Piano Music by Women Composers, Volume II: Women Born After 1900 (Music Reference Collection)

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PIANO MUSIC BY WOMEN COMPOSERS, VOLUME II: Women Born After 1900

Pamela Youngdahl Dees

PRAEGER

PIANO MUSIC BY WOMEN COMPOSERS, VOLUME II

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PIANO MUSIC BY WOMEN COMPOSERS, VOLUME II Women Born After 1900 Pamela Youngdahl Dees

Music Reference Collection, Number 86 Donald L. Hixon, Series Adviser

Westport, Connecticut London

Library of Congress Cataloging-in-Publication Data Dees, Pamela Youngdahl, 1948– Piano music by women composers : women born after 1900 / Pamela Youngdahl Dees. p. cm. — (Music reference collection, ISSN 0736–7740 ; No. 86) Includes bibliographical references and index. ISBN 0–313–31990–1 (alk. paper) 1. Piano music—Bibliography. 2. Music by women composers—Bio-bibliography. I. Title. II. Series. ML102.P5D44 2004 016.7862'0263—dc21 2001058623 British Library Cataloguing in Publication Data is available. Copyright © 2004 by Pamela Youngdahl Dees All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2001058623 ISBN: 0–313–31990–1 ISSN: 0736–7740 First published in 2004 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7

6 5 4 3 2 1

To the composers in this volume, With deepest respect For your talent, your vision, and your music.

Contents Preface

ix

Using the Guide Sample Entry Abbreviations Source Acronyms

xiii xiii

Music Publishers and Agents

xvii

Women Composers: Biographies and Available Music

XV

1

Supplement to Volume I

269

References

279

Composer Index

287

Preface A Guide to Piano Music by Women Composers: Volume II, The Twentieth Century is the companion volume to the work begun in Volume I, which includes music by composers born before 1900. These two books are designed to be a useful resource in finding the available solo piano music composed by women, in order to encourage their inclusion in standard teaching and performance repertoire. Far too many students, teachers, professional artists, and audiences are still unaware of the contributions made by women in music, and of the beauty and merit of their works. The music included and described in these volumes is as worthy of performance as any in the standard repertoire. It is the author’s sincere hope that this reference work will help pianists and piano teachers find and use the wonderful music written by these women. In this work, I referred to Dr. Maurice Hinson’s eminently sensible guidelines as a basic yardstick for inclusion: What music is available? Where can I get it? What is it like? I further tried to answer these questions: What was the woman like who wrote it? Where can I go to find out more about her? Finally, an honest attempt was made to find music written by women all around the world, on every continent and from as many countries as possible. However, much work is still needed; women composers are more numerous, more prolific, and more widespread than ever. With the current information explosion, new web pages about composers and their music can be found practically every day. This study can only be considered a beginning step in the effort to catalogue and describe their compositions. At the very least, the numerous entries deleted because of insufficient information should certainly be added when more research is completed. There are some significant differences between the entries in Volume I and those in Volume II. First and foremost: Volume I contains entries for 145 composers; Volume II lists over 850 women. Volume I describes only music currently in print, all of which was purchased, played, and described by this author. Volume II also includes music available from libraries and from the

x Preface composers themselves, as well as a number of musical descriptions cited from other references. Because of considerations of time and space, the biographies and references consulted in the first volume are considerably more extensive than in the second. Also, although Volume II, like Volume I, lists primarily solo piano works, pieces for harpsichord, piano and tape, and duets are often mentioned. Occasionally, when no original solo music by a composer was found, transcriptions and arrangements were included. Further, works mentioned in other sources but not examined were listed at the end of each entry, above the references. A final difference between the two volumes is the reference style employed: Volume I uses endnotes, while Volume II uses the less cumbersome parenthetical reference method. In Volume II, the entry for each composer comprises a potted biography, a list of solo piano works with publishers, and descriptions where possible, and the references consulted. The biographies include only basic facts concerning the lives, training, and work of each woman. In no way should this information be considered comprehensive or exhaustive. When it was possible to obtain the music readily (and in time for publication deadlines), it is described in terms of genre, mood, style, technical requirements, and approximate grade level. The music ranges in difficulty level from late elementary to virtuoso concert repertoire. It should be noted here, however, that composers whose work is primarily for the educational market were, by and large, not included in this volume. The references used include composer and publisher web pages, notes from the scores, and of course, printed materials of all kinds. To find the composers and music for this book, a variety of sources were consulted: publishers’ catalogs (both hard copy and online), music dictionaries and bio-bibliographical volumes, dissertations and biographies of composers, web pages of various organizations and associations, and published references of music in print. An exhaustive interlibrary loan search was initiated for scores; many works were found to be available in this country’s wonderful public and university library systems. Then, other composers and titles were submitted to music distributors for overseas searches and purchases, a much lengthier and more expensive proposition. Acknowledgements for help and support with this project are due here. The author is grateful to Saint Louis University for the SLU-2000 Research Grant awarded in spring of 2002, making possible the initial three months of research. Thanks are also due for two Mellon Grants, which allowed me to attend various conferences. The excellent staff members of Saint Louis University’s Pius XII Library, who found and processed literally hundreds of scores from other libraries, deserve special mention and my sincere gratitude.

Preface xi My deep thanks also must go to the composers who kindly lent scores and described their music for me, and also to the amazing people who work in the various Music Information Centers around the world. Requests for scores, information, suggestions, and answers to stupid questions were all cheerfully and graciously handled. Had I to do this work all over again, I would certainly begin by contacting all of those Centers, instead of by first checking publishers’ lists. Finally, my heartfelt appreciation goes to my daughter, Jennifer, and to my husband, Bill, for their belief in the value of this work, and for their unfailing support and encouragement. Pamela Youngdahl Dees Saint Louis University January 30, 2004

Using the Guide Sample Entry LAST NAME(S) [alternate spellings/names], First Middle Names (birth datedeath date) Country of origin/Current country Biography: training, career, awards, compositional genres, style characteristics. Solo piano works are then listed alphabetically by title: Title Op.# [translation] (Publisher, date of publication [ILL=available through inter-library loan]) length in minutes, length in pages. Genre, mood, effect, stylistic characteristics, technical needs. Titles to anthologies or collections are in quotation marks, with single works italicized. Levels: Elementary (Elem); Intermediate (Int); Advanced (Adv). See also: piano works cited in other references but not examined by this author. See: articles and books of particular interest and value. [references consulted, by author’s last name or acronym] Abbreviations ABRSM ACA acc. ACWC Adv. APNM AMC AMT AusMC av. c. CUNY

Associated Board Royal Schools of Music American Composers Alliance accompanied, accompaniment Assn. of Canadian Women Composers Advanced level Association for the Promotion of New Music American Music Center American Music Teacher (MTNA Journal) Australian Music Centre available around, circa City University of New York

xiv Using the Guide: Abbreviations CFE CMC CGGB Coll. comp. Cons. CPE ctpt ECIC Ed. Elem Facs. hp hpd IAWM ILL IMC IMI infl. Inst. Int JFC m. MIC Ms mvts NYPL NYU oop, sop Opt. Orig. OUP p. prem. pub. q.v. RAM, RCM rec. repr. SCI sel. S.O. st.

Composers Facsimile Edition (ACA) Canadian Music Centre Composers Guild of Great Britain College compiled by conservatory Composer/Performer Edition counterpoint Editorial Cooperativa Interamericana de Compositores Edition, Editions, editor, edited by elementary level facsimile harp Harpsichord International Alliance of Women in Music Inter-Library Loan Israeli Music Center Israel Music Institute influenced by Institute Intermediate level Japan Federation of Composers married Music Information Centre/Centre manuscript movements New York Public Library New York University without opus # optional originally Oxford University Press pages premiered in/by Publications, published by, in appears elsewhere in this work Royal Academy/Royal Conservatory of Music recorded by, recording of reprinted Society of Composers Journal selected by symphony orchestra studied at/in/with

Using the Guide: Source Acronyms xv Trans. U. UC UM UT vc Vol(s). WMIC

Transatlantiques University (of) University of California University of Missouri Univ. of Tennessee/Texas voice, voices Volume (s) Welsh Music Info. Centre

Source Acronyms In the last line of each composer's entry, the abbreviations refer to the references used. Generally, sources are listed by last names of authors, and can easily be found in the reference list at the end of the book. However, title acronyms were used for some sources, and further explanation seemed in order. In the matter of attributions: unique information from a particular source is indicated in the parenthetical in-text references; information common to several sources is not specifically attributed. Association for the Promotion of New Music Journal Olivier Weingartz, eds. Komponistinnen von A-Z Baker’s Biographical Dictionary of Musicians. Centennial Edition 2001 B&NB Block, Adrienne and Carol Neuls-Bates, eds. Women in American Music Briscoe, James. Contemporary Anthology of Music by Women CAMW CGGB Composers Guild of Great Britain 68CompCatalan 68 Compositors Catalans Olivier and Weingartz, eds. Frauen als Komponistinnen FRK Frau und Musik: International Arbeitskreis FrMKassel HinSup Hinson: Guide to the Pianist’s Repertoire: Supplement Hitchcock & Sadie, eds. New Grove Dict. of American Music New GrAm Online version of The New Grove Dictionary, below grovemusic Briscoe, James. Historical Anthology of Music by Women HAMW Illinois State Music Teachers Association List ISMTA KOM Mayer, Clara, ed. KOM: Komponistinnen im Musikverlag KompA-Z Komponistinnen vom A-Z MGG Die Musik in Geschichte und Gegenwart NG The New Grove Dictionary of Music and Musicians, 2001 Rieger and Schmidt, eds. Sopran Contra Bass SCB San Diego (CA) Music Teachers Assn. web page Sdiego Centre for New Zealand Music SOUNZ APNM A-Z Baker

xvi Using the Guide: Source Acronyms S&S UI Walker

Sadie & Samuel, eds. Norton/Grove Dictionary of Women Composers University of Illinois Music Extension Piano Solo List Walker-Hill, Helen. 2002. From Spirituals to Symphonies: African-American Women Composers and Their Music

Music Publishers and Agents Alfred Publishing Company, Inc. P.O. Box 10003 Van Nuys, CA 91410-0003 Tel: 818-891-5999 Fax: 818-892-9239 E-mail: [email protected]

Da Capo Press, Inc. 233 Spring Street New York, NY 10013 Tel: 800-321-0050 Website: www.plenum.com

Alliance Publications (Slovak composers) 9171 Spring Road Fish Creek, WI 54212-9619 Tel: 920-868-4491 Fax: 608-748-4491 E-mail: [email protected] Website: www.apimusic.org

Dover Publications 31 East 2nd Street Mineola, NY 11501 Tel: 516-294-7000 Website: www.doverpublications.com

A-R Editions, Inc. (Recent Researches in Music) 801 Deming Way Madison, WI 53717 Tel: 608-836-9000 Fax: 608-831-8200 Website: www.areditions.com Arsis Press 1719 Bay Street S.E. Washington, DC 20003 Website: www.arsispress.com ClarNan Editions 235 Baxter Lane Fayetteville, AR 72701 Tel: 501-442-7414 Fax: 501-443-3856 E-mail: [email protected]

ECS Publishing 138 Ipswich Street Boston, MA 02215-3534 Tel: 617-236-1935 Fax: 617-236-0261 E-mail: [email protected] Website: www.ecspub.com Editions Ars Femina P.O. Box 7692 Louisville, KY 40257-0692 Tel: 502-897-5719 Fax: 502-222-7609 Elkin Music International, Inc. 16 Northeast 4th Street Fort Lauderdale, FL 33301 Tel: 954-781-8082 Fax: 954-781-8083 Website: www.elkinmusic.com

xviii Music Publishers and Agents EMS Music Service 13 Elkay Drive Chester, NY 10918 Tel: 845-469-5790 Fax: 845-469-5817 E-mail: [email protected]

Pepper & Son, Inc. P.O. Box 850 Valley Forge, PA 19482 Tel: 800-345-6296 Fax: 800-260-1482 Website: www.jwpepper.com

European American Music Distributors P.O. Box 850 Valley Forge, PA 19482 Tel: 610-648-0506 Fax: 610-889-0242

Recital Publications 738 Robinson Road Pembroke, N. H. 03275 Tel: 603-228-4259 Fax: 603-228-4618 E-mail: [email protected]

Furore Verlag Naumburger Strasse 40 D-34127 Kassel Tel: 49/(0)561/89 73 52 Fax: 49/(0)561/83 472 E-mail: [email protected] Website: www.fuorore-verlag.de

Hildegard Publishing Company Box 332 Bryn Mawr, PA 19010 Tel: 610-649-8649 Fax: 610-649-8677 E-mail: [email protected] Website: www.hildegard.com

Masters Music Publications P.O. Box 810157 Boca Raton, FL 33481-0157 Tel: 561-241-6169 Fax: 561-241-6347 E-mail: [email protected] Website: masters-music.com

Theodore Front Musical Literature, Inc. 16122 Cohasset Street Van Nuys, CA 91406 Tel: 818-994-1 902 Fax: 818-994-04 19 [email protected] Website: www.tfront.com Theodore Presser Company 1 Presser Place Bryn Mawr, PA 19010-3490 Tel: 610-525-3636 Fax: 610-527-7841 E-mail: [email protected] Website: www.presser.com T.I.S. 1424 E. Third Street Bloomington, IN 47401 Tel: 800-421-8132 Fax: 812-355-3004 E-mail: [email protected] Website: www.tisbook.com Vivace Press PO Box 842 Stevens Point, WI 54481 Tel: 715-343-5844 Fax: 715-343-5842 E-mail: [email protected] Website: www.vivacepress.com

A AARNE, Els [pseud for El’ze Janovna Paëmurru] (1917- ) Ukraine-Estonia Pianist, lecturer, composer; studied, taught at Tallinn Conservatory. Works: orchestra, chamber, piano, vocal, theatre, pub. Talinn/Estonian Music Fund. See Estonian MIC: 8 Etudes for Beginners (1953); 4 Contrasts (1966); Improvisata (1967); Pionerski Pokhod (1949); 7 Polyphonic Sketches (1961); Sonatina (1961); 12 Variations on a Theme by Vedro (1939). [Boenke, Cohen, Estonian MIC] ABE, Kyoko (1950- ) Tokyo Electronic instrumentalist, composer; st. Tokyo, Vienna; prizes. Works: orchestra, chamber, vocal, electronic. Rund um die Uhr: 12 Mobiles for Piano Solo, 1980 (Ariadne 81012). [Ariadne, Cohen, Heinrich, SCB] ABEJO, Sister M. Rosalina, SFCC (1922-1991) Philippines/USA Pianist, conductor, educator, administrator, composer; st. Philippines, Eastman School, Catholic U.; president, Philippine Foundation of Performing Arts in America; many awards. Works: orchestra, chamber, piano (over 100 pieces; see Cohen), vocal, ballet. Style: neoclassical and impressionist; quartal harmonies, added-tone chords, pentatonic and modal scales. Five Pieces (McLaughlin and Reilly). [Cohen, Heinrich, K800, NG, Stewart-Green] ABERDAM, Eliane (1964- ) France/USA Composer, professor; st. Rubin Academy (Jerusalem), U. Pennsylvania, UCBerkeley; commissions. Works: chamber, electroacoustic, opera. Contact composer for scores: [email protected]. La Cloche Perdue [The Lost Bell] 2:30'. Exploration of wandering bell-sounds, resonances in various registers (composer). Early Adv.

2 Adam Piano Suite (1990) 12'. Portraits of commedia dell’arte figures: Scaramuccio; Pierrot; Arlecchino; Pantalone; Scapino; Colombina. Contrasting motives, figurations, techniques; unity provided through recurring harmonic progressions and gestures (composer). Late Int/Early Adv. [AMC, [email protected]] ADAM, Margie (20th c.) USA Pianist, composer. Works: piano. 3 Klavierstücke (Labrys Music 1977). Also: Naked Keys; Under the Influence (1982). [Cohen, FRK] AESCHLIMANN-ROTH, Esther (1953- ) Switzerland Double-bassist, pianist, teacher, composer; st. Winterthur Cons., St. Gallen: schoolteacher, Ticino. Works: piano, voice, electronic, multimedia. Stampa in “CH Piano: Zeitgenössische Schweizer Klaviermusik” (Nepomuk 1987) 2p. Prepared piano. Chromatic exercise: rising and falling septuplets in the span of a 5th on each of the 12 tones. Int. See also: Quadratur, graphic composition (1982). [Cohen, KOM (as Roth)] ALBERGA, Eleanor (1949- ) Jamaica/England Pianist, singer, composer; st. RAM-London; member of authentic African dance company, Jamaican Folk Singers; commissions. Works: orchestra, chamber, voice, electronic, theatre, dance, piano. Style: colorful, rhythmic, strongly structured, versatile. Music available from composer: [email protected]. Fizz (1988) 2'. “A light piece made up of short sections using various rhythms, some of them African-based, to build from a moderate start to a frothy final flurry” (composer). Ice Flow (1985) 12'. If the Silver Bird Could Speak (1996 ABRSM) 3'. Commissioned by Thalia Meyers (q.v.). Early Adv. Jamaican Medley (1983) 4:30. Written to commemorate 21st anniversary of Jamaica’s independence, using native folk song materials. Only a Wish Away, in “Spectrum 2,” comp. Meyers (ABRSM 1999) 2', 2p. Wistful, dreamy; attractive 2-vc ctpt, narrow range, changing meters, tempi, dynamics. Int. See also: It’s Time (1986); Stone Dream, prep pf & tape (1986); Whose Own, prep. pf & sound processor (1988). [ABRSM, composer, Fuller, NG, Pendle, S&S, score, Walker]

Allen 3 ALCALAY, Lucia (Luna) (1928- ) Yugoslavia/Austria Pianist, teacher, composer; st. Vienna, Darmstadt. Works: orchestra, chamber, paino, vocal, ballet, theatre, electronic. Mechanical Systems V (1967) in “Pro Musica Nova: Studien zum Spielen Neuer Musik,” ed. Kontarsky (Breitkopf-Gerig 1972/ILL) 5p. Series of technical figures over entire keyboard, beginning with dissonant 64thnotes in mirror intervals. 4 brief sections, various rhythms, dynamics, phrasing. Adv. Also: Piece (1961); Triple Fusion (Edition Modem). [Cohen, Hinson2, KOM, SCB] ALEXANDER (POLLACK), Leni (1924- ) Germany/Chile Pianist, electronic instrumentalist, teacher, composer; st. Chile, Paris (Messiaen, Leibowitz); teacher, State U., Goethe Inst., Santiago; prizes, commissions. Works: orchestra, chamber, piano, vocal, ballet, theatre. Style: modernist. El Circo in “El Pianista Chileno,” Vol.1 (Cons. Nacional de Música 1963/ILL), 9p. Colorful circus suite in 11 scenes, incl. entrance march, bareback riders, elephants, snake charmers, final bows. Sparse textures, mildly contemporary. Reminiscent of Pinto’s Scenas Infantis. Early Int. Also: Mandala (1961), 8 pieces; Suite für Klavier (1950); Adras (1976), 2pf. [Cohen, K800, score, Sperber, S&S] ALI-SADE, Frangis [Ali-Zadeh, Franghis; Ali Aga Kïzï] (1947- ) Azerbaijan Composer, pianist, teacher; st. conservatory in Baku; prizes. Works: orchestra, chamber, vocal, theatre, piano. Style: Azerbaijani traditions, Western modernism; “alternates between delicate lyricism and tense, dynamic expression” (Sadie and Samuel 1995, 9). Sonate für Klavier Nr.1 (Sikorski 1998) 10', 24p. In memoriam Alban Berg. I. 4/4, very fast; II. 3/2, slowly; III. 5/8, very fast. Atonal, dissonant, sparse textures, shifting meters. Adv. Music for Piano (Sikorski 1998) 7', 19p. Pub. together with Firssowa’s Elegy (q.v.). “Prepare the piano by laying a glass-bead necklace tautly along the strings between the afore-mentioned notes. If they are repeated, sections C and A1 should be played more slowly, ‘as if in a mist,’ and section B2 should sound even more passionate and spontaneous” (score). Adv. Also: Klaviersonate No. 2 (Sikorski 1990) 15'. [K800, KOM, NG, SCB, score, S&S] ALLEN, Judith Shatin: see SHATIN, Judith

4 Allik ALLIK, Kristi (Anne) (1952- ) Canada Lecturer, composer; st. Toronto, California, Princeton; teacher, Canadian universities; commissions, grants, awards. Works: orchestra, chamber, piano, music theatre, electroacoustic. Style: infl. serialism, minimalism, jazz, Estonian folksong; emphasis on timbres. See Canadian Music Centre for scores: Fragments (1976) 10'; North Star South Wind (1983) 13'; Piano Piece (1975) 10'. Also: Etude and Pastorale (1973). [CMC, Cohen, NG, S&S] ALOTIN, Yardena (1930-1994) Israel Pianist, teacher, composer; st. Israel; prizes. Works: chamber, piano, vocal. Style: sense of optimism, lyricism, drama in most of her works; polyphonic and heterophonic textures. Passacaglia (On a Bukharian theme) (Letarbut Ulechinuch 1964/ILL) 8p. Folk theme becomes 8-bar passacaglia under 8 melodic variations; last two use chromatic alterations; coda. Late Int/Early Adv. Six Piano Pieces for Children (IMI 1982) 13p. 20th c. treatment of baroque dances (minuets, rondos, courante, caprice); bitonal, modal, folk sources, asymmetrical phrases. Int/Late Int. Suite (IMI 1992) 11', 30p. Prelude; Intermezzo; Theme and 9 Variations. Pianistic, well constructed, 20th c. harmonies. Early Adv. Suite (1974) 14p. Ms copy, Frauen Musik Archiv, Kassel. Three Preludes for Piano (IMI 1978) 7', 9p. Vivace: virtuosic, bitonal. Adagio: calm rondo-passacaglia. Allegro buffo: lighthearted, changing meters. Early Adv. [Cohen, FRK, FrMKassel, Hinson, K800, NG, S&S] ALSTON, Lettie Marie Beckon (1953- ) USA African-American composer, teacher, pianist; st. Wayne State, U. Michigan with Bassett, Bolcom; grants, awards, commissions; professor, Oakland U. (Michigan). Works: orchestra, chamber, vocal, electronic, dance. Four Rhapsodies for Solo Piano (Vivace 2001) 21p. In Music by AfricanAmerican Women Series. Four contrasting character pieces, tonal but freely chromatic. No.l, Etude: very rhythmic; ostinato-like bass. No.2, Nocturne: solemn, in 6/4. No.3, Dream Waltz: playful 2-note slurs. No.4, Toccata: a galloping perpetuo moto, with rocking RH staccato figure over LH melody; accents, driving rhythm. Adv. See also, av. composer (Walker-Hill 1995, 9): Four Moods for Piano (1993); Moods (1976); Pulsations; Three Rhapsodies for Piano (1994). [Anderson, Cohen (as Beckon), Home, Walker]

Anderson, Beth 5 ALT, Hansi (1911- ) Austria/USA Pianist, lecturer, composer; st. Vienna Cons.; teacher, New York, Los Angeles, Washington, D.C. Works: chamber, vocal, piano teaching pieces. Numerous superior contemporary pieces are available singly and in anthologies. Dandelions on the Hill and Sleepyhead in “The Joy of Modern Piano Pieces,” ed. Agay (Yorktown 1977). Hot Noon on the Meadow (Presser, 1976/ILL). 9 pieces. Mild 20th c. harmonies, delightful sketches of countryside critters. Elem. My Musical Diary: Piano Tunes and Rhythms of the School Day (Island Press/ILL) 12p. 12 descriptive sketches. Early/Mid Int. The Ocean: Deep Sea Explorations on the Piano (Oxford 1967), 17p. Ten easy pieces, in patterns swimming all around the keyboard. Late Elem. Where the Palm Trees Grow (Oxford), 10p. 6 sketches: Tropical Flowers, Flamingos, What a Strange Bird, The Blue and Red Fountain, Rain Forest, Lizards. Late Elem/Early Int. [Butler, Cohen, Hodges, ISMTA, Magrath, Newman] ANACLETO, Carmela (20th c.) Brazil Pingos Verdes (Vitale) 3p. [FrMKassel] ANDERSON, Avril (1953- ) England Composer, ensemble director; st. RCM-London, New England Cons., Sussex U.; residency, London Contemporary Dance School. Works: orchestra, chamber, voice, dance. Style: rhythmic, innovative textures (Sadie and Samuel 1995, 13. A Story Untold, in “Spectrum 2,” comp. Meyers (ABRSM 1999) 2p. Miniature toccata; hands alternate rapidly on chromatic tones; driving rhythms. shifting meters/accents, dissonances. Int. Also: Dynamics of Matter (1989). [Cohen, Fuller, score, S&S] ANDERSON, Beth (Barbara Elizabeth) (1950- ) USA Pianist, singer, teacher, composer; st. U. Kentucky, UC-Davis, Mills Coll.; concert series producer; awards, fellowships, commissions. Works: orchestra, chamber, piano, vocal, opera, dance, electronic, theatre. Style: neo-romantic, theatrical; interest in feminist imagery and history. Belgian Tango (AMC 1984) 3'. Romantic sounding, charming. Late Int. (San Diego Music Teachers Intermediate Compositions list). Manos Inquietas (AMC 1982) 20'. Dance commission in three piano parts; may be played singly or together. Av. NYPL. Network (AMC) 6'/10'. Appealing harmony, intricacy (San Diego Music Teachers). Two pf versions and an arrangement for sextet exist. Int. Quilt Music (AMC 1983) 30'. Av. NYPL; dance commission.

