typical of the salon style in the early twentieth century with better than average content and musical appeal. Could be played individually or grouped in any manner. Suitable character pieces for recital use or intermediate study. Carefully designed for the left hand. Pedaling and fingering suggested throughout. (University of Alabama, Birmingham) Meditation. G major, 4 p. Moderato: lusingando. Barcarole-like. Impromptu. F major, 4 p. Con moto. In the style of a march. Humoresque. C major, 4 p. Moderato con moto. Gently playful. Scherzo. G major, 4 fp. Allegretto. Arabesque. G major, 4 p. Moderato non troppo. Legato. More contrapuntal interest than the others from this opus. Burlesque. D major, 4 p. Allegretto non troppo. Cheerful. More contrast in articulations required. Nocturne. B-flat major, 4 p. Moderato: espressivo. Lyrical, melody with supporting accompaniment. Contrasting middle section. Romance. G major, 4 p. Moderato: espressivo. Quiet melody supported by undulating accompaniment. Capricietto. D minor, 4 p. Allegretto: energico. Scherzo-like. Middle section is more legato. March. B-flat major, 4 p. Tempo di Marcia. Melody supported by triplet figures. More use of octaves.

L59.

Bon, Willem Frederik (1940-1983) The Netherlands Preludes voor Piano (1959-1978), Op. 14. Amsterdam: Don mus, c. 1991. "voor Cor de Groot." The first two preludes are for the left hand alone. 4 p. Written in 1959 and 1961 respectively. About 6 minutes. Both are slow thoughtful works. They both contain flowing rhythm patterns, big dissonant chords, sostenuto pedal usage and quiet endings. Interesting and wellconceived. Moderately difficult. They are published with several other preludes for two hands. (NYPL)

L60.

Bonamici, Ferdinando (1827-1905) Italy 30 exercices-etudes pour piano, pour la main gauche seule, 272. 54 p. Milano: Ricordi. Edition nouvelle par Isidor Philipp. Paris: Societe anonyme des editions Ricordi, c. 1915. (INS)

Left Hand Alone L61.

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34 etudes melodiques pour piano pour la main gauche seule, Op. 273. Edition nouvelle par Isidor Philipp. 72 p. Paris: Society anonyme des Editions Ricordi, c. 1915. These studies cover the most difficult technical problems. They are more complex and musically more satisfying than the 100 exercices et 153 passages divers pour piano, pour la main gauche seule, Op. 271 (listed below) and many of them could easily be used as concert works, concert etudes. Bonamici says: "En publiant ces etudes pour la main gauche seule, je crois presenter un travail qui n'a pas encore et£ tentee par d'autres dans des proportions aussi specials, ni d^veloppe avec des details soigneusement indiqu^s pour l'execution." He includes studies for wrists, turns, repeated notes, legato, finger control, independence of line, staccato, chains of trills, double notes, octaves, arpeggios, etc. This volume is the most difficult of the three sets. There are some really stupendous and interesting works in the best tradition of the concert etude. Each has fingering, pedaling, specific tempos and articulations marks. (The copies at the NYPL were gifts from the composer to James Huneker and then to the Library.) Etude No. 3, Op. 273 is in Lewenthal [A9]. 3 p. A rather unusual piece. Filled with ascending and descending glissandi to introduce or fill in between statements of the undistinguished theme. Some chromaticism and harmonic interest. Requires breaking of intervals, rolling of chords, and large stretches. Fingering suggested. Clumsy and unappealing. Moderately difficult.

L62.

100 exercices et 153 passages divers pour piano, pour la main gauche seule, Op. 271. Paris: Society anonyme des editions Ricordi, c. 1915. Edition nouvelle par Isidor Philipp. 75 p. Philipp states: "Void un ouvrage oublie mais cependant extremement remarquable et je crois bien le plus complet qui existe pour la main gauche seule." Bonamici gave specific instructions for placing the bench in the proper spot for left hand playing, to begin slowly, to repeat each exercise several times, etc. He also gave more than one fingering for the exercises and recommends resting when the hand has become tired. None of the 100 are more than three lines in length and are arranged in three "Series." The 153 passages begin with arpeggios and cover all technical problems imaginable including glissandi in octaves. Moderately difficult to difficult. (LOC)

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One Handed

L63.

Bontoft, Frederic S. (1896) Great Britain Prelude and Fughetta. London: Augener, Ltd. (Stainer & Bell), c. 1958. Each section is 2 pages in length. "For Yolande Uyttenhove (Brussels)." D minor. Rich textures. Some double stemming. The Prelude consists of bold lines in flowing sixteenths with a quiet ending in preparation for the Fughetta. The subject is chromatic and chorale-like. Three voices are implied. Octaves add richness and support the subject in augmentation. Quiet ending. Pedaling and some fingering provided. Effective upper intermediate concert work. (LOC)

L64.

Bortkiewicz (or Bortkevich), Sergei Eduardovich (1877-1952) Russia/Austria Le Poete (Pour la main gauche). F-sharp major. No. 5 from Cahier I of 12 Etudes Nouvelles (Illustrees) pour piano, Op. 29. Leipzig: D. Rahter, c. 1924. "a Mr. Hugo van Dalen." 6 p. Each of the etudes is given an interesting, descriptive title. Le Poete is the only one from this set for left hand alone. It is built from a broad, flowing Romantic melody with accompanying chords and broken chords placed sometimes below and sometimes above this melodic line. The middle section drives to a rousing climax before the return of the opening theme. Complete pianistic skills are required with special emphasis on chord inversions and arpeggios. Thick textures and quiet ending. A difficult concert work. (LOC and Cleveland Public)

L65.

Bovy-Lysberg, Charles-Samuel SEE: Lysberg, Charles-Samuel Bovy [L312]

L66.

Bowen, York (1884-1961) Great Britain Nocturne, for the Left Hand only from Curiosity Suite, Op. 42. London: J. Williams, c. 1916. 4 p. F minor. This entire suite contains pieces for left hand alone, right hand alone, and hands together and is written somewhat tongue-in-cheek. Bowen states about this piece: "To the serious minded musician, to whom the use of only one hand in performance does not detract from the power of interpretation." A slow, serious, dramatic work with an agitated middle section. There is a powerful spinning out of an octave reinforced melody over accompaniment. Dramatic cadenza-like passages lead to the return of the "A" section. Ternary form. Pedaling, fingering, and performance suggestions given. Moderately difficult. (UCLA) [R14]

Left Hand Alone

69

L67.

Five Sketches. 3 for RH and 2 for LH. De Wolfe, Ltd. Moderately difficult. National Music and Disability Information Service List)

L68.

Bozi, Harold De France Paolina: Tango pour la main gauche seule. Paris: Editions Max Eschig, c. 1938. 3 p. A clever, pleasant work, thick with chords and octaves. Somewhat clumsy and unrefined in pianistic technique with frequent large leaps from low thudding octaves to melodically important chords. The harmonic structure is interesting and contains many key changes that are quite natural to the sound. There is a sultry, Latin, dance-like feeling about it, however, which could make it an effective encore piece. Ternary form. Pedaling and some fingerings indicated. Upper intermediate difficulty. (Eastman School of Music)

L69.

Bradsky, Wenzel Theodore (Theodore Vaclav) (1833-1881) Bohemia La Petite Fadette: Morceau de Concert pour la main gauche seule pour piano, Op. 22. Berlin: Stempelmann. c. 1862. Danzig: Lau. (HOF1893: CXLL19) (INS)

L70.

Brandman, Margaret S. (1951- ) Australia Winter Piece (for left hand alone). Grosvenor Place, Australia: Australian Music Center, PO Box N690, NSW 2000, c. 1992. 5 p. Dedicated to Selma Epstein. Reproduced from the composer's computer generated autograph that is located at the Australian Music Center. Primarily a single staff work. Constructed in a free-flowing way with a variety of techniques, some declamation, some chordal areas, and some arpeggiated chord progressions. A mixture of flexible tempi and diverse utterances. Dynamic levels quiet overall with a quiet ending. No fingerings and few pedalings indicated. Moderately difficult.

L71p.

Branson, John L. (1923) USA Prelude for Left Hand Only (Title inside score is Prelude for Left Hand Alone). Cincinnati, Ohio: The Willis Music Company, 1988. 2 p. "For Susan." A useful upper elementary level study in perpetual motion sixteenth notes. Single notes only. Melody is mostly double-stemmed quarter notes emerging from the accompanying patterns. Some Impressionistic harmonies and slightly reminiscent of Debussy's Dr. Gradus ad Parnassum. Pedaling and fingering are suggested.

70

L72.

One Handed Braun, Rudolf (1869-1925) Austria Drei Klavierstucke fiir die linke Hand. Vienna: Ludwig Doblinger, c. 1928. All of these works are well conceived and require enormous skill from the pianist. Complete command of the one-handed techniques and musical flair are indispensable. All are difficult concert pieces. Their traditional harmonies are more reminiscent of the late nineteenth century than the twentieth. This edition has only minimal editing, articulations, dynamics, and pedal marks. (Oster Nationalbibliothek, Vienna, Austria) Nocturne: 4 p. Quite an absorbing work. The opening is in Aflat major and very slow. There is a lyrical melody and some beautiful shifts in harmony. The middle section changes meters and keys to C major and is very agitated, filled with octaves, frequent shifts of register, and many diminished seventh chords. This agitation subsides and brings a return of the opening material. Quiet ending. A la Zingarese: 4 p. F minor. Some imitations of the guitar with spread chords. A character piece in the true sense with lots of charm. Thick writing, many sixteenth note octaves, and a wide keyboard range. Walzer: 7 p. F major. After an introduction, the waltz begins with typical inflections of the Viennese style. Many transitory modulations. Somewhat a chain of little waltzes. Joyful ending.

L73.

Drei Klavierstucke fiir die linke Hand. Vienna: Ludwig Dobli ger, c.1928. Written in the summer of 1922. Dedicated to Paul Wittgenstein. Difficult concert works that require fleet fingers and virtuoso technique. As in the above set of pieces, the harmonies are traditional, somewhat chromatic, but never modern in sound. This edition has only minimal editing, articulations, dynamics, and pedal marks. Scherzo: 7 p. E major. This character piece contains lots of color, flashes of interesting harmonies, spirited rhythms, and flies all over the keyboard. A fine concert work. Perpetuum Mobile. 6 p. A minor. Brusque flowing sixteenths with double stemming for melodic interest. Traverses the entire keyboard rapidly and needs secure octave technique. Wild and thorny ending.

Left Hand Alone

71

Serenata. 3 p. D-flat major, "a la guitarra" The least difficult of this group. Thinner texture overall, but with some very tricky passages in double notes and extended chords. L74.

Brenet, Therese (1935) France Oceanides: etude pour la main gauche. Paris: Editions Henry Lemoine, c.1988. 9 p. Duration: 6:00. Difficult contemporary concert etude. Performance instructions in French and English preceding the score. These instructions, along with those given by the composer throughout the score are critical for the performance of this avant-garde work. "OcSanides derives its name from the story of the daughters of the sea as told by Aeschylus in his Prometheus. The components of the musical fabric are undulant [sic] figures, chordal units, pseudo-polyphony and cadenza-like passages. It falls into three main sections, the inner one of which is framed by quiet, briefly suspended transitions." Requires a wide gamut of new keyboard techniques, sounds, and effects. Traditional and non-traditional notations are used. Freedom is given to the pianist in certain passages to approximate the graphic notation. Notes in French and English on back cover by Mark Robson for whom the work was composed provide information about Brenet and the commissioning of the work. (Northwestern University Music Library)

L75.

Bricht, Walter (1904-1970) Austria/USA Bricht was a professor at Indiana University. As a young student he was the assistant to and "musical son" of Franz Schmidt. [C26] Fantasy upon motives from Gounod's Faust, composed 1936. First performed October 16, 1937. Unpublished manuscript written for Paul Wittgenstein.

L76.

Fantasy on Themes of Die Fledermaus, composed 1937. Unpublished manuscript written for Paul Wittgenstein. A portion of the "Morgenblatter Variations" are included as a study in Volume II of Wittgenstein's Schule fur die linke Hand. [All]

L77.

Lied ohne Worte, composed 1937. written for Paul Wittgenstein. (INS)

L78.

Albumblatt, composed 1937. Unpublished manuscript written for Paul Wittgenstein. (INS)

Unpublished manuscript

72

One Handed

L79.

Perpetuum mobile, composed 1937. Unpublished manuscript written for Paul Wittgenstein. (INS)

L80.

Bridge, Frank (1879-1941) Great Britain Three Improvisations for piano (left hand): At dawn; A vigil; A revel. 12 p. London: Winthrop Rogers. New York: G. Schirmer, c. 1919. London: Thames Pub.: Trade distributor: Novello & Co., 1984. "The Frank Bridge Trust in association with Thames Publishing." These three Improvisations were written in 1918 for the pianist Douglas G. A. Fox, who lost his right arm in the First World War. Slightly impressionistic harmonies and scales underpin these lovely, atmospheric tone poems. Musically very satisfying works that would make a fine recital group. Carefully edited with fingerings, pedal marks, dynamics, and articulations. The first two are rather delicate, atmospheric, and less difficult than the third with its fast and continuous sixteenth note triplet rhythms. Moderately difficult. (University of WisconsinMadison)

L81p.

Brumby, Collin (1933) Australia * Reverie. Melbourne: Allan Music Australia Pty. Ltd., c. 1984. 3 p. Tranquillo, 3/4 meter. Like a gentle waltz. Tonally organized but tinged with modern sounds. Ternary form. May be performed by either hand alone according to the composer. Suitable for an upper elementary to lower intermediate student. Melody and accompaniment pragmatically distinguished for the pianist. Pedaling suggested. [A32p andR17p]

L82.

