Cover

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Half title, Title page, Copyright, Dedication

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Contents

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pp. vii-viii

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Foreword

the Anderson & Roe Duo

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pp. ix-xii

Since its advent the piano duet has served a multitude of purposes—artistic, academic, social—but perhaps the predominant reason it has stood the test of time is a simple one: it’s undeniably, almost impossibly, fun. For centuries, the art form has allowed pianists to break free from their lonesome and insular dominion, uniting two distinct personalities in a physically interactive and intrinsically social musical conversation, ...

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Preface

Cameron McGraw

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pp. xiii-xvi

Music history, like Alice’s Wonderland, is full of unexpected and often extraordinary curiosities—subplots of the principal story, byproducts of major developments—which assume identities and purposes of their own. One of the most fascinating of these phenomena, which made its appearance in the cultural world of the late eighteenth century, was the rapid rise of the piano duet. ...

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Acknowledgments for the Original Edition

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pp. xvii-xviii

This book has benefited from the efforts and talents of many people. The author is indebted to all these collaborators—musicologists, librarians, historians, musical amateurs, friends, and other contributors—whose assistance, counsel, and encouragement have helped bring this work to completion. ...

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Acknowledgments for the New Edition

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pp. xix-xx

The authors gratefully acknowledge the generous assistance of many people whose contributions have made the completion of this revised and expanded edition of Piano Duet Repertoire possible: Dr. Sylvia Coats, who encouraged us to pursue this opportunity; Oswald Johnson, Alexandra Jones, and Sarah Welch for their able research assistance; ...

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General Explanations

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pp. xxi-xxii

As its subtitle indicates, this book is limited to music originally written for one piano, four hands. Arrangements or adaptations from other media are excluded except in rare cases where the composers themselves have made the transcriptions or where such adaptations have long been considered part of the standard four-hand repertoire. ...

Sample Entry

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pp. xxii-xxiv

Abbreviations

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pp. xxv-xxvi

A

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pp. 3-21

B

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pp. 22-81

C

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pp. 82-108

D

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pp. 109-134

E

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pp. 135-145

F

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pp. 146-168

G

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pp. 169-201

H

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pp. 202-234

I

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pp. 235-238

J

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pp. 239-249

K

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pp. 250-287

L

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pp. 288-317

M

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pp. 318-356

N

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pp. 357-367

O

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pp. 368-376

P

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pp. 377-400

Q

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p. 401

R

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pp. 402-438

S

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pp. 439-510

T

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pp. 511-523

U

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p. 524

V

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pp. 525-540

W

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pp. 541-563

Y

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pp. 564-565

Z

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pp. 566-570

Appendix I: Collections of Four-Hand Music

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pp. 571-604

Appendix II: Music for Piano, Four Hands with Voice(s) and/or Other Instrument(s)

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pp. 605-606

Select Bibliography

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pp. 607-608

Indexes

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Title Index

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pp. 609-680

Alphabetical List of Composers by Nationality

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pp. 681-707

About the Authors

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