6 Anderson, Olive Rhode Island Swale (AMC). Hpd or pf. Patchwork of modal “swatches:” tunes, tango, melodies, chorale, fiddle music, hidden text (composer). September Swale (AMC/Antes 1999). Pf or hpd. See also: Eighth Ancestor (1979); Skate Suite (1979); Taking Sides (1983); They Did It (1976), pf & tape. [AMC, Cohen, Fuller, Heinrich, IAWM, K800, LePage, NG, sdiegomtac, S&S, Zaimont] ANDERSON, Olive Jennie Paxton (1917-1995) England/Australia Conductor, teacher, composer; st. RAM London, Mirrie Hill (q.v.); founded youth orchestra. Works: orchestra, chamber, vocal, keyboard, opera (descriptions below: Carrigan 2002, 22-23). Epilogue Suite (AusMC 1979) 4:30. Three movements: Epilogue I; Fun in the Middle; Epilogue II. The Glasshouse Mountains Suite (AusMC 1992) 13:25. Six movements. Mosquitoes (AusMC 1992) 45", 3p. Descriptive scherzo playing with half and whole steps, rapid patterns divided between hands. Early Int. Spectrum: Three Shades (Albert 1974) 2:30. Scherzo, serial; Biafra; Modicum of Five. Atonal, complex notation, wide leaps. Early Int. Also: Sonata; Where the Brigalow Grows (Albert 1975); many teaching pieces. [AusMC, Carrigan, Cohen] ANDERSON, Ruth Monier (1928- ) USA Flutist, orchestrator, conductor, professor, composer; st. Washington, Columbia, Princeton universities; awards, grants, honors. Works: orchestra, chamber, vocal, electronic, multimedia. Style: early works lyrical, coloristic, traditional; later, sonic meditations explore concept of sound as affective energy. Fugue for Piano (ACE 1979). Composed in 1948; copy av. NYPL. [AMC, Cohen, Heinrich, K800, NG, Pendle, S&S] ANDERSON-WUENSCH, Jean Mary (1939- ) England/Canada Pianist, teacher, composer; st. universities of Nottingham and Leeds, Eastman School. Works: orchestra, chamber, keyboard, vocal. Style: early works atonal, later works accessible, with tonal centers. Rhapsody (CMC 1979) 15', 25p. Chromatic fantasy; repeated notes, 8vas, 6ths; tricky subdivisions, cross-rhythms, passionate contrasts in dynamics, tempo. Adv. Also: Sonata Antica (CMC 1887); Theme & Variations (CMC 1985), pf duets. [CMC, Cohen, IAWM]

Archer 7 ANDERSSON, Margit E. ( - ) Sweden Sommertrall; Och ängen stod full av blommor; Marionetternas Marsch in “Pianolyric” (Swedish Piano Album), ed. Kjellberg (Nordiska 1949/ILL). Three brief, Schumanesque character pieces: a soporific humming song; a gentle pastorale/sicilienne; and a puppet’s march. Int. [FRK, Hinson (collections)] ANSINK, Caroline (1959- ) The Netherlands Flutist, teacher, composer; st. Utrecht Cons., where she now teaches. Works: orchestra, chamber, vocal, choral. Style: lyric, expressive, tonal. Greener Grass (Donemus 1988) 8', 6p. Atonal toccata-like exploration of contrasting registers, figurations, textures, tempi, dynamics. Adv. Also: Piano Etuden. [Cohen, FRK, K800, KOM, NG] APPLEBAUM, Allyson Brown (20th c.) USA Five Pieces (1981/MMB Music 1986) 9', l0p. Dedicated to her father, Arnold Brown. Jazz rhythms/styling, 20th c. harmonies; 12-tone writing, clusters, tritones, 2nds/9ths, thin textures. A Blue; Stride Scherzo; Moon Over Kansas; Boogie Till; On That Sweet Day. [MMB Music] APPLEDORN, Mary Jeanne van: see VAN APPLEDORN, Mary Jeanne ARCHER, Violet Balestreri (1913-2000) Canada Pianist, professor, composer; st. McGill U., Yale; awards, commissions; first Canadian woman Composer of Year. Works: orchestra, chamber, organ, piano, voice, opera, film, electronic. Style: neoclassic, linear, contrapuntal, dissonant. Eleven Short Pieces (Peer 1964/Alberta Keys 2001) 10', 12p. Linear and dissonant; extremely effective use of 20th c. techniques. Int. Four Bagatelles (Waterloo 1979/ILL), 12p. Portraits of 4 contrasting moods: Forceful; Capricious; Introspective; Festive. Late Int/Early Adv. Four Little Studies (Waterloo 1964). Brief explorations of contemporary techniques; freely tonal, with some unusual harmonies. Int. Habitant Sketches [Three Scenes] (Presser/Berandol 1982/ILL) 5', 8p. Three charming vignettes: lively Jig; Church Scene, with bells, chanting, and hymn; Christmas in Quebec, woven through with carol themes. Int. Minute Music for Small Hands (Peer 1958/ILL) 2p. Three very brief teaching pieces: Prayer: a chorale. Waltz: four twirling “wrong-note” phrases. Hop, Skip and Glide: contrasting articulations. Late Elem/Early Int. Rondo (Peer 1964/ILL) l0p. Vigorous and pianistic, sparse, dissonant texture, rapid leaps. Late Int/Early Adv.

8 Aretz Six Preludes (Waterloo 1979/ILL) 20', 17p. Tonal; varied moods and styles, 2voice textures. Early Adv. Sonata No.1 [Sonata for Pianoforte] (CMC 1945-rev. 1957/ILL) 16', 27p. 3 movements; large scale work. Adv. Sonata No.2 (Berandol 1982/ILL) 14', 16p. Dramatic, demanding. Andante moderato; Largo a piacere; Andante ma energico-Allegro. Adv. Sonatina No.2 (Boosey 1948/ILL) 9', 14. Early exploration of contemporary harmonies in classic form: gavotte-like Allegretto, graceful Barcarolle, capering Fughetta. Late Int/Early Adv. Sonatina No.3 (Waterloo 1979/ILL) 7', l0p. 3 carefree, attractive mvts on white keys: march-like opening; tuneful waltz; sprightly jig. Late Int. Theme and Variations for Piano (Waterloo 1964), 9', 5p. Lyric theme, six variations. Fine, serious piece, showing influence of Hindemith: quartal, contrapuntal, parallel writing, strong dissonances. Int. Three Miniatures for Piano (Waterloo 1965/ILL) 4', 3p. Contrasting interval studies, rhythmic: Dreaming (5ths); Dark Mood (minor 2nds, forearm staccato); Determination (ascending chromatics). Int/Late Int. See Linda Hartig: Violet Archer: A Bio-Bibliography (Greenwood, 1991); also see “In Memoriam” essays, IAWM Journal 6/3 (2000). [A&A, Axford, Bakers92, Bauer, Boenke, Brisson, Butler, Canaday, CMC, Cohen, Faurot, Ganz, Gordon, HAMW, Heinrich, Hinson, IAWM, Hodges, K800, Kemmerling, Kirby, KOM, Magrath, Meggett, NG, Newman, Pendle, RCM, S&S, Uszler] ARETZ (de Ramón y Rivera), Isabel (1913- ) Argentina/Venezuela Pianist, ethnomusicologist, institute director, composer; st. Buenos Aires with Villa-Lobos; honors, fellowships, prizes both for scholarly work and composition; leading authority on South American folk music. Works: orchestra, chamber, piano, vocal, ballet, electronic. Style: combines indigenous sources and avant-garde techniques. Alma Curú, Canción y Danza para piano (Calvello 1935/ILL) 6p. Canción: lento-allegretto, languid, ternary form, cross-rhythms. Danza: muy vivo, 5/4-4/8; lively rhythms, double notes. Early Adv. Sonata 1965 (Pan American/Peer 1969), 25p. Exciting, challenging, wellwritten. Moderato agitato: dramatic contrasts in meters, tempi, dynamics, registers. Andante-ostinato-scherzando: ostinato murmuring relieved by center section scherzo. Toccata: driving, percussive. Adv. Also: Commentarios Musicales a 3 Poemas de Andres Eloy Blanco (1961); De Mi Infancia: De La Muneca y Micifuz, ed. Carvello (Ricordi 1937); Por La Senda de Kh’Asana (Ricordi); Pueñas (Ricordi); Segunda Serie Criolla (1942); Tres Preludios Negros (1954). [Axford, Cohen, Heinrich, Hinson, Meggett, NG, S&S]

Arrieu 9 ARIMA, Reiko (1933- ) Japan Professor, composer; st. Tokyo U. of Fine Arts. Works: orchestra, band, chamber, piano, vocal, traditional instruments. Ballet of the Sylphs (Ongaku-no-Tomosha 1977). 21 pieces. Children’s Yard (Ongaku-no-Tomosha 1968). 18 pieces. Four Pieces for Children (Zen-on-galsufu 1972). [Boenke, Cohen, Heinrich, musicfromjapan, Japan Fed] ARMER, Elinor Florence (1939- ) USA Pianist, lecturer, writer, composer; st., taught in California universities; awards, fellowships. Works: orchestra, chamber, vocal, theatre. Style: rich, colorful harmony; individualistic, often programmatic (Sadie and Samuel 1995, 24). Mirror, Mirror (MMB Music 2002) 4', l0p. Duet, pf 4-hands. Early Adv. Variations on “Mein Junges Leben Hat Ein End” (MMB 2002) 7p. For hpd. Six variations on the same theme as that used by Sweelinck. Early Adv. Thaw (Peters/Lawson-Gould 1975). Copy av. NYPL. [Boenke, Cohen, Heinrich, NG, S&S] ARRIEU, Claude [pseud for Simon, Anne Marie] (1903-1990) France Composer, teacher; st. Paris Cons.; many prizes, commissions. Works: orchestra, chamber, voice, theatre, radio. Style: neoclassical, melodic, witty, charming, spontaneous, harmonically adventurous. La Bôite à Malice (Lemoine 1931). 8 impressionistic pieces. Early Adv. Lectures pour piano (Billaudot 1968/ILL) 16p. 8 neo-romantic pieces in 2 sets: Nonchalance; L’Hiver est Fini; Bavardes; Carnet de Bal; Ingénue; Capricieuse; Malicieuse; Péronelle. Int. Musique pour Piano (Maurice Senart 1939/ILL). 5 freely chromatic pieces, pianistic and neatly constructed. Late Int/Early Adv. The Little Canary [Le Petit Canard=The Little Duck] (Mills/Enoch 1934/ILL) 2p. Delicate Oriental watercolor in shifting tonalities. Int. Les Petites Filles Modèles (Amphion 1975/ILL), 6p. “Models” Isabelle, Sophie, and Véronique; smoothly chromatic but tonal. Early Int-Int. Prélude, Forlane et Gigue (Enoch 1947/ILL) 15p. First-rate neo-Baroque set, a fine introduction to 20th c. chromaticism and modes. Prelude: vigorous Bach-like 16th-note figures doubled at the octave. Forlane: cheerful folk dance in triple meter, 3 figurational variations. Gigue: clever, cheerful, frequent hand-crossings. Late Int. Toccata pour Clavecin (or pf) (Leduc 1963/ILL) 7'. Exciting tour de force, bold, percussive motives developed in several figurations. Modal, chromatic. Adv. Trois Improvisations (Amphion 1949/ILL) 4p. Brief, enjoyable trio, each exploring one rhythmic motif. Modal, cheerful, lyric, rather like Poulenc. Mid-Late Int.

10 Auber Valse, in “Les Contemporains,” Vol.1, comp. Descaves (Pierre Noël/Billaudot 1950/ILL). Also, pub. Billaudot (Early Int): Petit Récit/La Poupée Cassée; Escapade/CerfVolant; Promenade Mélancholique/ Questionnaire; Prélude Pastorale/ L’Enfant Sage. Further listings: see Cohen, Bauer. [Bauer, Boenke, Butler, Cohen, FRK, Heinrich, Hinson, K800, KOM, Magrath, NG, Pendle, SCB, S&S] AUBER, Chantal (1931-) France Pianist, composer. Ballade (Durand 1995/ILL), 23p. Brief contrasting scenes, neo-Romantic, derivative. Late Int/Early Adv. Fantaisie (Durand 1993/ILL), 14p. Tonal; improvisational in effect; rapid arpeggios throughout 4 main sections. Late Int/Early Adv. “Paysages”: Six Études Transcendantes (Durand 1996/ILL), 41p. Studies in double notes, cross-rhythms, arpeggios, speed and touch. Adv. Suite Bréve (Durand 1990/ILL), 9p. Porphyre: frenetic, with a driving ostinato bass. Cristal de Roche: 3 contrasting sections with added-tone chords. Quartz: a clownish “wrong-note” waltz. Early Adv. Triades (Hortensia 1982). Copy av. NYPL. Also, pub. Consortium Musical/Ed. Combre: Antriana; Bouquet, 2 pieces; Cocktail d’Arc En Ciel; Cousin Paul; Loly (Durand), pf-4 hands. [Cohen, Combre, Durand] AUSTER, Lydia [Lidiia] Martinovna (1912- ) Soviet Estonia Pianist, editor, composer; st. Omsk, Leningrad, Moscow conservatories; music supervisor, Estonian TV-radio; awards. Works: orchestra, chamber, piano, vocal, ballet, opera, theatre. Contact Estonian MIC: Spring Preludes (1950); Three Dances (1939). Duets: Lento; Suite (1947). Web page: www.emic.kul.ee. [Boenke, Cohen, Estonian MIC, Green] AUSTIN [Scheidel-Austin], Elizabeth R. Scheidel (1938- ) USA Composer, professor, organist; st. Peabody Cons., Hartt School, U. Connecticut; awards, prizes. Works: choral, sacred. Style: programmatic, neoromantic, postmodern (IAWM Journal). See: [email protected]. edu. American Triptych (composer 2003). A delightful set: Rag-Quodlibet; The Bellagio Blues; Hoedown. Early Adv. Klavier Double (AMC 1983) 11:07. Pf & synth. A prize winner. Transformation of motives from Schumann’s Op.17 Fantaisie. Lighthouse I (Tonger 1989/AMC) 9'. For hpd. Tonal/nontonal patterns. Puzzle Preludes I-V (AMC 1994) 9'. Each centers around an intentionally bent Baroque or classical quote; sources to be guessed (composer’s notes).

Baas 11 Zodiac Suite (AMC 1980, rev. 1993) 11:30. 5 variations on a theme: Aries; Sagittarius; Libra; Aquarius; Taurus. See also: Mia Music (1998); Prague Sonata (2000). [ACA, Arsis, Heinrich (as Scheidel), K800, IAWM, SAI]

B BAADER-NOBS, Heidi (1940- ) Switzerland Violinist, composer; st. Basle Cons. Works: orchestra, chamber, piano, voice, electronic. Style: serial, dodecaphonic; later, influenced by Boulez, Xenakis. Confrontation, in “CH Piano: Zeitgenössische Schweizer Kiaviermusik” (Nepomuk 1987) 3p. Study in hand independence (reversible parts): one hand plays chromatic 16th-note figures as the other drops in an occasional dissonant 8th note. Int. See also: Jeux Inoffensifs Pour Pianiste Pacifique (1976); Quatre Pieces (1965). [Cohen, Heinrich, KOM, S&S] BAAS, D. (20th c.) Belgium Bruxelles au Pavés Fleuris Op.84 (2001) 15:30, 36p. Multi-sectional, improvisational effect, changing meters/keys, lyric, tonal, rather like background music for a street scene in a movie. Early Adv. Caractères Op.61/1-2 (CeBeDeM 2003). Tempérament: pf 4-hands. Elégance: 1', 3p. Quick, light, changing meters, RH melody, chordal bass, polytonal dissonance. Int. Deux Piéces en Fa Op.12 (1995) 4p. Modal, playful, shifting meters and moods. No.l: 6/8-3/4, a caprice. No.2: 4/4-2/4, a burlesque-march, ostinato rhythm. Late Int/Early Adv. Hommage à Chopin Op. 15 (CeBeDeM 1997) 7p. For composer-pianist Yolande Uyttenhove (q.v.). Early Adv. Oiseaux Op.94/1 (CeBeDeM 2002) 1:30, 4p. Baignade [Bathing]: 4/4, light, rapid, tonally centered but chromatic; repeated notes chirping in alternate hands, fluttering, swooping 16th-note passages. Early Adv. Ricochet Op.72 (2000) 2p. Rather nice bagatelle, modal, ternary, gentle addedtone chords, whole tone passage. Int. Also av. CeBeDeM: Humoresque Op.38 (1997); La Passante à la Belle Ceinture Op.54 (1998); Le Pendule Op.13 (1995); Moment Musical Op.56 (1999); Oppression Op.53 (1998); Sirtaki Op.97, pf & trumpet (2003). [BelgianMIC, CeBeDeM]

12 Bacewicz BACEWICZ [Bacewiczowna], Grażyna (1909-1969) Poland Violinist, pianist, writer, one of the most important composers in 20th c. Poland; st. Warsaw Cons., Paris; numerous awards, prizes. Works: orchestra, chamber, violin, piano, vocal. Style: individualistic, diverse, contemporary, strong. Dwie Etiudy Na Padwójne Dźwięki (PWM 1999/ILL) 9p. Two chromatic double-note studies. Moderato: rhapsodic, thick-textured. Vivace: frisky thirds frolic up and down the keyboard. Adv. Krakowiak Koncertowy (PWM 2002/ILL) 16p. Bravura prize-winner. Popular Polish melodies with motivic, harmonic, rhythmic transformations; extreme registers, pungent harmonies. Fresh, original. Early Adv. (Little) Triptych (PWM 1966) 5p. Brief studies in sonority; thick textures, vivid contemporary techniques include polyharmonies, tone sets. Early Adv. Rondino per Pianoforte (PWM 1993/ILL) 7p. Playfully rhythmic and chromatic 9-bar theme alternates with episodes; added-tone chords, leaps, contrasting dynamics and textures add interest. Late Int. Scherzo (PWM 1999/ILL) 11p. A sparkling tarantella in 6/8, 2-voice texture, ternary with coda; occasional chromatics. Early Adv. Sonata No.2 (1953) (PWM 1973/ILL) 14', 19p. (Also av. in “Historical Anthology of Music by Women,” ed. Briscoe [Indiana Univ. Press, 1987]). Rich blend of neoclassical and folk-derived styles. Bravura work, tonal with chromatic, tertial/quartal harmonies. Agitato: varied textures and figurations, strong bass octaves. Largo: remote, serene sonorous; expressive Fugato. Toccata: brilliant; virtuosic streams of parallel 4ths, 3rds, and 6/4 chords alternate between hands. Adv. Sonatina (PWM 1977/ILL). Suita Dziecięca [Children’s Suite] (PWM 1966/ILL) 13p. Charming, deservedly popular settings of 8 traditional forms. Tonal but chromatic, rhythmic, colorful, clever. (Gavotte incl. in “Roztańczony fortepian” [Dancing Piano], PWM). Late Int/Early Adv. 10 Concert Studies (PWM 1957/ILL) 18', 42p. Prize-winning character pieces with consistent, unique figurations, broadly tonal but dissonant; polyharmonies/rhythms, rapid leaps, full keyboard range. Nos.2, 8 appear in “Polish Contemporary Piano Miniatures 1939-1964” (PWM). Early Adv/Adv. [Agay, Bakers, Boenke, Burge, Butler, Cohen, FRK, Gordon, Grove, HAMW, Heinrich, Hinson, K800, Kirby, KOM, Lang, LePage, Magrath, Meggett, MGG, NG, Pendle, SCB, S&S] BACKES, Lotte (1901-1989/1990) Germany Organist, pianist, composer; st. Strasbourg, Düsseldorf, Berlin; many works destroyed in WWII. Works: orchestra, chamber, organ, piano, voice, chorus.

Badian 13 3 Klavierstücke (Celesta 1970/ILL) 10p. Attractive, quasi-Romantic; standard forms and figurations, tonal but freely chromatic. Arabesque: gracefully arching, dissonant arpeggios in 6/8. Ricordanza: bolero-like ostinato, Moorish. Nocturne: sustained melody over continuous 8thnote arpeggios. Late Int/Early Adv. Ländliche Minaturen (Celesta 1970/ILL) 12p. 4 rustic scenes. The Dark Pool: plaintive, sighing tritone motif, undulating triplets. At the Fair: lively peasant market scene. The Old Village Church: chantlike ostinato triplets. Ausklang [Ringing out]: changes rung on a Dorian folk song. Rhythm, colorful, pianistic; modal with some chromaticism. Early Adv. Slow, in “Frauen Komponieren: 22 Klavierstucke,” ed. Rieger & Walter (Schott 1985) 2p. From “Silhouetten: Tanzbilder” (Breitkopf). A ternary dance; sections built on slow, sultry tango rhythms, “wrong note” and pandiatonic harmonies. Late Int. Suite (Celesta 1970/ILL) 15p. March Prelude; Canzona; Scherzo; Rondino; Finale. Added-note chords, strong rhythms, good formal contrast in this attractive set. Late Int. See also: Episodio; Capriccio (Celesta 1959); Fantaisie (1958); Impressionen 1956 (Celesta 1969); Konzertstück (1953); Meditationen (Celesta 1959); Silhouetten: Tanzbilder aus Alter und Neuer Zeit für Klavier (Breitkopf); Three Pieces. [Boenke, Cohen, FRK, Heinrich, K800, KOM, Meggett, SCB, Sperber] BADIAN, Maya (1945- ) Romania/Canada Prolific composer, teacher, musicologist; st. Bucharest, Italy, Germany, Montreal; many commissions. Works: orchestra, chamber, voice, multimedia. Style: imaginative use of folk materials, interest in timbres (Preface, Fantasia). Du Monde des Enfants [Children’s World] (Lucian Badian 1995/CMC) 12', 31p. 14 contemporary pieces of progressive difficulty, designed to develop technical and interpretive skills. Comprehensive notes. Elem-Late Int. Fantasia (Lucian Badian 1996/CMC/ILL) 7', 8p. Free form in alternating slow/fast sections; tonality centers around c, freely dissonant. Somber, passionate, contrasting sonorities. Includes formal analysis. Early Adv. Portrait for Piano (Lucian Badian 1997/CMC) 5', 8p. Curious mixture of dissonance and pentatonic fragments; in 4/4, without strong metric accents. “A dark and mysterious work”—review by Epstein, IAWM Journal 7/1-2 (2001):49. Early Adv. Also av. CMC, pub. Lucian Badian: Little Toccata (1997); Little Mirror (1997); Modes and Moods (1999); Music and Meditation (1997); Piano Sonata; Pieces (1963-1968); Metamorphoses for Pf 4-hands (1997). [CMC, Cohen, IAWM, NG, S&S]

14 Bailey, Judy BAILEY, Judy [Judith Mary] (1935- ) New Zealand/Australia Pianist, composer, arranger, educator; teacher, Sydney Cons.; director, Sydney Youth Jazz Ensemble; awards. Works: orchestra, jazz ensembles, film scores, music for children. Children’s Suite (SOUNZ, n.d.). 6 jazz piano pieces: Lullaby; Little Early Morning Song; Lonely Child; Now I’m Walkin’; Rocking Horse; Hide and Seek. On “Ears Wide Open” CD. [NG, SOUNZ] BAILEY, Mable (1939- ) USA African-American teacher, composer; st. San Francisco State U., U. New Mexico, U. Denver; teacher, Denver public schools. Works: vocal, instrumental. Prankster, in “Black Women Composers: A Century of Piano Music,” ed. Walker-Hill (Hildegard 1992) 2p. Playful burlesque with staccatos, accents, changing meters, dynamics, registers; dissonances. Companion pieces: Dance (1982); Dialogue (1986). Early Adv. See also, av. composer (Walker-Hill 1995, 9): Dance (1982); Dialogues I, II (1986, 1991). [KOM, score, Walker] BAILIE, Joanna (1973- ) England/Belgium Composer; st. Newcastle-upon-Tyne, Royal Cons.-The Hague, Columbia U.; prizes, commissions. Works: chamber, guitar, piano, electronic. Style: bridges stark modernism, cyclical composition—New Zealand Listener, 2002. Giro I (2001) 1'. CD, Wergo label; part of Guy Livingston’s “Sixty Seconds for Piano” Project. [AMC, SOUNZ] BAINBRIDGE, Beryl (1919- ) Australia Works: chamber, piano, vocal, theatre. Scores av. Australian Music Centre: Dance of the Crabs Op.40 (Allans/AusMC 1965); Dawn Rhapsody Op.30 (1960); Rondo Op.8 (1952); Seascape Op.53 (1969); The Thrush in the Maple Tree Op.6 (1950); Transition Sonata Op.20 (1955). [AusMC, Cohen, Heinrich] BAIOCCHI, Regina A. Harris (1956- ) USA African-American writer, teacher, composer; st. Roosevelt U., De Paul U.; grants, awards. Works: orchestra, chorus, voice, chamber, piano, opera, theatre. Style: eclectic mixture of idioms and techniques, from serialism to black American folk music.

