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F Marco Facoli (ca.1588) Italy Balli d’Arpicordo 1588 (Friedrich Cerha—Dob 1975). Contains 2 pavans, 4 arias, a napolitana, 2 tedescas, and an unidenti¤ed piece. Mainly homophonic style with occasional imitation. Fresh modal harmonies and varied rhythmic treatment. Ornamentation places demands on the performer. The complete set is available in the edition by Willi Apel, Vol.II of Corpus of Early Keyboard Music (American Institute of Musicology). Richard Faith (1926– ) USA Faith writes in a freely tonal and neo-Romantic style. His broad, beautiful melodies naturally unfold into stunning textured sonorities. Finger Paintings (SP 1968). 12 imaginative miniatures employing many resources of the instrument. The two hands are of equal importance. MC. Int. 5 Preludes and Nocturne (SP 1969). Tonal, contemporary treatment, varied moods. Ideas evolve naturally. The Nocturne is a slowly ®owing lyrical work with a faster mid-section. Chromatic. M-D. Sonata No.1 (SP 1970) 17pp. Allegro grazioso: unison writing, much chromaticism , Bβ. Allegro: repeated notes (chords), imitation, scherzo effect; centers around C. Lento and Mesto: Romantic harmonies, F. Allegro Maestoso: rhythmic motives carefully developed, Bβ. M-D. The Dark Riders (Toccata) (SP 1970) 7pp. Brief introduction leads directly to perpetual motion open ¤fths in left hand, single note in right. Punctuated with longer note values and rhythmic drive. Long pedal effects. M-D. Night Songs (SP 1975) 8pp. Andantino;Andante, poco rubato, espressivo. Two expressive nocturnes that could be played separately. The second is freer in form, has lush harmonies and Romantic melodies. M-D. Recollections (SP 1974) 16pp. The Hunt; Fountains: Monastery; Masks; Autumn; Coach Ride; Re®ection; Cavaliers; Sailor’s Dance. MC, descriptive, attractive . Int. Souvenir (Alfred 10114) in collection Twelve by Eleven. The title suggests a remembrance of a sad and tender nature, a recollection of something in the distant past. Bitonal shifting from a to F is colored with chromatics that add interest to the ®owing melodic lines. Rich sonorities coupled with upper-register textures make for a beautiful work. Int. to M-D. Dances (SP 1977) 8pp. Five untitled imaginative pieces. Int. Moments in a Child’s World (SP 1978) 23pp. Eighteen pieces, all one page except the last one, which is two pages. Appealing, colorful. Int. 289 Three Sonatinas (GS 1971). Three movements each, short, appealing. Easy to Int. Two Nocturnes (SP 250 1980) 11pp. Espressivo, con moto: ®owing melody; midsection exploits left hand over right hand in upper register; ravishing conclusion . Andante, espressivo: use of 16th notes in melody and accompaniment , contains some inner restless voices. Subtle pedal effects required. M-D. Fantasy No.2 (SP 251 1982) 8pp. Thickly dissonant but tonally conservative, virtuosic , energetic, neo-Romantic, linear melodies, expressive and idiomatic . M-D. Pastoral Suite (SP 1985) 31pp. Galliard; Chase; Ballad; Saraband; Oviedo; Appartition ; Jester; Lugano; Festival. Subtle modal usage, unresolved mild discords , special coloristic effects, precisely articulated melodies, neoclassical in®uence. Attractive writing throughout. Int. to M-D. Islands (SP 1985) 24pp. Four contrasting movements that exploit the instrument beautifully. First-rate pianism required, MC. M-D to D. Russian Folk Tale (WB 1990) 9pp. Six untitled contrasting pieces. Colorful, fresh harmonies. Int. Carrousels (WB 1991) 8pp. 1. Vivace; 2. Andantino, con rubato; 3. Allegro. Three contrasting pieces. Nos. 1 and 3 suggest the title; No. 2 is a lovely ®owing character piece. Int. Sonatina (WB 1987) 8pp. Three contrasting movements, freely tonal. Int. Masquerades (WB 1989) 7pp. Three contrasting pieces. Int. Pipes (WB 1986) 11pp. Seven contrasting pieces: at various times melancholy, haunting, lighthearted, jovial. Interesting melodies and rhythms. Int. Sketches (WB 1986) 17pp. 12 miniatures in 12 keys. “Chase” and “Night” are two of the best. Int. See: Theodore Guerrant, “An Introduction to Intermediate Faith,” AMT, 45/5 (April–May 1996):10–17. A discussion of some of Faith’s intermediate piano works. Julien Falk (1902– ) France Dix études atonales, dont deux de concert, selon la technique de l’atonalisme int égral pour le piano (Leduc 1972) 29pp. Ten atonal studies: Prelude; Valse: Dactyle; Chords; Broken Chords; Prelude 2; Trills; Canon for two voices; and two concert pieces—Etude Caprice and Toccata—which are based on atonal writing. Solid technique required. M-D to D. Manuel de Falla (1876–1946) Spain The piano was Falla’s own instrument, and it was a vehicle for profound compositional statements. Falla studied piano in Madrid with José Tragó and, later, composition with the powerful nationalist composer Felipe Pedrell, who strongly affected his aesthetic orientation. Allegro de concierto 1902 (JWC 1986) 14pp. First publication. De...

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