Bunge, Sas Ernest Alexander (1924-1980) The Netherlands 10 Etudes (Tien etudes voor de linkerhand). Amsterdam: Donemus, c. 1977. 13 p. Most of these etudes are about one page in length. Reproduced from the composer's manuscript. Written for the Dutch master storyteller, Paul Biegel. Commissioned by Johan Wagenaar Stichting. Introductory remarks in Dutch by the composer in which Bunge indicates that numbers 1 and 4 are studies in playing two voices in one hand. Numbers 2 and 6 are for elasticity. Numbers 3 and 10 are studies in perpetual motion. Number 5 develops the coordination of low bass notes followed by chords. And numbers 7, 8, and 9 help the pianist accustom himself to all sorts of irregular rhythm shifts. The ten etudes cover a wide spectrum of moods and become miniature character pieces, some lighthearted, some poignant, some tuneful, and some satirical. A few utilize Baroque dance rhythms, while others are

73

Left Hand Alone

rhythmically asymmetrical. They are carefully conceived and minutely edited. The fingerings and articulations are given. All lie in the center of the piano with rarely more than two notes sounding at once. Upper intermediate level. (Northwestern University) 1. sempre cantabile 2. con giusto 3. com 'una macchina 4. lento 5. grazioso 6. con brio 7. con spirito 8. a capriccio 9. con moto 10. corrente

L83.

Mazurka voor piano (linkerhand). Amsterdam: Donemus, 1989. 3 p. Reproduced from composer's manuscript. Composed in 1977. Very linear in construction, mostly single notes with only occasional chords for harmonic punctuation. Playful rhythms and sparkling harmonic shifts. Many nuances are indicated in the score. Clearly articulated with fingering suggestions. Middle to low range of the keyboard. Very similar in technical requirements to the Tien etudes voor de linkerhand by the same composer. Upper intermediate difficulty. (Florida State University)

L84.

Bussmeyer, Hans (1853) Germany Drei Klavierstucke fiir die linke Hand oder zwei Hande: Minuetto, Fughetta und Burletta, Op. 5. Munich: Schmid, c. 1885. (HOF 1887: CXXIIL20) (INS)

L85p.

Buttner, Maria Austria *Sechs Oesterreichische Tanze fiir Klavier fiir die linke oder rechteHand. Wien: L. Doblinger, c. 1946. 7p. Dedicated to the soldiers wounded in the Second World War. Charming, pedagogically useful Austrian Landlers. (INS)

L86.

Buttschardt, C. Stiidien. Vienna: Dreiklangverlag, 1946. Leipzig: Ruhle (INS)

74

One Handed

L87.

Cacioppo, Curt Beloved emblem. "Left hand study for piano." Bryn Mawr, PA: Orenda Press, c. 1983. 2 p. Duration: 2:48. This is number 5 in a set of nine preludes for piano based on authentic Pawnee melodies. In the 1920's Frances Densmore recorded the tunes on wax cylinders at the Pawnee Indian Reservation in Oklahoma. This poignant melody tells the story of a man of extreme old age, with no children of his own. His last remaining relative rides into battle carrying the beloved emblem, a lance. The young man sadly is killed in the battle. More background information on this Native American story is provided with the score. Strongly declamatory and free with many performance nuances and pedaling indicated on the manuscript score. Very precise pedal markings are given and described in a footnote. Cacioppo has tried to capture in notes and minute editorial suggestions all of the pathos of this emotional scene. Moderate difficulty. (Haverford College)

L88.

Cage, John (1912-1992) USA *Dream (Music for the Dance by Merce Cunningham). New York: Henmar Press, Inc., c.1960. Sole selling agents C.F. Peters No. 6707. 2 pages. Duration: 5:00. Composed in New York City in 1948. Not specifically for one hand, but easily performed by either hand alone. Written in alto clef. Minimalist in nature. Single line, running notes, mostly on the staff with a few chords. Cage states: "Always with resonance; no silence; tones may be freely sustained, manually or with pedal, beyond notated durations." Uses the soft pedal throughout. Only upper elementary difficulty technically, but not a pedagogical work. (University of Wisconsin-Madison)

L89.

Calcagno, Elsa (1916) Argentina 5 Preludios para piano: inspirados en modalidades ritmica melodicas del cancionero criollo. Buenos Aires: Ricordi Amer cana, 1950. Second edition. Composed in New York City in 1948. 13 pages for the entire suite. Only the second and fourth preludes are for left hand alone. The second: Preludio para la mano izquierda, con aire pampeano is dedicated to Haydee Ferrero. 2 p. Begins in D minor and ends in B minor. Alternation of broken chords and scale passages. Rather impassioned. One B natural accidental is omitted in measure 15 and one C* accidenta is omitted in measure 21. Pedaling and dynamic markings indicated. The fourth: Preludio Para la mano izquierda, con aire

Left Hand Alone

75

de Estilo is dedicated to Sefiora Corina H. de Lima. 1 p. repeated. E minor. Passionate, mostly chordal with a melody emerging from the chord tops. Pedaling and fingering indicated. Not as technically challenging as the second prelude. Both are of upper intermediate difficulty. (Indiana University) L90.

Variaciones classicos sobre un temade la llanura para le mano izquerida. Buenos Aires: Ricordi & Co., 1942.

L91.

Doce (12) Preludios para piano (6 para la mano izquierda). "Inspirados en modalidades ritmicas y melodicas del cancionero criollo." Buenos Aires: G. Ricordi & Co., 1969. Concert works of upper intermediate difficulty. No fingering given. Lively and entertaining. (LOC) #2. Preludio con aire pampeano. "al Maestro Eduardo Melgar." 2 p. G minor. A double-stemmed melody emerges from the more or less perpetual sixteenths. Some interesting harmonic progressions. #4. Preludio con aire de Estillo. "a Tina y Albert Carvallo." 2 p. B-flat minor. Sad, sultry andante melody often in thirds. Rubato. Thirds, tenths, and broken chords. #5. Preludio con aire pampeano. "a la pianista Hay dee Ferrero." 2 p. D minor and B minor. Broken chords alternating with descending scale passages. Aggressive. #7. Preludio con aire Estillo. "a la Sra Corlina H. de Lima." 1 p. Recitative-like. Simpler than the others. Impassioned melody over chords. Repeated to appp ending. #8. Preludio con aire de Triste. "al Rotary Club de Carmelo." 2 p. Quiet opening. Lyrical melody over chords. Modulates through several keys. Solid declaimed ending. #11. Preludio con aire de Vidala. "al Sr. Mauricio Ferrari Nicolai." 3 p. B minor. Slow waltz. Sensual in nature. Chromatic and pleasing.

L92p.

Cassanova, F. A. (1924) USA Owed to Czerny (Octave Etude for the Left Hand). Florence, Kentucky, The Willis Music Company, c. 1992. 2 p. F minor. The composer suggests playing this with lots of bravura. Built from broken chords and octave scale patterns. Requires above average control of large chords and running octave passages. In-

76

One Handed termediate difficulty. Pedaling suggested. Useful for study, but not as musically successful as the 'Pop' Song listed below.

L93p.

'Pop' Song for left hand alone. Florence, Kentucky: The Willis Music Company, c. 1992. 2 p. F major. Andante tempo. Pleasant lower intermediate level pedagogy solo. Fluency with very large chords and inversions required. "Cocktail piano" flavored harmonies give it an obvious appeal to a certain level of piano student. A few passages have a distinct melody, but otherwise the melodic interest is derived from the chord progressions. Fingering and pedaling indicated.

L94.

Castaldi, Paolo (1930) Italy Left: per pianoforte. Milano: Suvini Zerboni, 1971. 14 pages 14" X 20" in size. Duration: between 11 and 13:00 minutes. Includes detailed performance instructions in Italian by the composer. The score is rather interesting visually (suitable for framing). It is laid out in 1-4 measure blocks with arrows pointing the way to the next grouping often beginning on the enharmonic equivalent of the last tone. Castaldi gives note value to note value equivalencies in brackets to indicate the pulse relationship from one grouping to the next and says: "Le equivalenze metronometriche devono esser osservate a rigore? Tempo markings, meter signatures, and key signatures change almost grouping by grouping. This is a restless, complex, constantly undulating and difficult concert work with many long arpeggiated passages and infrequent chords. A work that must be undertaken in a very accurate way because Castaldi warns us in his explicit instructions that we should play the score precisely as it is written ("precisamente come e scritta nella partitura"). (University of Illinois at Champaign-Urbana)

L95.

Chiti, Gian Paolo (1939) Italy Arion Suite: Prelude and Fugue 1993. 8 p. Through correspondence with Chiti, I was graciously given a computer derived copy of the suite. He has written it for left hand or ad libitum for both hands if the performer has small hands. The new title has been added and the work is in the process of being printed. (Chiti's address: Deputy Director, Conservatorio di Santa Cecilia, Via Proba Petronia 82, Roma, Italia 00136.) The Prelude is very free with flexible rhythmic groupings, few bar lines, frequent meter changes, and thorny passage work. A few Baroque ornaments are apparent and give the feeling of a typical

Left Hand Alone

77

Prelude to a Fugue. The Andante Fugue is two-voiced and written clearly so that the sixteenth notes of one voice are played while the other voice holds, but some overlapping of the range of the voices could cause aural confusion between lines. At the end of the Fugue are the instructions to play the portion of the Prelude from the sign to the end. ("Di seguito ripete preludio dal @a finire") Some pedal markings given. This is an interesting and serious moderately difficult concert work. L96.

Christensen, Ove (1856-1909) Denmark Drei Pianoforte Etiiden fiir die linke Hand. Leipzig: Arthur P. Schmidt, and Mainz: Schott, 1907. Brief studies for equalizing the fingers. Many running sixteenth note figures. Moderately difficult. (HOF 1904-08: 117: 22) (LOC) (INS)

L97.

Clemens, T. L. Octave Study. Chappell. (INS)

L98.

Coenen, Willem (1837-1918) The Netherlands Fantasia on "The Last Rose of Summer" and "God Save the Queen" for the left Hand Alone. Neue ausgabe mit einem hinzugefuten Schlusse von Marie Krebs. Leipzig: J. Schuberth and London: Novello, 1864. Probably written for his own concert performances. (HOF 1867: XCV:19) (INS)

L99p.

Cola, Felix de (1906Left hand, Right foot book [A22p]

L100.

Corigliano, John (1938) USA Etude No. 1: For the left hand alone. From Etude fantasy: for solo piano. New York: G. Schirmer, 1981. 29 pages for the entire work. Commissioned by James Tocco on a grant from the Edyth Bush Charitable Foundation, Inc., for the Bicentennial Piano Series of the Washington Performing Arts Society, and dedicated to the memory of Edyth Bush. The premiere, by James Tocco, took place in the Kennedy Center, Washington, D.C., on October 9, 1976. The published score is also edited by James Tocco. The other movements require two hands and flow one into the next. They are: Legato; Fifths to thirds; Ornaments; and Melody. From the composer's notes: "The first etude is for the left hand alone~a bold, often ferocious statement which introduces both an opening six-note row (the first notes of the work) and a melodic germ (marked 'icy' in the score) which follows the

) South Africa/USA

78

One Handed initial outburst. This etude reaches a climax in which both the row and the thematic germ are heard together, and ends as the right hand enters playing a slow chromatic descent which introduces the next etude..." There is no real stopping point for the first movement, so it probably cannot stand alone as a concert piece. Flexible, declamatory movement with broad sweeping passages from top to bottom of the piano, rather brutal and harsh. Dynamics, articulations, pedaling, and fingerings given.

L101.

Corpus, Constantin Wilde Flucht vor Raubern fiir die linke Hand, Op. 39. Berlin: Hoffheinz. (HOF 1906:XXIV:21) (INS)

L102p.

Czerny, Carl (1791-1857) Austria Two Studies for the Left Hand Alone, Op. 735. Vienna: Mechitt, 1846. Amsterdam: Heuwekemejer, c.1969. These are also published in Les Maitres du piano (Degre superieur): Volume I -- Etudes speciales, choisies, revues, doigtees et annotees par Armand Ferte, Bruxelles: Schott Freres, c. 1937. No. 1 in G minor, Allegro maestoso. No. 2 in A-flat major, Andante expressivo. Both are three pages in length and require solid technical skills in chord inversions, octaves, scales, trills, broken chords, and arpeggios. They contrast in character; are simple in structure, melodic and harmonic device, but pleasing and innately effective.

Pedaling and fingering given. University)

Difficult.

(Northern Kentucky

LI03.

*Etude in A major. New York: G. Schirmer. 3p. Frequently changing tempo markings and key signatures delineate the formal sections. This becomes almost like a fantasy. A variety of techniques are used including scales, arpeggios, chords, sustained tones, implied counterpoint, trills, octaves, etc. Fingering is given for both hands by Isidor Philipp. It seems most suitable for the right hand. Moderately difficult. [A9]

L104.

Dacci, Giusto (1840-1915) Italy Melodia colla sola mano sinistra. Trieste: Schmidt & Co., c. 1894. (HOF 1900:179:21) (INS)

L105p.

Damm, Gustave (1803-1904) Ubungsbuch nach der Clavierschule: 16 leichte Etuden. (INS)

Left Hand Alone

79

LI 06.

Da-Oz,Ram (1929) Israel Kemo menuet li-fesanter yad semol bi-levad (Quasi menuetto for piano): for the left hand only. Tel Aviv: Or-Tav Music Publications, 1988. 3 p. (Harvard University, Loeb Music Library) (INS)

L107p.

Davies, Evan Thomas (1878) Great Britain Roses of Yesteryear: Waltz. Cincinnati, OH: The Willis Music Company, c. 1915. 3 p. Trite, 3-part waltz in G major with contrasting middle section in C major. Mostly single notes in arpeggio with a few three-note chords interspersed. Lower intermediate level of technical difficulty. Pedaling and fingering carefully marked. (Southern Illinois University at Carbondale)

L108.

Delgado, Imelda USA ^December's Dance. Unpublished manuscript available from the composer, 27 Camden Place, Corpus Christi, TX 78412. Originally titled Valse Sentimentale pour la main gauche. Written in 1994 and dedicated to Edgar L. Cort6s, the composer's husband. 2 p. According to the composer: "This is a schmaltzy waltz...can be played with the right hand as well...play it with great freedom." The "A" section is in C# minor and 6/8 meter; the "B" section is a Giocoso waltz in V* meter and C# major. This brie piece is elegant and musically inviting. It is filled with rubato and emotional outpouring. Some octaves and larger jumps plus a free "cadenza" area provide slight obstacles. Damper and una corda pedal marked. Upper intermediate difficulty.