Bal y Gay 15 Etude No.2, Equipoise, in “Black Women Composers” (Hildegard 1992) 2p. Second of “Two Piano Etudes: Equipoise by Intersection.” Serial techniques, jazz influences, polyrhythms, triplets; changing meters, moods, and tempos; octave arpeggios. Early Adv. Liszten: My Husband Is Not a Hat (Sonata) (composer, 1994) 12p. Lush, lyrical, virtuoso passages; 8vas, pedal effects, contrasting registers/textures; mixture of tonal-atonal idioms (Walker-Hill 2002, 335). [Axford, Horne, KOM, NG, Walker] BAITY, Judith M. (1944- ) USA African-American organist, choir director, freelance musician; st. U. Wisconsin, Michigan State. Works: sacred and secular concert music. Q and A (Alfred 1992/ILL) 10p. Winner, National Conference on Pedagogy competition. Clever, attractive pair built on a chromatic tritone theme. Q: a murky, mysterious triplet figure in sequence; A: bright and jazzy with a Latin bass. Voicing, figurations, colors reminiscent of Barber. Late Int/Early Adv. Toccatina (Alfred 1992). [Walker] BAKER, Amanda (1962- ) Australia Five Bagatelles (1992) 5'. CD recording TP080 available. [Carrigan] BAKKE, Ruth (1947- ) Norway Organist, composer; St. Bergen, Oslo, California, Washington State. Works: orchestra, band, chamber, organ, vocal, multimedia. Style: free tonality, tone clusters, improvisation; timbre, rhythm important (Sadie And Samuel 1995, 33). Scores av. Music Information Centre Norway: In Memoriam (Alta 1980); Mysterious Mountains (1986) 10'. [Cohen, Finell, Heinrich, MICNorway, S&S] BAL Y GAY [née Garcia Ascot], Rosa [Rosita] (1908- ) Spain/Mexico Concert pianist, composer; st. Granados, Falla, with whom she premiered his 2pf “Nights in the Gardens of Spain” (1921); 1933, m. Spanish musicologistcomposer Jesús Bal y Gay. Works: orchestra, chamber, piano. Preludio (Ed. Mexicanas de Música 1947/Peer 2002) 7p. Tempo di pasodoble. A spicy, attractive piece built on arching 8th-note figures over flirting, shifting accents; chromatic and whole-tone dissonance, occasional scales in sweet thirds. Late Int/Early Adv. [Cohen, NG (under “Bal y Gay, Jesús”]

16 Ballou BALLOU, Esther Williamson (1915-1973) USA Pianist, professor, composer; st. Bennington Coll., Mills Coll., Juilliard; awards, fellowships. Works: orchestra, chamber, organ, piano, vocal. Style: traditional forms, moderate chromatic dissonance, colorful, pianistic. Dance Suite (ACA 1961/ILL). Charming neo-Baroque set with 20th c. modal harmonies; an early work (1937). Prelude, Rigaudon, Sarabande, Galliarde, Courante, Gigue. Late Int. Sonata for Piano (ACA 1959/ILL) 11', 15p. I. Trills, 7ths, extensive range. II: Bitonal, sustained. III. Chorale theme doubled at five octaves; 4 variations (Hinson 2000, 68). Adv. Sonatina No. 2 (ACA 1964/ILL) 6p. Extremely attractive; modal with chromatic color, Commissioned by MTNA. I. Moderately fast: smoothly flowing melody over nervous 8th-note ostinati. II. Slow: elegant Dorian melody over open chord bass, legato blues style. III. Rondo: nimbly scampering folk tune in shifting meters, thin textures. Late Int. Variations, Scherzo and Fugue on a Theme by Lou Harrison (ACA 1959/ILL) 12'. Ballou’s second sonata, well constructed throughout. I. 4 contrasting variations on a 2-part theme. II. Percussive scherzo; trio with ostinato effect. III. Exciting and hectic (Hinson 2000, 68). Adv. See also: Beguine for Two Pianos (ACA 1957); 11 Piano Teaching Pieces (ACA 1950s); Sonata for Two Pianos (Mercury 1949) 14'; Sonata for Two Pianos No.2 (ACA 1959) 14'. See James R. Heintze: Esther Williamson Ballou: A Bio-Bibliography (NY: Greenwood, 1987), for a complete works list. [Axford, Baker, Bauer, Boenke, Cohen, Finell, Friskin, Gordon, Heinrich, Hinson, K800, Kirby, Meggett, NG, S&S] BAMBERGER, Regina ( - ) Germany Vier Klavierstück (Leipzig: Breitkopf). [Cohen, FRK] BANCER, Teresa Barbara (1935- ) Poland Composer; st. Warsaw, Katowice; member, Union of Polish Composers. Works: orchestra, piano, vocal. Six Preludes (PWM 1959) Sonata (PWM 1961). [Cohen, Finell] BARBER, Lesley (1962- ) Canada Composer; st. U. Toronto, Western Ontario; awards, commissions. Works: chamber, electroacoustic, theatre, film, television, radio. Nuclear Beach (CMC 1988). Pf & tape. Comm. Brave New Works, Ontario. [Canadian Music Centre]

Barraine 17 BARDEN [Bardon], Amelia (20th c.) Australia Oboist, composer, teacher. Works: film, theatre, multimedia. Style: incorporates new technologies in performance and composition. The Seventh Centre, in “Australian Piano Miniatures,” Vol.2 (Red House 1998) 1:49. Reflective, expressive; based on LH 2-note ostinato, RH improvisatory melodic fragments; straightforward rhythm. Int. [AusMC, Carrigan, score] BARKIN, Elaine Radoff (1932- ) USA Pianist, professor, composer; st. Queens Coll., Brandeis, Berlin; grants, commissions. Works: orchestra, chamber, piano, vocal, electronic, multimedia. At the Piano (1982) (APNM 1986/ILL) 10', 15p. Improvisatory exploration of sonorities: tone clusters, extreme registers, contrasting dynamics, slow decay, mysterious scampering figures, rapid-fire repeated motives, with “intermittent presences of Schumann, Chopin, Stravinsky, Martino, Albright, & Boretz” (composer). Adv. Brandeis 1955: 4 short pieces for piano (ACA 1973/ILL) 9p. Contrasting city sketches: Cambridge, moderately fast; Natick, slow; Waltham, fast; Lenox, quickly, relaxed. Serial, dissonant, contrapuntal, rhythmic, with frequent metric changes. Early Adv. Six (Piano) Pieces [Six Compositions] (ACA 1969/ILL) 10p. Atonal expressionist sketches, shifting meters, contrasting registers, percussive, multi-layered, contrapuntal. Early Adv. Also: Soundtext for J.K. Randall, for pf, text, & electronics; Twine, for pf & synthesizer. [Anderson, B-NB, Boenke, Cohen, Green, Greenberg, Heinrich, Hinson, Meggett, NG, Pendle, S&S, Stern] BARRAINE, (Jacqueline) Elsa (1910- ) France Professor, composer; st. Dukas, Paris Cons.; Prix de Rome, 1929. Works: orchestra, chamber, organ, piano, vocal, ballet, theatre, film. Style: tonal, strict formal frameworks; “one of the most outstanding French women composers since Lili Boulanger” (Sadie and Samuel 1995, 38). La Boîte de Pandora (Billaudot 1954/ILL) 70p. 54 inventive and musical exercises in reading and rhythm. Late Int. Fantaisie pour clavecin ou piano (Ed. Mus. Transatlantiques 1961/Presser) 11p. Hpd/piano. 1 mvt; sectional contrasts in mode, meter, dynamics, articulation. Neoclassic figurations, colors, textures; not unlike Ravel’s Sonatine. Early Adv. Hommage à Paul Dukas, in Le Tombeau de Paul Dukas, La Revue Musicale 166 (May-June 1936) 2p. A simple elegy; RH melody, LH accompaniment (Hinson 2000, 71). Late Int.

18 Barrell Prélude pour Piano (Durand 1930/ILL) 4p. Mysterious and improvisatory; neoclassic flirting with 20th c. harmonies: sliding chords, whole tone, 12tone, polytonal, quartal, modal, pentatonic effects; changing meters, tempi. Early Adv. Also: La Nuit dans les Chemins du Rêve (Enoch 1931), Lecture (Éd. Mus. Trans.), Marché du Printemps Sans Amour (1946-47), Nocturne (1938). [Boenke, Cohen, FRK, Gordon, Heinrich, Hinson, K800, Meggett, NG, S&S] BARRELL [née Gedye], Joyce Howard (1917-1989) England Pianist, teacher, composer; st. Leicester U., privately with H. Craxton. Works: orchestra, chamber, vocal, teaching pieces. Four Contrasts Op.52 (Barry Brunton 1986/ILL). Imaginative, attractive, bitonal colors, clever rhythms, skillful ctpt Grasshoppers; Goldfish, Dolphins Playing; Sparrows and Starlings. Int. Fragments Op.28 (Anglian 1984/ILL) 10p. 3 contrasting vignettes, jazzy, chromatic, mostly in 2-vc ctpt Giocoso: sassy, syncopated. Tranquillo: slower, bluesy. Vigoroso: exciting leaps, textural contrasts. Late Int. Also: The Fires Op.51 (Anglian New Music Series 1977); Tanzmusik Op.33 (Thames); 3 Keyboard Pieces Op.4 (1948), Two-part Inventions Op.11 (1956). [Boenke, CGGB, Cohen, S&S] BARRIÈRE, Françoise (1944- ) France Pianist, composer; st. Versailles, Paris Cons., ORTF. Works: electroacoustic. Style: technology combined with deep humanity (Sadie and Samuel 1995, 39). Par Temps Calme et Ensoleillé I (Chant du Monde 1983). Pf & tape. Ritratto di Giovane (1972-3). Pf & tape. [Cohen, NG, S&S] BARRY, Emilie de ( - ) Italy Romance sans Paroles (Ricordi Milan). [Cohen] BASSI, Giulia Italy Momento Nostalgico in “Antologia Pianistica di Autori Italiani Contemporanei,” Vol. I (Zerboni 1944/ILL) 2p. Slow, solemn march, like a funeral procession approaching and passing by. Modal with chromatic color; reminiscent of Puccini’s Turandot. Int. [Hinson (collections)]

Beath 19 BATSCHINSKAJA, Nina (1906- ) Russia Composer, musicologist, author; st. Moscow Cons. Author of musicological works, editor of folk song arrangements. Baschkirisches Liedchen in “Klavierstücke Sowjetischer Komponisten für Kinder,” ed. Roisman, 3 Vols. (Peters/ILL) 1p. Simple arrangement of Bashkirian folksong. Allegro, 2/4, 8 measures long. Elem. [Hinson (collections), score] BAUCKHOLT [Baukholt], Carola (1959- ) Germany Composer; co-founder, Thürmchen Verlag; prizes, grants. Works: orchestra, chamber, vocal, theatre, multimedia. Style: divisions between genres ignored; extremely economical musical materials (Sperber 1996, 67-68). Polsch (Thürmchen 1989/ILL) 5p. Pointillistic, unmetered, chromatic; sparse textures over entire keyboard; precise dynamics, tricky rhythms; attractive colors. Early Adv. Also: Scala Mobile (1988), 17-tone study for disk klavier. [FrMKassel, K800, KOM, NG, Sperber] BAULD, Alison Margaret (1944- ) Australia Actress, lecturer, writer, composer; st. U. Sydney, in England with Lutyens (q.v.); scholarships, awards, commissions. Works: chamber, piano, vocal, theatre, electronic, dance. Style: imaginative, powerful, dramatic. Piano Piece (Novello 1971) 4'. Concert (Novello 1974) 7'. Pf & tape, or duet for 2 players. Play Your Way (Novello 1992). 3-volume graduated teaching series encouraging students to write, hear, and improvise, as well as play. Elem-Int. [AusMC, Cohen, Heinrich, HinSup, K800, Murdoch, NG, Pendle, S&S] BEATH, Betty [Elizabeth] Mary (1932- ) Australia Pianist, professor, composer; st. Queensland U., Sydney Cons.; commissions, awards. Works: chamber, vocal, children’s operettas, piano. Style: influenced by Indonesian travels. Composer’s web page: www.users.bigpond.com/beathcox. Asmaradana (AusMC 1988) 3:45, 4p. Based on ancient Javanese love song. Pleasant, tonal, not fast; hand crossings, 2x3 rhythms; requires skillful pedaling, singing touch. Int. Black on White (AusMC-Five Line Pub. 1983) 1:10. Also av. in “First Light,” Vol.1 (Keys Press 1998). For LH, ruler. Uses whole keyboard; ruler presses down gong-like double-8va clusters. Challenging rhythms, coordination, pedaling. Int/Late Int. Contrasts (AusMC 1990) 2', 3p. Toccata-like in 3 contrasting sections. Int. Didjeridu (AusMC 1991) 1:04. Also av. in “First Light,” Vol.2 (Keys Press 1998). Short, effective. LH ostinatos, variety of melodic bursts in RH, changing meters and rhythms evocative of native didjeridU. player. Int.

20 Beeson Dreams and Visions (Keys Press 1999). 6-mvt suite. Prelude to Dreams: pentatonic harmony, leisurely. Birds the Colour of the Moon: with a sense of freedom, colorful. The She-Wolf: some parts dramatic, energetic; others slower, fluctuating tempos. Earth Spirit: rhythmic, dance-like, pentatonic. Toward Dawn: awakening to birdcalls. Day Dream: melody over thick texture. Late Int/Early Adv. (All above descriptions: Carrigan 2002, 28-31). Also av. AusMC: Golden Hours (1995); Key Connections (2003); Lament for Kosovo (1999); Merinda Bali (2003); Preludes 1, 2 (2001); Woman’s Songs 1-3 (1997-98). [AusMC, Boenke, Carrigan, Cohen, Heinrich, IAWM, K800, LePage, Pendle, S&S, Zaimont] BECKON, Lettie Marie: see ALSTON, Lettie Beckon BEESON, Elizabeth Ruth (20th c.) USA Church organist, pianist, composer; st. U. Houston. Works: chamber, piano, vocal. Works available from composer (Zaimont and Famera 1981, 197): The Bold Chevalier; The Days in New England; The Fantastic Suite; In Green Meadows; Journey Through the Darkness; A Land of Fortune; The New Birth; Tear Drops of a Flower; A Time to Remember; The Utopian Road; Why Did You Leave Me? [Cohen, SAI, Zaimont] BEGLARIAN, Eve (Louise) (1958- ) USA Composer; daughter of composer Grant Beglarian; st. Princeton, Columbia U., trained in serial techniques, which she came to view as elitist and sterile. Works: orchestra, chamber, vocal, theatre pieces, electro acoustic and sampled works. Landscaping for Privacy (1995). For synthesizer, narrator and vocals, “using the arpeggiator function of a synth keyboard, sort of like a new convertible with an automatic transmission . . . to capture the fragile elation urban types feel at driving out of the city on a beautiful Saturday morning in spring” (composer’s notes). Also: Making Hay (1980), 2pf; Miranda’s Kiss (1988); Fireside (2001), comm. Sarah Cahill. [composer, Cahill, NG] BEHREND, Jeanne (1911-1988) USA Pianist, professor, musicologist, composer; st. Curtis Inst., lecture-recitals, Latin American music; goodwill ambassador, South America. Works: orchestra, chamber, piano, vocal. Style: idiomatic, highly effective.

Bender 21 The Old Scissors Grinder (Presser 1927). Composed at age 13. Incessant humming figure evokes the turning whetstone; ternary; programmed by Josef Hofman on recitals. Int. Quiet Piece [Pastorale] (Axelrod 1941/ILL) 3p. Lyric, intimate, and expressive; a latter-day Brahms Intermezzo. Late Int. Dance Into Space (Axelrod 1942/Shawnee/ILL) 6p. Companion scherzo to Pastorale, above. Whimsically leaping, swirling theme, sweeping accompaniment; ternary, tonal with chromaticism. Late Int/Early Adv. From Dawn Until Dusk: A Child’s Day Op.6 (Elkan-Vogel 1936). Prizewinning suite of seven scenes; unpretentious, sensitive, tonal with mild dissonance. Nos.1, 7 imitate birdsong; Nos.3, 5 difficult. Late Int. Sonata Op.7 (1935). Composed for Behrend’s Carnegie Hall debut. Sonatina (1935-1942). 3 mvts: In Modo Pastorale, neoclassical; New Hampshire Sky; Country Dance/Country Jig, a rustic hoedown. Late Int. See E. A. Hostetter: “Jeanne Behrend: Pioneer Performer of American Music, Pianist, Teacher, Musicologist, and Composer,” diss., Arizona State U., 1990. [Anderson, Bauer, Cohen, Friskin, Heinrich, Hinson, Hostetter, Meggett, S&S, Stern] BEILHARZ, Kirsty (1971-) Australia Violinist, writer, composer; st. U. Sydney; Holland, Germany, Austria, U. York with LeFanu (q.v.); lecturer-concert manager, U. Sydney; prizes. Works: orchestra, chamber, chorus, opera, theatre, multimedia. Floriforous Rags: Jarmen’s Dungeness (AusMC 1999) 10', 10p. Prize-winning tribute to artist, filmmaker, designer Derek Jarmen. Contemporary, large-scale, complex, demanding (Carrigan 2002, 31). Adv. [AusMC, Carrigan] BELL, Elizabeth (1928- ) USA Pianist, teacher, critic, composer; st. Wellesley, Juilliard; grants. Works: orchestra, chamber, piano, vocal. Night Music (n.p./n.d.). 12:26. Copy av. New York Public Library. Also: Arecibo Sonata (1968); Second Sonata (1972); Summer Suite (1982). [Cohen] BENDER, Joanne (20th c.) Canada Sonata for the Millennium (2000). Performed May 2000, Assoc. of Canadian Women’s Musicale, Toronto—Journal of the IAWM 7/1-2 (2001): 36. [IAWM]

22 Benedicenti BENEDICENTI, Vera (1913- ) Italy Pianist, composer; st. Boito Cons., Parma, and privately. Works: orchestra, piano, vocal. Otto Bozzetti Musicali (Carisch 1960). Piccola Suite (Carisch 1957). Also: Nostalgia, waltz (1966); Serenata sui Tetti, waltz (1966); Three pieces: Silhouette Priolettante; Sonia, Sua Eccellenza. [Cohen] BERBERIAN, Cathy [Catherine] (1925-1983) USA Singer of avant-garde works, actress, lecturer, composer; st. NYU, Columbia U., Verdi Conservatory, Milan; m. Luciano Berio; prizes; many composers wrote works specifically for her. Works: vocal, piano. Morsicat(h)y per la mano destra. Un’azione musicale (Morse code) (Universal 1969/ILL) 6p. Pf or hpd. Includes 2 pages of instructions, card to mail for performance code. Aleatoric, programmatic whimsy: RH imitates whining mosquito, LH swats at it in tone clusters. Late Int/Early Adv. [Baker, Cohen, FrMKassel, FRK, Heinrich, Hinson, K800, KOM, Meggett, NG, Pendle, SCB, S&S, Stern] BERNOFSKY, Lauren (1967-) USA Violinist, teacher, composer; st. Hartt School, New England Cons., Boston U.; teacher, Peabody Cons.; commissions. Works: orchestra, chamber. Scores av. American Music Center: Arctic Moon (2001); Australia Suite (1996); Ettenna and Mot (1998); Sonata (2001); Waltz-Fantasy (1997). [AMC, SAI] BERRY, Rhonda (1936-) Australia Professional pianist; studying composition at James Cook U. with Vivienne Olive (q.v.) (Bio, descriptions: Carrigan 2002, 32). Thursday Portraits (AusMC 1993). Composed for 1994 “Contempofest” music festival, Townsville. Trivet (AusMC 1996) 5:30, 7p. Prize winner. Atmospheric, sectional changes in character, tempo; extreme pitch/dynamic ranges, clusters; unmetered, rhythmically challenging, octave passages, wide stretches. Early Adv. [AusMC, Carrigan] BESEDINA, Valeria ( - ) Russia Pianist, singer, composer; degrees from Moscow Conservatory 1989, 1991. Works: chamber, solo instruments, vocal, ballet, rock opera. Style: melodic, passionate, dramatic. Composer web site: muzantre.narod.ru. Piano Sonata (Boosey & Hawkes). [Boosey, composer]

Bingham 23 BESSON, Maria ( - ) Country unknown Piccolo Album di Danse (Ricordi Milan). [Cohen] BIBBY, Gillian Margaret (1945- ) New Zealand Pianist, teacher, writer, composer; st. Otago U., Berlin, Cologne, Victoria U. (New Zealand); prizes, awards. Works: orchestra, chamber, vocal, ballet, operetta, electronic. Style: forcefully direct, diverse idioms (Sadie and Samuel 1995, 62). Five Miniatures (1975) 5'. Late Int/Early Adv. [Cohen, Heinrich, SOUNZ, S&S] BIENVENU, Lily (1920- ) France Pianist, professor, composer; st. Nantes, Paris Cons. with Aubin, Simone PléCaussade (q.v., Vol.I); commissions. Works: orchestra, chamber, piano, vocal. 7 “Touches” d’Aquarelle (Eschig 1979/ILL) 7p. Contrasting study-sketches to teach competent pianistic “brushwork,” exploring range, colors, dynamics, articulations; some dissonance, bitonality. White as Snow; Green as Water; Blue as the Sky; Yellow as Copper; The Black Closet (Darkroom); Red as Anger; Tangerine, or the Light. Int. Also: Essai de Fugue de Trois Voix (1947); Les Aventures de Pianette (Eschig 1962), 6 children’s pieces; Les Cinq Sens (1950), suite; Petite Czernite (1980); Reverie Aubord de l’Eau; Suite Dynamique; Theme et Variations sur le Mode Romantique (1943). [Boenke, Cohen] BILHAR, Branca (1936-) Brazil Dedicaçao (Irmãos Vitale). Bailado Indigena (Vitale). [FrMKassel] BINGHAM, Judith (Caroline) (1952- ) England Singer, composer, st. RAM-London, privately with H. Keller; commissions, awards. Works: brass band, chamber, piano, vocal, opera. Style: imaginative, pungent harmonies and rhythms, organic, through-composed. Chopin (Maecenas 1996) 12', 8p. Chopin figurations and textures in dissonant 12-tone treatment, shifting meters. Early Adv. Christmas Past, Christmas Present (Novello 1991). Novello Junior Contemporary Series. Pictured Within: Six Cryptic Character Studies (Maecenas 1982). Also: Dove Cottage By Moonlight (1989), 2pf duet. [Cohen, Heinrich, NG, S&S]

24 Birnstein BIRNSTEIN, Renate Maria (1946- ) Germany Pianist, violinist, professor, composer; st. Ligeti, Hamburg; grants, prizes incl. 1983 Prix de Rome. Works: orchestra, chamber, choral, piano. Style: crystalline, linear, serial, minimalist. Heptagon:Piano Music I (Sikorski 1976). Also: Les Horloges (1995) 9p; Piano Music III (1977); Les Pendules (1994) 11p. [Cohen, FrMKassel, K800, NG, SCB, Sperber, S&S] BISLEY, Brigid Ursula (1961- ) New Zealand Violinist, conductor, teacher, composer; st. U. Auckland; commissions. Works: orchestra, chamber, dance. Reflections (SOUNZ n.d.). Five pieces. [SOUNZ] BLACKWELL, Anna Gee (1928- ) USA African-American teacher, organist, choir director, businesswoman, composer; st. Wright State U.; awards. Works: vocal, piano. Boogie Woogie Breakdown 1944 (CPE). Int. Ebony Waters 1955 (CPE). Int. [Axford, Cohen, Heinrich, Walker] BLANCK, Olga de: see DE BLANCK MARTÍN, Olga BLAUSTEIN, Susan Morton (1953-) USA Pianist, professor, composer; st. Pomona Coll., Liège Cons., Brandeis U., with Betsy Jolas (q.v.) at Yale; prizes, commissions, fellowships. Works: orchestra, chamber, piano, vocal. Style: lyric, freely atonal. Fantasie for Piano (APNM 1980/ILL) 11', 16p. Atonal, motivic, contrapuntal; dramatic contrasts in figures, registers, dynamics; tricky rhythms. Adv. Also: La Espoza de Don Garcia. [Boenke, Cohen, S&S] BLISS, Marilyn S. (1954-) USA Flutist, composer; st. Coe College, U. Pennsylvania; awards, fellowships, commissions. Works: chamber, flute, vocal, electronic. Fantasies (Zalo/NME 1977). [Boenke, Cohen]

Bofill (i Levi) 25 BLOOD, Esta Damesek (1933- ) USA Pianist, teacher, composer; st. Manhattan School and with Vivian Fine (q.v.). Works: orchestra, chamber, piano, vocal. Style: Balkan folkdance enthusiast. Balkan Suite (G. Schirmer 1967). Four modal dances in the irregular, compelling “aksak” folk rhythms. Macedonian Rhythm: 11/8, Dorian. Krk: motif from Adriatic isle of that name. Syrtos Polyphonikos: 7/88/8, fugue. Bulgar: wild, driving sections contrast with lyrical parts; frequent changes of mode. Late Int/Early Adv. Also: Five-legged Spider (Pro Art 1968); Folkdances from the Balkans (Schirmer 1971); Seven Dances in Aksak Rhythms (Schirmer 1973). Variations on a Duality (1980). [Axford, Boenke, Cohen, Hinson (collections), Magrath] BODENSTEIN-HOYME, Ruth (1924- ) Germany Pianist, teacher, composer; st. Leipzig Hochschule für Musik; teacher, Dresden; writes, lectures on Albert Schweitzer. Works: orchestra, chamber, piano, vocal. Sonatine 1967 in “Neue Sonatinen für Klavier” (Peters/ILL) 8p. Classic form, 20th c. chromatic harmony, modulating modal themes, free imitation. Allegro: 11-bar theme, motivic; Ruhig: lyric, peaceful; Rondo/burlesco: lively running scales, staccatos, laughing repeated tones. Late Int. Also: Kleiner (Dresdener) Klavierzyklus (1968); Schauspielmusik zu “Tanja” (Arbusow 1972); Sonatine in D (1970). [Cohen, K800, Sperber] BODOROVÁ, Sylvie (1954- ) Czech Republic Pianist, lecturer, composer; st. Bratislava, Brno, Prague, Siena; prizes. Works: orchestra, chamber, voice, ballet, electronic, piano. Style: formal simplicity, lyrical sonority, layered blocks of sound (Sadie and Samuel 1995, 69). Carousel, in “Spectrum 3,” comp. Myers (ABRSM 2001) 2p. 6/8-4/8, impetuous, frenetic. An attractive 20th c. tarantella-hexentanz; ostinato 8th-note motif alternates with accented chords. Int/Late Int. Also: Cat Paintings (1974). [ABRSM, Cohen, Czech MIC, Heinrich, NG, Pendle, score, S&S] BOFILL (I LEVI), Anna (1944- ) Spain Pianist, architect, composer; st. Nono, Guinjoán, Xenakis; grants; architectural studio. Works: chamber, vocal, electroacoustic. Style: serialist, abstract. Itineraris I, II (Clivis E375, E376). Temps de Paraules (Clivis E374). See also: En Un Chassaigne Freres Negre De Mitja Cua (1983); Poema (Santos 1975) 10', 10p; Studios per Pianoforte Nrs. 1, 2 (1992); Simile (2000), 2pf.

