Author: Harunori MATSUNAGA goto Japanese verision

1. Click on the first letter of a composer.
2. Click on the composer from the composer-list.
3. Click on the title from the work-list.


This online guide is a supplement to the "A GUIDE TO THE PIANO DUO REPERTOIRE (Enlarged and revised edition)" published by Shunjusha(Tokyo).

In the last few years many scores which were hard to find at the time I started to write this guide became easier to obtain through websites such as IMSLP.

Unlike a printed publication, revision and updating contents of the online guide is easier, and makes our project of expanding this guide possible.

The years of birth and death of composers that are already in the published guide are included, though the profiles are reluctantly omitted.

Level of difficulty
1 = very easy
2 = easy
3 = moderate
4 = difficult
5 = very difficult

Time duration of the works are speculated by the author if not indicated by the composers. This includes all the repeats.

March, 2013.

"A GUIDE TO THE PIANO DUO REPERTOIRE" The first edition was published by Shunjusha (Tokyo) in 1991, and the revised version has been published in 2004. It has been praised as "the Bible of Piano Duo" by many readers in Japan. This site covers the repertoires that have not been included in the "A GUIDE TO THE PIANO DUO REPERTOIRE". In addition, the translation is assisted by Mr. Keisuke Nakagoshi (San Francisco,USA).

[A] Arensky

Arensky, Anton(1861~1906)
go to Composer list-[A]

Fantasia on Russian themes Op.48[1899]
2 Pianos (arranged by the composer) = Jurgenson (originally for orchestra)

(e minor): Andante sostenuto - Allegretto - Tempo I: When Arensky heard a Byliny singer Ivan Ryabinin, in Moscow, he took down the melodies, and later he adopted it as the theme of this piece.
Solemn introduction by orchestra (Piano II) is followed by rich and sentimental main theme full of stereotypically Russian lyricism with an elegant arpeggio in wide range by solo (Piano I). The middle section is jaunty and rhythmic. It builds up towards the end with the main theme played majestically by Piano II with arpeggios all over the keyboard by Piano I. Piano I requires not only parallel octaves and broad arpeggios but also quick finger work. (9′00″)[I:5/II:3]

Douze pièces(12 pieces)[1903]
1 piano 4 hands (Original) = Jurgenson

A masterpiece from his last years. In this work there are many occasions with the seconds that resonate sometimes sweet and nostalgic, but sometimes painful and sad. Perhaps because of decline of his health and living conditions, this work attains a state of subdued and dispirited refinement. The difficulty level is moderate. Great for lessons or a studio recital, it's also effective as an encore piece.

[1]Prélude (e minor): Adagio
Very romantic in Baroque-like style. Vivid melancholy and solitude. (2′30″) [S:2/P:2]

[2]Gavotte (G Major): Allegro non troppo
Sensitive and graceful. It shifts around smoothly between major and minor like sunshine and shadows created by floating clouds. (1′30″) [S:2/P:2]

[3]Ballade (g minor):
Beginning and ending are crisp march style. The contrasting middle section has a relaxed melody. (2′45″) [S:2/P:2]

[4]Menuetto (E-flat Major): Allegro non troppo
Allegro non troppo: Lovely melody. The canonic motion by 2 players is interesting in the middle part. (1′30″) [S:2/P:2]

[5]Elégie (c minor): Andante
Sweet and painful rings of the seconds are prominent. Its aesthetic harmonies in the middle section are similar to his "Suite No.4 for 2 pianos". (2′40″) [S:2/P:2]

[6]Consolation (G Major): Allegretto
In the style of impromptu that flows fluently and very sensitively. (0′45″) [S:3/P:3]

[7]Valse (C Major): Allegro non troppo
Transparent melancholy mixed in a bright elegance. Vitality transcending and attenuating at the same time. (3′20″) [S:2/P:2]

[8]March (G Major): Allegro
Lively and full of energy. Secondo part in the middle section is as powerful as the parallel left hand octaves in Chopin's "Polonaise Heroique". (3′00″) [S:2/P:2]

[9]Romance (C Major): Andante
Curvy and romantic melody. Written perfectly in four voices, one voice per hand, it is a good exercise for balance and expressive shaping. (1′00″) [S:2/P:2]

