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587 L Wiktor Labuński (1895–1974) Poland Easy Compositions (PWM). Four colorful miniatures. Int. 4 Variations on a Theme by Paganini (CF). Traditional harmonic language, attractive , especially for a good high school pianist. Int. to M-D. Jiři Laburda (1931– ) Czech Republic 10 Little Polyphonic Pieces (TP 1980) 14pp. Excellent for developing finger independence , musically fine. Int. Osvaldo Lacerda (1927–2011) Brazil Lacerda studied with Camargo Guarnieri for a decade and briefly with Giannini and Copland. He lived most of his life in his native city of São Paulo. Variações sobre ‘Mulher Rendeira’ 1953 (Vitale 1971) 12 min. Folk-song theme followed by twelve variations which work to a strong closing. M-D. Cinco Invenções a Duas Vozes 1957 (Ric Brazil 2701 1958) 13pp. Freely tonal, linear, some flexible meters. M-D. Suite Miniatura 1958 (Ric Brazil 1960) 51/2 min. Chorinho; Toada; Valsa; Modinha ; Cana verde. Influenced by Brazilian folk and popular music. M-D. Suite No.1 1961 (Vitale 1965). In four movements, published separately. I. Dobrado (2pp.): an energetic march. II. Chôro (4pp.): has running sixteenth-note scalar patterns in staccato alternating with syncopated melody. III. Toada (4pp.): an expressive slow movement without complication. IV. Baião (6pp.): has dance flavor with slightly changing ostinato pattern juxtaposed to a persuasive melody. A delightful set. M-D. Brasiliana No.1 1965 (Vitale 1965). The Brasiliani are suites based on native Brazilian tunes and dances. Dobrado: a Brazilian march. Modinha: a love song treated linearly. Mazurca: with a Brazilian rhythmic twist. Marcha de Rancho : somewhat slow and sentimental. Contains a number of “wrong note” sounds. Int. to M-D. Brasiliana No.2 1966 (Vitale 1966). Romance: theme and four variations. Chote: Schottisch in ABA form. Moda: ABA. Côco: like a folk song. Int. to M-D. Brasiliana No.3 1967 (Vitale 1967) 8pp. Cururú: theme and four variations for left hand only; expressive. Rancheira: waltz-like with decorative melody. Acalanto: barcarole-like; tranquil. Quadrilha: snappy rhythms in 2/4 meter ; cute. Int. to M-D. Brasiliana No.5 1969 (Vitale 1969). Desafio: two-voice fugue. Valsa: ABA. Lundú: ABA. (The Lundú was originally a rather lascivious dance in which the dancers touched belly buttons. It is a parent form of a number of other 588   Lachner Brazilian dances and songs.) Cana-verde: green sugar cane dance, ABA. Int. to M-D. Estudos (Vitale 1969) Book I: 1–4; Book II: 5–8. Each piece deals with certain pianistic problems and compositional techniques. 1. Melody and accompaniment in same hand. 2. Staccato and melodic playing. 3. Free, runs. 4. Divided between hands. 5. Intervallic study. 6. Broken octaves. 7. Tremolo. 8. Chromaticism. D. Ponteio I (Ric Brazil 1955) 3pp. A Ponteio is kind of prelude in Brazilian style. Flowing melody, weaving accompaniment, freely tonal around d. M-D. Ponteio III (Ric Brazil 1964) 3 min. Flexible rhythms, big climax, subsides to pp closing, colorful. M-D. Ponteio V (Ric Brazil 1968) 21/2 min. Linear, mostly thin textures, freely dissonant. M-D. See: Carlos Eduardo Audi, Osvaldo Lacerda: His Importance to Brazilian Music and Elements of His Musical Style (DM diss., Florida State University, 2006), 160pp. Maria José Bernardes Di Cavalcanti, Brazilian Nationalistic Elements in the ‘Brasilianas’ of Osvaldo Lacerda (DMA diss., Louisiana State University, 2006), 143pp. Vinzenz Lachner (1811–1893) Germany Organist, conductor, and composer whose four-part male choruses are well known in Germany. He also composed symphonies, string quartets, a piano quartet, and numerous songs. 42 Variations on the C-Major Scale (Schott 7555) 31pp. No.10 in the series Journal für das Pianoforte. After a sixteen-measure theme, the forty-two variations (mostly eight or sixteen measures each) unfold, offering a tour de force in ways to compose contrasted variations based on this scale. Nineteenth-century harmonic language. M-D. Louis Lacombe (1818–1884) France See below, “Collections,” Piano Music of the Parisian Virtuosos 1810–1860. Ezra Laderman (1924– ) USA Ladermann’s writing is vigorous and Romantic; he sometimes mixes tonal, atonal , and aleatory materials. Sonata No.1 (OUP 1967) 25pp. 13 min. Four movements, neoclassical in style. Based on a three-note motif. Effective. M-D. Sonata No.2 (OUP 1966) 44pp. 22 min. Large four-movement work, neo-Romantic in style. The second movement, Romanza, shows Scriabin influence , effective large gestures. Mildly twentieth-century harmonic writing throughout. D. Momenti 1976 (OUP) 8 min. Eight “moments.” Varied moods, colorful performance instructions, dissonant and freely chromatic. Each “moment...