26 Bolz [Cohen, Clivis, FRK, FrMKassel, Heinrich, IAWM, K800, 68CompCatalans, score, S&S] BOHUN, Lyle de: see BOONE, Clara Lyle BOLZ, Harriet (1909-1995) USA Pianist, choir conductor, lecturer, composer; st. Case Western, Ohio State universities; awards, prizes. Works: orchestra, chamber, organ, piano, vocal. Floret-A Mood Caprice (Arsis-Sisra 1980/ILL) 3:42, 8p. A lively burlesca. Ostinato walking bass, contrasting textures in 2-vc ctpt and staccato parallel triads; chromatic; motivic development. Early Adv. Two Profiles for Piano (Arsis-Sisra 1980/ILL) 3:30, 8p. Matched pair of sketches in 2-voice ctpt, modal, linear, and freely chromatic. Late Int. Capitol Pageant (Sisra 1980/ILL). Pf 4-hands. Capitol Trilogy for Two Pianos (1984) 11:35. Prelusion; Procession; Pageant. Recorded by Leanne Rees and Stephanie Stoyanoff: Music By American Women Composers (Bravura BR 1001, 1988). [Arsis, Boenke, Cohen, Heinrich, Hinson, K800, Meggett, Zaimont] BOND, Victoria Ellen (1945- ) USA Pianist, conductor, composer; st. Aspen (Milhaud), Juilliard (Sessions, Persichetti); first woman conducting doctorate at Juilliard, 1977; fellowships, awards. Works: orchestra, chamber, vocal, ballet, film, multimedia, opera. Style: Baroque forms, contemporary techniques: dissonant counterpoint, 12-tone rows, metric complexity. Batucada (AMC/Subito 1985) 3:25. Theme & variations on Brazilian samba; sassy rhythms, dynamic contrasts, vibrant color. Sandburg Suite (Seesaw 1987/ILL) 4'. Folk theme, 5 variations in a pleasurable musical tour of American landscape c.1910, with musical theatre, honky-tonk, ragtime, blues styles. Late Int/Early Adv. See also: Suite Miniature (Theodore Front 1975); Variations (1963). [AMC, Axford, Boenke, Cohen, Heinrich, IAWM, K800, LePage, NG, Pendle, SAI, sdiego, Solomon, S&S] BONDS [née Majors], Margaret Allison (Jeannette) (1913-1972) USA African-American concert pianist, lecturer, composer; st. Florence Price (q.v., Vol.I), Northwestern U., Juilliard; fellowships, awards. Works: orchestra, piano, voice, ballet, theatre. Style: programmatic, use of spirituals, jazz harmonies.

Borisova-Ollas 27 Troubled Water (Sam Fox 1967/ILL) 6p. Also av. in “Black Women Composers” (Hildegard 1992). Extremely attractive transcription of the spiritual, “Wade in the Water.” Gospel and jazz elements, rhythmic drive, ornate pianism, occasional shifts of meter, mode. Ternary; requires large span, skillful pedaling. Early Adv. See Helen Walker-Hill: Piano Music by Black Women Composers: A Catalog of Solo and Ensemble Works (Greenwood 1992), for more titles. [Axford, Bauer, Brown, Cohen, Fuller, Green, Hinson, Home, IAWM, KOM, Meggett, NG, Pendle, Southern, S&S, Walker] BOONE, Clara Lyle [pseud: Lyle de Bohun] (1927- ) USA Publisher, teacher, composer; st. Centre Coll., Radcliffe, Harvard, U. Wisconsin; founder, Arsis Press, 1974. Works: orchestra, chamber, piano, vocal. Annunciation of Spring 1952 (Arsis Press). Suite for piano. Adv. Mirrored Love (Arsis 1975) 3p. Also: Excursions (1959); Petite Histoire (1949). [Arsis, Boenke, Cohen, FrMKassel, Zaimont] BOR, Modesta (1926-1998) Venezuela Choir conductor, teacher, musicologist, composer; st. Caracas, with Khachaturian in Moscow; prizes. Works: orchestra, chamber, piano, vocal. Style: folk elements combined with attention to counterpoint, post-impressionist language, even some atonalism. Cuatro Fugas (Musicos Venezolanos Contemporaneos 1992/ILL) 23p. Four classically-worked out fugues with South American syncopations, 20th c. modal chromaticism. I. Allegro giusto: C, tonal, cheerful. II. Allegretto deciso: d, theme built of attractive arpeggiated jazz 7ths. III. Andante maestoso: e, solemn; the shortest, with 8vas creating organpedal effect. IV. Allegro deciso: rhythms as in I. Freely modal, longest in the set. Late Int/Early Adv. Also: Valsa; Juangriego; Suite Criolla (1954: Preludio-Polo; Cancion; Danza); Pequena Danza (1954); Tres Piezas Infantiles (El Soldadito; Lorita Real; El Arroyo); Suite Infantil (1961); Sarcasmos (1980); Waltzes. [Cohen, NG, score] BORISOVA-OLLAS, Victoria (1969- ) Russia/Sweden Pianist, composer; st. Tchaikovsky State Cons., Malmö, Stockholm, RCMLondon. Works: orchestra, chamber, solo instruments. Silent Island, in “Spectrum 3,” comp. Myers (ABRSM 2001) 2p. Sustained, mysterious, very soft; single tones and quartal/quintal chords, close position; shifting quarter-note meters. Repetition of question (constantly moving water) and echo (mysterious island in haze). Int. [ABRSM, score]

28 Borras (i Fornell) BORRÀS (I FORNELL), Teresa (1923- ) Spain Pianist, guitarist, teacher, composer; st. with Frazzi, Vignanelli, Halffter; taught in Manresa, Mataró music schools. Works: chamber, guitar, harp, piano, vocal. Confluències Op.75 (Clivis 1986) 12p. Four contemporary preludes, rhythmic, dissonant 2-vc ctpt with occasional chords, clusters, hand-crossings. Ocàs: adagio, proportional rhythms. Broll: moderato, 4/4, triplet-duplet rhythms. Fullac: allegro, 4/4. Esclat: moderato. Late Int/Early Adv. Lluny i Sardana (Clivis 1986) 5p. Charming neo-classic pair; simple tonal melodies, colorful chromaticism. Lluny: ternary, lyric, graceful, like a lullaby. Sardana: joyful children’s folk song/dance, “wrong-note” harmonies, Bartokian. Late Int. See also, pub. Clivis: 6 Bagatelles (1979); 6 Estudis Op.76 (Barcelona 1986); Núvol Op.83 (1986); Impromptu (1977); 6 Preludis Op.67 (1969); Recull Op.78 (1981); Scherzetto (1980); Toccata Op.77 (1981). [Clivis, Cohen, KOM, 68CompCat] BOTET (DUBOIS), María Emma (1903- ) Cuba Pianist, composer, teacher in Havana conservatories; st. de Blanck, Nin. Works: piano, vocal. Style: use of Cuban folk materials and rhythms. Dancitas de Ayer (Ed. Musical de Cuba 1980/ILL) 4p. Four charming tonal pieces, all using similar samba-like rhythms. Int. Also: Cajita de Musica Que Toca Una Cubana; Guaracha Humoristica (1967); Habanera Lenta (1968); Nocturno Guajiro (1955); Pequeño Son (1972) for LH; Micro-Suite (1974-5); Rositas (1954); Suite Cubana; over 20 small pieces for piano students (Havana: Ediciones de Blanck). [Cohen, S&S] BOUCHARD, Linda L. (1957- ) Canada Flutist, conductor, poet, teacher, composer; st. Vivian Fine, Ursula Mamlock (q.v.), Bennington Coll., Manhattan School; featured composer, Vancouver New Music Festival 2000; residencies. Works: orchestra, chamber, vocal, electronic, multimedia. Style: emphasis on timbres, structure, spatialization. Principal publishers: CMC, Doberman-Yppan. he Cri-Geste (1977). [Cohen, Heinrich, IAWM, NG] BOWATER, Helen (1952- ) New Zealand Little Bit (1989) 4'. Three pieces. Int. Wire Dogs (SOUNZ 2000). One movement. [SOUNZ, S&S]

Brandman 29 BOYD, Ann Kirsten Carr: see CARR-BOYD, Ann Kirsten BOYD, Anne Elizabeth (1946- ) Australia Flutist, pianist, professor, administrator, composer; st. universities of Sydney, York. Works: orchestra, chamber, vocal, ballet, theatre, film, multimedia. Style: infl. by studies of Asia, the Pacific; “sparse, disciplined, and cogent” (Sadie and Samuel 1995, 81). Angklung (Faber 1976/ILL) 6p. To be played as slowly as possible; some prep. Unmetered, static harmonies center around e and b. Early Adv. Book of the Bells (Faber 1981/ILL) 19', 33p. Static bell-like chords, each with unique mode, register, rhythm, ornamentation, sonority. Complex notation in multiple staves (up to 10), challenging rhythms. Adv. See also: Infinity (1964); Three Piano Pieces (1965). [AusMC, Boenke, Carrigan, Cohen, Hinson, LePage3, Murdoch, NG, S&S] BOYKIN, A. Helen (1904- ) USA Teacher, composer; st., taught in Alabama. Works: piano. Style: pleasant late Romantic character pieces. En bateaU. (Schroeder & Gunther 1952/ILL) 4p. Typical barcarolle figures, with some chromatic color. Int. Seafoam (Schroeder 1947/ILL) 3p. Tenor melody (LH) under rippling, repetitive 16th-note figure. Int. Carnival Scenes (Schroeder 1948/ILL) 4p. A playful rondo. Early Int. Scherzo in B minor (Schroeder 1943/ILL). A light-hearted, rhythmic romp with accents, register contrasts, rapid leaps. Int. Also: Allegretto con Spirito (Schroeder); Geechee Dance (G. Schirmer). [Cohen] BRADSHAW, Susan (1913- ) Great Britain Composer; st. RAM, privately with Boulez, Deutsch, Seiber. Works: piano. Eight Hungarian Melodies (Chester 1961 /ILL) 8p. Brief modal tunes, freely chromatic, simple textures, crisp rhythms. Three have the shifting meters typical of mid-European folk tunes; obviously influenced by studies with Seiber. Good teaching pieces. Late Int. [CGGB, Cohen, Hinson, Magrath, Meggett] BRANDMAN, Margaret Susan (1951- ) Australia Composer, pianist, accordionist, writer, educator; st. Sydney Conservatory and University. Works: orchestra, chamber, piano, vocal, electronic. Reflections (Jazzem 1992/Furore/Modern) 9p. Six Contemporary Piano Pieces (Castle 1982). Sonorities (Castle 1986/Furore) 6p.

30 Brandon Three Sketches: A Dissertation On ‘D’ (Waterloo 1973/Furore) 6p. Other scores av. through Australian Music Centre: Allegro and Andante (1971); Animodes/Contemporary Modal Pieces (EMI 1993); Badinaries 1, 2 (Jazzem 1976); The Big Band (1971); Caprice (1967); The Blues and Boogie Woogie (EMI 1992); Churinga (Jazzem 1982); Daily Dexter-Flexers; Dexter’s Easy Piano Pieces; Dreamweaving (Modern Music 1986); Invention (Jazzem); 12 Timely Pieces (Jazzem 1999); Variations in a Modern Style (1971); Winter Piece: For LH Alone (Jazzem 1992). [AusMC, Boenke, Carrigan, Cohen, FrMKassel, KOM, healey.com.au] BRANDON, Phyllis (20th c.) Great Britain Valse Souvenir (Ashdown 1948/ILL) 9p. 2-pf duet. Tonal, with 20th c. chromaticism; pianistic, well written. Late Int. [Cohen] BRAY, Jillian (20th c.) New Zealand Teacher, composer; music editor, New Zealand Hymnbook Trust. Works: hymns, piano teaching pieces. Scores av. Centre for New Zealand Music: Level 1 (Elem-Early Int): Dreaming; Happy Days! Naughty Kittens; Heydown; Making Mischief; Mood of the Moment. Level 2 (Int-Late Int): Burst of Blues (1987); Diversion I, II (1992-3); Elegy (1994); Four Characteristic Pieces for Grade 4 (1985); Incidental Music for a Marriage (200); Insect Suite (2003); Kapua (Clouds) (2001); Lime and Soda (n.d.); Little Romance (1992); Meditation (1996); Summer Suite (1999); Tribulation (2002); When the Bough Breaks (1996). Level 3 (Late Int-Adv): Seascape (1997) 4'; Day Trip (1961) 14', suite in 5 mvts; Wata (1993) 2'. [SOUNZ] BREMER, Carolyn (20th c.) USA Bassist, composer, conductor, professor; st. Eastman, UC-Santa Barbara with Emma Lou Diemer (q.v.); teacher/composition chair, U. Oklahoma, California State-Long Beach; grants. Works: orchestra, band, chamber. Style: experimental, political. Web page: www.carolynbremer.com. Replete Prelude (AMC 1979). See also: Sonata for Clarinet and Piano (Arsis). “Virtuosic and conservative, sort of an unpredictable extension of Brahms”—Information, Copenhagen. [AMC, Arsis]

Brockman 31 BRILL, Elissa (20th c.) USA Composer, professor; st. U. Pennsylvania, Temple U.; commissions, grants. Works: orchestra, chamber, vocal, music theatre, electroacoustic, opera. Story Closet (Arsis 1994/ILL) 6', 17p. Divertimento in 5 mvts: Opening Music; Tennis Racket/Unstrung; Wool Blazer/Circa 1978; Useless Gift; Costume Jewelry. Chromatic, variety of tempi and figurations. “Short sketches of found memories, a light-hearted travelogue through fond childhood thoughts” (composer). Early Adv. Etude: Floating and Then Not (Arsis/ILL) 3:30, 7p. Exploration of rhythmic resolution, movement. “It is the treatment of rhythm that I chose to explore in this piece. The form is ABA, where each A section is mostly floating and the B section mostly not” (composer). Early Adv. [Arsis, composer, scores] BRINK-POTHUIS, Annie van den (1906-1956) Amsterdam Violinist, teacher, composer; st. Amsterdam Conservatory. Works: chamber, piano, vocal. Sonate voor Piano-Solo No.1 (Broekmans & Van Poppel 1942/ILL), 11p. 3 mvts: Allegro energico; Andante; Allegro. Tonal, with added-tone chords, jazz 7ths/9ths; interesting, capable writing. Early Adv. Also: Andante (1955); Sonata No. 2 (1944); Sonata in due parte (1955). [Boenke, Cohen] BRITTON SMITH, Irene: see SMITH, Irene Britton BROCKMAN, Jane E. (1949-) USA Professor, composer; st. U. California, U. Michigan (first woman doctorate, composition); Paris (Fulbright), Vienna; honors, fellowships, prizes. Works: orchestra, chamber, piano, vocal, dance, electronic, multimedia. Character Sketches (Arsis 1983/ILL) 16', 15p. 3 mvts. based loosely on stylistic “characters” from Debussy, Schoenberg, Wagner, Mussorgsky; direct and evocative references; 3 bell-theme quotations unify the set. Adv. Kurzweil Etudes (Diaphanous Music 1986). Three groups. Etudes in Chopin tradition for the Kurzweil 250 digital synthesizer. Composer CD: Opus One Records #133. Landscapes (Diaphanous Music 1990/T. Front) 9'. Pf & prerecorded electronics; score & CD provided. Piano travels through a landscape of organic digital sounds, raucous and ethereal by turns (Arsis Press). Tell-Tale Fantasy (Arsis 1982/ILL) 6:00, 8p. Paraphrases of Scriabin, Schoenberg, Ives, Debussy. Contemporary, seemingly improvisatory, a wistful daydream (Arsis Press). Adv. See also: August Thaw (1971); Finger Prints (1971). [AMC, Arsis, Boenke, Cohen, Hinson, Meggett, Solomon]

32 Brouwer BROUWER, Margaret (20th c.) USA Violinist, professor, composer; st. Oberlin; concertmistress, Fort Worth Opera Orchestra; grants, residencies, commissions. Works: orchestra, chamber, piano. Style: lyrical, accessible, powerful, finely crafted. Web page: brouwermusic. com. Dancing on Hot Coals (Carl Fischer 1998/AMC) 3'. Perpetuo moto of medium difficulty. Staccato notes alternate from hand to hand; shifting meters, rhythms. Late Int/Early Adv. Sonata for Solo Piano (AMC 1998) 9'. Virtuosic; utilizes one cell in contrasting ways, aggressive and rhythmic, or lyrical and tender. Adv. Under the Summer Tree (AMC 2000) 18'. 3 mvts. exploring reactions to personal loss expressed in a Hardy poem; an expansion of Sonata, above. Second mvt: a siciliano. Third mvt: begins tentatively, then rushes furiously forward, alternating anger with sadness. [AMC, composer, IAWM, SAI] BROWN, Elizabeth (1953-) USA Flutist, composer; st. Juilliard; commissions, residencies, fellowships. Works: orchestra, chamber, piano, sound installations, multimedia, unusual instruments. Insomnia (Quetzal Music 2002/AMC) 3', Sound Diary (Quetzal 1999/AMC) 10'. Commissioned by Margaret Kampmeier. [AMC] BROWN, Rosemary (1917-) Great Britain Pianist, medium, composer; claims to have received over 600 works dictated to her by spirits of Romantic pianist-composers. There is no agreement as to source of her compositions; the works are reasonable stylistic imitations of the greats. An Album of (Eight) Piano Pieces for Children of All Ages (Basil Ramsey 1980/ILL) 22p. Descriptive sketches inspired by Debussy et al. Int. Intermezzo in A-flat (Ramsey 1978/ILL) 3p. Inspired by Brahms. Ternary, musical. Late Int/Early Adv. Music from Beyond (Ramsey 1977/ILL) 40p. 7 works inspired by 7 composers, along with 7 drawings by Brown. Late Int/Early Adv. Lyric (Ramsey/Keturi 1977/ILL) 10p. Inspired by Rachmaninoff. Late Int/Early Adv. Le Pâon (The Peacock) (Ramsey 1978/ILL) 2p. Debussy-inspired; binary. Int. The Rosemary Brown Piano Album (Novello/Paxton 1974/ILL) 29p. Seven works “received” from 6 composers; bizarre collection of stylistic imitations. Int/Late Int. Six Mazurkas (Ramsey 1981 /ILL) 11 p. Inspired by Chopin. Late Int. Twelve Cameos from R. Schumann (Ramsey 1980/ILL) 18p. Foreword dictated by Liszt, 1980 (sic). Style similarities to Schumann. Late Int. Woodland Waters (Ramsey 1979/ILL) 14p. Not likely to be mistaken for the work of Liszt. Early Adv.

Bruzdowicz 33 Also: Impromptu in E Minor and Two Studies (Chopin); Swan at Twilight and En Bateau (Liszt); Compositions From the Other Side. [Cohen, Hinson] BRUSA, Elisabetta (1954- ) Italy Composer, conservatory teacher; st. Milan, England, Tanglewood; prizes, fellowships, commissions. Works: orchestra, chamber, guitar, piano, violin. Style: carefully crafted sonorities, textures (Sadie and Samuel 1995, 90). Marcia Funebre Op.4 (Edipan/Salabert) 11', Sonata Op.6 (1982-86) 21'. [AMC, Cohen, Heinrich, KOM, Pendle, S&S] BRUSH, Ruth J. (Damaris) (1910- ) USA Organist, pianist, teacher, composer; st. Kansas City Cons.; active in teaching organizations; awards. Works: orchestra, chamber, organ, piano, vocal, opera. These works may be available from the composer (Zaimont and Famera 1981, 199): American Circle (1979) 6'; The Night Lights (1953) 6'; Osage Hills Suite (1972) 15', a prize-winner; Rhapsody, 20'; Sarabande, 5'; Suite for Piano (1952) 7' (All Advanced level except for Sarabande). [Axford, Cohen, Heinrich, Meggett, SAI, Zaimont] BRUSSELS, Iris (1900- ) USA Pianist, lecturer, composer; st. NY and Columbia universities; guest lecturer, Peabody Inst., U. Miami; awards. Works: orchestra, over 150 piano pieces. Toccata, in “Six Moods” (Southern Music 1966) 2p. [Cohen, FRK, FrMKassel] BRUZDOWICZ (-TITTEL), Joanna (1943-) Poland/Belgium Pianist, critic, broadcaster, lecturer, composer; st. Warsaw, Paris with Messiaen and Boulanger; directs composition courses in France, USA, Canada. Works: orchestra, chamber, piano, vocal, opera, film, electronic. Style: modern techniques well integrated into the musical fabric. Erotiques (Salabert 1966/1972/ILL) 8p. Five contrasting mood sketches, pianistic and musical. 20th c. effects include tone clusters, dissonant motives, frequent 7ths and 9ths. Early Adv. Prélude and Fugue (Ed. Rideau Rouge/Durand/ILL) 4'. For harpsichord. Highly chromatic, many rapid repeated notes. Adv. Sonate d’Octobre (Tonos 1981/ILL) 18p. To commemorate the 1978 election of Pope John Paul II. Vivo: celebratory, with repeated trumpet-like figures, exciting contrasts. Lento: sectional, with solo song, hymn, fantasia; forearm clusters, contrasting textures, moods, meters. Vivo: a brilliant toccata with ad lib sections. Adv.