[10]Scherzo (c mainor): Allegro
Its rhythm has something in common with "Scherzino" from his "Suite for 2 Pianos No.5 in canon-form". The dreamy middle part of the main section in Cb Major is impressive. (5′00″) [S:2/P:2]

[11]Berceuse (B-flat Major): Andantino
Full of infinite tenderness, its soft descents invites a calm sleep. (3′00″) [S:3/P:3]

[12]Polka (F Major): Allegro non troppo
Lilting rhythm and melody in bright and clear resonance (1′00″) [S:2/P:2]

[E] Elgar

Elgar, Edward (1857~1934)
go to Composer list-[E]

Serenade Op.20 [1892] (3 movements)
1 Piano 4 hands (arranged by the composer) = Breitkopf

Composed as a gift for Elgar's third wedding anniversary. Arranged faithfully from the original, all 3 movements have crossing arms between Primo and Secondo, especially Primo's hands tend to be in a same register. Tightly composed, extremely effective piano duet.

[1st Mvt.](e minor): Allegro piacevole

On Secondo's accompaniment with repeated notes (viola), Primo's melody is filled with melancholy and tenderness (violin). The middle section has a flowing melody in B Major. (3′10″)[S:3/P:3]

[2nd Mvt.](C Major): Larghetto

Contrapuntal writing. Romantic slow movement. Particularly calls for "singing-touch" to compete with an attractive string sonority in the original version. (4′30″)[S:3/P:3]

[3rd Mvt.](G Major): Allegretto

The first half is in 12/8 with peaceful and pleasant rhythm, the last half is a recollection of the first movement. (2′20″)[S:3/P:3]

[G] Goetz

Goetz, Hermann (1840-76) Germany
go to Composer list-[g]

Goetz was born in Königsberg. He studied piano with Hans von Bülow and composition with Hugo Ulrich at the Stern conservatory in Berlin. He was based in Winterthur and Zurich, Switzerland. Besides the Opera "The Taming of the Shrew" which made him famous, he wrote only a few Symphonies, Piano Concerto, Choral music, chamber music, piano music. He died of tuberculosis at age 36.

Sonate Op.17 [1865] (3 movements)
1 Piano 4 hands (original) = Kistner & Siegel

Not well known but a prominent masterpiece in late 19th century piano duet sonata. A serious work filled with vivid romanticism and fierce passion. Elaborate counterpoint writing and tight structure. Powerful without thick chords, and very effective.

[1st Mvt.](g minor): Langsam-Sehr lebhaft

Solemn introduction with a canon by Primo and Secondo in Baroque style. A part of introduction phrase evolves to the first theme of the movement. Full of challenges for piano duet especially in the development, which can be an appeal. (9′30″)[S:4/P:4]

[2nd Mvt.](E-flat Major): Mässig bewegt

A duet by Primo and Secondo. Always melodic and romantic song.This movement brilliantly shows Getz's masterful counterpoint and talent for melody. (5′50″)[S:3/P:4]

[3rd Mvt.](g minor): Langsam - Graziös,und nicht zu rasch

After a funeral march style introduction, proceeds a beautiful and melancholy waltz. After a short reprise of the funeral march, the piece accelerates the tempo to finish like a whirlwind. (7′00″)[S:4/P:4]

[H] Hahn

Hahn, Reynaldo(1874~1947)
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Born in Venezuela, he immigrated to Paris when he was 3 years old. He studied composition with Massenet and harmony with Dubois at the Paris Conservatoire. As a child prodigy with a beautiful voice he became very popular among salons, singing his own compositions and accompanying himself on the piano. Besides many songs with elegant and sweet melodies, his works include quite a few operas. He was appointed director of the Paris Opera in his last years.It is also said that he was born in 1875.

Trois préludes sur des airs Irlandais[1895](3 pieces)
1 Piano 4 hands (original) = Heugel

Based on the pieces in the song cycle “Songs of Old Ireland: A Collection of Fifty Irish Melodies ” (1882) arranged by British composer and conductor Charles Stanford.