L109p.

Diack, John Michael (1869-1946) Great Britain The Laggard Left (Pianoforte studies for the left hand). London: Patterson's Publications, c. 1939. 24 p. New York: Carl Fischer. This is a volume of moderately difficult exercises some for the left hand alone and others for two hands. The first eight drills are brief quotes of famous themes from standard literature ranging in length from 2 to 6 line. From Bach's: "Werde munster, mein Gemuthe." From Bach's Piano Concerto in D minor. From Corelli's Giga From Paradisi's Toccata From Mozart's Jupiter Symphony From Beethoven's 5 m Symphony From Beethoven's Variations on "Nel cor piu." From the 32 Variations by Beethoven.

80

One Handed The next ten studies, of which Numbers three, seven, ten are conceived for the left hand alone, are original works dealing with specific technical problems that confront the left hand in piano playing. They arefriendly,cheerful works, but of no real distinction. Intermediate level students would benefit from studying them and they might serve as student recital pieces. Fingerings are suggested. (National Music and Disability Information Service List and Oberlin College) [B57]

LI 10.

Dichler, Josef (1912) Austria Intermezzo und Capriccio fiir die linke Hand allein. Wien: Doblinger, c.1980. 16 p. Includes notes in German and English about the Intermezzo. This highly effective concert work is made up of two fast movements that are dissonant, percussive, rhythmically exciting, and almost jazzy. After a brief, disjunct introduction, the Capriccio settles into the rhythm of the polonaise and builds to an exuberant ending. Both movements utilize powerful dynamics and demand a strong keyboard technique including arm and fist clusters, glissandi, as well as ease with a wide keyboard range. Big, savage ending. Moderately difficult. Pedaling is suggested. (Florida State University)

LI 11.

Dohler, Theodor (1814-1856) Italy Etude de Concert pour la main gauche, Op. 42 #33. Mainz: Schott. Also published in Dohler Album: Sammlung beruhmt Compositionen fiir Pianoforte, Leipzig: C. F. Peters, 718 1889 and in the Collection Litolff No. 1741 Dohler PianoforteAlbum. (HOF 1852-1859:134). This is a sentimental, two page Andante with characteristic nineteenth century harmonies and structure. The melody is projected in long notes by the thumb over undulating dyads in triplet rhythms. The editor, Conrad Kuhner, provides some fingering and pedaling suggestions. Moderately difficult. (Toledo-Lucas County Public Library, Toledo, OH)

LI 12.

Dohnanyi, Erno von (1877-1960) Hungary Fugue for left hand or two hands. New York: Associated Music Publishers Inc., 1913 and 1962. 6 p. Duration: 4:30. Dedicated to Mrs. Oliverson. Published posthumously. Originally subtitled: "for one advanced left hand or two unadvanced hands." Four voices in effect. Some free passages and episodic writing. Rhythmic subdivisions become thicker as the fugue progresses.

Left Hand Alone

81

Big ending with octaves and thick chords. Moderately difficult requiring a large hand span. (University of Wisconsin-Madison) L113.

Dreyschock, Alexander (1818-1869) Bohemia Variations, pour la main gauche seule (pour le piano), Op. 22. Prague: Berra & J. Hoffmann. 12 p. Dedicated to Mademoiselle Charlotte Fink. C major. After a one-page introduction of declamatory passages and octave scales, the Andante con espressione theme is introduced followed by three variations and a finale. The theme is a lyrical melody with some secondary harmonic progressions presented over an Alberti accompaniment. The variations proceed in the traditional Classic period style and include diminution of accompaniment patterns, octave displacements, trills, and change of meter from the theme's common time to 3/4 meter for the Finale. Pleasing, somewhat routine, and technically difficult. (Cleveland, Ohio Public Library)

LI 14.

Grande Variation sur l'Air "God Save the Queen" pout* la main gauche seule, Op. 129. Paris: Offenbach s/M chez Jean Andre, (no date). 9 p. "A Son Altesse Royale Madame la Princesse Frederic Guillaume de Hesse nee Princesse de Prusse." Introduction: Tempo di Marcia. Theme: Andante Maestoso. As the title states there is just one enormous variation on this traditional theme. It is wonderfully harmonized and powerfully presented. Octaves galore and oodles of arpeggios against the melody which is proclaimed in long notes surrounded by whirlwind accompanying patterns. Complete pianism is required. It could be a highly effective work as a period showpiece, p e n d i n g . Pedal and some fingerings marked. (LOC and University of Texas at Austin)

L115p.

Driver, F. Percival Great Britain Single Handed Pieces. Series of four books. Boosey & Hawkes. (National Music and Disability Information Service List [B57]) (INS)

LI 16.

Eckartz, Hubert (1903) Germany *Capriccio from Acht Klavierstucke. 2 p. Full of rhythmic vitality and very clever. Scherzo-like with frequent changes of meters from 5/8 to 2/8, 3/8, or 4/8. Big ending. Marked carefully for fingerings, pedalings, and articulations. Would be equally manageable by either hand and might actually be easiest for the right hand. [A5]

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One Handed

L117p.

Eckhardt, Fanny G. Candlelight Waltz (for the Left Hand Alone). Providence, RI: Axelrod Publications, Inc., c. 1939. Simple C major waltz. Uses triplets, sustained notes, and two-note chords. No pedal required. Fingering supplied. Upper elementary teaching piece. (LOC)

LI 18.

Eckhardt-Gramatte, Sophie-Carmen (Sonia) (1899-1974) Canada (born Russia) Piano Sonata No. 6 (Drei Klavierstucke), E. 130. Published in Volume 17 of her selected works. Available from the EckhardtGramatte Foundation, 54 Harrow Street, Winnipeg, Manitoba, Canada, R3M 2Y7 which was set up by her second husband, an art critic, Dr. Ferdinand Eckhardt. The scores are obtainable from the Canadian Music Centre, 1263 Bay Street, Toronto, Canada, M5R2Ca. Duration: ca. 14:30. This Sonata was begun in 1928 and finished in 1952. The first movement, "For left hand alone, Prestissimo, e molto preciso, " was written in 1928 and is almost identical to the last movement of Sonata No. 4. The second movement, "For right hand alone, Lustig und mit Witz" was composed in 1951. And by coincidence the two movements may be played together to form the third movement, "For both hands, Vivo assai e marcato." From the CD notes by Michael Pisani: "The first movement is a perpetuum mobile in continuous demi-semiquavers, with few pauses. The second movement is angular, with rhythms purposefully contrasting with each other...The first movement sustains one texture and one key, conceived like an etude for the coordination and strengthening of the left hand; the second is full of character and bizarre humour, capricious and mercurical [sic] with frequent changes of tonal centre. The step-by-step process of bringing the two together; slightly prolonging one measure to allow another to catch up, subtly altering pitches to compensate, transferring lefthand material to the right and vice versa offers an experiment unique not only in this composer's works, but probably in all of modern music." This is a brilliant and exciting concert work that deserves performance and widespread use. The manuscript score, c. 1952, is very meticulously written and includes some fingerings and pedal markings. [R25 and D9a-c]

LI 19.

Variation X "Busy Honey Bee" from Introduction and Variations on a Theme from my Childhood for piano, c. 1990 by Pe-

Left Hand Alone

83

ter McKee Music Co., Limited. Sole selling rights assigned to Waterloo Music company Limited, Waterloo, Ontario, Canada. Edited by Michael Pisani. Biographical notes on the back cover. 1 p. Busy, legato sixteenths in a 3/8 meter with some doublestemming for melodic interest. Wide range with some fingerings given. This movement is marked "segue subito" to Variation XI. It does have a complete cadence, but because of its extreme brevity, probably could probably not stand alone. Intermediate difficulty. L120p.

Eggling, George (1866- ) Germany/USA Melodie in F-Sharp minor, Op. 178. Boston: Arthur P. Schmidt, 1912. Also available in [A21p] edited by Charles Dennee. 4 p. Salon piece. "Big note" chordal melody surrounded by long arpeggiated figures in "small note values." Very expressive. Big, expansive climax which is followed by a slow, quiet ending. Octaves, chords, thirds, sixths, and fluid motion over the keyboard needed. Fingering and pedaling given. Upper intermediate. (LOC)

L121p.

On the Lagoon (Barcarolle), Op. 165. Philadelphia, PA: Theodore Presser, c. 1913. 4 p. A-flat major. Salon music. Pleasing melody in single notes and thirds surrounded by arpeggiated figures. Pedaling and fingering given. Upper Intermediate. (LOC)

L122.

Ehrhardt, C. Michael (1955) USA Prelude in G minor for the Left Hand Alone. Portland, ME: Manduca Music Publications. PO Box 10550. Dedicated to Jim McKay. Duration: ca. 2:30. Melodic double stemming brings a beautiful melody out of the sweeping arpeggiated figures and broken chord passagework. A slightly slower, more dramatic, and chordally conceived middle section contrasts with the opening and closing portions. Interesting displacement of accents gives a feeling of excitement and tension. Pedal and fingering, including the una corda, are marked. Intermediate difficulty. (As a side note, Mr. Ehrhardt, an American educator and pianist, was also the founder of EDUCO Records in California.)

LI23.

Epstein, Selma (Erzsebet Szonyi) (1924) Hungary/USA Epstein became interested in music for one and three hands as the result of a broken shoulder accident. She has proposed the publication of a volume of piano music for one hand by women composers and according to correspondence I have received from her,

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One Handed "is now working on two [Adult] group teaching beginner's books; one devoted to a method for LH alone, and the other a method for RH alone!" She is the Director of and may be contacted at Chromattica USA, 2443 Pickwick Road, Dickeyville, MD 21207.

LI24.

Erlich, Ed. Zwei Universal-Etiiden fiir Pianoforte. Op. 82 for the left hand alone. Vienna: Wetzler. (HOF 1887: CXXIIL20) (INS)

L125.

Eyken, Heinrich van (1861-1908) Germany Romanze fiir die linke Hand, Op. 8. Berlin: Raabe & Plothow. c. 1894. New York: Carl Fischer. (HOF 1900: 180:21) (INS)

L126p.

Eysler, Edmund S. (1874-1949) Austria 12 Etiidenfiir die linke Hand. Wien: Wiener Dreiklangverlag, 1946. 28 p. These are upper elementary teaching pieces about children. Carefully edited. They need a large reach and ease with chords. All are two pages in length. This fun little book has clever and appealing pen and ink drawings by Elenore Haberrettl and Maria Matejka. (NYPL) Aller Anfang ist schwer Heimliche Mitteilung Spinnerliedchen Im Dorf Traumgesicht Schwesterlein Die Schule ist aus Wiegenlied fiir die kleine Use Kleiner Trotz kopf Mein liebes Mutterlein Reiterliedchen Weihnachten

L127p.

Feanch, Alan (pseudonym Alain Poinsot) Shell Fish. France: Editions Musicales Sforzando, c. 1976. 1 p. (INS) Winter. France: Editions Musicales Sforzando, c. 1976. 2 p. (INS)

L128.

Felderhof, Jan (1907) The Netherlands Impression. (Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, c. 1963. 3 p. Composed in 1959 for Cor de Groot. Ternary form: Andante rubato—Piu mosso—

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Left Hand Alone

Tempo I. Felderhof marks this "Quasi improvisando" to give a feeling of ebb and flow throughout. Melody with accompaniment. Impressionistic sounds and yet somewhat atonal. Provocative and poignant. Middle section requires excellent octave and chord control. Difficult [A7] L129.

Fink, Gottfried Wilhelm (1783-1846) Germany Romanze, Op. 200, No. 1. Philadelphia, PA: Theodore Presser, c. 1913. 4 p. D-flat major. Adagio. Center keyboard melody surrounded by cumbersome arpeggio figures. Many broken chords. Fingering and pedaling marked. Upper intermediate difficulty. (LOC) (HOF 1900:180:21)

L130.

Foerster, Josef Bohuslav (1859-1951) Czechoslovakia Notturno & Fantastico, dve klavirni skladby pro lvou ruku, Op. 142. 11 pages. Prague: Melantrich Tschechischer Staatsverlag, 1945. (National Music and Disability Information Service List [B57]) (INS)

L131.

Foote, Arthur (1853-1937) USA Drei Clavierstiicke fiir die linke Hand allein, Op. 37: Preludeetude (D minor); Polka (B-flat major); Romanze (D-flat major). Boston: Arthur P. Schmidt, c.1897. 11 p. Each is moderately difficult and meant for recital performance. Wide dynamic and pitch range, effective use of damper pedal. Fingerings are suggested. They require very secure technique because of the many octaves and larger chords. Prelude-etude (perhaps the most appealing of the three pieces) is characterized by a Baroque influence with free recitative-like sections, many arpeggiated passages, and toccata inspired figurations. It has been slightly simplified and published for the right hand [R31]. Polka is a salon-style, chromatic piece in ternary form. Romanze is highly dramatic with many wilting chromatic harmonies. These are solid compositions but with a dated sound. (University of Michigan)

L132.

Etude for the Left Hand. Elementary. (INS)

L133p.

A Little Waltz for the Left Hand, Op. 6 No 4 from Cinq pieces pour piano. Hamburg: Cranz. Boston: Arthur P. Schmidt, c. 1885. Re-published by the same company in 1913 and 1925. Also published in [A21p] edited by Charles Dennee. Alternate title: Petite valse pour la main gauche seule. 3 p. A minor.

Arthur P. Schmidt, Co.

3 p.

86

One Handed This is the only one from this set for one hand. Dedicated to Stephen Heller. Clearly defined, lilting melody appears sometimes below and sometimes above the accompaniment. Requires ease with voicing, scales, arpeggios, and larger reaches. Some period chromaticism. Ternary form. Pedaling and fingering marked. An attractive, competently composed period piece of upper elementary to lower intermediate difficulty. (Eastman School of Music)

L134.