34 Buchanan [Baker, Boenke, Cohen, FrMKassel, Heinrich, Hinson, Hinsup, K800, KOM, NG, Pendle, SCB, S&S] BUCHANAN, Dorothy Quita (1945- ) New Zealand Violinist, teacher, composer; st. U. Canterbury, Christchurch Teachers’ Coll.; grants. Works: orchestra, band, chamber, vocal, opera, theatre, film. Style: neoromantic, gentle, imaginative (Sadie and Samuel 1995, 92). Scores av. through SOUNZ (Centre for New Zealand Music): Autograph-Philip Trusttum (1979) 1'. Late Int/Adv. Birthday Music (2000) 14'. Rosebud; Janaya; Morgan; Anna; Song without Words. Int. Champagne and Roses (1982) 2'. Late Int/Adv. Frances of Fielding (1998) 10'. Commissioned for silent film. Int. From the Mountains to the River (1991) 3'. Written on commission; throughcomposed. Int. Hinemoa and Tutanekai (Nota Bene 1978) 10'. 7-piece suite: Nos. 1-6 for solo pf; No.4 improvised; No.7 for pf duet. Welcome Morning; Shut Your Ears; Hinemoa’s Reply; The Lake at Night; Hinemoa’s Journey; All the Little Birds; Love Duet. Int. Mary Rose (2000) 3'. For the 80th birthday of the composer’s mother. Int. Rosebud (Nota Bene 1996)1'. One movement. Elem. Piano Song for Jonathan (1984) 2'. Int. Slow Piece for the Piano (1967) 2'. Children’s piece. Elem. [Boenke, Cohen, Heinrich, K800, NG, SOUNZ, S&S] BUCZEK [Buczkówna], Barbara Kazimiera (1940-1993) Poland Pianist, teacher, composer; st. Krakau; prizes. Works: orchestra, chamber, vocal. Sonata Brève Per Pianoforte 1968 (Ariadne 1983/ILL) 6p. 2 mvts: Allegro moderato; Presto leggiero-secco. Chromatic, disjunct, Schoenbergian, extreme registers, difficult rhythms, improvisational effect. Adv. Les Accords Ésotériques (1991) 7p. Ms copy listed, Frau Musik Archiv-Kassel. [Cohen, FrMKassel, K800, SCB] BURKE, Brigid (1960- ) Australia Clarinetist, artist, composer, lecturer; st. Canberra, USA, Melbourne; awards, grants. Works: chamber, multimedia, theatre. Style: unique combinations of performance, improvisation, visual, acoustic, and electronic elements. A Mode in a Valley (AusMC 2000) 4', 7p. Atonal, angular, wide range of changing dynamics, fast moving patterns, consecutive chords (Carrigan 2002, 43). Early Adv. [AusMC, Carrigan]

Calame 35 BURRELL, Diana (1948- ) England Violist, teacher, composer; st. Cambridge U.; largely self-taught in composition; commissions. Works: orchestra, vocal, theatre, chamber. Style: wide range of sonorities and harmonies, clearly defined structures that begin with idea of a visual form. The Little Bear in “Spectrum 2: 30 Miniatures for Solo Piano,” comp. Meyers (ABRSM 1999/ILL) lp. Bitonal, gently dissonant, with occasionalmajor triads; spare texture, hands close together, waltz time. No.3 from “Constellations” (United Music 1998). Early Int. [ABRSM, Cohen, Fuller, NG, Pendle, score, S&S] BUSCEMI MONTALTO, Margherita (20th c.) Italy Composer. Works: piano. Primi Passi per pianoforte (Bèrben 1986). Six character pieces for teaching: Sonatina; Minuetto; Piccolo Valzer; Barcarola; Piccola Melodia; Serenata Araba. Late Elem/Early Int. Sei Acquarelli (Bèrben 1983). 6 teaching pieces. Early Int. [Cohen] BUTLER, Jean (20th c.) USA African-American pianist, teacher, and composer in both classical and jazz idioms; st. Oberlin, Dalcroze School, Howard U.; taught at Levine School, Washington, D.C. Works: band, vocal, flute, piano solos and duos. Style: emphasis on rhythm, motion, improvisational quality (Walker-Hill 1992, 26). Maria’s Rags (1985) 6:09. 2pf duet. 2 movements. Dedicated to, and recorded by, Leanne Rees and Stephanie Stoyanoff: Music By American Women Composers (Bravura BR 1001, 1988). Also for 2 pf: Dance Suite; Mermaid’s Aria. [Walker]

C CALAME, Geneviève (1946-1993) Switzerland Concert pianist, composer; st. Geneva Cons., Accademia Chigiana, Stockholm, Paris, USA; prizes. Works: orchestra, chamber, voice, ballet, electronic, multimedia. Style: instrumental timbres sounding over slow-moving harmonies. Swing, in “CH Piano: Zeitgenössische Schweizer Klaviermusik” (Nepomuk 1987) 2p. Bell timbres ring out in sonorous single tones over a pedaled ostinato bass. Int. See also: Oniria (Geneva: A.R.T.), for pf & tape. [Cohen, K800, KOM, NG, S&S]

36 Calandra CALANDRA, Matilde T. de (20th c.) Argentina Aire de Zamba (Ricordi 1950/ILL), 2p. Elegant and graceful “scarf dance;” sinuous melody sweetly harmonized, characteristic samba rhythm. Int. [Lorenz] CALCAGNO, Elsa (1910- ) Argentina Pianist, composer, writer; st. Buenos Aires Cons. Works: orchestra, chamber, piano, vocal, ballet, theatre. Style: Late Romantic genres, infused with newworld rhythm and color; attractive, pianistic, skillful. Cinco Preludios (Ricordi Americana 1950/ILL) 11p. 5 colorful, pianistic pieces based on Argentine folk song. Vidalita: an Indian Carnival song. Estilo: in alternating sections. Two Pampeanos: songs of the plains. Zamba: a samba. Two are for LH alone. Late Int/Early Adv. Intermezzi 1-3 (Ricordi 1962/ILL). Three contrasting dramatic sketches, pub. singly: Allegro con brio e rubato (7 pp); Andante non tanto e nostalgio (6 pp); Mosso maestoso e appassionato (10 pp). Early Adv. Los Naranjales: Aire de Zapateado del Litoral (Ricordi 1958/ILL) 2p. A cheerful dance song from the coast, with accents mimicking the heelstamping rhythm. Int. Milonga Estilizada (Ricordi 1952/ILL) 4p. Colorful, rhythmic tango in c#. Int/Late Int. Milonga Pampeana (facs. score, ILL) 4p. Dramatic tango, e minor. Int/Late Int. Valle de Zonda: Cueca (Ricordi 1953/ILL) 2p. Popular Latin American dance for two; rather like an accented tarantella. Int. Zambita (Ricordi 1947/ILL) 2p. Charming “little samba” in 6/8, reminiscent of a Neapolitan song. Int. Also: Poema Intimo (1937); Suite Infantil (Randolph 1966); Doces Preludios (1940); Variaciónes Clasicas; Sobre un Temade la Llanura para le Mano Izquerida Sola (Ricordi 1942). [Boenke, Cohen, Lorenz, Meggett] CALLAWAY, Ann (1949- ) USA Composer; st. Peabody Cons., Smith Coll., U. Pennsylvania with Crumb, Rochberg. Works: chamber, vocal. Scores: see American Music Center, American Women Composers Library. Theme and Seven Variations (1972). Uses 12-tone row, but is not strictly serial. Theme divides into 4 parts: 1st part states a single rising line; 2nd part introduces contrasting texture, harmonics; 3rd section, a single falling line, is a mirror inversion of the 1st; last section interjects staccato notes reminiscent of 2nd part (from liner notes, Rosemary Platt recording: Music By Women Composers, Vol.1 (Columbus: Coronet LPS 3105, 1980). [Boenke, Cohen]

Capdevila (i Gaya) 37 CALOÏANU, Luiza (1963- ) Romania/France Teacher, composer, philosopher; st. Bucharest, the Sorbonne; continuing doctoral research in the philosophy of music. Works: orchestra, chamber, vocal, teaching materials, arrangements. Toccata (Combre 1998) 13p. In the educational series “Arc en Ciel,” ed. Cottet. Quick, rhythmic, chromatic; 2nds, added-tone chords, staccatos, shifting accents/meters, contrasts in register, dynamics; mirror writing, double 8vas. Early Adv/Adv. Also: Sonata for 2 Pianos (1995). [Combre, score] CAMERON, Allison (1963- ) Canada Composer; st. Amsterdam, Toronto; founder, Toronto new music ensembles. Works: orchestra, chamber. Style: rigorous forms, instrumental colors. Corals of Valais (CMC 1997) 14p. Piano prepared with tin foil, machine screws. Soft, light, in changing meters, sparse textures, quintal chords, clusters, sustained tones but little pedal. Int. See also: 23 (CMC 1995); Semplice e Cantabile (1991); Three Shapes of the Sword (1999), prep. pf. [CMC] CAMPOS [Pires de Campos], Lina Pires de (1918- ) Brazil Pianist, teacher, composer; st. São Paulo with Guarnieri, Magdalena Tagliaferro; founded music school, 1964; jurist, national piano competitions. Works: orchestra, chamber, piano, guitar, vocal. Sete Variações: sobre o tema “Mucama Bonita” (Ricordi Brazil 1965/ILL) 5', 7p. 8-bar folk song [The Pretty Maid], 7 short figurational variations. Late Int/Early Adv. Variações Sobre Tema Brasileira 1975 (Vitale 1977/ILL) 6', 10p. Short Brazilian theme, eight contrasting variations. Early Adv. Also: Ponteio Nr.1 (Ricordi 1970); Valso 1; Circlo da Boneca (Ricordi Brazil); Acalanto (Vitale 1959); 5 Peças Infantis (1962); Ponteio Nr.2 (Ricordi/Vitale 1976); 3 Estorietas; Valsa Nr.2 (Ricordi/Musicalia). [Cohen (as Pires de Campos), FrMKassel, Hinsup, KOM, S&S] CAPDEVILA (I GAYA), Mercè (1946- ) Spain Pianist, teacher, composer; st. Barcelona Cons., Granada Phonos Laboratory with Brncic; workshops with Bernaolo, Nono, Guinjoan. Works: chamber, vocal, piano, electronic. Style: experimental. Diferents Temps i Nivells (A. Soler 1979) 12'. Prepared piano. Miratges (A. Soler 1980) 13'. Gramatges (1983). Pf & tape. [Cohen, 68CompCatalans]

38 Capers CAPERS, Valerie Gail (1935- ) USA African-American classical and jazz pianist, professor, arranger, composer; first blind student admitted to Juilliard; numerous commissions, honors, awards. Works: jazz ensemble, vocal works. Style: reconciliation of jazz and European classical styles. Portraits in Jazz (Oxford 2001). CD included. 12 first-rate teaching sketches illustrating styles of legendary jazz artists, authentic in idiom; some Afro-Cuban influence. Nos. 5, 6, 7 in “Black Women Composers: A Century of Piano Music,” ed. Walker-Hill (Hildegard 1992). Int. [Axford, Bauer, KOM, Patti, Walker] CAPUIS, Matilde (Margherita Mary) (1913-) Italy Organist, pianist, violinist, professor, composer; st. Venice, Florence, Siena; concertized with cellist U. A. Scabia; awards, prizes. Works: orchestra, chamber, organ, piano, vocal. Sei Preludi (Curci 1972/ILL) 16p. Six sad preludes, well written, tonal, late Romantic style. Lento e triste; Poco concitato; Moderato; Allegro moderato; Andante; Lento e mesto/allegro. Late Int/Early Adv 7 Schizzi (Curci 1976/ILL) 21p. Nice variety of appealing, etude-like sketches; melodic, skillful use of textures and registers; freely tonal with modes, accidentals. Late Int/Early Adv. Sonata in Mi Minore (Bèrben 1991/ILL) 23p. Tonal; shows influence of Beethoven, Brahms. Allegro con animazione: strong, stern theme, well developed; Adagio non troppo: sectionally contrasting figurations; Allegro assai: dramatic contrasts of meter, theme, tempo, dynamics. Early Adv. Also: Fiaba Armoniosa (Forlivesi 1955) 13p; Puppenmärchen. [Cohen, FrMKassel, Heinrich, HinSup, K800, S&S] CARIGNAN, Nicole (20th c.) Canada Professor, composer, musicologist, sociologist; st. U. Quebec, Montreal; writer on cultural diversity, world music, education. Works: orchestra, chamber, keyboard. Catorze Miniatures “Pour le Plaisir” (CMC 1991) 25p. 14 brief contemporary works; minimalist, with numerous exact repetitions of dissonant motivic fragments, extreme ranges. No.7: rhythms only, tapped on wooden piano case. “These miniatures are to be savored one by one like fine chocolates meticulously laid in a decorative box”—composer. Late Int.

Carr-Boyd 39 From Quiebra (CMC 1994) 10'. 2 mvts. Contrapunto: indeterminate sweeps of pitches in counterpoint against free passacaglia. Circulos, Rombos y Triangulos: hands, playing 3-note figures, express visual shapes in symmetrical contrary motion, then cross each other (Epstein review, IAWM Journal [2001] 7/1-2: 49). Motivations (CMC 1983) 11', 22p. Three works in 2/4, no tempo indications. Atonal, contrasting dynamics, registers, colors, sound layers; clusters, added-note chords, repeated single tones, quintal harmonies, melodic fragments. Early Adv. See also: En Miniatures (CMC 1991) 10'. May be same as above listing. [CMC, IAWM] CARLSON, Rosalind (20th c.) Australia Teacher, composer; interested in Australian works, link between composer and performer. Works: piano, piano method and exercise books (bio, descriptions: Carrigan 2002, 47-48). Five Concert Pieces (1990-92) 8'. The Galloping Horse; The Ice Skaters; The Graceful Ballerina; The Menacing Mosquito; The Babbling Brook. Three Australian Landscapes (Flexi-Fingers 1995) 4:15/8/6:35, 44p. Lengthy analytical notes. Platypus Prelude: Aeolian mode, inspired by a poem. Sun Dance Rondo: ostinato figures, inspired by midsummer (January) heat. Bird Calls at Sunrise, Before the Storm: in 4 sections, various birdcall motives. Int-Late Int. [AusMC, Carrigan] CARON-LEGRIS, Albertine (20th c.) Canada) Pianist, composer; st. U. Montreal. Works: piano, vocal. Poème Pastorale (BMI Canada 1950/ILL) 5p. A rustic vignette; gently arching main theme, both hands in treble a good deal. Int. Danse Rustique (BMI Canada 1947). [Cohen] CARR-BOYD, Ann Kirsten (1938- ) Australia Lecturer, writer, broadcaster, performer, composer; st. Sydney, London; awards, commissions. Works: orchestra, chamber, organ, piano, vocal. Style: eclectic elements, from ragtime to 12-tone serialism; individualistic timbres. Blues in Orange (Grevillea 1994) 3', 4p. Arranged from original trio version. Some improvisation, syncopations; large hand required. Int. Federation Rag (AusMC 2001). 7', 6p. Partner to Millennium Rag, below. Complex, nostalgic, expressive; leaping bass, thick textured melody, brilliant flourishes, consecutive chords. Adv.

40 Carvalho Grasstree Hill (Grevillea 1996) 3', 4p. Freely flowing RH melody over walking bass with large leaps; RH flourishes, ornamental passages; tremolos, repeated tones. Int. Listen (Hillside Press 1981) 29p. 17 short children’s pieces. Elem. Look at the Stars (Albert 1978) 32p. 14 imaginative, dramatic tone paintings of planets and moons. Large leaps, 8vas, syncopations, cross-rhythms. IntLate Int. Lullaby for Nuck (Albert 1976/ILL). Pf or hpd. Variety of textures, techniques: rapid alternations of single tones, trills, clusters, glissandi on keys and strings. Tone poem of a cat on the keyboard, perhaps. Adv. Maladies of Love, in “Australian Piano Miniatures” (Red House 1998) 1:15. Dark, with increasingly complex harmony as piece progresses. Int. The Millennium Rag (AusMC 1999) 4', 5p. Arr. of work for guitar orchestra. Short, tonal, LH leaps, double consecutive octaves, expressive middle section. Late Int. Phoebe, in “Australian Piano Music,” Vol.4, ed. Mays (Currency 2000). Int. Prelude, in “Bicentennial Piano Album” (Allans 1988) 5', 6p. Rhythmic, energetic, fast, changing LH pulse, articulations, large leaps. Late Int. Stars (AusMC 1978) 14', 18p. Theme (like Aboriginal melodies), is structured on descending half steps; cross-rhythms, large leaps, clusters, agile ornamental sections, challenging dynamics. Early Adv. (Above descriptions: Carrigan 2002, 49-53). See Australian Music Centre for many more available titles. [AusMC, Boenke, Cohen, Heinrich, K800, LePage3, scores, S&S] CARVALHO (-Murici/Muricy), Dinorá Gontijo de (1904-1980) Brazil Concert pianist, conductor, professors, one of the foremost composers of Brazil; founder-director of first women’s orchestra in South America; honors, awards, prizes. Works: orchestra, piano (80 works), vocal, ballet, theatre. Style: nationalist, later used complex rhythms, individualistic timbres. Cavalinho de Piche [The Little Tar Horse] 1955 (Ricordi Brasileira) 2p. Picturesque sketch in 6/8 trotting rhythm (Hinson 1979, 66). Int. Contemplação, in “Neue Brasilianische Klaviermusik” Vol.1, ed. Ferreira (Breitkopf & Härtel 1978/ILL). 3:30, 3p. Unusual and elegant; a simple, nostalgic cantilena, modal and freely chromatic. Late Int. Jogos no Parque D. Pedro II (Vitale) 11'. Quedas de Iguaçu: Sonata Nr.1 (Napoleão). O Burrinho Teimozo (Pan American Union). Children’s piece. Suite 1968 (Ric BR) 8'. March; Angústia; Solidão; Polka; Allegro brilhante. Tema e Onze Variações (Napoleão/ILL) 13p. Simple 8-bar children’s song, skillfully transformed by 20th c. harmonies, variety of meters, accompaniments; not unlike Britten’s folk song settings. Early Adv. Valsa No. I (Mangione 1948/ILL) 2p. Modal, chromatic. Late Int. Further listings: see Cohen. [Cohen, HinSup, FrMKassel, K800, KOM, Luper, NG, SCB, S&S]

Catalanotto 41 CASELLA, Jane (1960- ) USA Violinist, composer; st. Eastman School, SUNY-Oswego, Juilliard; member of the Knoxville Symphony. Works: orchestra, chamber, piano. Style: eclectic. The Middle of Fortune (Arsis 1997/ILL) 4', 9p. Fresh, appealing sketch of “the ever-changing influx of moods and energies which have characterized my life . . . ending on a happy and climactic note after the tumultuous middle section” (composer). Adv. [Arsis] CASKIE, Helen (1930- ) New Zealand Composer, teacher, conductor; st universities of Canterbury, Otago; awards, commissions. Works: ensembles, soloists. Style: primarily educational. Most scores av. through SOUNZ (Centre for New Zealand Music): Christmas Puzzle (1996) 3'. Late Int/Early Adv. Four Seasonal Nocturnes (1994). Winter; Spring; Summer; Autumn. Performed and broadcast many times. Late Int/Early Adv. Landscape No. 1: The Dark Sky (1983) 5'. Inspired by scenery near Mt. Ruapehu, a volcano, in a stormy mood. Adv. Remembering Emma (1993) 2'. Int. Scherzo (1995) 4'. Int. Two Preludes (1982) 6'. The Question; Aria di Bravura. Int. Two Sketches for Piano (2002) 4'. Wings; Winds. Int. [Boosey, SOUNZ] CASSIAN, Nina (1924/1930-) Rumania Poetess, prize-winning translator, composer; st. Bucharest University and Conservatory. Works: orchestra, chamber, piano, vocal. Scherzo, in “Neue Rumänische Klaviermusik,” Vol.1, ed. Hrisanide (Hans Gerig 1971) 3p. From 7 Caprices. Quirky, sporadic melody over rocking accompaniment in 5/8; modal, colorful chromatics. Late Int. See also: 8 Préludes and Inventions; 7 Caprices, Toccata and Sonatina. [Cohen, Hinson2 (collections), SCB] CASTRO-ROBINSON, Eve de: see DE CASTRO-ROBINSON, Eve CATALANOTTO, Marisa (20th c.) Italy In Modo Burlesco (Curci 1974) 4p. Con umorismo, 4/8. Clownish, mocking, sprightly; grace notes, short slurs, staccatos, accents; tonal with chromatic colors. Int/Late Int. Piccola Toccata (Curci 1974) 5p. Ternary, in e (lyric center section in G); hands alternate in continuous 16th-notes. Attractive, pianistic. Int/Late Int. [HinSup]

42 C'ebotaryan Č‘EBOTARYAN [Chebotarian, Tschebotarjan], Gayane (Movses) [Gajenah Mowsessowna/Movsesovna] (1918-1998) Soviet Armenia Pianist, composer, musicologist, professor; st. Leningrad Cons.; researched Armenian music, Khachaturian; honors, awards. Works: orchestra, chamber, piano, vocal. Style: nationalistic, neoclassical, restrained melancholy pervades many works (Sadie and Samuel 1995, 111). Präludium, in “Klavierstücke Sowjetischer Komponisten für Kinder,” Vol.3, ed. Roisman (Peters 1973/ILL) 2p. A lovely little elegy in b-flat minor, simple, sad, and lyric. Int. Works for piano, pub. Haypethrat, Sovietskiy Kompozitor: Concert Etudes (1963); Six Preludes (1948); Sonata (1943); Polyphonic Album for Youth (1972); Posvyashchenia [Dedication] (1972); 12 Pieces on Popular Themes (1991); Variations on the Theme of an Armenian Folk Song (1939). [Cohen, Hinsup (collections), NG (as Chebotarian), score, S&S] CECCHI, Gabriella (1944- ) Italy Pianist, teacher, composer; st. Lucca, Genoa, Siena; Athena prize, 1988. Works: chamber, experimental, multimedia, complex structures. Intersezioni (1982) (Edipan Rom EP 7379) 9p. Also: 5 Carte da Gioco (1987), pf, reciter, mime; Riferimento (1989), pf & reciter. [FrMKassel, KOM, S&S] CECCONI-BATES, Augusta (1933- ) USA Organist, conductor, professor, composer; st. Syracuse, Cornell universities; residencies. Works: orchestra, chamber, piano, vocal. Available from composer (Zaimont and Famera 1981, 198): Four Preludes (1962) 9'. Adv. Three Pieces About Piano (1978) 12'. Adv. Also: Petite Ragtime Rhapsody (1978); Piano Pasticcio (1978); Two Suites. [Boenke, Cohen, Heinrich, SAI, Zaimont] CECCONI-BOTELLA, Monic (Monique) Gabrielle (1936- ) France Pianist, professor, composer; st. Paris Cons. with Duruflé, Rivier; Prix de Rome, 1966; Conservatoire professor from 1982. Works: orchestra, chamber, piano, vocal, opera, theatre, multimedia. Style: theatrical, pictorial; use of musique concrete; subtle, occasionally humorous. Principal publishers: Editions Françaises, Leduc, Rideau Rouge. Listed for pf: Courtepointes, 3 short pieces; Ellipseis (1967). [Boenke, Cohen, NG, S&S]

Chen Yi 43 CEFF, Linda (20th c.) Australia Pianist, singer, musicologist, teacher, composer. Style: experimental, computer music, electroacoustic, multimedia. Prelude, in “Australian Piano Miniatures,” Vol.1 (Red House 1991) 1:22. Appealing exploration of sonorities, good contemporary teaching piece; plucked strings, meter changes, alternate notation, octave stretches. Early Int. (Carrigan 2002, 54-55). [AusMC, Carrigan, score] CHAMBARD, Nicole (20th c.) France 7 Petits Regards Sur La Saint Vierge (Lemoine 1997) 16p. From score notes: 7 musical meditations on the life of Mary. Contemporary writing: clusters, unmetered sections, changing meters, chromatic colors; pulses, rhythms; sequences organized by biblical numbers 3, 7, 12. All pieces revolve around the note “si” (b natural) for “Si-lence, the source and cradle of music.” Pieces may be played singly, as a cycle, or as 3 subcycles of progressive difficulty. Early Adv. [Presser, score] CHEBOTARIAN, Gayane: see C’EBOTARYAN CHEN YI (1953- ) China/USA Violinist, prolific composer, professor; st. Beijing, Columbia U.; many awards, prizes, residencies. Works: orchestra, chamber, piano, voice. Style: powerful, imaginative, masterly combinations of Eastern and Western idioms. Ba Ban, in “The Carnegie Hall Millennium Piano Book” (Boosey 2000) 5:57, 13p. Includes CD by Ursula Oppens. Folk materials integrated with virtuoso European pianism; added 12-tone row, ascending 5-note motive; four sections. Effects include impressionistic washes of color, Chinese gongs, and grand octaves à la Tchaikovsky. Adv. Duo Ye (Presser 2000) 6', 8p. First Prize, 1985 China National Composition Competition. Based on traditional dance in which a lead singer extemporizes music, words, tempo, while others dance harmoniously in a circle around a bonfire. Adv. Guessing (Presser 2000) 5', 6p. Comm. as required repertoire, 1990 Renée Fischer Competition (ages 14-18). Based on humoprous rustic folk song; developed to display basic piano techniques. Early Adv. Two Chinese Bagatelles [Two Piano Solo Pieces for Children] (Presser 2000) 3', 3p. Small Bejing Gong; Yu Diao. Attractive, colorful contemporary sketches based on Chinese materials. Late Int. See also: Variations on the Theme of Awariguli (1979). [Hinson, IAWM, NG, Pendle, Presser, S&S]

44 Cimaglia de Espinosa CHLONSKY, Verdina: see SHLONSKY, Verdina CIMAGLIA DE ESPINOSA, Lia (1906- ) Argentina Concert pianist, lecturer, composer; st. Buenos Aires, Paris with Philipp, Nat, Cortot. Works: chamber, piano, vocal (over 40 songs), theatre. Recuerdos de Mi Terra (Ricordi Americana 1942/ILL) 16p. A suite of “souvenirs,” skillfully combining early 20th c. techniques with the rhythms and colors of Argentina. Evocación Criolla: wistful evocation of native song, with parallel chords, non-dominant 9ths. Danza: jubilant dance, peppered with dissonant 2nds. Milonga: the Buenos Aires forerunner of the tango. Zapateado: accents and hemiolas mark a heelstamping solo dance. Early Adv. Also: Cajita de Musica (1912); Improvisacion (1911); Suite Argentina (1937); Tres Preludios in Homage of Debussy (1938); Triste y Danza (1940). [Cohen] CINTOLESI, Liliana (1910- ) Italy Pub. Ricordi Milan: Alla Marcia; Alla Mazurka; Andantino; Berceuse; Intermezzo; Tarantella. [Cohen] CLARK, June (1933-) England Pianist, author, teacher, composer; st. RAM-London. Works: piano, vocal, sacred. Style: excellent teaching pieces (Concert Guild of Great Britain). Toccata Brilliante (Ascherberg 1963/ILL). Perpetual motion piece: alternating hands in scurrying 16ths, occasional glissandi, wide leaps; ternary, freely tonal. Int/Late Int. Also pub. Chappell/Ascherberg, 1960s: Holiday in the Holy Land; King Arthur Suite; March of the Astronauts; Two Pieces. [CGGB, Cohen, Heinrich] CLEARFIELD, Andrea (20th c.) USA Composer; grants, prizes, fellowships, commissions. Works: orchestra, chamber, chorus, solo instruments, dance. The Crying Queen (AMC 1993) 5'. [AMC] CLEMENT, Sheree (1955- ) USA Composer; st. Peabody Cons., U. Michigan, Columbia U.; fellowships, awards. Works: orchestra, chamber, electronic. Style: atonal, virtuoso, complex, crowded with colorful events.

