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W Bernard Wagenaar (1894–1971) USA, born The Netherlands Ciacona (EBM 1942). A four-bar chordal phrase varied seven times. Chordal with ®orid melodies, short, dissonant, dramatic closing. M-D. Sonata (AMC 1920). First movement: broad, large scale. Improvisation: atmospheric , lyric. Rondoletto. Widely spaced sonorities, complete exploitation of instrument’s resources. D. Saltarello (TP). Polytonal, two voices, gay, dancelike. Int. Georg Christoph Wagenseil (1715–1777) Austria Wagenseil is one of the most important in®uences to have shaped the Viennese classical keyboard sonata. Six Divertimenti Op.1. 1753 (Helga Scholz-Michelitsch—Dob 1975) Vol.I: Nos.1– 3. Vol.II: Nos.4–6. Preface in German and English. Charming and unpretentious rococo three- or four-movement works in expanded binary form. Int. to M-D. 4 Divertimenti (Nag No.36). Similar to C. P. E. Bach Prussian and Württemberg Sonatas. Three and four movements, homophonic, thin textures, pianistic¤guration. M-D. Sonata F Op.4 (Köhler—Litolff). Also in collection Alte Meister, Vol.II (Pauer). M-D. Joseph Wagner (1900–1974) USA Sonata b 1946 (PIC) 24pp. Three movements. Well-contrasted ideas, shifting accents , quartal and quintal harmonies, some jazz syncopation. Advanced pianism required. Pastorale and Toccata 1948 (PIC). Pastorale: lyric, melodic. Toccata: highly rhythmic . M-D. Four Miniatures 1959 (PIC). Preface; S; Berceuse; March. Tonal and polytonal, humorous, clever. M-D. Richard Wagner (1813–1883) Germany Wagner composed at the keyboard, and, in spite of his brilliant achievements in orchestration, his music always sounds good on the piano. Complete Works, Piano Works Vol.19, Series A. (Dahlhaus—Schott 1970).Sonata Bβ Polonaise D for four hands; Fantasia f#; Grosse Sonate A; Albumblatt für Ernst Benedikt Lietz (Lied ohne Worte); Polka G; Eine Sonate für das 800 Album von Frau M. W.; Züricher Vielliebchen—Walzer; In das Album der Fürstin M; Ankunft bei den schwarzen Schwänen; Albumblatt für Betty Schott. Sonata Bβ Op.1 1831 (Br&H; Musica Obscura; MMP) 25 min. Allegro con brio: 4/4, SA design. Larghetto: 3/8. Minuetto and Trio: Bellini-like. Finale— Allegro Vivace: Rondo. Classic sonata form, Beethoven in®uence, outer movements use much Alberti bass. M-D. Grosse Sonata A Op.4 1831 (Gerig) 28pp. Pleyel in®uence—written on assignment from Wagner’s teacher Weinlig. Wagner tried his hand at fugal writing in the last movement. M-D. Album-Sonate Aβ 1853 (Br&H; Musica Obscura) 16pp. Written for Mathilde Wesendonck. Bears a spiritual relation to the “Love-Dream” music of Tristan und Isolde as well as the song “Träume,” No.5 of the Wesendonck cycle. Int. to M-D. See: John A. Dowd, “The Album-Sonata for Mathilde Wesendonck: A Neglected Masterpiece of Richard Wagner,” JALS, 10 (December 1981):43–46. Fantasia f# Op.3 (Musica Obscura; Kahnt; MMP) 20pp. Sectionalized, recitativo passages, chromatic, quite lovely, many starts and stops. Sounds more like the operatic Wagner. M-D. Ankumft bei den schwarzen Schwänen (Musica Obscura) 2pp. Langsam, Aβ. Charming character sketch, somewhat Schumannesque. Int. to M-D. Klaviermusik aus der Zuercher Zeit (Labhart—Hug GH 11209) 14pp. Eine Sonate für das Album Frau. M. W. 1853. Polka 1853. Zuericher VielliebchenWalzer . Short pieces from the Zürich period. Int. to M-D. Polonaise D 1831 (Walker—Nov 1973). A sketch for the Polonaise D for 4 hands. Has much vitality, octaves, chording. Would make a good encore. Int. See: R. S. Furness and A.D. Walker, “A Wagner Polonaise,” MT, 114 (January 1973):26, with the Polonaise printed on p.27. In das Album der Fürsten Metternich 1861 (Musica Obscura) 4pp. Charming salon character piece. Numerous written-out turns. A superb encore. Int. to M-D. Richard Wagner Klavierwerke (Schott 7000). Wagner’s complete piano works, 11 pieces, background material. Int. to M-D. Wagner. Piano Music Inspired by Women in His Life (Alfred 264). Polka; Sonata for the Album of Mrs. M. W.; Züricher Vielliebchen—Walzer;Album Leaf; Arrival at the Black Swan; Album Leaf for Mrs. Betty Schott. Int. to M-D. See: Jonathan Bellman, “Wagner Pianiste?” P&K, 175 (August 1995):50–54. Includes a copy of Albumblatt für Ernst Benedikt: Lied ohne Worte. W. S. Newman, “Wagner’s Sonatas,” Studies in Romanticism, 7/3 (Spring 1968): 128–39. A discussion of the circumstances, dates, publication, and content of ¤ve known piano sonatas by Wagner, with special reference to Wagner’s relation to Liszt and the Wesendonck family. Charles W.Timbrell,“Wagner’s Piano Music,”Part I,AMT...

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