Franco Mendes, Hans (1890) The Netherlands For the Left Hand from Uit mijn dagboek: voor piano. Amsterdam: G. Alsbach, 19??. This is the only piece for one hand alone from these five volumes of piano music. (INS)

L135p.

Franklyn, John USA Dainty Novellettes for the Left Hand Alone. Cincinnati, OH: Willis Music Co. Written over a period of 10 years between 1915 and 1925. Six gentle, sentimental, short pieces for upper elementary to intermediate level students. With the exception of Dream of an Hour which is three pages in length, all are two pages long. There is a salon-style charm about these study pieces. Spring Breezes is particularly pleasant. Fingerings and pedaling carefully indicated. (LOC) Belfry Echoes ("Sleepy gardens where lily-pads lie.") Spring Breezes Waltz ("Soft whispers thro' the tree-tops") In Dewy Gardens ("Diamonds dainty, and the Rising Sun.") Dream of an Hour [Reverie] Forest Glades [Autumn Song] ("Comes a call, thro' the trees") In a Snow-clad Vale: A Winter Lullaby ("The Voice of Nature stills us now")

L136p.

Frey, Adolph (1856-1938) USA born Germany Valse lente. Boston: Oliver Ditson Co., c. 1919. 5 p. Lilting. Intermediate level study piece. A-flat major. Some chromaticism and unfortunate harmonic twists. Fingering given. (LOC)

L137p.

Valse Romantique. Boston: Oliver Ditson Co., c. 1919. 4 p. Easier than the Valse lente above. B major. Quick waltz. Ternary form with the return of the "A" section more complicated than at the beginning. Some fingering given. Both are rather pleasant period pieces for students. (LOC)

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L138.

Fricker, Peter Racine (1920) Great Britain Twelve Studies for Piano, Op. 38. London: Schott & Co. Duration: 23:00 total for the twelve. First performed on July 9, 1961 by Lamar Crowson at the Cheltenham Festival. Of the twelve Studies, only Number 5 is for the right hand alone [R32] and Number 9 for the left hand alone. 3 p. A moderate tempo in rhapsodic style. Requires firm control of octaves, chords, and scale passages. Begins and ends quietly. The soaring melody, reinforced in octaves is accompanied by chords and broken chord patterns with some wonderful harmonies. Many dynamic and tempo nuances with some really terrific swooping scales. A fine, inviting concert work. (The Cleveland Institute of Music)

LI 39.

Friedman Song of Spring. McKinley Publishing, Co. Early elementary level teaching piece. (INS)

L140p.

Frost, Bernice (1896-1976) USA The White Swan. Boston, MA: Boston Music Co., 1941. 3 p. Upper elementary level teaching piece. Melody and accompaniment in C major with contrasting middle section in A minor. Single notes only; melody tones being sustained while accompanying tones fill in. Some interesting arpeggios used. Phrasing, pedaling, dynamic levels, and fingering precisely marked. (University of New Mexico)

L141.

Fuchs,Lucie (1903) Kleine Romanze fiir die linke Hand, Op. 1 No. 7 (Frohsinn beim Lernen). Berlin: Paez. This is a set of short pieces for beginners (Kurze Klavierstucke fur Anfanger), but only this seventh one from this opus is for the left hand alone. (HOF 1893: CXLL19) (INS)

L142.

Fumagalli, Adolpho (1828-1856) Nocturne, Op. 2. Milan: Ricordi. [LA38-LA42] (INS)

LI43.

Furlani, Henri Humoresque pour la main gauche. Milan: A. and G. Carisch & Co., 1929. 3 p. "A Mademoiselle Juliette Thevenet" Charming, dance-like, and capricious. Immediately appealing character piece. Humorous intentionally. Interesting program music or encore piece. Fingering and pedaling given. Upper intermediate difficulty. (LOC)

Italy

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One Handed

L144.

Gabrilovich, Ossip Solomonovich (1878-1936) Russia Etude for the left hand, Op. 12 No. 2 from Two piano pieces, Op. 12. Boston: Oliver Ditson Co., 1917. 9 p. Dedicated to Leopold Godowsky. Printed with larger note heads for notes of melodic interest and smaller note heads for accompanying notes. An impassioned allegro in A minor with a bold distinct melody brought out by re-inforced octaves. A tremendous climax is reached before dying away to a quiet ending. This is a solidly constructed concert etude that still exhibits charm and appeal today. Gabrilovich has suggested fingerings and pedalings. (Denver Public Library)

L145p.

Gage, Walter Impromptu. Philadelphia, PA: M. D. Swisher, 1913. 3 p. Aflat major. Published in Gage's Piano Album: A Collection of Melodious Compositions. Simple, trite theme presented three times, each time more elaborately. Requires facility with arpeggios, octaves, chords inversions, and quick register shifts. Pedaling marked. Intermediate. (LOC)

L146.

Gajani, G. Souvenir de Vienne. c. 1854. Milan: Ricordi. (HOF 18521859:144) (INS)

L147.

Ganz, Rudolph (1877-1972) USA born Switzerland Capriccio No. 1: for the left hand alone, Op. 26 No. 1. New York: G. Schirmer, 1917. 6 p. Published with Op. 26 No. 2 for the ri^ht hand alone. [R34]. "To Mollie Margolies" Gavottelike, ternary form. G major—e minor—G major. The middle section is slower and presents a minor melody surrounded from the top to the bottom of the piano with arpeggios. Zippy ending. Fine, competently crafted work. Fingering and pedaling marked. Difficult, but not inaccessible. (Philadelphia, PA Free Library)

L148p.

Garrow, Louise USA Waltz Time for Left Hand alone. Miami, Florida: Belwin Mills, 1973. 2 p. Published as part of the David Carr Glover Program Solo Series. Trivial elementary waltz in F major. Melody sometimes in the thumb and at other times played by the fifth finger. Three part form. Fingering and pedaling supplied.

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L149p.

Gaul, Harvey Bartlett (1881-1945) USA Bluette Waltz. Boston: C. W. Thompson & Co., 1912. (LOC) (INS)

L150p.

Gebhard, Heinrich (1878-1963) Germany/USA An Old Sea Story, No. 2 from Three Little Concert Pieces for the Piano. Boston: E. C. Schirmer, Music Co., c. 1928. "To Ernest C. Schirmer." This is the only piece from this set for a single hand alone. The other two are for two hands and dedicated to other people. An Old Sea Story is a study in cantabile left hand playing. Fingerings and pedal markings are given. Early intermediate level piano study music, designated as 3rd and 4th grade by the publisher. (The other titles in the set are: Sunlight through the trees: Pedal Study and Toccata Mignonne: for Scales, Skips and Staccato). (Mississippi State University)

L151.

George, Jon (19437-1982) USA Etude 2 from Modern Suite No. 4. Sherman Oaks, CA: Alfred Publishing Co., Inc., c. 1979. 2 p. Each of the innovative Modern Suites is accompanied by interpretational and musical analyses to help the advancing student. Suite No. 4 is a set of etudes rather than a suite of dance movements like the others. The etude for the left hand challenges the student "to shape phrases while subduing their accompaniments; to clarify intertwined voices; and to move over a wide expanse of the keyboard, working for sonorities and textures usually achieved by both hands." "Tempo rubato" A great reliance on broken chords for accompaniment. Big climax after a cadenza-like passage. Some "modern" harmonies. While intended to be a part of this six movement suite, this would be an excellent work for a developing student and could stand alone. Fingerings and very careful pedalings are indicated. Upper intermediate level. A cassette of the work performed by Mary Gae George is available from the publisher. [D14a]

L152p.

Germer, Heinrich (1837-1913) Germany 25 Studien, Op. 41. Leipzig: Hug & Co., 1899. New York: Carl Fischer. (LOC) (INS)

L153.

The Technics of Pianoforte-Playing: Musical Ornamentation: Manual of Tone-Production in Pianoforte playing from How to play the Pianoforte, Op. 28. Leipzig: C. F. Leede, c. 1886. This volume contains many excellent exercises for strengthening the left or right hand as well as a number of two-handed studies.

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One Handed None are repertoire pieces, but all are clever and worthwhile for dexterity and control. Most are a few lines long and each involves a specific technical task that must be mastered. Fingerings carefully provided. Moderately difficult. (Milwaukee, WI Public Library)

L154.

Gerschefski, Edwin (1909) USA Suite for left hand alone, Op. 15. New York: Pioneer Editions, c. 1961. 11 p. Duration: 11:00. Composers facsimile edition. First performance by the composer, League of Composers, Midtown Center, New York, New York, February 23, 1936. Three movements: Allegro moderato; Largo; Allegretto. Linear writing overall with much implied counterpoint and many register shirts. Frequent meter changes, complex rhythms, and dissonance. Many fingerings suggested. Has a Baroque feeling. The first movement is binary and employs ornaments. The Second movement is a broad Sarabande-style binary work. And the third movement gives the impression of a gigue even though written in 5/8 meter. Certainly a serious work for the left hand. (AMC)

L155.

Giorni, Aurelio (1895-1938) Italy 24 Concert etudes in all major and minor keys for piano: No. 20 Etude in C minor for the left hand alone. New York: G. Schirmer, c. 1927. 7 p. Most of the etudes from this group are for two hands. No. 22 is for the right hand alone. Difficult program pieces. (NYPL) [R36]. (National Music and Disability Information Service List [B57])

L156.

Gliere, Reinhold (1875-1956) Russia Impromptu, Op. 99 #1. Available in [A6]. 2 p. E major. Structurally this is a simple ternary work. The Andante tempo becomes slightly more animated in the middle section and the opening material returns and closes calmly. The harmonic progression is that of enticing chromatic chords that provide a slight melodic interest in the top voice. Intermediate level with a special need for chordal voicing. Fingerings and pedal marks given.

L157p.

Goddard, Francis W. Nocturne. Boston: Oliver Ditson & Co., 1883. 2 p. A very pretty slow melody spun out over a triplet arpeggio figure. Cadenza passage. Large broken chords. Some fingering and pedal indicated. Intermediate.

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L158.

Godowsky, Leopold (1870-1938) Poland/USA Capriccio (Patetico). C-sharp minor. New York: G. Schirmer, 1931. 6 p. Dedicated to Ernest Hutcheson and Emile R. Blanchet. Allegretto espressivo. Ternary form, C-sharp minor with modulation to D-flat major in "B" section. Fingering and pedaling suggested. Contains much rhythmic vitality requiring great finger independence, octaves, and thick chord playing skills. Very quiet ending. Fingering and pedaling marked. Difficult concert repertoire. [A4] [D16a]

LI59.

Elegy. B minor; moderato. New York: G. Schirmer, 1931. 4 p. Dedicated to Gottfried Galston and Emile R. Blanchet. Moderato. Lyrical, double-stemmed melody. Flexible tempo with surges of passion. Somber ending. Fingering and pedaling suggested. Difficult concert piece. [A4 and A9].

L160.

Etude macabre: piano solo for the left hand alone. New York: G. Schirmer, c. 1930. Composed 1929. D minor. 4 p. Dedicated to Emile R. Blanchet. Presto perpetual motion; double stemmed melody notes; pianissimo dynamic level for the most part. "Fearful and uncanny." Some interesting chord progressions. Originally titled Wailing Winds. Written on one staff. Fingering and pedaling, including the soft pedal, suggested. Difficult. [A4]

L161.

Impromptu: piano solo for the left hand alone. New York: G Schirmer, 1930. Composed in 1920. 5 p. Dedicated to Joseph Lhevinne and Emile R. Blanchet. E-flat minor. Ternary form with "B" section in E-flat major. Presto appassionato with important dynamic swells. Constant groupings of three eighth notes in compound meter. Reminiscent of Mendelssohn. Difficult. [A4]

L162.

Intermezzo (Malinconico). New York: G. Schirmer, c. 1930. E major. 4 p. Dedicated to Alexander Silotti and Emile R. Blanchet. Minuet-like Allegretto. Ternary form. Quiet dynamic levels. Fingering and pedaling suggested. Difficult. [A4]

L163.

Meditation. New York: G. Schirmer, c. 1930. 5 p. Dedicated to Dmitri Tiomkin and Emile R. Blanchet. E-flat major. Andante sostenuto. Long, spun-out heartfelt melodic line over accompaniment. Very polyphonic and thick texture. Important, impassioned climax and then quiet ending. Fingering and pedaling suggested. Very difficult. [A4 and A9]

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One Handed

LI64.

Prelude and fugue (B-A-C-H): piano solo for left hand alone. New York: G. Schirmer, c. 1930. 13 p. Dedicated to Arthur Loesser. Composed in 1929. A perpetual motion Prelude in F major followed by a 4-voice Fugue based on B-A-C-H. This theme is suggested in the Prelude as well. Minutely edited and very carefully fingered. Not as difficult as some of the other Godowsky left hand music. Sturdy and solid sound required throughout. (University of Illinois at Champaign-Urbana)

LI65.

Studies on Chopin's Etudes (Studien iiber die Etuden von Chopin). 5 volumes. Berlin: Robert Lienau Vormals Schlesinger, 1899-1914. Of the 53 pieces, 22 of them are for the left hand alone. The Introductory Remarks, General Remarks, Special Remarks on the Studies for the Left Hand Alone, and Description of the Various Forms Employed in the Versions of the Chopin Studies are in English, French, and German and provide important information about these works and how to study them. All are extremely difficult and require enormous flexibility of hand and fingers. A few exercises are provided for the right hand alone to use as preparation for the two-handed etudes. Godowsky carefully edited them giving precise fingerings, articulations, dynamic markings, and pedalings. Godowsky has arranged some of these works while others are almost new creations. [D16a, D51a] The following are for left hand alone: Volume 1: Op. 10 #1 transposed to D-flat major; Op. 10 #2; Op. 10 #3 transposed to D-flat major; Op 10 #4; Op. 10#5. Volume 2: Op. 10 #6 [A9]; Op. 10 #7 transposed to E-flat major; Op. 10 #8 transposed to G-flat major; Op. 10 #9 transposed to Fsharp minor; Op. 10 #10. Volume 3: Op. 10 #11 transposed to A major; Op. 10 #12 transposed to C-sharp minor; Op. 25 #1; Op. 25 No. 2 transposed to Fsharp minor; Op. 25 #3. Volume 4: Op. 25 #4; Op. 25 #5 in B-flat minor; Op. 25 #9. Volume 5: Op. 25 #10; Op. 25 #12 transposed to C-sharp minor. Also included are two Etudes from the Moscheles Method: # 1 in f minor and #2 in D-flat major.

