Contemporary BOOK
Piano Literature 4
Selected and Correlated by Frances Clark
Edited by Louise Goss
Stories by Adele deLeeuw
Preface
The Contemporary Piano Literature series is devoted to choice smaller keyboard
works written by some of the composers who have achieved prominence in our time.
This series was designed as a companion to Piano Literature of the 17th, 18th and 19th
Centuries. Together, the two sets form a representative collection of easier keyboard
literature from the time of Bach to the present day.
Many of the pieces in the Contemporary Piano Literature books were written on
commission for the Frances Clark Library for Piano Students. Others were taken
from the repertoire of available contemporary works.
Frances Clark
Cover Design: Debbie Johns
© 2001, 1957 Summy-Birchard Music
division of Summy-Birchard Inc.
All Rights Reserved Printed in U.S.A.
ISBN 1-58951-036-4
Summy-Birchard Inc.
exclusively distributed by
Warner Bros. Publications
15800 N.W. 48th Avenue
Miami, Florida 33014
Any duplication, adaptation or arrangement of the compositions
Contained in this collection requires the written consent of the Publisher.
No part of this book may be photocopied or reproduced in any way without permission.
Unauthorized uses are an infringement of the U. S. Copyright Act and are punishable by Law.
Table of Contents
TCHEREPNIN, ALEXANDER . . . . . . . . . . . . . . . . . . . . .4
Valse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5
Merry-Go-Round . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Old Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8
GRETCHANINOV, ALEXANDER . . . . . . . . . . . . . . . . .9
On the Bicycle. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10
Waltz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12
Complaint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14
PROKOFIEV, SERGEI . . . . . . . . . . . . . . . . . . . . . . . . . . .16
Rain and the Rainbow . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17
March . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18
FINNEY, ROSS LEE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20
There and Back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21
Berceuse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Skipping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23
BARTÓK, BÉLA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
Two Peasant Dances. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25
Children’s Game . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26
Soldier’s Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28
Jeering Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29
KABALEVSKY, DMITRI . . . . . . . . . . . . . . . . . . . . . . . . .30
Dance on the Lawn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31
Toccatina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32
A Little Joke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Sonatina . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36
STRAVINSKY, IGOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38
Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39
Moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40
Lento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42
Vivo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43
MOORE, DOUGLAS. . . . . . . . . . . . . . . . . . . . . . . . . . . . .44
Escalator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45
The Princess and the Pea . . . . . . . . . . . . . . . . . . . . . . . . . . .46
4
Alexander Tcherepnin
1899–1977
F rom his earliest days, Alexander Tcherepnin heard beautiful operas in his home, for
his father, Nicolai Tcherepnin, was one of the most famous Russian composers and
conductors of his day. Young Alexander was destined for a musical career and stud-
ied piano and composition at the St. Petersburg Conservatory. While he was still a
very young man, he made a name for himself as a pianist and composer.
When he was twenty-one, he moved to France to continue his studies at the Paris
Conservatory. He lived in France until 1949, making frequent concert tours to many
countries. While he toured the Orient, he had a special opportunity to listen to the
traditional and popular music of China and Japan and to delve into the folklore of
these countries.
His reputation was established early in Europe, for his music was familiar to concert-
goers and his operas and ballets were frequently produced. But in the United States,
people did not know of him until the famous ballerina Anna Pavlova danced to his
ballet, Ajanta’s Frescoes, on her coast-to-coast tour. After that, his works were widely
performed in this country.
During the war years, Tcherepnin stayed in Paris, but as soon as possible he went
touring the world giving concerts. When he came to the United States again, he was
invited by DePaul University in Chicago to teach piano and composition. He liked it
so well in this country that he decided to make his home here and later became an
American citizen.
Tcherepnin wrote compositions for almost every solo instrument, many songs, operas,
ballets, and works for orchestra. Ever since he first began to compose, he specialized
in music for piano, some of it pieces for children and studies for young students.
The three pieces in this collection were commissioned for the Frances Clark Library
for Piano Students.
9
Alexander Gretchaninov
1864–1956
A lexander Gretchaninov began his serious musical training fairly late—when he was sev-
enteen. His father, a shopkeeper, had frowned on his son’s musical inclinations and wanted
him to become a merchant as he was. But the desire to play and compose was so strong that
Gretchaninov concentrated on it at the expense of some of his other studies at school. When
he had a chance to enter the Moscow Conservatory, he promised that if he were allowed to
specialize in music, he would make up for the other subjects by teaching himself.
One of his teachers was the famous Arensky, who failed to see any great talent in the young
composer; so Gretchaninov transferred to the conservatory at St. Petersburg and there fell
under the guidance of Rimsky-Korsakov, who encouraged and helped him.
In the capital, too, he met a number of choral singers and was inspired to compose a series
of sacred songs. He had an unusual understanding of the possibilities of the human voice and
used it with great effectiveness. He was skilled at counterpoint, knew how to create strong
choral effects, and had deep religious feeling. These qualities combined put his religious
songs on a high plane.
When he became interested in folk songs, he used with telling result the melodies from
Scotland and Bulgaria and his native Russia. In the music of his homeland, there is tender-
ness and understanding—the ancient mysterious buildings, the wild mountains, and wind-
swept plains are all there.
Gretchaninov had the satisfaction of hearing many of his compositions performed by leading
orchestras, and he himself traveled all over the world giving concerts. When the Revolution
came, he did not see eye-to-eye with the new Russian rulers and left for a sojourn in France.
When he came to America, he fell in love with this country and decided to make it his home.
He lived in New York until his death in 1956 at the age of 91.
The pieces in our collection are taken from a piano album called Glass Beads.