[1]The little red lark (G Major): Allegretto moderato
The main theme is simple, treated extremely elaborately. Sounds pianistic.(1′05″)[S:2/P:3]

[2]My love′s an arbutus (B Major): Grazioso
The lyrics are by Alfred Graves, praising a lover using a metaphor of an arbutus tree in Killarney region. Bright free fantasy style, not just a folk song with an accompaniment.(1′30″)[S:3/P:3]

[3]The willou tree (c minor): Presque lent,avec un sentiment très pathétique
Slow melody, melancholic harmony. Neither Primo or Secondo are technically difficult, but it requires experience to bring it off as an effective piano duet piece.(1′30″)[S:2/P:1]

Pièce en forme d'aria et bergerie[1896]
1 Piano 4 hands (original) = Heugel

A little piece in pseudo Baroque style, like "Prelude and Toccata". The romantic first half, Molto adagio in g minor, a melancholic cannon played mainly by Primo alone. The quick last half, Quatre fois plus vite in G Major, is also contrapuntal with many cannon by Primo alone again. Both Primo and Secondo need quick and light motion. (3′00″) [S:4/P:4]

Caprice mélancolique[1897]
2 Pianos (original) = Heugel (I・II separated)

(F-sharp Major): Andantino poétique
The title might give you the idea of motility and whim, but "Romantic Fantasy" seems a better fit. One piano plays very bracing and romantic melody when the other piano decorates with beautiful arpeggios, trills and counter melody. A piece like a discursive fantastic dream. Unusually many conversations and dialogues between the 2 pianos. Perfect piece for fun in that manner.

Berceuses[1904](7 pieces)
1 Piano 4 hands (original) = Heugel

Intimate, calm and sensitive lullabies. In the whole suite, there is only one forte, found in the second berceuse. Cannonic.

[1]Berceuse des jours sans nuages (A Major): Andantino
2/4. Folk dance inspired, accompanied with mezzo staccato. Interesting motions between Primo and Secondo in short middle section. (0′50″)[S:2/P:2]

[2]Berceuse pour la veille de Noël (F Major): Allegretto molto tranquillo
A subdued joy in a flowing melody. Polyphonic and canonic.(1′30″)[S:2/P:3]

[3]Berceuse pour les enfants de marins (c minor): Un peu lent
Primo and Secondo play intimate canon in turns.(0′55″)[S:2/P:2]

[4]Berceuse des soirs d'automne (A-flat Major): Tranquille,discret
Filled with peace and modest tenderness.(1′50″)[S:2/P:3]

[5]“Selfiana” Berceuse créole (E Major)
A melody in the style of south american folk tunes in comfortably swaying rhythm. The middle section where melody descends in scale is magical. Is "Selfiana" a name? (1′10″)[S:2/P:2]

[6]Berceuse pensive (a minor): Andantino legato
Triplets in circulating figures seems like being lost in thoughts. Primo is right hand only. 1 Piano 3 hands. (1′00″)[S:3/P:2]

[7]Berceuse tendre (G Major): Allegretto moderato
Every polyphonic melody is full of a gentle sense of translucence .(1′10″)[S:3/P:3]

Variations puériles sur une mélodie de Carl Reinecke[1904]
1 Piano 4 hands (original) = Heugel

(E-flat Major): Andantino espressivo
Hesitating 2-bar introduction followed by simple 8-bar phrase melody. The theme progresses with 8-bars phrase in the first 6 variations and develops to 14-bars in the 7th variation. It expands to 16-bars and 32-bars until the 10th variation. It goes back to 8-bars phrase in the lilting and quick 11th, 12th variations and leads to a calm coda slowing the tempo down. Concludes quietly. Great piece for learning as each variation is short and focused in different techniques. Based on Reinecke's "Kinderlieder Op.91-3"

Pour bercer un convalescent[1915]
2 Piano (original) = Heugel

Little pieces full of deep peace of mind and transparent sorrow. Dedicated to Henri Bardac, a sergeant of the 306th infantry regiment who was severely injured at the battle in Aisne.