L166.

Suite for the left hand alone. New York: G. Schirmer, c. 1930. 37 p. Dedicated to Isidor Philipp. Movements in D major and D minor. (Allemande; Courante; Gavotte; Sarabande; Bourse; Sicilienne; Menuet; and Gigue). Composed in 1926. Difficult concert music. Each movement uses the characteristic rhythm of the corresponding Baroque dance with Romantic melodies and har-

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monies. Thick chordal textures and dense polyphony. Requires careful pedaling and diligent attention to melodic voicing. Minutely marked with musical nuances, fingerings, and pedalings. Very difficult. (Carnegie-Mellon University) LI67.

Symphonische Metamorphosen Johann Straussschen Themen. Symphonic metamorphoses of the Schatz-Walzer themes from The Gypsy Baron. New York: Carl Fischer, 1941. 19 p. Edited by David Saperton (who has put in even thicker ossia passages.) G major. This work is in the same style as all of the Godowsky pieces. Fingering and pedaling are shown. Duration: ca. 10:00. Very difficult, requires a master of all pianistic techniques. (LOC) [D12a,D15a]

L168.

Waltz-Poems for the Left Hand Alone. New York: Carl Fischer, c. 1930. 31 p. Six pieces in all. Contains preface by Leopold Godowsky, dated January 1, 1937. Originally issued in two-hand versions or for violin and piano. Godowsky carefully gives fingerings, pedal markings, and metronome suggestions. All are difficult. Dedicated to Carl Engel. No.l G-flat major, 1929. 2 p. Allegretto amabile. Appealing melody over chromatic harmonies and secondary melodic lines. Quiet ending. More centered in the keyboard and perhaps slightly easier than some of the others. (Southern Baptist Theological Seminary) No. 2 B-flat major, 1929. 4 p. Allegretto grazioso. Three part form. Interesting modulations in the center section which is in G major. Rich sound throughout. Polyphonic. (Southern Baptist Theological Seminary) No. 3 G major, 2/2/1929. 8 p. Allegretto amabile. Three part form with the middle section in E major. Viennese in flavor. Chromatic, yearning harmonies. Pleasant, appealing melodies. Interesting play of the accompanying voices throughout. Wide keyboard range. (Southern Baptist Theological Seminary) No. 4 E-flat major, 1929. 5 p. Moderato, con tenerezza e grazioso. Three-part form the center section is even more chromatic. A gentle engaging work that fits more easily under one hand than some of the others. (Kansas State University) No. 5 A-flat major, 1928. 6 p. Moderato. Three part. Appealing use of fourths and sixths in accompaniment. No. 6 C major, 1929. 7 p. Confuoco. A very energetic waltz in three part form.

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One Handed

L169p.

Goedicke, Alexander (1887-1957) USSR Etude for the Left Hand, Op. 32 No. 28. Oceanside, NY: Boosey & Hawkes Repertoire Album (Lower Elementary H in the Piano Teachers Library edited by Leo Podolsky, June Davison and Ardella Schaub, c. 1964. 1 p. Plain continuous eighth notes in G major. Harmonies based on primary triads and related chords. Pleasing in a simple way. Fingering given. No pedal needed. Elementary.

L170.

Gomezanda, Antonio (1894-1961) Mexico Vieja danza (sobre un antiguo tema mexicano) para canto y piano o para la mano izquierda sola. (For voice and piano or for left hand alone). Mexico: Ediciones del Instituto Musical "Gomezanda," c. 1931. 2 p. Dedicated to Paul Wittgenstein. Introductory flourishes and declamatory passages are followed by a soulful melody with accompaniment using the habaftera rhythm. Lyrics, written by Gomezanda, are printed above the score. An impassioned chorus section brings the work to a fortefortissimo conclusion. Pedaling indicated. Moderately difficult, fluid octaves required. (Indiana University)

L171.

Goodrich, Florence A Study for the Left Hand Alone. Summy. (INS) [B55]

Chicago:

USA Clayton F.

L172.

Goolkasian-Rahbee, Dianne (1938) USA Abstracts, op. 7. Published by Dianne Goolkasian-Rahbee, 45 Common Street, Belmont, MA 02178. (1970-1981). There are nine short pieces in this group, some with titles. Only the first one, Nocturne for the Left Hand Alone is for one hand. This is a moderately easy, short piece, 31 stark measures. The writing is atmospheric and rather alluring. Mostly single notes with a few chords and/or rolled chords. Pedaling is indicated. Technically not difficult, but requires mature musicianship. (Southern Baptist Theological Seminary)

L173p.

Gordon, J. Elise The Left Hand Goes Into Training. London: Stainer & Bell, 1933. Brief two line exercises for young students. (LOC) (INS)

L174.

Goria, Alexandre Edouard (1823-1860) France Serenade: Etude pour la main gauche, Op. 9. Berlin: Schle-

Left Hand Alone

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singersche Buch~und Musik Handlung (Rob. Lienau). "a Monsieur Camille Pleyel." The Serenade (3 p.) is for the left hand alone, but the following section adds the right hand (3 p.). It is possible to cadence after the Serenade to use this work as a solo piece. Introduction followed by an accompanied, uninspiring melody with many large chord spreads to emphasize the melody tones, and finishing with cadenza material. Moderately difficult. [Al]. (LOC) L175p.

Gould, Danny Running Arpeggios. Brooklyn, 1947. (LOC) (INS)

L176.

Grahn,Ulf (1942) Sweden Gallery: for piano left hand, 1996. Submitted to the New Music and Arts Festival of the College of Musical Arts at Bowling Green State University in Bowling Green, OH. A collection of six short, moderately difficult pieces: Tomas T. Adagio e Cantabile (5 p); Sailing (4 p); Arpeggio (7 p); The Shore Line (4 p); Presto (5 p); Tomas T. Adagio e Cantabile (5 p). Grahn has created a serious and esoteric work. The colors are somber and dark with fleeting moments of animation and driving passion. Carefully edited for tempi and dynamic contrasts. Difficult, but not overwhelming. (Bowling Green State University non-circulating).

L177.

Graue, C. Dieterich Kurze melodische Stiidien fiir die linke Hand allein, Op. 25 Volume I: Praludium; Marsch; Elegie; Intermezzo. Volume II: Nocturne; Idylle; Nachspiel. Bremen: Schwers & Haake. (HOF 1893: CXLL19) (INS) Ballade fiir die linke Hand (oder auch fiir 2 Hande), Op. 24. Bremen: Haake. (HOF 1874-1879:174) (INS) Caprice: Konzertstuck, Op. 22. Bremen: Praeger. (HOF 1874-1879:174) (INS)

L17 8.

Graziani, Maxim Valse-Etude. Mainz: Schott. (HOF 1874-1879:174) (INS)

L179.

Greef, Arthur de (1862-1940) Belgium Nouvelles etudes de concert, mouvement perpetuel. Paris: Lemoine. (INS)

96

One Handed

LI80.

Greentree, W. J. SEE: Grunebaum, W. J. [192p]

L181.

Greulich. F. W. (1796-1837) Germany Etudes de Salon pour la main gauche seule, Op. 19. Leipzig: Peters, 1917. There are three etudes for the left hand alone. These salon pieces are written with charm and dramatic impetus. While not of the highest musical caliber, they would provide an interesting and novel group on a recital. All are moderately difficult. B minor - Con brio e mobilitd. 4 p. Perpetual sixteenth notes with double stemming for thematic interest. This sweeping whirlwind would make an effective encore piece. Fingerings and pedal markings given. [A9, A10, and A12] E major - Grazioso ed assai moderato. 1 p. Chorale-like melody with repeated accompanying chords, long scale passages, and some wide arpeggiations. Pleasant and predictable. Requires good chord voicing. Pedal and fingerings given. [AlOandAl]. F-sharp minor - Presto ed energico. 3 p. Perpetual sixteenth note triplets with dramatic accents and climaxes. Some double stemming for melodic interest. Effective showpiece. Fingerings and pedal markings provided. [A 10 and A12].

L182.

Griffis, Elliot (1893-1967) USA (A short biography of Griffis is given by Dr. James Spencer at the conclusion of his volume Tunes for 2, 3 and 4 hands [CE36p]. He was a recipient of a Pulitzer Prize in 1931, taught at various universities across the nation, and lived two years in Vienna. He also took up painting, a medium in which he produced about a hundred canvasses.) Piece for the left hand: a la chaconne, Op. 12 #2. Flushing, New York: Schroeder and Gunther, c. 1923. Copyright assigned to D. L. Schroeder, 1948. This is the second piece from Three Studies. The other two require two hands. "To Jere R. Wichwire." 7 p. C minor tonal center. An eight measure chord progression forms the basis for the variations in this chaconne-like composition. Rhythms increase from single quarter note chords to elaborate arpeggiated groupings. Two recitative sections punctuate the work and organize the form. Some fingerings are marked and the use of soft pedal, damper pedal, and sostenuto

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pedal are all necessary. This is an effective, dramatic concert piece. (University of Georgia) L183p.

Workout for the left hand (Hornpipe). Hollywood, CA: Carlvi Music, Co. 1958. "for Ellen Cannon" 1 p. This is published with Happy Song, a piece for two hands, in Carlvi's "Two in One" Series for Piano. Single notes throughout with some "ossia" octaves in parentheses. A brisk, upper elementary level solo. Fingerings suggested. No pedal necessary. Rhythmically alive with a strong ending. (AMC)

L184p.

Grill, Joyce USA *Either/Or Nine Pieces for left or Right Hand: Duet for One Hand; One-Hand Boogie; Reaching Out; See-Saw; Swinging; Trumpet Fanfare; Tubas on Parade; Waltzing Alone; Woodpeckers. Miami, FL: Belwin Mills, c. 1992. Each early elementary level teaching piece is one page in length. None require playing more than a single note at a time. Range is centered on the keyboard and staff. All are in C major or F major with the use of accidentals. Would provide good sight-reading material for the very young and could be expanded into creative exercises as well. No rhythm values faster than eighth notes. Composer suggestions: "These pieces can and should be played with either hand...Fingering for each hand should be written in...Experiment with articulation and dynamics. After playing the pieces as written, move to different octaves. Also add either chords or accompaniment patterns with the 'other' hand." Contains illustrations. [R38p] [B75] (See [A16p] for the contents.) Many of these solos have been included on the National Federation of Music Clubs Junior Festivals Selections for 1995-2000.

L185p.

*Left Alone—Right On!: 12 pieces for left hand alone or ri hand alone. Miami, FL: Belwin Mills, c. 1995. Those for left hand include: One-Way Waltz, Rocking Rainbow, Left Alone, Scaling Left, Wondering. The other six pieces are for the right hand alone [R39p]. Upper elementary to lower intermediate solos that could serve as learning experiences for students who are temporarily incapacitated. None are more than two pages in length. Some fingering suggested. Pedaling is to be experimented with, but a few suggestions are marked. Contains illustrations. (See A19p for the contents.) [B75] Several of these solos have been included on the National Federation of Music Clubs Junior Festivals Selections for 1998-2000.

98

One Handed

L186p.

*More Left Alone-Right On! for left hand alone or right ha alone. Miami, FL: Belwin Mills, c. 1996. Those for the left hand include: Wishing, Left Alone Rag, Back in the Saddle, Loco-Motion, Stately Dance, Ah, Spain! The other three solos are for the right hand alone [R40p]. Lower intermediate level for these works. They are more difficult than either of the previous volumes. The left hand solos are more effective than those for the right hand. Wishing and Ah, Spain! are a cut above the others and provide more than the slim musical thrust of the others. Fingering is marked. Pedaling is suggested in several of the pieces, but often is not necessary. Solid study works which could also be effective for student recital. (See [A19p] for the contents.)

L187.

Grimm, Friedrich Karl Enrico (1902) Germany Konzert-Etiide fiir die linke Hand, Op. 38 No. 4. Wiesbaden: Rudolf Erdmann Musik-Verlag, c. 1954. 4 p. E major. Andantino molto expressivo. Romantically designed upper intermediate work. Rolling triplet arpeggios alternating with chords. Carefully marked for nuance and color. An effective work that is rhapsodic and flexible with large climaxes. Some intriguing and surprising harmonies. Requires quick shifts and ease with chords. Some fingering and pedaling marked. (LOC)

L188.

Groot, Cornelius Wilhelmus de (1914-1993) The Netherlands Apparitions, voor piano (linkerhandalleen). (Six pieces by Netherlands composers for piano left hand). Amsterdam: Donemus, c. 1963. Seven moderately difficult pieces: Marcia; Agitato; Con moto; Andante; Poco lento; Vehemento; and Andante Tranquillo. Each miniature is distinctive in character giving the set a tapestry of textures and sounds. All use a wide dynamic spectrum and keyboard range and require varying levels of pianistic technical skill. Some are more physically demanding than others. Interesting, biting harmonic structures. Frequent meter changes. Numbers 4 and 5 are marked attacca. Pedaling is suggested. Cor de Groot has made many recordings using the name of Guy Sherwood. (Eastman School of Music) [A7]

LI89.

Apparition No. VI. Amsterdam: Donemus, c. 1960. 5 p. A sectional work with frequent meter and mood changes. The beginning is marked "Vehemente, tumultuoso" Loud dynamics an charged asymmetric rhythms makes this a percussive and thorny work. Some pedal markings are given. Moderately difficult. [A8]

Left Hand Alone LI90.

99

Irish Waltz (alleen linkerhand). Amsterdam: Donemus, 1980. 4 p. Duration: 2:00. Reproduced from holograph. Composed in September, 1980 for Jan Wijn. Thin texture with a few arpeggiated chords and lying mostly in the upper register of the keyboard. Tonally conceived, sectionally organized. Pleasant melody with accompaniment. Pedal, metronome, and fingering suggestions provided. Intermediate difficulty. (University of Maryland)

L191p.