Codina 45 4 Preludes for Piano (facsimile score 1978) 19p. Contemporary, virtuosic. Proportional notation, unmetered or in changing meters; trills, repeated 16th-note figures in contrary rotary motion, urgent duplets/triplets in close position; dramatic dynamic contrasts. 1. Fluidly. 2. Quarter=120. 3. Fast; savage. 4. Precisely; quarter=120. Adv. [AMC, S&S] CLERCK, Albertine de: see COLIN, Jeanne CLEVE, Cissi (1911-1993) Norway Ballerina, opera singer, composer; sang in Vienna, Nuremberg opera houses; composition prizes. Works: orchestra, piano. Aquarelle (Musikk-Huset 1980) 2p. Andantino, 4/4, B major; late Romantic prelude-intermezzo. Late Int. Legende (Musikk-Huset 1983) 2p. 4/4, E minor: 2-voice song without words; French-sounding. Int. Nocturne (Musikk-Huset 1978) 3p. See Norway MIC, pub. Musikk-Huset: Drømmen; Kjaerteng; Månesølv; Méditation; Solgløtt; Søljevalsen; Valse Romantique; Vårlengsel; Vemod. Pub. Norsk Notestikk: Tema con Variazione; Valse Lyrique. [Cohen, FRK, FrMKassel, KOM, MIC Norway] COATES, Gloria Kannenberg (1934/38- ) USA/Germany Prolific composer, lecturer; st. Louisiana State U., Columbia U., Mozarteum; awards, commissions; lived in Germany 1969-89. Works: orchestra, chamber, vocal, ballet, theatre, electronic. Style: dramatic coloristic effects, experiments in sound balanced by strong sense of form. Tones in Overtones (AMC 1971-72) 14'. Prime; Triads and Clusters; Scales Open and Closed; Tetrachord. On CD Bayer Record 100 255. Also: Colony Air (1982); Five Abstractions (Sonotone 1963); Structures (1972). [AMC, Boenke, Cohen, Heinrich, K800, LePage3, NG, Sperber, S&S] CODINA, Maria Assumpta (1943- ) Spain Pianist, teacher, composer; st. Barcelona Cons., Madrid; teacher, conservatories of Barcelona and Badalona; grants. Works: chamber, guitar, piano. Sonatina per a un Estiu (A. Barberà 1979) 10'. [68 CompCatalans]

46 Cody CODY, Judith (1943- ) USA Engineering drafter, author, lecturer, composer; st. UC-Berkeley, Foothill Coll. (California); awards; author, Vivian Fine: A Bio-Bibliography (NY: Greenwood 2001). Works: chamber, mixed media, guitar, voice, opera. Scores listed with American Music Center: Whale’s Song (1986); Swan River (1986); Two Songs (1999); Heart-Blood-Heart (1999); Death of a Small Animal (1999); Earth of Ukraine (1999); Theme and Variations Op.27 (1978); Three Patterns Op.29 (1978). [AMC, Boenke, Cohen] COLE, (Frances) Ulric (1905-1992) USA Pianist, editor, teacher, composer; st. Juilliard, with Boulanger; editor, Time Magazine; awards. Works: orchestra, chamber, piano. Style: pandiatonic harmony, formal elegance, rhythmic forcefulness (Sadie and Samuel 1995, 125). Metropolitones (Schirmer 1943/ILL) 11p. Published singly, three jazzy pieces which could have stepped out of a Fred Astaire movie. Harlem Meander: an easy-going stroll. Lullaby in the Park: gently rocking 12/8. Man-About-Town: carefree, with a bouncy swing. Late Int. Purple Shadows (Schirmer 1928/ILL) 3p. Late Romantic sketch of summer twilight, lyric and soporific. Int/Late Int. Vignettes I, II, III [Three Vignettes] (J. Fischer 1936/ILL) 15p. Pub. singly. More adventurous rhythmically, tonally, these require good staccato technique, dynamic control, sonorous chords, 8vas. Early Adv. Also: Above the Clouds; Fantasy Sonata; The Prairie Hobgoblins; Six Tunes; Sketches in Black and White (pub. J. Church, 1920s/30s). [Axford, Bauer, Boenke, Cohen, Friskin, Meggett, NG, S&S] COLERIDGE-TAYLOR, Avril (Gwendolen) [pseud: Peter Riley] (1903- ) Great Britain Pianist, conductor, composer; daughter of composer Samuel Coleridge-Taylor; st. Trinity Coll.; founded orchestras, ensembles. Works: orchestra, chamber, vocal, piano. Manuscript facsimiles av. Boosey & Hawkes, 295 Regent Street, London, England W1R8JH; tel: (71)-580-2060. Contained in Boosey Box 2928. Allow several months for delivery (Walker-Hill 1992, 30 and 1995, 10). All Lovely Things (1964); Caprice (1931); Concert Etude; Evening Song; Four Characteristic Waltzes (Novello); The Garden Pool (1964); Historical Episode; In Memoriam: Largo (1980); Just as the Tide Was Flowing: Berceuse, Nocturne (1948); Meditations I, II; My Garden; Nocturne (Halston 1978) pf/hpd; For CF Colt, Esq.; Pastorale (1949), Suite No.3; Rhapsody: Per Adua ed Astra Op. 174 (1940s); Sussex Landscape (1964); Traumerei (1978); Two Short Pieces for Piano: Allegro, Lento; The Weeping Flower: A Legend (1964). [Boenke, Cohen, CGGB, Heinrich, S&S, Walker]

Connors 47 COLIN (-De Clerck), Jeanne (Albertine) (1924- ) Belgium Teacher, self-taught composer; st. Royal Cons.-Brussels; solfeggio professor 1946-77, Anderlecht Music Academy; m. composer Georges Colin. Works: orchestra, chamber, piano, voice. Style: atonal. Deuxième et Troisième Humoresques (CeBeDeM) 10p. Two playful sketches, unmetered but rhythmic, dissonant harmonies, variety of textures. No.2, Giocoso: bumptious, jolly. No.3, Allegretto: lighter, more graceful. Early Adv. Leitmotiv Op.29 (CeBeDeM 1979) 16p. Contemporary, idiomatic. Lento, with many tempo changes; clusters, repeated tones, contrasting registers, textures, dynamics, and motives. Adv. Première Humoresque (CeBeDeM 1991) 5:30, 7p. Proportional rhythms, tempo changes; 12-tone writing, 2-vc ctpt with occasional double-note chords; some imitation, mirror-writing. Early Adv. Rythmes Op.34/1-2 (CeBeDeM 1985). Andante (5:30, 11p): 6/8, playful rhythms, tritones, imitative, double 8vas, sectional textures. Giocoso (4', 9p): scherzo in 2/4, LH staccato 7th chords, 8vas, playful 16th-note runs; syncopated figures in RH. Early Adv. [Belgian MIC, Boenke, CeBeDeM, Cohen, S&S] COLLEY, Constance (1954- ) England/Australia Singer-songwriter, composer, ecology activist; st. Sydney, California, and privately with Madden, Lobb. Works: chamber, voice, piano, theatre. Bring Down the Sky (AusMC 2000) 7', 11p. One mvt, many sections marked by changes in tempo, character. Ostinato patterns, repeated flourishes, fast, brilliant writing, double consecutive octaves, large dynamic range (Carrigan 2002, 65-66). Adv. Franklin River (AusMC 1983). Av. from composer through Australian Music Centre. [AusMC, Carrigan] CONNORS, Carolyn (20th c.) Australia Composer, keyboardist, vocalist specializing in extended techniques, performs extensively in Australia and abroad. Works: collaborative, improvisational. My Hoss #2, in “Australian Piano Miniatures,” Vol.3 (Red House 1998) 1'. Changing quarter-note meters, very fast. In 4 voices: sustained S-B parts are given; inner voices are staccato notes/clusters/chords improvised on set rhythms, played with inner fingers of both hands. Int. [AusMC, Carrigan, score]

48 Cooney COONEY, Cheryl Lee (1953- ) Canada Pianist, professor, composer; st. universities of Alberta, British Columbia, Michigan State, Mozarteum. Works: orchestra, chamber, vocal, multimedia, theatre. Dance Suite (CMC 1986) 13'. Prem. 2-8-87, Red Deer College, Alberta. Three Progressions for Solo Piano (CMC 1981) 13'. Prem. 4-16-81, Vancouver. Shapes (1994). 2 pf & percussion. [CMC, Cohen] CORY, Eleanor (1943- ) USA Editor, professor, composer; st. New England Cons., Columbia U.; awards, grants, commissions. Works: orchestra, chamber, piano, vocal, electronic. Style: atonal, lyrical, ear for instrumental sonorities (Sadie and Samuel 1995, 128). Apertures (Phantom Press 1989/AMC) 12', 21p. Atonal Schoenbergian vignettes. Contrasting textures, extreme registers, complicated rhythms. On playlist of IAWM Journal 7/1-2 (2001): 54. Adv. Combinations (AMC 1970) 11'. Crystals (AMC 1989). 4'. Play Within a Play for Solo Piano (AMC 1996, rev. 1998) 14'. Ternary; abstract style frames a more spacious, consonant theme & variations center with allusions to jazz styles of Bill Evans, Bud Powell (APNM Journal 2002, 12). See also: Caroline’s Concert, 3 short pieces; Piece for Rebecca (1979); Suite a la Brecque(1980). [AMC, APNM, Boenke, Cohen, IAWM, S&S, Tfront] COULOMBE SAINT-MARCOUX, Micheline: see SAINT-MARCOUX, Micheline Coulombe COULPIED-SEVESTRE, Germaine (20th c.) France La Neige Tombe and Le Jardin Endormi Sous La Neige, in “Musique des Jours Heureux” Vol.1, ed. Gabus (Lemoine 1981) 2p. Appealing. 1. Snow falls gently in a monochromatic murmur; modal, sparse texture, LH melody crossing ostinato RH. 2. The garden (LH melody) sleeps under the snow (changing double notes in RH); dissonant, modal. Elem. [Hinson (collections)]

Coulthard 49 COULTHARD, Jean (1908-2000) Canada Pianist, professor, composer; st. RCM-London with Vaughan Williams, Juilliard; numerous honors, awards. Works (over 350): orchestra, chamber, piano, voice, opera, theatre, electronic. Style: imaginative, finely crafted, traditional forms, tonal, polytonal/chromatic coloring; later works experiment with other 20th c. devices (Sadie and Samuel 1995, 128). Aegean Sketches (BMI 1964/ILL) 14p. Three neoimpressionist tone paintings. The Valley of the Butterflies: fluttering 16th-note figures. Wine Dark Sea: lyric barcarolle with trills. Legend, The Palace of Knossos: resonant chords lead to a climax (Hinson 2000, 225). Early Adv. The Daredevil (BMI 1965/ILL) 3p. Allegro scherzando. Pleasant, effective use of familiar harmonic materials in new ways; staccatos, chromatic, grace notes; rotary motion. Av. in “Canadian Festival Album,” Vol...2. Int. Devil’s Dance, in “Fourteen Pieces by Canadian Composers” (Frederick Harris 1955/ILL) 2pp. Feverish, dissonant dance in 12/8, accents. Early Adv. Four Etudes for Piano (BMI 1952/ILL) 16p. Pub. singly. Attractive explorations of technical problems: incessant RH triplets vs. contrasting LH figures; varying subdivisions of the beat; bravura syncopations; and lastly, passionate emotions in a compact framework, reminiscent of Brahms Capriccios (Gillespie 1965, 389). Early Adv. Four Piano Pieces [Four Pieces to Jane] (BMI/ILL) 7p. Little Song of Long Ago; Pleading; The Spies; On the Lawn. Excellent contemporary teaching miniatures, colorfully contrasting. Int Image Astrale (Avondale 1988/ILL) 10:15, 18p. Recorded by Charles Foreman on Ballade CD, Toronto: Centredisc, 1991. Adv. Noon Siesta (BMI 1965/ILL) 2p. Lento poco rubato, g minor; lovely, linear twovoice writing; beats alternately subdivided in 2, 3. Int. Pieces for the Present (Waterloo 1974/ILL) 22p. Nine contemporary teaching sketches; varied, colorful, neoimpressionist. Int. Three Preludes (BMI 1959) 7p. Delightful pieces, published singly. Leggiero: delicately rippling arabesques. Torment: toccata-like passages alternate with recitativo in a dialogue. Quest: duple vs. triple subdivisions, passionate octaves, accents (Gillespie 1965, 389). Late Int/Early Adv. Sketches from the Western Woods (CPE 1970/ILL) 24p. Three idyllic impressions: Revelation in the Forest; The Silent Pool; Elements. Adv. Sonata (BMI Canada 1953/ILL) 25p. Three grandly conceived movements; tonal, expressive contrasts, well constructed. Adv. Variations on Bach (Novello 1972/ILL) 10', 12p. Straightforward 16-bar theme on Bach’s name, 7 formal/textural variations. Meditative, neo-romantic, chromatic; contrasting playful and dramatic interludes. Adv. White Caps (BMI 1955/ILL) 4p. Fluent, pianistic, vigorous toccata. Sharply articulated RH melody with syncopations, rests vs. ostinato 16th-note accompaniment; freely tonal. Int/Late Int. Also: Image Terrestre (Avondale); Requiem Piece: Threnody; Piano Sonata II; Three Dances for Piano.

50 Cox Anthologies: see Music In Many Forms [Student’s Guide to Musical Forms] (Waterloo); Music of Our Time, 8 vols. (Waterloo); Pieces for the Present (Waterloo); Canadian Festival Albums (BMI); Royal Conservatory of Music series; Early Pieces for the Piano (Alberta Keys). Dissertations on Coulthard: see Vivienne Rowley, Boston University, 1973; Barbara Lee, Catholic University, 1986; Glenn Colton, University of Victoria, 1996. See also William Bruneau: “In Memoriam,” IAWM Journal 6/3 (2000): 23. [Albergo, AMT, Axford, Bakers92, Bauer, Boenke, Brisson, Burge, Butler, CMC, Cohen, Ganz, Gillespie, Gordon, Heinrich, Hinson, Kirby, Magrath, Meggett, Newman, NG, Patti, Pendle, RCM, S&S, Uszler] COWLES, Darleen: see MITCHELL, Darleen Cowles COX, Cindy (1961- ) USA Pianist, composer, professor; st. Texas Christian U., Indiana U., with Lili Kraus, Donald Erb; fellowships, awards, commissions. Works: chamber, piano, electro acoustic. E-mail: [email protected]. The Blackbird Whistling/Or Just After (AMC 2001) 4', 6p. Comm. by pianist Sarah Cahill, for a concert in memory of Ruth Crawford. Charming, pianistic, tonal with impressionist effects. Repeated tones of the blackbird form the motive; sostenuto pedal creates “afterglow” resonance around the sound. Late Int/Early Adv. Darsana I (1993) 9'. For disklavier. Darsana II (AMC 1994) 9'. Prem. U. of New Mexico by composer. Hierosgamos: Seven Studies of Harmony and Resonance (2003) 25-30'. Virtuoso contrasting etudes addressing harmonic resonance and the piano as harp/percussion instrument. Freely tonal/modal over wide range; continuous, but single movements may be excerpted. Adv. See also: Four Studies of Light and Dark (AMC 1989), pf & percussion. [AMC, Cahill, Cox] CRAIG, Kathy (20th c.) USA Concert pianist; practicing dentist; native of California. Romantic Rag, in “The Ragtime Current,” comp. Rudi Blesh (Marks 1976/ILL) 5p. Mixture of Romantic and ragtime idioms. Late Int. [Hinson, score] CRANE, Joelle Wallach: see WALLACH, Joelle

Curubeto Godoy 51 CRAWFORD SEEGER [Seeger], Ruth (Porter) (1901-1953) USA Pianist, educator, musicologist, composer; st. American Cons.; first woman to win Guggenheim Fellowship; gathered, transcribed and arranged thousands of American folksongs. Works: orchestra, chamber, piano, vocal. Style: innovative, dissonant counterpoint, irregular rhythms, extended serialism; impeccable folk arrangements (Sadie and Samuel 1995, 130-133). Preludes for Piano 1-5, ed. Rosemary Platt (Casia/Hildegard 1993) 22p. Nos.1, 2, 4: atmospheric, Scriabinesque, many major sevenths. No. 3: brief, graceful scherzo, alternating open fifths; atonal (Friskin and Freundlich 1973, 259). No.2 included in “Historical Anthology of Music by Women,” ed. Briscoe (Indiana Univ. Press 1987). Early Adv. Four Preludes for Piano Nos. 6-9 (Merion/Presser 1941/ILL) 14p. Strong, dissonant, widely contrasting emotions, individual. Andante mistico; Intensivo; Leggiero; Tranquillo. Early Adv. Nineteen American Folk Songs for Piano (Schirmer/Hal Leonard 1995/ILL), 32p. Arranged in 1936-38; original foreword by Ruth Crawford Seeger, addendum by Peggy Seeger. Spare, tasteful, colorful arrangements which capture the individual spirit of each song. Elem. Piano Study [Etude in Mixed Accents] (New Music 1930/Presser 1931/ILL) 4p. Toccata: hands doubled at the octave in continuous, furious 16th notegroups of variable length; performer chooses dynamic level. Sinuous, chromatic, extended range, influenced by Bartok, Scriabin. Early Adv. Kaleidoscopic Changes (Arsis 1998/ILL) 15p. Theme, six contrasting variations ending with a fugue; chromatic, carefully worked out. Early Adv. See Judith Tick: Ruth Crawford Seeger: A Composer’s Search for American Music (OUP, 1997); see also Tick’s Article of the Year, American Music Teacher (Oct/Nov 1997, repr. June/July 2001). [Agay, AMT, Boenke, Brisson, Burge, Cohen, Friskin, Faurot, FRK, Fuller, HAMW, Hinson, K800, Kirby, KOM, LePage, Meggett, NG, Pendle (as Seeger), Presser, sdiego, S&S, Tick] CRUZ, Zulema de la: see LA CRUZ, Zulema de CURUBETO GODOY, María Isabel (1904-) Argentina Pianist, teacher, composer; st. Spain, Rome, Vienna, La Plata National U. Works: chamber, piano, opera, theatre. Dolora (Ricordi 1927/ILL) 4p. Sweet, sorrowful elegy in memory of her sister. Expressive, sustained, lyric; could easily be a guitar piece. Late Int. Estudio Melódico (Ricordi 1925/ILL) 8p. Fluid and charming, a late-Romantic nocturne in 3/8. Late Int. Also: Ensueno y Plenitud; Evocando a Beethoven. Llamamiento; Passan las Mascaras; Sonatas; Dos Nocturnos para Piano (Ricordi 1927). [Cohen]

52 Dalbert

D DALBERT (Roth-Dalbert), Anny (1900- ) Switzerland Pianist, choral conductor, singer, composer; st. Zurich Cons. Works: chamber, piano, vocal. Kleine Stücke für Kleine Leute (Hug 1958/ILL). 14 short teaching pieces. Elem. See also: Reigen/Impromptu (1983). [Cohen] DANFORTH, Frances Louise Adams (1903- ) USA Harpsichordist, clavichordist, pianist, teacher, composer; st. Michigan universities; active, honored by teachers’ organizations. Works: chamber, piano. Scores av. from composer (Zaimont and Famera 1981, 199, 333): Karelian Light (1979) 10'. Level 2. Suite for Piano (1972) 10'. 1st prize, Mu Phi Epsilon competition. Adv. [Boenke, Cohen, Heinrich, Zaimont] DAVIDSON, Tina (1952- ) USA Pianist, lecturer, composer; st. Bennington Coll. with V. Fine, S. Glickman (q.v.); awards, commissions, fellowships, residencies. Works: orchestra, chamber, vocal, piano, electroacoustic, theatre, opera. Style: linear, influenced by Cowell, Crawford, Brant (Sadie and Samuel 1995, 136). Day of Rage (AMC 1984) 8'. I Am the Last Witness (AMC 1984) 8'. LH alone. Prem. Belgium by composer. Mango Songs (AMC 2000) 15'. Pf, or pf & reader. 6 pieces based on Regie Cabico poem. Seven Macabre Songs (AMC 1979/ILL) 12p. Inspired by Nemerov poems. Extended techniques: approximate pitches, silently depressed keys, direct-string effects, tone clusters, harmonics, arm glissandos. Early Adv. Star Myths (AMC 1987) 12', 5p. Comm. Millersville U.; review, AMC website. See also: Day of Rage (1984); I am the Last Witness (1984), 1 hand; Star Myths (1987); Inside and Out (1974), 2pf; The Dancing Sword (1992), 2 pf. [AMC, Cohen, FrMKassel, NG, SAI, S&S] DAVIES, Eiluned (Doris) (1913- ) England/Wales Concert pianist, teacher, composer; st. RCM-London; teacher in London, 19451979; performed in England and continent; A.R.C.M. Works: piano, vocal. Improvisation on a Japanese Motive (WMIC 1994) 4' 4p. Grave; unmarked meter but clearly 4/4-2/4. 4-bar modal melody, fragmented into various figures, textures, registers; slow quartal chords. Late Int.

De Castro-Robinson 53 Theme and Variations (WMIC 1994) 4', 4p. Chromatic theme with tritones, misterioso; 5 brief textural variations: molto cantabile, scherzando, delicamente, lento/giocoso, misterioso. Early Adv. Three (Traditional) European Folk Dances (WMIC 1980) 4', 5p. Rhythmic, tonal with chromatic colors. La Casse-Noisette: French, 3/4, tempo giusto. Traditional Macedonian-Yugoslavian Dance: 5/8, moderato ritmico. Traditional Bulgarian Dance (Tropanka): 2/4, energico. Int/Late Int. See also: Cacak Kolo (1976); 5 Traditional European Folkdances (1980/84); Setnja; Wir Lieben die Stürme. [Cohen, FrMKassel, K800, WelshMIC] DAVIS, Sharon (1937- ) USA Harpsichordist, pianist, violinist, lecturer, composer; st. Juilliard, in Paris with Boulanger; awards. Works: piano, vocal. Cocktail Etudes (Western International/Avant 1981/ILL) 35p. A suite of tonal sketches flavored with jazz rhythms and harmonies, including occasional whole tone/added tone/chromatic passages: Apéritif; On the Rocks; Night Cap; Chaser. Late Int/Early Adv. [AMC, Cohen] DE BLANCK MARTÍN, Olga [Blanck, Olga de] (1916- ) Cuba Educator, composer; st. Cuba, NY, Mexico; founder, Ediciones De Blanck Publishing; prizes. Works: orchestra, chamber, vocal, opera, theatre. Style: inspired by folk music, Cuban rhythms, guitar sonorities and textures. Homage to the Cuban Dance (Ed. Musica Budapest 1981/ILL) 7p. Three binary dance sketches named for Cuban heroes. Lushly romantic, idiomatic, with insistent Cuban rhythms, syncopations, sweet harmonies. Late Int. Also: Portocromia (1981). [Cohen (as Blanck), Hinson (as Blanck), NG, Pendle (as Blanck Martín), S&S] DE BOHUN, Lyle (pseud): see BOONE, Clara Lyle DE CLERCK, Albertine: see COLIN-DE CLERCK, Jeanne DE CASTRO-ROBINSON, Eve (1956- ) England/New Zealand Professor, composer; st. U. Auckland; prizes, commissions, grants. Works: orchestra, chamber. Style: expressionist, colorful, rigorous. Small Blue (SOUNZ 1998) 5'. An elegy for Sir Michael Tippett. Int. Tingling Strings (SOUNZ 1993) 4'. One mvt, some preparation required. Commissioned work funded by national grant. Adv. [NG (as Castro-Robinson), SOUNZ, S&S]

54 De Jong DE JONG, Sarah [Jong, Sarah De] (1952- ) New Zealand/Australia Composer, pianist; st. Tahourdin, Howard in Melbourne; prizes. Works: theatre, radio, television, film, dance (descriptions: Carrigan 2002, 73-75). Barrier I and II (AusMC 1994) 5'. Two similar energetic pieces; repeated chords, shifting accents. From “Drowning in a Sea of Dreams.” Int. In the Wind, in “Australian Piano Miniatures” (Red House 1998) 43”. Attractive, toccata-like; tonal, satisfying dynamic/rhythmic climax. Good teaching piece requiring varied colors, touches. Early Int. Plumarae (AusMC 1991) 1-2'. Sweet, free, flexible, nonmetric. Late Elem. Reflections (from “Birds of Paradise”) (AusMC 1991) 3'. Turbulent, melodic, free; cadenza-like passages, consecutive double 8vas. Late Int. Three Waltzes (AusMC 1987) 11p. Child’s Waltz; Waltz for Polyxena; Clytemnestra’s Waltz. Ded. to Nigel Kellaway, written for a play. Int. Also av. AusMC: Some Figure Stands (1991); Spirit Flight (1990); Summerfolk (1991); The Golden Age Waltz (1985); Wind from the Sea (1991), all Int. [AusMC, Carrigan, Cohen] DE KENESSEY, Stefania Maria (1952- ) Hungary/USA Pianist, professor, composer; st. Yale, Princeton with Milton Babbitt; professor, Eugene Lang College; 1995-96 president, IAWM. Style: tuneful, sophisticated, fusing tradition with innovation, Eastern modes and Western forms (bio, description: Solomon 1998, 4). Sunburst Op. 33 (Seesaw 1997) 9', 17p. Allegro brilliante e fuoco, 6/8. Virtuosic tarantella/perpetuo moto, modal in F. Bright, almost explosive opening theme; challenging to performer, accessible to listener; modified sonata form. Adv. [IAWM, Solomon] DEL CARRETTO, Cristina (20th c) Italy Canzonette (Ricordi Milan). Also: Capriccio; La Gratudine; Norvegienne; Polka; Romanza; Three Mazurkas; Valzer Melodico. [Cohen] DELLA-BOSCA, Roxanne (1977- ) Australia Pianist, accompanist, teacher, community arts advocate, composer; st. U. Western Australia, Sydney Cons.; awards, commissions. Works: orchestra, chamber, theatre, vocal, piano. 5 Miniatures: Variations for Piano (AusMC 1998) 7'. 5 short contemporary variations exploring the piano’s rugged terrains, echoes, and resonances (from program note); texturally thick, rhythmically complex. Adv.