[1] (B-flat Major): Andantino sans lenteur
Piano I plays a long phrase quietly over a quiet, breath-like accompaniment by Piano II. (1′25″)[I:2/II:3]

[2] (f-sharp minor): Andantino non lento
A waltz with phrase lines which always draw downward curves. Indignation implies within sadness (1′25″)[I:4/II:4]

[3] (A Major): Andantino espressivo
On the flowing rhythm in 9/8, a melody sings filled with calmness.(1′10″)[I:3/II:3]

Le ruban dénoué[1915](12 pieces)
2 Pianos (original) = Heugel

The cover says "12 Waltzes for 2 Pianos and One Song (Since I Have Placed My Lip, by Victor Hugo)" All of the pieces have extremely rich romanticism as the titles suggest. Pianistic.

[1]Décrets indolents du hasard (f-sharp minor): Moderato
Fours over 3 beats (3/4), swaying rhythm. Very romantic. (1′30″)[I:3/II:3]

[2]Les soirs d'Albi (F-sharp Major): vif et leste
Extremely active and explicit. It has a waltz with melody in Latin American style. (2′20″)[I:5/II:5]

[3]Souvenir…Avanir… (D Major): Mouvt de valse lente
Very much like "sweet nostalgic memories" and "soaring hopes and dreams" (2′15″)[I:3/II:3]

[4]Danse de l'amour et du chagrin (g minor): Même mouvt que la précédente Meme mouvt que la precedente
A phrase repeated in different keys, gets sadder in each repeat. A segue to the following waltz. Technically easiest in the set. (1′30″)[I:2/II:2]

[5]Le demi-sommeil embaumé (G Major); Plus lent
Extremely chromatic melodies and harmonies. It has a waltz that hints an aroma of Latin America. Colorful and complex rhythms. (5′50″)[I:5/II:5]

[6]L'anneau perduMolto vivo
Has rhythmical and capprecious part and smooth melodious part. It starts in f-sharp minor and keeps modulating. (1′40″)[I:3/II:3]

[7]Danse du doute et de l'espérance (E-flat Major): Moderato
Homage to Schubert. Superb modulations. (1′55″)[I:4/II:3]

[8]La cage ouverte (B Major): Molto animato
Cheerful. 3/4, Some bars change to 2/4 only in Piano I, effecting flexible rubarto. (2′20″)[I:4/II:4]

[9]Soir d'orage (g-sharp minor): Misterioso,non troppo lento
From beginning to the end, soft melancholy, without wildness such as lightning or thunder.(2′35″)[I:3/II:3]

[10]Les baisers (E Major): Appassionato, non troppo presto
Starts with swaying rhythm, intimate dialogues between 2 pianos. No break to the next movement. A reminiscence of the first movement, a full of variety.(2′50″)[I:4/II:4]

[11]Il sorriso (E Major): Stesso tempo
Melody in 2/4 on the accompaniment in 3/4. Melodies with triplets and grace notes create quiet and elegant Latin American moods.It has a lullaby-like middle section. (3′10″)[I:3/II:3]

[12]Le seul amour (A-flat Major): Presque lent,très senti
Repeated theme slowly ascending, passionately builds up but ends softly. (5′00″)[I:5/II:5]

[K] Kronke

Kronke, Emil (186-1938) Germany
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Born in Danzig (Gdańsk). Studied with Reinecke in Leipzig and Kirchner in Dresden. He resided in Dresden for all of his life after age 22. Although he has more than 200 opuses, only a few pieces for flute are known. He revised many works by Chopin. (Steingraeber)

Kleine Suite Op.73 [1910](5 pieces)
2 Pianos (original) = kistner

Inviting and romantic pieces suitable for beginners. Filled with attractive counterpoints, dialogue between 2 pianos and soulful songs.

[1] Melodie (G Major): Il tempo comodo,cantabil
Romantic melodies in thirds and sixths. Playful canon in the middle part. (2′30″)[I:3/II:3]

[2] Gavotte (e minor): Il tempo comodo,ma preciso
Extremely romantic. lively articulation in the middle section. (1′45″) [I:3/II:3]

[3] Valse noble (C Major): Grazioso
A graceful waltz. Effective counter melody. (1′50″)[I:3/II:3]

[4] Gondoliera (D Major): Con moto lento
Calm and smooth barcarolle (2′25″)[I:3/II:3]

[5] Scherzo - Caprice (Bb Major): Vivace, leggiero
Jaunty and lively with staccato. Fun rhythmic dialogue in the middle section and coda. (1′40″)[I:3/II:3]

[O]Onslow / Ornstein

Onslow, Georges (1784-1853) France
go to Composer list-[o]

His father was aristocratic who immigrated from England to France. He studied piano with Cramer in London, composition and music theory with Rejcha in Paris. He wrote Operas and Symphonies but also known for chamber music (about total of 70 string quartets and quintets), and chamber music with piano.