Gross, Eric (1926) Austria/Australia Three Pieces for 5 Fingers or 1 hand (Pfte), Op. 133. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 4 p. No.l Scherzino: Allegretto. No. 2 Contemplation: Lento ma un poco rubato. No. 3 Discussion: Allegro. Tonally organized with conventional forms. Striking contrasts in textures and moods. Implied counterpoint throughout. Some clever rhythms and accents. Mostly in the center of the keyboard. Suitable for upper elementary students. Pedaling suggested. [A32p]

L192p.

Grunebaum, W. J. Twilight Shadows, Op. 77 #1. Boston: Arthur P. Schmidt, Co., c. 1918. Also published in [A21p] edited by Charles Denn£e under the composer name of W. J. Greentree. 3 p. G major. Ternary form. An arpeggiated chord progression with no specific melody. Pleasant study piece. Fingering and pedaling marked. Lower intermediate level of difficulty. Slightly less difficult than its companion piece. (LOC)

L193p.

Indian Legend, Op. 77 #2. Boston: Arthur P. Schmidt Co., c.1919. Also published in [A21p] edited by Charles Denn^e. 4 p. F-sharp minor. A strong heroic character piece that strives to paint a very dramatic picture. Somewhat free. Four-note chords, octaves, widely spread chords, and quick register shifts needed. Interesting musical markings: "Eraico," and "Tempo Vivacetito." Fingering and pedaling marked. Intermediate level difficulty. Not particularly effective. (LOC)

L194p.

Gurlitt, Cornelius (1820-1901) Germany Impromptu: Etude fiir die linke Hand, No. 4, from Sechs melodische Etiiden fiir Pianoforte, Op. 185. Boston: Arthur P. Schmidt, 1892. 7 p. A minor. Vivace tempo. A study in chord inversions and arpeggios. Sturdy, perpetual motion piece in 4/8 meter with sixteenth note triplets as the standard rhythmic subdi-

100

One Handed vision. Some sections of contrasting dynamics. Ternary form. Dramatic overall. Moderately difficult for the advancing student. As with so many of Gurlitt's pedagogical works, this piece is highly effective with just the right amount of technical challenge. Fingering and pedaling marked. Also published in an abridged form (2 p.) in [A21p], c. 1914 edited and revised by Charles Dennee and again in 1920. The five other etudes in this opus are for two hands. (Milwaukee Public Library)

L195p.

La Plainte, Etude in F minor, Op. 123. London: Augener (Stainer & Bell), 1902. (HOF 1906:XXIV:21) (National Music and Disability Information Service List [B57]) (INS)

L196p.

Schule fiir die linke Hand, Op. 143. Two Volumes. Hamburg: Cranz. New York: Carl Fischer. (HOF 1893: CXLL19) (National Music and Disability Information Service List [B57]) (INS)

L197.

Haberbier, Ernst (1813-1869) Germany Poetic Studies No. 20: "Tremolo." 3 p. A Paul Wittgenstein arrangement derived from this work. It is excerpted from Haberbier's Poetic Etudes, Op. 53 and 59. There are 32 studies in these two groups, five of which could be executed by one hand if the pianist cares to take the trouble to make the necessary adjustments. For the most part these works require two hands. No. 20 is a study in bringing out a melody in "three-hand" fashion as was so popular last century in salon writing. Not as difficult as others in the Wittgenstein School [All] and perhaps not as effective for concert use.

L198.

Hale, Alfred Matthew (1876-1960) England Op. 95 Nos. 1 & 2. London: Goodwin and Tubb. (National Music and Disability Information Service List [B57]) (INS)

L199p.

Hall, Frederich Douglas (1898- ) USA/Australia Prelude in F. Melbourne: Allan & Co., 1926. 5 p. Ternary form. F major. "B" section in d minor. March-like. Simple melody with chordal or arpeggiated chord accompaniment. Fits easily under the hand. Fingering given. Useful for teaching. Lower intermediate. (LOC)

Left Hand Alone

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L200p.

Hannan, Michael (1949) Australia *Modal Melodies for Single Hands. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 3 p. Single line melodies alternately for right hand and left hand. Twelve melodies total. None is over three lines long. Contrast of modes and moods. "Each of these pieces, grouped in pairs for right and left hand, explores one of the Church Modes... Although those melodies written in the treble clef are intended for right hand, and those in bass clef for left hand, it is obviously possible to play them all with either one hand or the other." Elementary. [A32p]

L201.

Hardt, G. Adolf Capriccio. Number 1 from Zwei Stiicke for Pianoforte. Cologne: P. J. Tonger, c. 1882. (HOF 1887: CXXIII:20) (INS)

L202p.

Harris, Cuthbert (1870-1932) Great Britain *Left Hand Studies. Forsythe Music Publishing. Warren & Phillips. Eight pieces. Also suitable for right hand. (Cuthbert Harris also published pieces under the name of Paul Valdemar [L504p] and Edward Moran). (National Music and Disability Information Service List [B57]) (INS)

L203.

Harris, Edward C. (1899) USA Chopin in the Citrus Belt: A Nocturne for the Left Hand and an Orange. New York: Carl Fischer, c. 1938. 3 p. G-flat major and F-sharp minor. Inspired by Ansel E. Adams, the first orange virtuoso that the composer ever met. Instructions for choosing the correct orange and on how to use it. This piece really needs two hands, but the right hand plays its part by pressing an orange into the keys. No finger dexterity is needed. Intermediate difficulty. Great party piece. (LOC)

L204p.

Harris, Shirley (1941) Australia Study in A minor. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 1 p. Running sixteenth notes in scalar and arpeggiated passages. Uses two staves. Might be played by either hand. Harris says: "Broken chord study with finger agility passages." Upper elementary. [A32p]

L205.

Hasse,Jean (1958) USA Silk Water (1992) for piano (left hand). Arlington, Massachusetts: Visible Music, 276 Massachusetts Avenue #411, 02174, c. 1992, published in 1994. 5 p. Duration: 6:00. (Composer's bi-

102

One Handed ography appended to the score.) Dedicated to Leon Fleisher who gave the premiere on October 12, 1992 in Boston, MA on a Composers in Red Sneakers concert. The composer says: The overall mood of Silk Water relates to a sense of calmness, of suspended time. While composing the piece I visited the Atlantic Ocean, and standing deep in the water moved my hands across the textured, dark, tranquil surface. The spirit of this calming moment is somewhat reflected in the piece, the structure of which is two sections and a coda. To the performer: There are a few chords in the piece where the addition of the right hand is necessary. If possible, I would greatly prefer this to rolling the chords with your left hand. Fermatas in parentheses are of relatively short duration. Pedal indications in parentheses require a half-pedal. A somewhat stark, poignant, rhythmically static work. Traditional notation and measure barring. Frequent dynamic and tempo shifts. Technically only moderately difficult, but requires a musically mature performer. Pedaling is suggested. (AMC)

L206p.

Haupt, Lois Von ^Either Hand Alone for Piano. New York: J. Fischer & Bro., c. 1954. Five teaching pieces that are suitable for either hand. Fingering is given above and below each piece. Pedal is marked. Upper elementary. (LOC) White Clouds. 2 p. C major. Legato waltz. Two notes together at times. Holiday Parade. 1 p. C major. Energetic, octave and chord displacements. Cute. Donkey Ride. 1 p. D minor. Staccato chords. Drifting on the Lake. 2 p. F major. Three-note chords. Legato lines. Hawaiian Moonlight. 2 p. C major with added sixths. Lyrical triads.

L207p.

Hawkey, William R. New Zealand *Play Mates and Colours. Melbourne: Allans Music Australia Pty. Ltd., c. 1984. 1 p. Two contrasting slowish pieces for the upper elementary student. Might be played with either hand, but most appropriate for the right hand. Tonally conceived. Composer's directions for Colours: "Repeat as many times as you wish. The final time only get softer and softer and let the final

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two bars be sustained with the pedal until the sound is no longer heard." Pedaling and precise articulations given. [A32p] L208p.

Hayes, Opal Louise One Hand Waltz. Century Music. (INS)

L209.

Helps, Robert (1928) USA Music for left hand: three etudes for piano solo. New York: Associated Music Publishers, c. 1976. 13 p. Duration: ca. 8:30. 1. Andante con moto — "for Ian Underwood." 2. Adagio; espressivo e rubato — "for Tison Street." 3. Allegro brillante ~ "for Rudolf Kolisch." All three movements are very difficult concert pieces. They contain many large leaps, complex rhythmic groupings, and sophisticated pedaling. They explore the upper register of the piano almost to the exclusion of the bass tones and need complete technical control. Although they are completely edited with explicit dynamics, phrasing, pedal, etc., Robert Helps says in his note that "in so many instances I felt there were several possibilities. Therefore, a minimum of such markings have been given and within this 'minimum' other possibilities should certainly be explored." The first two movements contain no fingerings while the third movement has a finger number for each note. A brief biography of the composer is included. (University of Wisconsin-Madison and AMC)

L210.

Hemel, Oscar van (1892-1981) The Netherlands Sonatina. Amsterdam: Donemus, c. 1959. 8 p. Dedicated to Cor de Groot. A three movement work. (I. Allegro', II. Passacaglia; III. Con Allegrezza). Clean lines, thin textures, and clear formal structure. Tinged with modern harmonies and dissonances. Asymmetric rhythmic groupings and frequent meter changes. Moderately difficult. An effective multi-movement work. [A8].

L211.

Hennessey, Swan (1866-1929) Ireland/France Introduction, 12 variations et fugue, pour la main gauche seule. Found in Diverses pieces et variations pour piano sur un theme oblige. Paris: E. Demets, c. 1910. 9 p. "a mon ami Hugo Rasch." The obbligato theme is "Chopsticks" and is printed on a separate staff above the entire work in small notes and evidently may be played as duet. There is a wide variety of moods and techniques involved in the main variations and the two-voice fugue. Difficult technically. A puzzling piece. (Along with this

104

One Handed one-handed work are five two-handed works based on the same theme by Hugo Rasch, Georges Loth, Auguste Delacroix, and Herbert Fryer.) (LOC) Deux etudes pour la main gauche. 190?. C minor. (INS)

Paris: Maison Hamelle,

L212p.

Henry, Marcella A. Shepherd's Lullaby. Philadelphia: Theodore Presser, c. 1911. G major. Rolled chords on every first beat with single note melody notes to fill out each measure. Jaunty rhythm, somewhat like a Minuet. Big chords and wide arpeggiations. Predictable harmonies. Has fingering and pedal markings. Pleasant study piece. Lower intermediate. (LOC)

L213.

Henze, Hans Werner (1926) Germany La mano sinistra per pianoforte: Piece for Leon (1988). Mainz: New York: B. Schott Sohne, c. 1990. 4 p. Duration: 4:00. The work is dedicated to pianist Leon Fleisher. The musical problems comprise complex rhythms, thick cluster chords, wide keyboard range, and a broad dynamic scope. Enormous intensity and penetrating musicianship are demanded of the performer. Freely written on three staves. Quiet, dark ending. Moderately difficult concert work. Pedaling given. (University of Minnesota)

L214p.

H£rard, Paul-Silva France Douze etudes pianistiques pour la main gauche, Op. 103 Paris: Alphonse Leduc Editions Musicales, c. 1910. Forward by Isidor Philipp. Dedicated to Monsieur Charles-Marie Widor. Nos. 1 11 are for two hands with special emphasis on the left hand. Number 12, Sonorite dans les accords and the Exercices Preparatoires which accompany each of the studies are for the left hand alone. Sonorite dans les accords is a slow, one page waltz built almost entirely of four note chords. H^rard gives instructions for controlling the sound without contracting the hand or stiffening the arm. This is a simple three-part form in F major with some interesting harmonic diversions. Pedaling is necessary and fingerings are provided. Large hand expansion required. Moderately difficult. (National Music and Disability Information Service List [B57] and University of Wisconsin-Madison)

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L215p.

Hicks, Marjorie Kisbey (1905- ) Canada Two Indispositions: No. 1 Indisposed Right hand. Don Mills, Ontario: BMI Canada Limited, c.1969. 2 p. Marked "Lamento" Continually rolling triplets in the lower reaches of the keyboard and double-stemmed notes allow an atmospheric melody to emerge from the malleable texture. Quiet dynamics throughout. Pedaling is marked. Intermediate level of technical difficulty. Musically very appealing. (University of Maryland) [R46p]

L216.

Hirst, A. L. Toujours pret, Op. 23 No. 5. London: Phillips & Page. (INS)

L217p.

Hobson, Marie USA Waltzing Memories for the left hand alone. 4 p. Cincinnati, Ohio: The Willis Music Co., c. 1935. A minor. An affable, salon-style, moderately slow waltz consisting of arpeggiated melodic fragments and chordal accompaniment figures. Some chromaticism, but no surprises here. Flows pleasantly along. Fingering and pedaling suggested. Lower intermediate level.

L218.

Hobson, Neil *Songs of the Thirties. SEE [A34p]

L219.

H6ffer,Paul (1895-1949) Germany *Zwei Etiiden. 5 p. These two etudes contrast in style, tempo, and mood. The first, in C-sharp minor, marked Largo is broad, expressive, and pensive. A serious melody is heard above a chordal accompaniment and a low pedal point rhythm, somewhat reminiscent of the second movement of J. S. Bach's Italian Concerto. The second etude is whimsical and nervous. A melody emerges from a perpetual motion rhythmic figure. Strong D minor ending. Fingerings and pedal markings are provided. Upper intermediate difficulty. Effective recital music. [A5]

L220.

Hoffman, Richard (1831-1909) Great Britain/USA Venetian Serenade. Philadelphia: Theodore Presser, c. 1907. 2 p. A-flat major. A typical character piece. The accompaniment imitates the thrumming of a guitar. Contains cadenza areas before the final cadence. Needs style and flash. Intermediate difficulty. Pedaling and fingering marked. (LOC)

106

One Handed

L221.

Hofmann, Josef Casimir (II) (1876-1957) Poland/USA Etude for the Left Hand in C major, Op. 32. Leipzig: C. Dieckmann. (HOF 1906:XXIV:21) [B55] (INS)

L222.