Desportes 55 Ortogeny (AusMC/composer 1996). Pf & prepared tape. Winner, 1996 Dorothy Ransom award (descriptions: Carrigan 2002, 76). [AusMC, Carrigan] DEMAREST, Anne Shannon (1919- ) USA Pianist, editor, teacher, composer; st. NYU, Hunter Coll., Denver U. Works: orchestra, vocal, piano teaching pieces, pub. Myklas Music. Banff Panorama (Ashton 1971/ILL) 39p. Fifteen neo-impressionist sketches of the Canadian park; also av. for orchestra. Int/Late Int. Space Odyssey (Myklas). 10-piece suite with narrative. Late Elem/Early Int. [Albergo, Axford, Cohen] DEMBO, Royce (1933- ) USA Pianist, teacher, composer; st. Eastman, Syracuse U., Ithaca Coll., U. Wisconsin; grants. Works: chamber, piano, vocal, opera, operetta. Metamorphoses (AWC Music Lib/ILL) 15', 11p. First prize, State Contest. Three contrasting sketches, atonal, with clearly defined but fragmented melodies; Schoenbergian. Late Int/Early Adv. Av. composer: Dance No. 1; Haikus 1, 2 (Zaimont and Famera 1981, 199, 333). [Cohen, Heinrich, Zaimont] DE ROGATIS, TERESA: see ROGATIS, Teresa de, Supplement DESCHÊNES [née Price], Marcelle (1939- ) Canada Multimedia artist, professor, composer; st. Montreal, ORTF, Paris Cons. and University; prizes. Works: multimedia sound installations. Style: integrates music, new technologies, and visual arts. 1 1/2 (CMC 1967) 8'. Prem. 2 May 1968, Société de Musique Canadienne. [Canadian Music Centre, NG] DESPORTES, Yvonne (Berthe Melitta) (1907-1993) France Teacher, composer, author; st. Dukas; prizes incl. Prix de Rome, 1932; taught many years at Paris Cons. Works: orchestra, chamber, guitar, piano, voice, ballet, opera, electronic. Style: descriptive, humorous, bright. La Corbeille de Fruits (Billaudot) 12p. “Basket of fruit” with 6 teaching sketches: Apple; Apricot; Cherries; Plum; Pear; Peach. Early Int. Douze Piècettes (Billaudot) 17p. Gently contemporary teaching pieces, tonal/modal. Early Int.

56 Deussen Hommage à Maurice Emmanuel 1972 (Billaudot 1984) 34p. Composed in honor of her music history professor: a clever theme-and-variations romp through 28 styles, from ancient Greece through Boulez and popular music. Early Adv. Piano-forte Fortissimo (Eschig 1997) 27p. Prelude and five character sketches named after people; notes are assigned to letters in their names. Tonal but occasionally dissonant; pianistic. Early Adv. See also: Danse d’autrefois (Salabert); Idoies au Rebut (Puteaux 1980); La Foire aux Croutes, 12 small pieces; Potagers Sous la Grêle (Puteaux 1980). [Boenke, Cohen, Heinrich, Hinson, K800, KOM, Magrath, Meggett, NG, Pendle, SCB, S&S] DEUSSEN, Nancy Bloomer (1939- ) USA Composer, champion of accessible contemporary music; st. Manhattan School, U. Southern California; grants, awards, commissions. Works: orchestra, band, chamber, voice, piano. Style: melodic, tonal, accessible. Scores, CDs av. for perusal: tel. 650-858-0361; fax 650-858-2072. Amber Waves (AMC 1967) 6:40. East Coast Triptych (AMC 1993) 10'. A suite. Musings: Circa 1940 (AMC 1995). A Recollection. Youthful Frolics. Two Piano Pieces (New Music 1988) 4' each. Piano Prelude (AMC 1988). Cascades (AMC 1989): a toccata. Two neo-impressionist teaching pieces with added-tone chords, sliding tonalities. Int. [AMC, Heinrich, IAWM, sdiegomtac] DIANDA, Hilda (1925- ) Argentina Conductor, musicologist, professor, composer; st. Buenos Aires, Venice, Milan; honors, awards. Works: orchestra, chamber, piano, vocal, electronic. Style: wide variety, from neoclassical to electronic-based works (Gordon 1996, 421). Tres Sonatas (Ricordi Americana 1956). Scarlatti-like. Resonancias-2 (1964). More experimental. [Boenke, Cohen, Gordon, Heinrich, Hinson, NG, S&S] DIEMER, Emma Lou (1927- ) USA Virtuoso pianist, organist, professor, composer; st. Hindemith, Hanson, Sessions, at Yale, Eastman; grants, awards, honors. Works: orchestra, band, chamber, organ, piano, vocal, electronic. Style: neo-classical/neo-romantic, freely tonal; also uses serialism, electronics, extended techniques; consummate musicianship. Encore (Arsis/Sisra 1984) 6', 14p. Technically demanding, perfect for a rousing virtuosic finale. Insistent motoric rhythms, unsynchronized between hands, alternate with B section in which LH dampens strings as RH plays. Short motives, repetitive figures. Adv.

Diemer 57 Four on a Row, in “New Scribner Music Library,” Vol.4, ed. Montgomery (Scribner) 4p. Brief serial pieces on a given row and its permutations: Moderato; Brisk; Slow; Rhythmic. Late Int/Early Adv. Fantasy for Piano (Plymouth 1993) 21p. Rhapsodic single movement, with dramatic sectional contrasts in mood and tempo. Early Adv. Pianoharpsichordorgan (Seesaw 1976/ILL). Huge facsimile score. Performable by one person with stop assistant, with parts taped in advance; directions given for electronic methods/materials. Adv. Piano Sonata #3 (Hildegard 2001). 3 mvts: Serenade/Toccata (see below); Interlude: free, meditative; Tango Fantastique: alternately percussive, lyrical, and meditative, a highly stylized dance. String-dampened ostinati contrast with prevailing sonorities; closes with brilliant repeated percussive chords. Adv. Serenade/Toccata (Hildegard 1999) 19p. First mvt of Sonata #3, above. Composer’s notes: Lyric, understated principal theme becomes progressively emphatic, propulsive. 6 main sections. To be played freely, with expressive range and great forward motion. Adv. Seven Etudes (C. Fischer Facsimile Ed. 1972/ILL) 16', 28p. Pianistic, wellconstructed set of studies alternating slow/fast tempi; includes a disjunct, serial “Hommage to Schoenberg,” and a very slow “Hommage” to Rachmaninoff. Early Adv. Toccata for Piano (Arsis 1980) 6:40, 15pp. Motoric and percussive, with some hand-arm string dampening; strong but not bombastic. Early Adv. TEACHING PIECES: Sound Pictures (Boosey 1971/ILL) 10p. Ten clever pieces with 3-dimensional titles (e.g. “Strata,” “Double Dots”) explore contemporary devices: tone clusters, parallel 4ths and 5ths, pedal and glissandi effects. Int. Space Suite (Plymouth 1989/ILL) 20p. 12 astronomical sketches; excellent introduction to contemporary techniques: 12-tone, playing on strings, clusters, 7th chords, changing meters, quartal harmony. Int. Three Pieces for Intermediate Pianist [Three Pieces for Piano] (Plymouth/ILL). Late Int/Early Adv. Time Pictures: Four Studies in Time [4 Piano Teaching Pieces] (Boosey 1983). Orig. pub. separately; now a suite. Gavotte: lively, quartal effects. Gigue: brilliant, seemingly artless, 4-note clusters, accented 8th notes, modal with mirror, imitation, coupled techniques. Invention: sensitive 2-vc ctpt, 5-note scale figures, lovely Dorian harmonies, slow trills. Serenade: 7th chords, graceful, irregular meter (Butler 1973 Vol.1, 17). Elem/Early Int. See E. G. Schlegel: Emma Lou Diemer (Greenwood, 2002); also, her article in IAWM Journal 7/3 (2001): 8-13. [A&A, Bastien, Boenke, Butler1, CAMW, Canady, Cohen, FrMKassel, Greenberg, Heinrich, Hinson, IAWM, ISMTA, K800, LePage, Magrath, Meggett, NG, Pendle, SAI, SCB, S&S, Uszler, Zaimont]

58 Di Lotti DI LOTTI, Silvana (1942- ) Italy Groups für Klavier (Zanibon). [FrMKassel] DINESCU (-LUCACI), Violeta (1953- ) Romania Lecturer, composer; st. Myriam Marbé (q.v.), Bucharest, Heidelberg; grants, international prizes. Works: orchestra, chamber, piano, vocal, ballet, opera. Style: infl. mathematical procedures, Romanian folk music; lyric, chromatic, rhythmic vitality. Con Variazioni (Facsimile ms 1974/ILL) 24p. Eight-bar modal folk-like theme, transformed in multiple brief variations. Early composition hinting at later style characteristics. Adv. Dies Diem Docet (Astoria 1988/ILL) 32p. Impressive work; finale has a brutal, motoric dance, then chords floating cloud-like above a pedal tone. Adv. Echoes I für Klavier (Astoria AV656) 7p. Lively; repeated zither-like figures, enhanced by occasional string-strumming inside piano. Adv. Echos II (Astoria 1984/ILL) 6p. Orig. scored for percussion and piano; pianist may play the percussion part as well. Sonorous; starts in low register; ringing tone clusters, bell-like sounds. Adv. Suita (1973) 12p. An early 3-mvt work, melodic, vivacious, freely chromatic. Torre Di Si (Facs. ms 1994/ILL) 5p. Contrasting ideas played with and against the pitch “B,” center of the work. Engaging piece, with delicate, shimmering textures, skillful use of register colors. Early Adv. See also: Erzählung; Pieces (1970); Story (Ed. Musicala 1977); Cyclotron (1994), pf 4-hands. See CD review by Victoria Bond: “Violeta Dinescu: Piano Works,” IAWM Journal 7/1-2 (2001): 46-47. [Boenke, Cohen, FRK, FrMKassel, Heinrich, IAWM, K800, KOM, NG, Pendle, SCB, Sperber, S&S] DLUGOSZEWSKI, Lucia (1925/31-2000) USA Composer, choreographer, poet, artistic director of Erick Hawkins Dance Company; st. Varèse, Mannes College of Music; developed multitimbre piano in 1951 (strings sounded by various implements), and over 100 percussion instruments; recipient of many grants and awards. Works: orchestra, chamber, percussion, piano, vocal, opera, dance, theatre. Piano works include: Archaic Timbre Piano Music (1953-1956), multitimbre pf; exacerbated Subtlety Concert (Why Does a Woman Love a Man?) (1997, rev.2000); Here and There with watchers (1954-57), timbre pf; Melodic Sonata (1950); Music for Left Ear in a Small Room (1959), multitimbre pf; Music for Small Centers (1958); Naked Point Abyss (1972); Sonatas No.1, 2, 3 (1949-1950), three early works; White Interval Music (1961), timbre pf.

Dowling 59 See biographical essay by Anne Gray, IAWM Journal 6/3 (2000): 40. [B&NB, Boenke, Cohen, Fuller, Gordon, H&H, K800, Meggett, NG, Pendle, S&S, Stern] DOBSON, Elaine (1945- ) England/Australia Pianist, lecturer, composer; st. Newcastle Cons., Queensland U.; lecturer, Queensland Cons.; awards, residencies. Works: Orchestra, chamber, piano, vocal, operetta, electronic. Despite Straight Lines (1981) 12'. Comm. work for competition. Adv. Sets for Piano (1972) 10'. Tom (1973) 10'. Adv. [AusMC, Cohen, Heinrich, SOUNZ] DODD, Dorothy (1926- ) Australia Studied piano with Lindley Evans. Works: voice, piano. Moonrise (1985) 5:20. CD recording JADCD1044. Special Occasion (n.d.) 2:11. CD recording MBS34CD. [Carrigan] DONG, Kui (20th c.) China/USA Composer, professor; st. Central Conservatory, Beijing; DMA, Stanford U.; honors, prizes, commissions. Works: orchestra, chamber, choral, electroacoustic, film, multi-media, piano. Email: kui.dong @dartmouth.edu. Earth, Water, Wood, Metal, and Fire (2001/ILL) 19', 22p. Prep. pf. Virtuosic 5mvt suite, comm. pianist Sarah Cahill. Tone clusters, motoric repeated figures, contrasts of moods, registers, and textures. Adv. Also: Piano Suite (1984); Piano Suite (1993); Prelude and Fugue (1985); Dan (1989), 2pf duet. [Cahill, composer, otherminds.org] DOOLITTLE, Emily (20th c.) Canada Contact composer directly for scores: emily@music. Princeton.edu. Minute Etudes (CMC 1998) 5:30. Furtive; Languid; Lively; Lonely; Playful. [Canadian Music Centre] DOWLING, Bernadette (1979- ) Australia Piano and composition student, U. Western Sydney (Carrigan 2002, 80). Four Piano Pieces (AusMC 1998-2000) 4-6p each. Descriptive, pianistic, tonal, traditional. Looking at the Storm; Engulfed by the Storm; Buh-tah-fly; Little Transformations (for Matthew Ostila). Early Int. [AusMC, Carrigan]

60 Dring DRING, Madeleine (Winefride Isabelle) (1923-1977) England Pianist, actress, writer, singer, composer; st. RCM-London with Howells, Vaughan Williams. Works: orchestra, chamber, piano, vocal, opera. Style: light, unpretentious, attractive; affinity with Poulenc, vernacular idioms. American Dance (Arcadia 1960/Weinberger/ILL) 3p. Mixture of hoedown and boogie-woogie styles. Late Int. A Colour Suite (Arcadia 1963/Weinberger/ILL) 15p. 5 jazzy rhythmic sketches: Pink Minor; Red Glory; Yellow Hammers; Blue Air; Brown Study. Int/Late Int. Fantasy Sonata (Lengnick 1948/ILL) I5p. One sectional movement, mildly contemporary. Early Adv. Jig (Lengnick 1948/Mills Music/ILL) 4p. Teaching piece. Early Int. Prelude and Toccata (Lengnick 1976/ILL) 13p. Quasi-impressionist Prelude with murmuring l6ths. Toccata: a minor, continuous l6th-note figures in both hands. Early Adv. Three French Dances (Oxford/ILL). Neo-baroque suite: Rigaudon; Berceuse; Gigue. For teaching. Late Elem. Three Dances (Cambria 1981) 12p. Mazurka; Pavane; Landler. Melodic and rhythmic, with jazzy blue notes, very little dissonance. Int. Twelve Pieces in the Form of Studies (Weinberger/Marks/ILL) 21p. Useful, musical. Studies in finger dexterity and independence, contrary motion, phrasing, expression, thirds, speed and lightness, repeated notes, legato, chromatic passages, broken chords, arpeggios, block chords. Int. Up and Away (Oxford/ ILL). 12 short teaching pieces. Elem. Waltz Finale (Arcadia/Weinberger/ILL) 6p. From “Dance Suite,” 1961. Neoromantic, lyric and sweeping. Late Int. West Indian Dance (Arcadia 1961). See also: Three Fantastic Variations on “Lilliburlero” (Lengnick 1948), 2 pf. See Cohen, S&S for many more teaching pieces, multiple publishers. [Albergo, Boenke, CGGB, Cohen, FrMKassel, Heinrich, Hinson, K800, KOM, Magrath, Meggett, Newman, NG, S&S] DUCHESNE, Genevieve (1943-1985) France Pièces faciles pour piano (Durand 1984/ILL) 11p. Five contemporary teaching pieces. Tonal but freely dissonant, simple textures, contrasting moods. Early Int. [Magrath] DUNCAN, Eve (1956- ) Australia Composer; st. La Trobe U.; awards, commissions; Works: chamber, classical guitar, chamber opera. Style: architecturally conceived, strongly affected by individual performers (bio, description: Carrigan 2002, 81).

Dziewulska 61 Elemental Sonata (AusMC 1996) 12', 16p. 4 mvts: Earth; Air; Water; Fire. Atonal, complex rhythms, textures, articulations. Adv. [AusMC, Carrigan] DUNLOP, Isobel [pseud: Skelton, Violet] (1901-1975) Scotland Violinist, composer; st. Tovey; concert organizer; founded Saltire Singers. Works: chamber, piano, vocal, opera, ballet. Le Petit Noel, in “Musical Christmas Cards,” coll. Cooper (Peters/Hinrichsen 1954/ILL). Contains original pieces by Dring, Dunlop, Richards. Elem. Also: Preludes from A Brittany Sketch Book (1958); Theme and Variations. [Boenke, Cohen] DVORKIN, Judith (1930- ) USA Pianist, composer; st. Barnard Coll., Columbia U., UC-Berkeley. Works: chamber, vocal, chamber operas. Style: simplicity of harmonic means, effective text settings. Scores av. American Music Center (Sadie and Samuel 1995, 154). In “New Scribner Music Library: Easy Piano Music by American Composers” Vol. 1, ed. Montgomery (Scribner/ILL): Castillano: pleasurable and light, in 5/8, no accidentals. Cubano: fluent motion, 4-bar phrases in alternating 6/8-3/4 (hemiola effect). Virginia Reel. Waltzing Shoes, duet. Teaching pieces. Early Int. [B-NB, Butler1, Cohen, S&S] DZIELSKA, Jadwiga (20th c.) Poland Kolorowe Kamyki [Colored Stones] (PWM 1961) 16pp. 17 skillful sketches, tonal, freely chromatic. Two voice textures, variety of articulations. Int. See also: Etüden (PWM 1979). [Butler1, Cohen, FRK] DZIEWULSKA, Maria Amelia (1909-) Poland Conductor, musicologist, professor, composer; st. Sikorski, Turczynski; 1958 Prime Minister Prize for children’s compositions. Works: orchestra, chamber, organ, piano, vocal, theatre. Inwencje na Fortepian (PWM 1959). Eight 2-voice inventions, atonal, changing meters with steady 8th note pulse; Bartokian. Late Int. Also: Drei Präludien (1955); Kinderstücke (1958); Kanon (1967); Three Little Pieces for Children (1952); Volkslieder für Klavier, for 2 or 4 hands. [Boenke, Cohen, FRK, Heinrich, Hinson, K800, Magrath]

62 Eagles

E EAGLES, Moneta M. (1924- ) Australia Organist, concert pianist, singer, composer; st. Sydney Cons., privately with M. Seiber, London; honors, awards; music director, Commonwealth Film Unit, 1957-64. Works: orchestra, chamber, piano, organ, chorus, film. Mirage (AusMC-composer, 1950) 3', 3p. Written at request of pianist Gyorgy Sandor. No.1 of Two Impressions for Piano. Pastorale, in “Australian Anthology” 5th-8th Grades (Allans 2001). 2nd mvt of Sonatina (Allan 1954). Int. See also, av. from the composer through Australian Music Centre: Aquarelles (1962); Arabeske (1952); Sonatina. [AusMC, CGGB, Cohen, McCredie] EAMES, Juanita [pseud: Masters, Juan] (20th c.) USA Concert pianist, lecturer, composer; st. U. Chicago; taught at American Conservatory, Chicago. Works: orchestra, piano, voice. Espagnol (Clayton Summy 1939/ILL) 4 p. 2pf duet, orig. av. as a solo. G major, 2/4, Allegro commodo. A gay Spanish dance song with syncopated rhythms, staccatos, sweet tertial harmony. Int. Also: Butterfly Waltz, duet; By a Rippling Stream; Chapel Bells; In an Oriental Bazaar; Japanese Suite; teaching method. [Cohen] EASTMAN, Donna Kelly (20th c.) USA Pianist, singer, choral conductor, teacher, composer, arranger; st. U. Colorado, U. Maryland; awards, commissions, residencies. Works: flute, voice, piano, electroacoustic. Publisher: Editions a Coeur Joie, Lyons, France. Scenes for Piano (AMC 1994) 6:30. Winner, Delius Competition. See also: Just Us (SCI Journal Vol. 22), song cycle for mezzo soprano & flute. [AMC, SAI, SCI] EDGINTON, Joyce (20th c.) England Cat’s Delight (Hinrichsen 1965/ILL). Eight descriptive teaching pieces, solidly tonal with some mildly contemporary harmonic color. Int. Also pub. Hinrichsen: English Village Suite; Eight Little Night Fancies; Six Players at Two Pianos. [Newman]

Elwyn-Edwards 63 EGGLESTON, Anne (1934-1994) Canada Pianist, teacher, composer; st. RCM-Toronto, Eastman School; taught privately in Ottawa more than 25 years; prizes, scholarships. Works: orchestra, chamber, piano, voice, opera. See Waterloo Publishing, Canadian Music Centre: Ethnic Dance; Glass and Concrete Towers; Hurry! Hurry! Hurry! (Waterloo 1973); On Citadel Hill (1964); Seven Variations (1975); Sketches of Ottawa (1962); Sonatine (1964); Toccata. [CMC, Cohen, H&H, Hinson (collections), MacMillan, Meggett, Stern] EIRÍKSDÓTTIR, Karólína (1951- ) Iceland Pianist, lecturer, composer; st. Reykjavik, U. Michigan (musicology and composition. Works: orchestra, chamber, piano, vocal. Style: brevity, terseness, and lyricism (Sadie and Samuel 1995, 158). Finger Travels (Iceland Music Information Centre 1986/ILL) 4p. Repeated single tones are interspersed with brief melodic chirps; simple, spare textures, polytonal, with contrasts in register, dynamics, and tempo. Int. A Kind of Rondo [Eins Konar Rondo] (ITM 1984/ILL) facsimile 5p. Tiny note heads. Epigrammatic rondo theme alternates with episodes, marked by tempo changes; dissonant intervals, clusters. Late Int/Early Adv. See also: Rhapsody fur Klavier (1986). [Cohen, K800, NG, Pendle, S&S] ELKOSHI, Rivka (1949- ) Romania/Israel Pianist, teacher, composer; st. Rubin Academy (Jerusalem), NYU, Hebrew U., UCLA; teacher, Rubin Conservatory. Works: chamber, piano, voice, opera. Five Invented Dances (IMI 1979/ILL). Duet, pf 4-hands. Demons; Slump; A Flea in the Bath; Maccaroni-Jazz Style; The Melting Pot. Int. See also, teaching pieces: Frames and Forms (IMI 1981); Let’s Play Dissonances (Or Tar 1978); Moving Structures (1979); Stories in Sounds (IMI 1980). [Cohen, FRK] ELWYN-EDWARDS, Dilys [née Roberts] (20th c.) Wales Accompanist, lecturer, composer; st. U. College-Cardiff, RCM-London; teacher, 1946-72, Cardiff and Bangor; Eisteddfod adjudicator. Works: vocal, piano. Style: sensitive, well crafted, idiomatic, in British 20th c. tradition (Sadie and Samuel 1995, 159). See Welsh Music Information Centre: Dadl Dau (1961), pf or harp; Lullaby (1958); Mae’n Nghariad I’n Fenwl (1963) pf or harp. [Cohen, WelshMIC, S&S]

64 Erding-Swiridoff ERDING-SWIRIDOFF [née Erding], Susanne (1955- ) Germany Teacher, composer; st. Stuttgart, England, Canada; grants, prizes. Works: orchestra, chamber, theatre, vocal. Style: synthesis of experimental techniques (microtones, variable pitches) with traditional expression and form (Sadie and Samuel 1995, 160). Chillan, in “Frauen Komponieren,” ed. Rieger (Schott 1985) 1p. 3rd mvt of “Klaviersuite” (1982). 4/4-6/4, slow moving, stately; dissonant chords moving over sustained quintal chords in bass. Early Adv. See also, pub. Erding-Swiridoff: Cadeau Cosmique (1982); Homage à Schubert (1994); Klaviersonate (1982); Klaviersuite (1982); Maske und Kristall IV. [A-Z, Cohen, FRK, FrMKassel, K800, KOM, NG, Sperber, S&S] ERNST (-Meister), Siegrid (Adelheid) (1929- ) Germany Pianist, composer, teacher; st. Heidelburg, Frankfurt, Vienna; first chairwoman, “Women and Music” study group. Works: orchestra, chamber, voice, children’s music, improvisational and performance art compositions. Style: eclectic use of many contemporary techniques. Kleine Suite (Furore #236) 17p. Prolog; March; Etude; Tanz. In “modern classical” style, with dissonances against a humorous backdrop. Etude: concerto style, impressionistic color. Prolog: alternates recitative with impressionist ideas (notes from composer). Early Adv. See also: Fantasy und Toccata (1954); Kleine Sonate (1963). [Boenke, Cohen, FRK, Furore, Heinrich, K800, NG, Pendle, Sperber] ESCOT, (Olga) Pozzi (1933- ) Peru/USA Professor, writer, composer; st. Lima, Juilliard, Hamburg; awards, grants, fellowships; 1956 laureate composer, Peru. Works: orchestra, chamber, piano, vocal, electronic, ballet, film, multimedia. Style: highly structured, striking timbres, dramatic (Sadie and Samuel 1995, 161). Interra II (Hildegard 1992) 6', 17p. Pf & tape; LH or both. Dynamics and rhythms ad lib. Sonatina No.4 (Publication Contract International 1992) 2', 5p. Three timed movements. I. Dissonant chords (ffff) crash 35 times up and down the keyboard, for 30 seconds. II. Pointillistic, spidery-looking phrases are interspersed with single staccato tones (ppp), 60 seconds. III. Sparetextured chords get louder and faster for 30 seconds. Late Int. See also, pub. PCI: Differences Groups I, II (1963/75); Interra (1968) pf, tape, lights, film. Early works, withdrawn: Piezas Infantiles I, II (1942/47); 3 Sonatinas (1950-52). [Boenke, Cohen, FrMKassel, Heinrich, LePage, NG, S&S]

Eubanks 65 ESCRIBANO, María Sortilegio (1954- ) Spain Pianist, composer, actress; st. Halffter, Ligeti. Works: music theatre, chamber, piano. Principal publisher: RTVE Música. Suita para Piano (Ed. Musica Mundada). Also: Opening (1980); Hombre Pájaro (1980); Ofrenda (1988); Quejío (1989). [FrMKassel, IAWM, S&S] ESTRELLA DE MÉSCOLI, Blanca (1915- ) Venezuela Pianist, teacher, composer; st. Caracas, with Ioannidis; founded a music school, 1962. Works: orchestra, chamber, piano, vocal. Suite para piano Teresa Carreño (Musicos Contemporaneos de Venezuela 1973/ILL) 27p. For centennial of Carreno’s birth. Freely chromatic, with “wrong-note” harmonies. Vivace: a lilting waltz in 3/8. Andante con libertad: a lyric, wayward arioso. Fuga: infused with the cheerful syncopated rhythm of a Venezuelan folk dance. Adv. See also: Suite para piano “Beatriz Peña Gómez” (Mus. Contemp. Ven. 1966); Danza de los Navares (1954), 2pf duet. [Cohen, score] ETHRIDGE, Jean (1943- ) Canada Pianist, teacher, composer; st. U. British Columbia, RCM-London, with Jean Coulthard, Violet Archer (q.v.); awards, grants. Works: orchestra, chamber, piano, vocal. Suite for Piano (1975) 12'. Contrasting sonorities, textures, rhythms. Sunday Morning (BMI 1966/ILL) 1'. Delicate, peaceful, airy; tonal, with gentle added-note chords in shifting registers; good pedal study. Early Int. Elements (Jeaneth Publications 1998) 11'. Earth; Air; Fire; Water; Wood; Metal. Reverie, in “CFMTA Silver Anniversary Collection” (Waterloo 1984) 1'. See also: The Big White Duck (Alberta Keys 1989); Feline Fancies (Alberta Keys 1990); Londrems (1969); Prelude in C (1989); Reflections on the Pool of Life (1977) 2pf; Sonatina (1965); Three Contemporary Epigrams (1975); Three Pieces for Children. [Butler1, CMC, Cohen] EUBANKS, Rachel Amelia (1922- ) USA Pianist, lecturer, composer; st. U. California, Columbia and Pacific Western universities; awards; founder-director, Eubanks Cons. (Los Angeles), 1951. Works: chamber, piano, vocal. Five Interludes for Piano (Vivace 1995) 12p. Intellectually rigorous, intensely expressive; moods range from quiet and introverted to forceful and dramatic; wide range of pitch, dynamics; concentrated atonal harmonies, dominated by 2nds; requires mature sensitivity (score notes). Late Int/Early Adv.