Sonate Op.7 [1810] (3 movements)
1 Piano 4 hands (original) = Breitkopf

An attractive sonata with both bright classicism and fresh early romanticism. Fun to play. Each theme and character is bold and contrasting.

[1st Mvt] (e minor): Allegro espressivo
The first theme is with dark passion and sweetly melancholic theme, and the second theme is tuneful and contrasting. In general, very lively rhythm with triplets. (9′40″)[S:4/P:4]

[2nd Mvt] Romance (E Major)
Starts with calm main theme leads to the dramatic middle section with imminent rhythm between Primo and Secondo. Repetitive. Dialogue again in coda. (7′00″)[S:4/P:4]

[3rd Mvt] (e minor): Agitato
The first theme is powerful with repeated chord, and the second theme is light and dance-like. Both Primo and Secondo has many arpeggios. (7′45″)[S:4/P:4]

Sonate Op. 22 [1822] (4 movements)
1 piano 4 hands (original) = Breitkopf

Technically and dramatically much more expanded than the Op.7. A serious masterpiece that proves his fame as "French Beethoven" in his time. Not as flamboyant but deeper than Czerny's Op.10 and more romantic than Hummel's Op.92, which were written around the same period.

[1st Mvt] (f minor): Allegro moderato e patetico
The first theme is pathetic melody with dotted rhythm (Primo) on the chromatically fluctuating accompaniment (Secondo). The contrasting second theme is beautiful and cute with grace notes. (11′45″)[S:4/P:4]

[2nd Mvt] Minuetto (f minor): Moderato
Elegiac theme deepens more as Primo line ascends and Secondo line descends. Meditative and elegant trio in Db Major. (6′40″)[S:3/P:3]

[3rd Mvt] (Ab Major): Largo
Contemplative and deeply spiritual. Surprisingly bold modulations. (2′35″)[S:2/P:3]

[4th Mvt] Finale (f minor) Allegro espressivo
Energetic theme with repeated chords. Great balance between the contrast of passion and lyricism. Both parts equally important and highlights switch back and forth. (7′15″)[S:4/P:5]

Ornstein, Leo (1892-2002) USA
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A pianist and a composer who exceptionally had a long life. Born in Russia (birth year unknown), he studied with Glaznov at Peterburg Conservatory. In 1907, he immigrated to New York with his famiy. After his debut as a Virtuosic pianist in 1911, Ornstein performed the compositions by his contemporaries as Ravel and Stravinsky as well as his original compositions. Although he was s most famous musician in the U.S. in 1920's, his fame got forgotten very quickly. His works are getting attentions again these years. Strong dissonants and savage rhythm were used in his early style known as futurist. All scores to his music is available on IMSLP with the permission from his son, Severo (the copyright owner). Scores are also available In his website (http://poonhill.ipower.com/index.htm), along with listening to Ornstein himself playing.

Valse buffon [1921]
1 Piano 4 hands (original) = Poon Hill Press(score format)

According to Cameron McGraw, Valse buffon is the second piece from "2 Impromptus Op.95". Dissonants throughout as a stereotypical avant‐garde piece in that time, atonal melody unfolds on the jaunty rhythm. Somewhat sarcastic. Stimulating and brilliant, sometimes Creepy. Both Primo and Secondo have plenty of big chords, and many accidentals. very gnarly. Hands get close often, technically challenging. Even though there are very few dynamic markings, it shoudn't be played with sensitivity. Robust and virtuosic. (4′45″)[S:5/P:5]

Seeing Russia with teacher [1925] (10 pieces)
1 Piano 4 hands (original) = Poon Hill Press

A pedegogial piece as one part is written in the fixed 5 pitches. No page turns. Unusually serious and heavy for beginner's piece.