Hollaender, Alexis (1840-1924) Germany Sechs Intermezzi, Op. 31. Berlin: Schlesinger'sche Buch un Musikhandlung (1884). Each of these upper intermediate pieces, ranging from 1 to 6 pages in length, is attractive, carefully conceived, imaginative, and well written. They demand a good control of the keyboard and could be grouped for recital. In the style of Romantic period character pieces, they offer a variety of moods and tempi. Charming music, especially for upper intermediate level students. (Lincoln, NE City Library) 1. Abendlied (Evening Song) is found excerpted in Grade IV of Standard Graded Course of Studies for the Pianoforte in T Grades on page 15. Bryn Mawr, PA: Theodore Presser, c. 1911. The complete work is also available in The B. M. Co. Digest o Piano Pieces for the Left Hand Alone. [A3]. 2 p. A-flat majo Lyrical and very expressive, chordal piece with an attractive melody emerging from the tops of the chords. Typical of the late nineteenth century. Traditional tonality with poignant chromaticism. Pedaling andfingeringprovided. Moderately difficult. 2. Etude. 2 p. E minor. Rolling sixteenth note chord progression with some double stemming. Waves of sound. Pedaling and fingering supplied. Moderately difficult. [A 12] 3. Melodic 2 p. A major. Sentimental melody with descending chordal accompaniment. The middle section reverses the process. Somewhat reminiscent of Schumann. Fingering and pedaling provided. Perhaps the least difficult in the set. 4. Walzer (Waltz) is available in The B. M. Co. Digest of Pian Pieces for the Left Hand Alone. [A3]. 4 p. C major (Contrast ing Trio in F major). Typical salon piece. Some interesting harmonic progressions under the rather undistinguished melody. Tempo is "in one." Pedaling andfingeringprovided by the editor. Moderately difficult. This Walzer (Waltz) edited by John Orth, was also published by the Oliver Ditson Company in Boston in 1913. 5. Perpetuum mobile. 6 p. C minor. This is the most intellectually and technically engaging of the pieces. Somewhat in the style of von Weber. Rondo form with contrasting key and style sections. The Coda begins quietly and builds to a climax in C

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major. Difficult. Fingering and pedaling supplied. Also included in Crosse Vol. 6 [A 12]. 6. Jaglied (Hunting Song) is available in The B. M. Co. Digest of Piano Pieces for the Left Hand Alone. [A3] 4 p. E-flat major. Sturdy program piece with imitations of the hunting horn (lots of fifths) and a very trite melody. This work is one of the more difficult pieces in this opus because of the range shifts and thicker chord structures. Ternary form. Requires good chord facility. Pedaling and fingering indicated. L223.

Sechs Klavierstucke, Op. 52. Berlin: Schlesingersche Buch-und Musik Handlung (Rob. Lienau), 1892. Effective, Romantic style pieces. Pedaling and fingering given. Intermediate. (LOC) Lied. E major 4 p. Scherzino. B-flat major 3 p. Studie. C minor 4 p. Dramatic. Menuetto. G major with trio. 4 p. Romanze. A minor 4 p. Kanon. C major 2 p. The easiest of the set.

L224.

Sechs Fantasiestiicke, Op. 66. Berlin: Schlesingersche Buchund Musik Handlung (Rob. Lienau). Gavotte; Pilgerzug; Nacht-licher Ritt; Schlummerlied; Das Bachlein; Landler. (HOF 1914-1918) (INS)

L225.

Mit fliegenden Fahnen (Marsch fiir Pianoforte). Vienna: Universal-Edition. (HOF 1920:51) (INS)

L226.

Holland, Dulcie Sybil (1913) Australia *Quiet Procession for Piano Solo for One Hand. Grosvenor Place, Australia: Australian Music Center, PO Box N690, NSW 2000, 1992. Reproduced from the composer's autograph which is located at the Australian Music Center. Dedicated to Selma Epstein. 4 p. Duration: 3:20. Instructions for either hand alone. This is a slow, tonally-conceived dirge-like march that twice builds to a biting and terse climax and then closes quietly. Requires ease with quick register shifts and parallel thirds. No fingering or pedaling marked. Intermediate difficulty.

L227.

Horn, Camillo (1860-1941) Czechoslovakia Zwei Stiickefiir die linke Hand allein, Op. 33. Leipzig: Kahnt Nachfolger, c. 1908. "Frau Emmy Sobieczky." No. 1 Albumblatt. 4 p. G minor. Dramatic and somewhat free. Lyrical sec-

108

One Handed tions combined with recitative areas. Fingering and pedaling marked. A real sense of drama is needed. Although somewhat syrupy, this could be a useful concert work. Upper intermediate. No. 2 Fantaisie. (LOC) (HOF 1904-08: 117: 22) (INS)

L228.

Hosenpud, Matthew (1903-1961) USSR Etude for the Left Hand. Published in Russian Music for the Young Pianist, Book Six. New York: MCA Music, 1967. Compiled and edited by Poldi Zeitlin and David Goldberger. B minor. 2 p. Poco Andante. Duration: 2:45. Two-voice texture with dotted note double stemming for melodic interest. A somber and melancholy miniature of only eighteen measures. Quiet throughout with gentle dynamic swells. Pleasing and interesting to the listener. Intermediate difficulty. [D20a]

L229p.

Hovemann, Christina Twilight Shadows. New York: Harold Flammer, Inc., c. 1946. 2 p. "Dreamily, quite slowly." Augmented harmonies. Extended arpeggiated chords. Tenor melody in waltz time. Fingering given. Upper elementary pedagogy piece. (LOC)

L230.

Huber, Hans (1852-1921) Switzerland "Auf dem Wasser" Arpeggien-Etiide from Die Schulung der linken Hand in sieben Kapiteen zusammengestellt. Lausanne: Foetisch. (National Music and Disability Information Service List [B57]) (INS)

L231p.

Huerter, Charles (1885) USA Six Compositions: Spring's Magic; The White Butterfly; From the Southland; Restless Moments; Summer Moon; Bridlepaths. Boston: B. F. Wood, 1926. All are pedagogically conceived character pieces. They include fingering and pedal marks. This set, ranging in difficulty from moderately easy to moderately difficult, is slightly more difficult than the rest of the pieces below. (LOC)

L232p.

By the Firelight. New York: G. Schirmer, c. 1928. 2 p. F major. Chords with off-beat bass notes. Moderate tempo. Pedagogical character piece. Some bass, grace notes. Upper elementary. (LOC)

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L233p.

Marching. New York: G. Schirmer, c. 1927. 3 p. Sturdy little melody with crisp accompanying rhythms. Ternary form. Pedal not marked, but is necessary. Upper elementary. (LOC)

L234p.

Tango. New York: G. Schirmer, c. 1927. 4 p. F major. Imitates guitar with broken chord accompaniments. Ternary. Gentle and pleasing. Some fingering suggested. Lower intermediate. (LOC)

L235p.

Two Dance Tunes. New York: G. Schirmer, c. 1927. Lower intermediate. I. Mask Dance. 2 p. A minor. Brisk and dramatic. Ternary. Fingering and pedaling marked. Big ending. Could make a good work for a student recital. II. Harvest Dance. 2 p. Ternary. C major. Arpeggios and chords. Uses quick shifts. Fingering given. Study piece. (LOC)

L236p.

About Sunshine: A Group of Two Piano Pieces. New York: G. Schirmer, c. 1927. Student works of upper elementary difficulty. Fingerings marked. Clever and useful straightforward pieces. 2 p. each. (NYPL) I. Stray Sunbeams II. Dancing in Sunlight

L237.

Hummel, Ferdinand (1855-1928) Germany Fiinf Klavierstiicke fiir die linke Hand allein, Op. 43. Leipzig: C. F. W. Siegel's, 1900. Sentimental character pieces using standard forms and gentle chromatic harmonies. Each piece utilizes a different left-hand technique. Most lie in the center of the keyboard and require flexibility and chord control. Pedaling, fingerings, and musical nuances are given. Intermediate to upper intermediate difficulty. (Mills College, California) Friihlingsgruss, Op. 43 No. 1. Philadelphia: Theodore Presser. 1 p. F major. Sagging, chromatic harmonies support a sentimental melody. Pedaling and fingering marked. Lower intermediate difficulty. Etude, Op. 43 No. 2. 2 p. C major. Perpetual motion triplets. Predominantly single notes. Good finger study. Intermediate difficulty.

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One Handed Walzer, Op. 43 No. 3. 3 p. E-flat major. Gentle waltz tempo. Ternary form with contrasting sections, some chordal and others continuous eighths. Lower intermediate difficulty. Lied, Op. 43 No. 4. 2 p. C major. Flowing eighth notes surround a half note melody. Fingering marked. Lower intermediate difficulty March. (For the Left Hand Alone), Op. 43 No. 5. 5 p. F major. Ternary form with a contrasting legato middle section in continuous eighth notes which are double stemmed for melodic interest (B-flat major). Opening has a fanfare quality with "quasi" trumpet passages. Moderately difficult. Pedaling and fingering provided. Available in The B. M. Co. Digest of Piano Pieces for t Left Hand Alone [A3] and in The University Course of Mus Study, Junior Graduate (Grade Three) Division Chapter XXVIII, prepared by the National Academy of Music, New York: c. 1919. In this volume the composer is mistakenly identified as Johann Nepomuk Hummel (1778-1837).

L238P.

Hyde, Miriam (1913- ) Australia *Susan Bray's Album: Come and Play in My Sand-Patch; The Cuckoo; The Rain Is Falling; Lullaby; The Happy Hen; Two on a See-Saw; The White Daisy Field; The Trumpets Are Sounding; A Cloudy Day; The Dancing Bird. Melbourne, Australia: Allans Music Australia Pty. Ltd., c. 1984. 10 p. F major. Written at the request of Mr. Ken Bray father of Susan who had been born without a right hand. Each piece is about one page in length and tonally conceived. Each is preceded by a short, entertaining poem written by the composer to stimulate the child's imagination. Articulations, dynamic levels, and fingerings are given. No pedal is required. The introductory notes give the story behind the composition of this set of pieces. Practically all single notes. This group was originally published for two hands by Palings. Elementary level. [A32p]

L239P.

By the Lily Pond, from A Mountain Holiday (5 Piano Solos Melbourne: Allan & Co., Pty. Ltd., c. 1950. Available only as an authorized archival photocopy from the company. The entire set is dedicated to "The children I have enjoyed examining." By the Lily Pond is the only solo for one hand from this set. 2 p. An elementary waltz in F major. A gently flowing, pleasant melodic line with occasional accompaniment chords added. Some remarkably interesting harmonies in this diminutive piece. Finger-

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ings and pedalings marked. Hyde includes a poem before the piece: When lazy noon has opened all the lilies, I wander by the pond with softest tread, To see the goldfish flashing in the sunlight And watch the rippling water-circles spread. L240.

Intermezzo (for piano). Grosvenor Place, Australia: Australian Music Center, PO Box N690, NSW 2000 (no date on score), 1985. Reproduced from the composer's autograph. 2 p. This upper intermediate solo is full of thick chords, which require excellent top note voicing, supported by interspersed single bass notes and octaves. A brief cadenza area prepares the return of the opening material. Overall the work is quiet and lyrical with areas of drama and passion. Requires skill with thick chords and chords greater than an octave span. A few fingerings given. Pedal needed, but not marked.

L241.

Ide,J.A. Ballade for Piano for the Left Hand Alone. Baltimore: George Willig. c. 1884. 6 p. B-flat major. Sectional work which may also be played with two hands. The composer changes tempos and moods frequently as if there are small scenarios to create for the listener. Interesting historically more than musically. Upper intermediate. (LOC)

L242p.

Johnson, E. L. Great Britain Eight Little Left Hand Pieces. Lengnick. (National Music and Disability Information Service List [B57]) (INS)

L243.

Jungmann, Albert (1824-1892) Germany Will O' The Wisp Capricietto, Op. 217, No. 5. McKinley Publishing, Co. Moderately difficult. (INS)

L244.

Kaiser, Alfred de (1872-1917) Belgium/Great Britain Ballade from Melodious Studies. London: Enoch & Sons, 1905. Edited by R. H. Bellairs. (National Music and Disability Information Service List [B57]) (INS)

L245.

Kalkbrenner, Friedrich (1785-1849) Germany Four-Voiced Fugue (Vierstimmige Fuge fur die linke Hand allein). 2 p. Famed for being the first fugue for the left hand alone. A rhythmically driving subject in G major with some

112

One Handed clever diminished chords. Although technically in four voices, the counterpoint is not clearly heard, since all voices are simple and form chordal harmonic structure. Fingerings marked. Intermediate difficulty. [A9 and A10].

L246.

Karkoff, Maurice (1927) Sweden Drei Klavierstiick fiir die linke Hand (3 Pianostycken for vansterhand), Op. 46. Impromptu; Intermezzo cappricioso; Elegie for vansterhand. Available in manuscript from Svensk Musik: the Swedish Music Information Center, Sandhamnsgatan 79, Box 27327, S-102 54, Stockholm, Sweden. 6 p. Duration: ca. 6:00. Composed in 1959. Dedicated to Cor de Groot. These three pieces are very cerebral and atmospheric. Rarely more than one or two notes sounded at a time, they cover the entire keyboard range and evoke strong emotions and passion. Static rhythms and pointillistic textures give a sense of standing still but at the same time being hypnotically drawn into a powerful force. Karkoff has marked the works painstakingly for dynamics, articulations, and pedal. Fingering is left to the performer. Technically they are only moderately difficult, but require mature musicianship.

L247.

Fantasia for the Left Hand, Op. 193. Da Capo Music Ltd. This was written for the Swedish poet, Tomas Transtroemer. A dramatic and challenging piece utilizing a wide keyboard range. Karkoff gives many precise directions on how to perform the work to the produce the type of sound he wanted. Playing instructions change from measure to measure and dynamic markings and articulations are also very precise and continually changing. Program notes are appended.

L248.

