Guide to the Pianist's Repertoire, third edition

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L Wiktor Labuñski (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. JiRi Laburda (1931– ) Czechoslovakia 10 Little Polyphonic Pieces (TP 1980) 14pp. Excellent for developing ¤nger independence , musically ¤ne. Int. Osvaldo Lacerda (1927– ) Brazil Lacerda is a disciple of Camargo Guarnieri and lives in São Paulo. Brasiliana No.1 (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 (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.5 (Vitale 1969) 42 min. Desa¤o: two-voice fugue. Valsa: ABA. Lundu: ABA. (The Lundu was originally a rather lascivious dance in which the dancers touched belly buttons. It is a parent form of a number of other 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. Cinco Invenções a Duas Vozes (Ric Brazil 2701 1958) 13pp. Freely tonal, linear, some ®exible meters. M-D. Ponteio I (Ric Brazil 1955) 3pp. A Ponteio is kind of a 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) 22 min. Linear, mostly thin textures, freely dissonant . M-D. 465 Suite Miniatura (Ric Brazil 1960) 52 min. Chorinho; Toada; Valsa; Modinha; Cana verde. In®uenced by Brazilian folk and popular music. M-D. Variações sobre “Mulher Rendeira” (Vitale 1953) 12 min. Folk song theme followed by twelve variations that work to a strong closing. M-D. 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 ED 7555) 31pp. No. 10 in the series Journal für das Pianoforte. After a 16-measure theme, the 42 variations (mostly 8 or 16 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 in®uence, effective large gestures. MC harmonic writing throughout. D. Momenti 1976 (OUP) 8 min. Eight “moments.” Varied moods, colorful performance instructions, dissonant and freely chromatic. Each “moment” is strongly characterized. Large span required; much use of clusters. D. Joseph C. Lai (1970– ) Canada, born Hong Kong Lai studied at the University of Alberta and Concordia College. Sarah’s Solo 1988 rev. 1995 (Black Cat 1996) 4pp. Full chords, large pedals, impressionistic . A charming simplicity permeates the piece, MC. M-D. Constant Lambert (1905–1951) Great Britain Sonata 1928–29 (OUP). Three movements, based on jazz rhythms but a highly serious work. Ravelian in its harmonic richness and brilliant pianistic virtuosity . D. Elegy 1938 (OUP). Short, energetic, improvisational Lento, molto rubato, introspective . M-D. Elegiac Blues (MMP). Jazz in®uence, clever. M-D. Phillip Lambro (1935– ) USA Toccata 1965 (Wimbledon 1977) 12pp. A virtuoso piece inspired by the Proko¤ev Toccata. D. 466 LACHNER John La Montaine (1920– ) USA La Montaine writes in a post-Romantic style in®uenced by the French School. His keyboard-oriented idiom is basically tonal, freely chromatic, and neoclassic in structure. Toccata Op...