[1] The old village church (c minor): Moderato con moto
The bass ostinato in the secondo's accompaniment and decending scales makes the piece even darker and gloomier. (1′10″) [S:2/P:1]

[2] Putting the wooden doll to sleep (g minor): Andante con moto
Faint tenderness, the middle section lights up a little. (1′00″)[S:2/P:1]

[3] The sleigh ride (#c minor): Scherzando
Primo part is as if an etude for 6ths. very difficult in the indicated tempo. (0′35″)[S:1/P:4]

[4] The prisoners leave for Siberia (c minor): Grave
Deep sorrow and lament, sharp pain in heart. (1′00″)[S:1/P:3]

[5] The carrousel (D Major): Vivo ma non troppo
Bright and jaunty rhythm, pp ending is like a disappearing mirage. (0′55″)[S:2/P:1]

[6] The moujik in the dark woods (e minor): Andantino espressivo assai
Dark and sunken (0′50″)[S:1/P:2]

[7] Tells an old tale (c minor): Andantino espressivo
A serious tale with deep emotions, not nostalgic nor humorous. (0′55&Pprime;)[S:2/P:1]

[8] The cossacks ride by (F Major): Allegro ritomico
Brilliant and powerful. Primo needs fast chords. Secondo's trill pattern can be a good exercise for weak fingers.[0′45″)[S:1/P:4]

[9] The barge on the Dniepel (E Major): Moderato con moto
Extremely romantic. Impressive modulation in the middle part. (1′00″)[S:3/P:1]

[10] Holiday in the village (G Major): Allegro
Primo plays lilting and articulated melody. Secondo's left hands needs to reach10ths but can be played with the help of right hands even with a small hand. (0′25″)[S:2/P:1]

[W] Wilms / Winkler / Witte

Wilms, Johan Wilhelm (1772-1847) Netherland
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Wilms was born in Witzhelden, Germany. After lessons from his father and oldest brother in piano and composition, Wilms studied flute on his own.He moved to Amsterdam in 1791 where he was an active teacher and a concert pianist. He involved in the foundation of "Collège Eruditio Musica", he played flute and conducted. This orchestra contributed especially Mozart's music to the Dutch audience, he performed piano concertos of Mozart's and Beethoven's as a soloist himself. Also an organist at a baptist church, he is also known as a composer of Dutch national anthem in 19th century. 7 symphonies and 5 piano concertos among many other music. For a piano 4 hands, he also wrote sonatas D Major Op.7, and C Major Op.31 besides the sonata below (Op.41).

Sonate Op.41 [1814] (3 movements)
1 Piano 4 hands (original) = Peters

Both Primo and Secondo are treated as a concerto playing like solos, many dialogues, imitations. Fun playing. Although most melodies are in classical style, similar to Mozart and Hyden, this unique sonata has some bold modulations and changes that may be better played like a romantic period. It requires technique not to sound heavy dense chords in low register as a character of instrument at that time and eyes to get used to lithograph, not as modern printed music. Very valuable piece both for lesson and concert.

[1st Mvt] (Bb Major): Allegro
Brisk rhythms and unconstrained cheeful melodies ask for fast and clear fingers from both Primo and Secondo.[11′40″](S4/P4)

[2nd Mvt] (Eb Major): Poco Adagio
Expressive melody illuminated with many grace notes. Songful and attractive especially the duet by Primo alone and later with Secondo after measure 93. [7′00′](S4/P4)

[3rd Mvt] Rondo (Bb Major): Allegro
Truly cheerful and lucid rondo. Brilliant and free with celebratory finale. [6′40″](S4/P4)

Winkler, Alexandre (1865-1935) Russia
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Born in Kharkiv. After he studied law in University of Kharkiv, he studied piano in the music school of Russian Music Society. His teachers were Duvernoy in Paris and Leschetizky in Wienna. Winkler was a professor at the St. Petersburg Conservatory and taught Prokofiev. In 1924, he went into exile in France. He did not leave many compositions but he made many transcriptions of Russian works by composers like Glazanov and Glinka into piano 4 hands.