Kauffmann-Jassoy, E. (1877) Germany Anschlagstudie fiir die linke Hand allein, Op. 41 No. 3. Dresden: J. Gunther. (HOF 1919-1923:55) (INS)

L249p.

Kay, Don (1933) Tasmania For Shirley Harris (Two Short Piano Pieces for left hand). Melbourne, Australia: Allans Music Australia Pty. Ltd., 276 Collins Street, c. 1984. 2 p. I. Slow, solemn and expressive. 1 p. II. Quick and lively. Meticulous fingering, dynamic levels, and articulations are indicated in the score. Finger slides are employed as well as much sustaining of one finger while articulating the other fingers. Two-voice writing throughout. "These two piano

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pieces represent the first for me in trying to make music for players with a particular handicap. I have tried to rise to the musical challenges posed and hope they provide some reward for the effort put into playing them." The second of the pieces is more difficult technically and involves mature understanding of meter changes, voice leading, and implied counterpoint. Intermediate difficulties. [A32p] L250.

Kessler (Kotzler), Joseph Christoph (1800-1872) Germany Zwei Savoyarden-Weisen: Etude pour la main gauche, Op. 92 #2. Leipzig: Max Brockhaus. Paris: Maison J. Hamelle. Leipzig: Max Brockhaus. Solid study works that have some aural appeal as well. [A 12]

L251.

Kessler, Minuetta (1914) USA Evocation: for the left hand alone, Op. 158 No. 3. Belmont, MA: Musical Resources, c. 1987. 6 p. Awarded the first prize in the National contest for a left hand piano piece by the National League of American Pen Women at their 1988 Biennial Convention. An effective, sectional work that elicits many moods and emotional responses. Improvisatory in nature, but rooted in tonality. The drama unfolds through quickening rhythms and changing textures. It builds to a walloping climax. Very effective. Some fingerings and pedaling suggestions given. Moderately difficult. (Southern Baptist Theological Seminary)

L252p.

Ketterer, Ella (1889-1981) USA * Valse Melodique (for either Right hand or Left hand alone). Philadelphia: Theodore Presser, c. 1951. 1 p. "To Barbara Blanck." The waltz is printed two times, once fingered for the left hand and once fingered for the right hand. Gentle, pedagogically conceived work. Arpeggiated first section in G major contrasts with the chordal middle section in D major before the da capo. Some closed position four note chords. Simple melody supported by the chords and arpeggios. Upper elementary. (LOC)

L253.

Kjelso, Hugo A. (1862) 15 Etuden mehrheitlich fur die linke Hand, Op. 292. Offenbach a.M.: J. Andr6. (INS)

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One Handed

L254p.

Kimball, Jacob Jr. (1761-1826) USA Warblings of the Birds. McKinley Publishing, Co. Early elementary teaching piece. (INS)

L255.

Kirchner, Leon (1919) USA For the Left Hand. New York: Associated Music Publishers (G. Schirmer), 1995. This work is available only in manuscript from the rental library in Chester, NY. Duration: 7:00. Written for Leon Fleisher who premiered it in Carnegie Hall on December 6, 1995. Bernard Holland described the work in his New York Times review as "beautifully organized, but implying freedom... passionate yet highly civilized."

L256p.

Kirkby-Mason, B. (1910) Great Britain Right Hand - Left Hand. EMI Music Publishing, Ltd. (INS)

L257.

Klauwell, Otto (1851-1917) Germany Drei Stiicke fiir die linke Hand allein, Op. 34: Impromptu; MSlodie; Scherzino. Cologne: vom Ende. Leipzig: Leukart. (HOF 1900:180:21) (National Music and Disability Information Service List [B57]) (INS)

L258.

Knorr, Ernst-Lothar von (1896-1973) Germany *Etude. 1 p. A lively, galloping work in 6/8 meter. Mostly single notes with a few sustained pedal points printed on one staff. Can be played by either hand. Lower intermediate difficulty. [A5]

L259.

*Serenade. 3 p. A quiet, contemplative work. The mournful melody emerges above a recitative-like chordal accompaniment. Sectional form with a feeling of rubato and freedom throughout. Elements of jazz in the harmonies and melodies. Can be played by either hand. Musically mature, intermediate difficulty. [A5]

L260.

Koch,Erland (1910) Sweden Nocturnal Etude for left hand (or with added notes in parentheses) both hands, Stockholm: Gehrmans Musikforlag, c. 1983. Dedicated to Esther Bodin. 6 p. Available from Svensk Musik: the Swedish Music Information Center, Sandhamnsgatan 79, Box 27327, S-102 54, Stockholm, Sweden. 6 p. Composed in 1973. (INS)

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L261p.

Koehler, John Melody (Study for the left hand). New York: G. Schirmer, 1908. 6 p. Respectfully dedicated to Miss Belle Le Gallez. Written as a study for the left hand exclusively, it consists of three parts: the first or principal part and two variations. Lots of arpeggiated chords. All sections present the same difficulties. Dated sounding. Fingering and pedaling given. Upper elementary/lower intermediate difficulty. (LOC)

L262p.

Kohler, Louis Christian Heinrich (1820-1886) Germany Schule der linken Hand, (School of the Left Hand), Op. 302. SEE [A 10] [LA73p]

L263p

Exercise in arpeggio, (from the School of the Left Hand). 1 p. Kohler composed this to train the left hand in rolling four note chords in various sixteenth note patterns. Moderate difficulty. [A9andA10].

L264p.

Gavotte fiir die linke Hand allein. (from the School of the Left Hand). 1 p. A minor. Binary form. Simple chordal style with melody sometimes above and sometimes below the other members of the chord. Fingering, pedaling, and articulations given. Moderately easy. [A 10]

L265p.

Rhythmic Studies (from the School of the Left Hand). 1 p. for both. Drills in chord playing and inversions. Simple melodies emerge from the tops of the chords. Intermediate difficulty. [A9 andAlO.

L266p.

Three Folk Songs (from the School of the Left Hand). 1 p. for all three. These really are exercises in chord voicing for the left hand. The melodies are supported by blocked chords. Fingerings and articulations are suggested. Moderately easy. [A9 and A10].

L267p.

Zehn Etiiden zur Ausbildung der linken Hand. Four of these studies are in Crosse Vol. 5. [A 12] They concentrate on the mechanical training of the left hand in scale and arpeggio patterns.

L268p.

Etude in A major. 3 p. Sentimental melody supported by broken chords and inversions. The minor tonal center in the middle section concludes with two lines of cadenza material which prepares for the return of the opening theme. Fingerings, pedal markings and articulations supplied. Could be expressively per-

116

One Handed formed and would be a good tone study. Upper intermediate level difficulty. [A 12, Vol. 5]

L269p.

Kleine Etiiden und Stiickefiir die linke Hand allein, Op. 233. (Petites etudes). Offenbach a.M.: J. Andre. One of these mechanical studies is published in Crosse II [A 12].

L270p.

Wellen-Melodie: Etude, Op. 86, c. 1865. (HOF 1860-1867) (INS)

L271.

Kohs, Ellis Bonoff (1916) USA Ten Two-Voice Inventions for Piano. (October, 1949, c. 1954). Nos. 2 and 9 are for the left hand alone. Unpublished manuscript. New York: American Composers Alliance, 170 W. 74th St. All of these Inventions derive their ideas from the J. S. Bach two-part inventions. Both are one page in length. They are carefully edited for articulation and dynamic levels. No pedal is needed. No fingerings given. Not technically more than upper intermediate difficulty, but they require a mature musical mind. (AMC) No. 2 is loosely centered around the tone of C#. It is highly chromatic and has a forceful ending. Kohs says: "Monotonal, binary form, use of motives, technical problems, e.g. fingering." No. 9 is written "in the two mutually exclusive whole tone scales." The compound meter signature indicates groupings of 5+4+3 eighth notes in every measure. The opening section is presented in inversion and retrograde, here with the meter of 3+4+5 eighth notes in every measure. Kohs asks: "Polyscalar, variations?"

L272.

Korchmarev (Korchniarov or Kortschmareff), Klimentu Arkadevich (1899-1958) Russia Preliud dlia odnoi levoi ruki dlia fortepiano (Prelude pour la main gauche seule, pour piano). Moscow: Gosudarstvennoe Izdatelstvo Muzykalnyi Sektor (State Publishing Company), 1924. 5 p. A broad, sweeping and melancholy melody in Csharp minor supported by arpeggiated figures. Marked "Moderato contristezza." The center section becomes more passionate with thicker chords and accompanying figures reinforced by octaves. Quiet, peaceful ending. A moderately difficult concert prelude in the style of early Scriabin. (Eastman School of Music)

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L273.

Krause, Anton (1834-1907) Germany Zehn etiiden fur das pianoforte zur ausbildung der linken hand, Op. 15. Two books. Leipzig: Breitkopf & Haertel. New York: Carl Fischer. (INS)

L274.

Krause, Eduard (1837-1892) Germany School for the left hand (Schule der linke Hand: Ubungen und Etiiden fiir hohere und hochste Ausbildung), Op. 80. Two books. New York: Carl Fischer. Zurich: Gebrueder Hug. (HOF 1880-1885:336) (INS)

L275p.

Krentzlin, Richard (1864-1956) Germany Three Pieces, Op. 105 Theodore Presser, 1925. All are goodnatured melodies set against various types of accompaniments. Useful individually and as a group. Nothing remarkable in this salon music. Fingering and pedaling marked. Intermediate difficulty. (LOC) No. 1. Romance. 2 p. F major. No. 2. Voices at Even. 2 p. E-flat major. No. 3. Festival Polonaise. 3 p. G major.

L276p.

Krogmann, Carrie Williams [pseudonym for Paul Ducelle] ( -1943) USA Valse-Serenade, Op. 99 No. 1. Berceuse, Op. 99, No. 2. Boston: Oliver Ditson, 1912. 6 p. F major. Intermediate. Both are sentimental but nicely conceived. Fingering and pedaling marked. (LOC)

L277p.

Trois Morceaux, Op. 90. Boston: B.F. Wood, 1911. All are ternary forms with contrasting middle sections. They are easier than the other Krogmann pieces listed, however. Fingering and pedaling are provided. (LOC) 1. Valse Viennoise. 5 p. F major. 2. Marche Heroique. 3 p. C major. 3. Poeme d'Amour. 3 p. A-flat major.

L278p.

Two Waltz Episodes, Op. 81. Boston: B.F. Wood Music Co., 1910. New York: G. Schirmer, c. 1937. Both are dedicated to Mrs. Minnie Little Longley. Lower intermediate sentimental, salon-style pieces. Sectional forms with each part providing a necessary dramatic contrast. Flowing melodies brought out by flying appoggiaturas with standard waltz rhythm accompaniments above. Rather pleasant works, although dated in sound. Finger-

118

One Handed ings, pedalings, and dynamics carefully noted. (Milwaukee, Wisconsin Public Library and LOC) No. 1. L'Ingenue — Valse for left hand alone. 4 p. G major. Larger chords. No. 2. La coquette—episode de bal. 7 p. E-flat major.

L279.

Kronke, Emil (1865-1938) Germany Bagatelle fiir die linke Hand. Number 2 from Klavier Kompositionen. Dresden: Richter & Hopf Verlag. (HOF 1893: CXLL19) (INS)

L280.

Kulla, Hans *Variationen iiber: "Verstohlen geht der Mond auf." Theme and Variations in D minor on this quiet folk melody. 4 p. Each of the three variations becomes more complex. They require a large reach or broken attacks in a number of spots. Mentally engaging. Intermediate difficulty. Fingering given for either hand. Some pedal marked. [A5]

L281.

Kundinger, Rudolf (1832) Germany Vierzehn Klavier-iibungen fiir die linke Hand m. besonderer Beriicksichtigung des 3, 4, und 5 Fingers. (Fourteen piano exercises for the left hand alone). Leipzig: Rahter, c. 1890. New York: Carl Fischer. (HOF 1900:180:21) (INS)

L282p.

Kunzer, Elizabeth Melodie for Left Hand Alone. New York: E. Schuberth & Co., 1926. "To my pupil Tessie Bloom." F minor. 1 p. with repeats. Gentle expressive Andante. Uses arpeggios, trills, chords, octaves. Fingering and pedaling given. Lower intermediate. (LOC)

L283.

Lack, Theodore (1846-1921) France Douze etudes spiciales pour la main gauche, Op. 75. Paris: Editions Durand & Schoenewerk Cie. (HOF 1887: CXXIIL20) Numbers 6 and 12 are found in Etudes and Pieces for the Left Hand Alone [A6]. These are slightly interesting, lyrical studies for the upper intermediate student. They are constructed around pleasant, heartfelt melodies with interspersed accompaniment chords. No. 6 Andante cantabile presents the melody above the chords and No. 12 Allegretto tranquillo inverts the process. Each is two pages in length. Fingerings and pedalings are marked.

Left Hand Alone L284p.

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Valse, Op. 118. New York: Carl Fischer and G. Schirmer. (INS)

L285.

Lacombe, Louis Trouillon (1818-1884) France Etudes No. 3 pour la main gauche. Paris: Gallet. (INS)

L286.

Lang, Walter (1896-1966) Switzerland Sonatine in E-moll fiir die linke Hand allein, Op. 4. Berlin: Ries und Erler, 1950. 10 p. Finished May, 1918 in Zurich. A finely crafted, moderately difficult concert work in four movements (I. Allegro moderato; II. Andante con moto; III. Allegretto grazioso; IV. Allegro ma non troppo e con molto precisione.) Thin textures with frequent meter changes. Tonally centered with chromatic inflections, shifting modern harmonies, traditional forms, big climaxes. Thoroughly edited with fingerings and pedal suggestions. A musically mature and interesting work that deserves performance. (University of Maryland)

L287.

Zehn Klavier Etttden, Op. 1 A. Zurich: GebrUder Hug, 1974. Of the ten, only number 5 is for the left hand. (INS)

L288.

Langgaard, Siegfried (1852-1914) Denmark Suite fiir die linke hand. Leipzig: Wilhelm Hansen. (HOF 1900: 180:21) (INS)

L289.

Langley,H The Mill. Chicago: Brainard. (INS)

L290.

Langlois, Th