Variations et fugue sur un théme de J. S. Bach Op.12 [1906]
2 Pianos (Original) = Belaieff

(Eb Major)
The theme is Bach's Saraband from "Unaccompanied Cello Suite No.4 BWV.1010" Theme is followed by 7 variations with a Fugue as finale. Even though written in beginning of 20th century, this work is utterly Romantic style and extremely pianistic. It was written for students in St. Petersburg Conservatory as an etude with many different techniques and many role switching between the players. Tempos and meters changes in each variations. The theme is faithfully based on the original theme. 1st variation has a beautiful melody with chromatic harmony. 2nd variation is a witty and charming polonaise. 3rd variation is like a limpid flow of water, fast fluctuations of arpeggios between Primo and Secondo. 4th variation is a romantic nocturne with a lovely melody. 5th variation is a solemn canon. 6th variation is a brilliant and quick scherzo. 7th variation is a "elegy" in e minor that flows into a fugue in Eb Major. The subject of fugue is undurating and dynamic. The fingering (suggested probably by the comoposer) is unique with thumb on the strong beats, which sharpens its powerfulness. The technically challenging fugue evolves splendidly with effects like octave trills to the magnificent climax. (17′00″) [I:5/II:5]

Witte, George Hendrik (1843-1929) Netherlands
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Son of an organ maker. After the Royal Conservatory of the Hague, he studied with Moscheles and Reinecke at the Leipzig Conservatory and returned for a short time to Netherlands. Returning to Germany, he was active as a conductor, composer and piano teacher in Essen. Though not prolific, he left not only piano pieces and songs but also Cello concerto and Violin Concerto. He was close to his contemporary German composers, and his "3 pieces Op.2" was dedicated to Clara Schumann.

Walzer Op.7 [1868] (12 pieces)
1 Piano 4 hands (original) = Praeger&Meier

Dedicated to Brahms, a homage to his "Waltzer Op.39". Written only 3 years later of Brahms', this work has a rich sweetness of late romanticism and unexpected modulation. Secondo plays many dialogues and imitations, more than simple accompaniments. A pleasure for both players and listeners. Extremely effective. The longest movement is about a page and half.

[1] (B Major): Commodo
The grace notes make the melody more elegant. A short movement that builds up with an unexpected modulation. High rising emotions. (1′00″) [S2/P3]

[2] (f-sharp minor): Tranquillo
A touch of melancholy and sentiment. Pleasant to find the hidden melody within the chords in Secondo's right hand. (1′15″) [S2/P3]

[3] (A Major): Moderato resoluto
Beautifully charming. Secondo's nonchalant figuration is very effective. (1′00″) [S3/P3]

[4] (E Major): Poco vivace
Splendidly romantic and extremely playful. Primo's triplet rhythm toward the end is especially fun. Brilliantly shining, perfect as an encore. (1′00″) [S3/P3]

[5] (G Major): Allegretto con moto
Fluent rhythm and melody with interesting hemiola. A descending bass line in 2 octaves creates an impression. (1′25″) [S3/P3]

[6] (b minor): Animato assai - poco tranquillo
Fierce beginning and end. The contrasting middle section in E Major has a motif from Brahms' Waltz No.2. (1′35″) [S3/P3]

[7] (G Major): Moderato espressivo
Curvy motives in canon, sensitively maneuvering between major and minor with full emotions. Hands crossing. (1′30″) [S3/P3]

[8] (E Major): Animato
Graceful and highly canonic. Hands crossing. (1′10″) [S3/P3]

[9] (A Major): Allegretto commodo
Primo plays a duet with sensitive melodies. A subtle contrast of light and dark is extremely poetic. (2′30″) [S1/P3]

[10] (d minor): Allegro impetuoso
Passionate and bright sparks by syncopated chords. (1′10″) [S4/P4]

[11] (D Major): Tranquillo
A profound waltz. a soft start by Primo with a smooth melody, rising broadly using scales up and down. The lowest note of the 88 keys is used. Concludes softly. (2′20″) [S3/P4]

[12] (G Major): Allegro con fuoco
Powerful and brilliant. Playing through the entire set is highly effective, particularly with the contrast of the last 4 movements; sensitivity, passion, profoundness and brilliance. (1′05″) [S3/P4]

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