66 Fábregas See also: Prelude (Music Mart 1940/1942); Sonata (1992). [Cohen, Hinson, Walker]

F FÁBREGAS, Elisenda (1955- ) Spain/USA Concert pianist, professor, composer; st. Barcelona Cons., Juilliard, Columbia U; teacher, UT-San Antonio; awards, commissions; owner, Hidden Oaks Music Co. Works: flute, chamber, dance, piano, voice. Style: imaginatively colored tonal idiom, interesting rhythms, extremely pianistic. Album for the Young, 3 bks (Hidden Oaks 2002/AMC) 29'. Collection of 34 short teaching pieces of progressive difficulty. Books 1, 2: Renaissance to contemporary styles. Book 3: Latin American idioms; melodic, nonpolyphonic, accessible. Early-Late Int. Lyric Scenes for the Young (Hidden Oaks 1999/AMC) 6'. Lyrical, generally slow, introspective. The Little Soldier; Andalusian Landscape; Remembrance; Children at Play; A Far Way Kingdom; Catch Me If YoU. Can. Late Int.

Mirage (Hidden Oaks 1997) 9:30. Virtuosic work; equal demands on pianist’s technique, lyricism, and sense of form. Adv. Portraits I (Hidden Oaks 2000/AMC) 18-20'. Commissioned by MTNA. Suite: 5 character pieces in contrasting moods, with evocative melodies, rich chromatic harmony. Image: lyric, passionate. Capriccio: playful. Lament: sorrowful. Intermezzo: meditative. Toccata: energetic, decisive. Adv. Reflexiones (AMC 1986). Commissioned by The Maria Benitez Spanish Dance Co. See P. Plude article on Fábregas, American Music Teacher (June/July 2001): 99. [AMC, AMT, IAWM] FALCINELLI, Rolande (1920- ) France Organist, pianist, lecturer, composer; st. Plé-Caussade (q.v. Vol.I) and Marcel Dupré, whom she succeeded at the Paris Conservatoire; prizes, awards. Works: orchestra, chamber, organ, piano, vocal, ballet, opera. Harmonies et Lignes Op.32 (Leduc 1955) 17p. 8 short neo-classical works, tonal but freely chromatic, careful ctpt. Chorale: in A, organ-like. Invention: in e, 3-voice, Bachian. Litanies: in g. Invention: in D. Aria: in e-flat, adagio. Invention: modal in g. Sarabande: in b, graceful. Invention: in f#, pastoral. Wide span required. Int/Late Int. See also: Jeux d’un Biquet Op.30; Mémorial-Mozart Op.35, hpd/pf; Pochades Op.44; Résonances Poetiques Op.40, 8 pieces. [Cohen, FrMKassel, Heinrich, K800, KOM, NG, SCB]

Fenstock 67 FEIGIN, Sarah (1928- ) Latvia/Israel Concert pianist, teacher, composer; st. Riga; founder, Holon Cons. (Israel); dev. innovative group piano method. Works: chamber, piano, vocal, ballet. Style: Russian nationalist school, folk materials (Sadie and Samuel 1995, 166). Toccata (IMI 1978) 7', 18p. Sectional, with metronomic tempo markings. Rapid repeated notes, 4ths shared between hands in motoric rhythm; more lyric sections provide contrasting textures, tempos, and moods. Early Adv. Sonata for Piano (IMC-693 1997) 17', 30p. Composed in l972;4 mvts. Adv. See also: over 100 other pieces, many for ensemble piano. [Cohen, FRK, FrMKassel, Hinson, IMC, SCB, S&S] FELDMAN, Barbara Monk (20th c.) Canada Composer; st. Acadia, McGill universities, SUNY-Buffalo with Morton Feldman; commissions, world-wide performances; guest lecturer, visiting artist in Germany, Canada, Great Britain, U.S.A. Works: orchestra, chamber. The I and Thou (CMC 1988) 15', 7p. Atonal, changing meters, slow arpeggios vs. widely spaced melodic fragments doubled at dissonant intervals, sparse textures. Late Int. In the Small Time of a Desert Flower (CMC 2000) 20', 16p. A color sketch: gentle pointillistic textures, near-continuous pedal, whole tone/modal effects, ppppp markings. Late Int. Also av. CMC: Clear Edge (1993); Two Pianos (1989). [CMC] FENNELL, Tracy (1961-) USA Teacher, composer; st. Mansfield U. (Pennsylvania). Works: vocal, ballet, piano. E-mail: [email protected]. Piano3 (Kallisti Music 1998/ILL) 7p. Three contrasting idiomatic sketches. Meditation: quiet, spare-textured writing over silently depressed chord tones. Metamorphosis: 2-vc ctpt, inverted/mirrored. The Carillon: modal in d, ringing polytonal and quintal writing. Late Int. [composer, Kallisti Music] FENSTOCK, Belle (1939- ) USA Pianist, artist, composer; st. Joseph Schillinger. Works: orchestra, voice. Assorted Ladies (Fischer 1940/ILL). Caricatures of four “modern” ladies in dated jazz idioms. Jazz Co-ed on a Holiday: pert, carefree, gay, romantic. Blasé Divorcée: more complex, intriguing, with little bursts of melody. Tenth Avenue Debutante: hip-swaying, slangy. Miss Gossip at Mayfair: irrepressible scandalmonger. Late Int. Also: Safari; American Rhapsody (Ditson) pf & orch. [Cohen]

68 Fereyra FEREYRA, Beatriz (1937- ) Argentina/France Pianist, teacher, composer; st. Buenos Aires, Milan. Works: chamber, film, electroacoustic. Winner, Bourges Competition Magisterum Prix lifetime achievement, 2000. Jeux de Rondes (1984). Pf & tape. Originally Cercles de Rondes (1982), for tape alone. [IAWM, S&S] FERNANDES, Maria Helena Rosas (1933- ) Brazil Prize winner, 1978 Brazilian competition of classical piano music. Ciclo (Irmãos Vitale 1979/ILL) 15p. Suite of five dissonant tone-paintings of natural scenes; interesting colors and rhythms; pianistic. Do Sol [The Sun], lento e pesado (heavy). Dos Pássaros [The Birds], andante. Da Chuva [Rain], andante. Da Lua [The Moon]. Das Estrelas [The Stars]. Early Adv/Adv. [Cohen, FrMKassel] FERREIRA, Irma Maria José Climaco (1920- ) Brazil Suite Brasileira (Cultura Musical). [FrMKassel] FILONENKO, Alexandra (20th c.) Russia 5 Klavierstücke (Belaieff #599 1999-Theodore Front) 21', 16p. Marsch; Das Kind; Das Seine Stimme Fand; Wenn die Fische Sprechen Könnten; Gavotte; “Si.” “My ‘Five Piano Pieces’ belong to a tradition typified by such names as Schumann, Mussorgski, Mahler, Crumb and Lachenmann. Though not meant to be played by children, the music reflects a child’s world of experience. Despite their severe technical demands, the pieces should be viewed and interpreted as reflections of a child-like frame of mind”—composer’s note. Atonal; wide contrasts of register and dynamics, direct string playing, difficult rhythms. Adv. [Score, Tfront] FINE, Vivian (1913-2000) USA Pianist, professor, composer; st. Ruth Crawford (q.v.), Roger Sessions; founder, American Composers Alliance; honors, awards, commission. Works: orchestra, chamber, piano, vocal, ballet, opera, electronic. Style: linear, dissonant, with sense of humor, sensitivity to color, texture. Without doubt, her solo piano music deserves an honored place among the better-known American composers.

Fine 69 Chaconne (CFE 1947) 15'. 15 variations over a serial ground bass consisting of 3 phrases (12-tone row, 2 retrogrades). Absence of bar lines accents the continuous variation concept. 2nd theme in Var. 1 provides more material. Adv. Children’s Suite (CFE 1938). 7 short, contrasting pieces, freely tonal, effective. March: bright, cheerful, 5-finger pattern, dotted 8th figure. The Small Sad Sparrow: a plaintive little gem of ambiguous tonality; appears in “American Composers of Today” (Marks 1965). Waltz: Chopinesque. Shepherd’s Song: warm, lyrical sicilienne. Corn-Song: open 5ths, blue notes, ostinato bass. The Brook: continuous triplets, narrow melodic range. Irish Lament: homophonic, diatonic, poignant. Early Int. Concerto for Piano, Strings, and Percussion (one performer) (CFE/ILL). Dramatic, rigorous: pianist plays timpani, flexatone, cymbal, triangle, piano keyboard and piano strings while seated at the keyboard. 20th c. techniques: clusters, direct-string methods, both detailed and imprecise notation, emphasis on timbre and register. Adv. Double Variations (ACA-CFE 1982/ILL) 16p. 2 themes, atonal, complex rhythms over the entire range of keyboard. Adv. Five Preludes (ACA/ILL) 6p. A set of studies, each utilizing a different musical element, all exploring consonance-dissonance. Early Adv. Four Polyphonic Piano Pieces 1931-32 (ACA 1961/ILL) 7', 11p. Fine’s earliest piano work, panchromatic, atonal. Three-voice writing, canons, tritones and 2nds, manipulation of rhythm and meter. Adv. Momenti (Gunmar 1983/ILL) 12p. 7 sketches inspired by Schubert’s Moments Musicaux; atonal, dissonant. Adv. Rhapsody on a Russian Folk Song 1944 (ACA/CPE). Int. Sinfonia and Fugato, in “New Music for the Piano,” ed. Prostakoff (LawsonGould 1963) 6'. From Variations (ACA 1952). Sinfonia: tertian but dissonant, with frequent changes in tempo, rhythm, texture; persistent dotted rhythms provide unity. Fugato: in 3 voices, with a disjunct 3measure subject and counter-subject; intervals altered freely. Adv. Suite in E-flat Major 1940 (ACA 1972). Neo-baroque, melodic, in E-flat throughout, with occasional expressive and colorful dissonance. Lyrical Prelude, dignified Sarabande, refined Gavotte, subdued Air, and closes with a brisk Gigue. Late Int. Toccatas and Arias (CFE 1987). Not to be confused with harpsichord set of the same title. Linear, contrapuntal; less dissonant than early works. Three toccatas: vigorous, idiomatic writing, running passagework, sectional. Two arias: lyric, short and songlike. Early Adv/Adv. Music for Study. 5 sets of teaching miniatures (1935-1941): Children’s Suite (see above); Two Preludes for Four Hands; Five Little Canons; Two Descriptive Pieces; Study in Changing Meter, unpub. See Leslie Jones: “The Solo Piano Music of Vivian Fine,” diss., University of Cincinnati, 1994. See also Heide Von Gunden: The Music of Vivian Fine (Scarecrow, 1999).

70 Finsterer [Agay, Axford, Bauer, Boenke, Butler1, Cohen, Friskin, Fuller, Ganz, Greenberg, HAMW, Heinrich, Hinson, ISMTA, K800, LePage, Meggett, NG, Pendle, S&S] FINSTERER, Mary (1962- ) Australia Teacher, pianist, composer; st. U. Melbourne, Royal Cons. in The Hague. Works: orchestra, chamber, vocal. Style: dramatic, drawing on extra-musical elements; timbral, textural, gestural contrasts. Principal publisher: Ricordi. The Door in the Wall (Llumin 2001) 20:28, 33p. Pf & pre-recorded electroacoustic accompaniment. Dedicated to Anton Finsterer; “a music and image piece structured around the H.G. Wells story” (program notes). [AusMC, NG] FINZI, Graciane (1945- ) Morocco/France Pianist, teacher, composer; st. Yvonne Desportes, Elsa Barraine (q.v.), Paris Cons.; organized young performers’ concerts. Works: orchestra, chamber, harpsichord, organ, piano, vocal. Style: virtuoso writing, lyricism, juxtaposed rhythms, chromaticism. Progression (Leduc 1978/ILL) 5:30, 8p. For harpsichord. Dissonant, rhythmic but not metric. Adv. Also, for pf: Prelude et Finale (1969); Schema Sonore (1972). For harpsichord: Rituel (Schott); Profil Sonore (Chappell); Toujours Plus, hpd/organ. [Boenke, Cohen, Heinrich, K800, S&S] FIRNKEES, Gertrud (1925- ) Germany Pianist, teacher, composer; st. Heidelberg, Salzburg Mozarteum. Works: piano, vocal. Miniaturen (Bote & Bock 1976/ILL). Pieces for teaching 12-tone and aleatoric music of the 20th c. Also: Aleatorik (Bote & Bock 1972); Polymetrika, study in 5 parts (1976); Studies for Piano [Piano Tutor], 7 vols. (Moseler, Wolfenbüttel 1960/1980); Vierhändige Anfängerstücke (Moseler, Wolfenbüttel 1964), duets for beginners. [Cohen, FRK, KOM] FIRSOVA [Firsowa], Elena [Yelena] (Olegovna) (1950- ) Russia Composer; st. Moscow Cons. Works: orchestra, chamber, vocal, opera. Style: infl. by Berg, Messiaen; brief continuous forms, calculated colors, fine textures. Elegie Op.21 (Sikorski 1999/ILL) 7p. Adagio, 2-voice, lacy filigree texture; wide contrasts in dynamics and register. Also appears in “Klavierwerke Sowejtischer Komponisten,” Vol.3. Early Adv.

Fishman 71 Klaviersonate Op.35 (Sikorski 1986) 10p. See also: Hymn to Spring Op.64 (1993); Zwei Polyphonische Stücke (Sikorski 1966); “Inventio a 2,” in Polyphonische Stücke fur Klavier, Vol. 1 (Sikorski). [Boenke, Briscoe, Cohen, FRK, FrMKassel, K800, KOM, NG, Pendle, SCB, S&S] FISHER, Gladys Washburn (1900- ) USA Professor, composer; st. Mills Coll. with Brescia, Milhaud; compiled biobibliographical guides to Pennsylvania composers; awards. Works: chamber, organ, piano. Selected Compositions (ms. copies/ILL). Compiled in composer’s honor by the Pennsylvania Federation of Music Clubs, Inc. Contents: 1 vocal solo; 2 choral pieces; 18 piano teaching pieces; 1 piano duo; 3 more substantial character pieces, written in spare imitative textures, with occasional use of chromatic dissonance. These are: Invention (3p); Caprice (6p); In Retrospect (6p). Int-Late Int. See also: Caprice and Three Waltzes, piano duo (Bourne Music); Clown Dance, in “Recital Pieces for Piano: 26 Graded Solos for Recital Use”; Gossip (Willis). [Cohen, Heinrich, Meggett, Stern] FISHER, Helen (Wynfreda) (1942- ) New Zealand Composer, teacher; st. Victoria U; residencies, commissions. Works: chamber, vocal, dance. Style: expressive, atonal/modal, linear; blended Maori-European traditions. Where the River Flows (Promethean Ed 2001/SOUNZ) 4'. Piano miniatures. Int. [SOUNZ, S&S] FISHMAN, Marian [Marion] (1941- ) USA Teacher, composer. Works: orchestra, chamber, vocal. Vignettes (Carl Fischer 1971/ILL) 4p. 5 abstract glimpses of contrasting moods, dynamics, tempos, meters, colorful dissonance. Largo espressivo: lyric, sad. Con moto: playful staccato caprice. Cantabile: melody built of ragments. Molto pesante: furious; dotted rhythms, chromatic chords; Tranquillo ma non troppo: 9-bar closing melody. Late Int. [Boenke, Cohen, HinSup]

72 Fitch

FITCH, Jane (1953- ) Australia Born in Young, New South Wales; 1st Class Honours and Frank Albert Prize at Sydney University (bio, description: Carrigan 2002, 91-92). Study in 7/8, in “First Light,” Vol.3 (Keys Press 1999) 1:00. Fast, rhythmically exciting study in 7/8, F dorian mode. LH ostinato; RH has the melodic and rhythmic interest. Late Int. [AusMC, Carrigan] FLEISCHER (-DOLGOPOLSKY), Tsippi (Tsipporah) (1946- ) Israel Professor, musicologist, composer; st. Tel Aviv U., Rubin Academy, NYU, BarIlan U. Works: orchestra, chamber, vocal, ballet, theatre, multimedia. Style: combines Western and Eastern elements. In Chromatic Mood (Israeli Music Center 1994) 4p. [Cohen, FrMKassel, IMC, NG, Pendle, S&S] FLEITES, Virginia (1916- ) Cuba Lecturer, composer; st. and taught in Havana conservatories; founding member, Grupo de Renovacion Musical. Works: chamber, piano, vocal. Pequeña Suite (ECIC/Southern-Peer 1946) 4p. 4-mvt suite: Preludio; Siciliana; Pastoral; Canon. Simple, pleasurable, playful miniatures in 2-vc ctpt; flowing, mildly dissonant, irregular phrases (Friskin and Freundlich 1973, 304). Int. See also: Fugas a 3-4 voces (1943); Invencion en un tempo (1942); Invenciones a 2-4 voces (1941); Preludio y fuga (1942); Sonata en re (1942); Sonata en un Tempo (1942); Sonatina (1941); Tres Pequeñas Pieces (1942); Variaciones sobre un tema de Frescobaldi (1944). [Axford, Boenke, Cohen, Friskin, Meggett] FOGLIA, Giovanna Vestini: see VESTINI FOGLIA, Giovanna FONTYN [Fontjn, Schmit-Fontyn], Jacqueline (1930- ) Belgium Pianist, professor, composer; st. Brussels, Paris, Vienna; awards, prizes, incl. Prix de Rome, 1959. Works: orchestra, chamber, piano, vocal. Style: moved from classical forms to free serialism/atonality, to modal writing; rigorous writing combined with aleatory passages (Sadie and Samuel 1995, 172-73). Aura-Hommage à Brahms (Peer Southern 1982) 4p. Based on Brahms Intermezzo Op. 119/1. Opening notes set in new registers; closes with international music spelling of “Brahms”, followed by Fontyn’s initials; final chord is same as in the intermezzo. Atonal, non-traditional notation, imprecise rhythms. Adv.

Fowler 73 Ballade (CeBeDeM 1964/Schirmer/ILL) 6:30, 21p. Rhapsodic, virtuosic, profoundly atonal; strict rhythm, Klangenfarben melodies. Required repertoire for 1964 international competition. Adv. Bulles (Salabert 1982/ILL) 8p. 6 short, comparatively simple works; some imprecise notation, extended techniques. Late Int/Early Adv. Capriccio (CeBeDeM 1963/Schirmer/ILL) 4:30, 12p. First attempt at serialism. Rapid, chromatic, chords in alternating hands, contrasting figures. Adv. Le Gong (Peer 1981) 8p. Inspired by Belgian poet R. Guiette. Stylized imitation of gong: frequent, quick repeating cells; “great struggle” in the poem is evoked by irregular, unmeasured chords, sometimes furioso, which fade away into drumbeats. B-A-C-H motto, last measure, alludes to rich resonance of deep bells. Final 3 pages, performer may play directly on the strings. Adv. Mosaïci (Bote & Bock/Metropolis 1968/ILL) 10', 16p. 8 short contrasting pieces with variable order; pointillistic, dissonant, dramatic. Nos. 1, 8 av. as 2 Pièces Brèves in anthology “Frauen Komponieren,” ed. Rieger and Walter (Schott 1983). Adv. See also: Flakes (1980); Two Impromptus (CeBeDeM 1950). [Axford, Baker, Boenke, Cohen, FRK, FrMKassel, Heinrich, Hinson, K800, KOM, Meggett, NG, Nies, Pendle, SCB, S&S] FOWLER, Jennifer Joan (1939- ) Australia/Great Britain Teacher, composer; st. U. Western Australia, U. Utrecht; prizes, commissions. Works: orchestra, chamber, piano, vocal, electronic. Style: resourceful, concentrated exploration of simple ideas (Sadie and Samuel 1995, 173). Cycling (AusMC 2002) 2', 2p. Commissioned by for an anthology. Int. Music for Piano-Ascending & Descending (Universal 1980/ILL) 14', 16p. All the piano’s notes were gathered into 2 non-repeating scales (ascending, descending), then divided into sections. The music progresses from one section to another; parameters of pitch, duration, tempo, articulation, texture, and dynamic are in counterpoint with each other. Rhythmically complex, demanding articulations, virtuosic. Adv. Piece for E. L. (Universal 1981) 2:30, 6p. Written for composer Elisabeth Lutyens’ 75th birthday. Broken-chord patterns with rests, clusters, cross-rhythms; atmospheric, free, flexible. Late Int. Piece for an Opera House (Universal 1973) 8', 11p. 2pf, or one pf & tape. (Descriptions: Carrigan 2002, 95). [AusMC, Boenke, Briscoe, Carrigan, Cohen, Fuller, Heinrich, K800, KOM, NG, Pendle, S&S]

74 França FRANÇA, Lourdes (Monteiro) (1912- ) Brazil Pf works listed with Frau Musik Archiv, Kassel: Published by Vitale: Barcarola (1977); Cançao do Gandoleiro (1979). Notas Agrupadas (1980); Noturno Nr.4 (1976) 5p; Nocturno Nr.5 (1973); Noturno Nr.7 (1979) 11p; Noturno Nr.8 (1979); Noturno Nr.9 (1979); Polonaise Op.3/5 (1973); Rapsódia Nr.2 (1980); Valsa Nr.4 (1972); Valsa Nr.7 (1980) 4p; Valsa Improviso (1979) 6p. Published by Napoleão: Klaviersonate Nr.1: Tormenta (1975) 15p; Klaviersonate Nr.2: Ressureiçao (1979) 16p. Published by Cultura Musical: Celise (1985) 1p; Mae (1985) 1p; Polonaise Nr.1 (1985); 3 Peças (1985) 6p: Romance sem Palavras; Cladson [Scherzo]; Dança das Ondas Noturno Nr.10. Also: Rapsódia Nr.1 (Casa Wagner) 7p. [FrMKassel] FRANCHI, Dorothea Anne (1920- ) New Zealand Pianist, harpist, teacher, composer; st. U. Auckland, RCM-London. Works: orchestra, chamber, piano, dance, vocal. Style: infl. jazz, ragtime; early romanticism, later chromatic atonality, now neo-romantic; “it is as a spirited original that she has made her mark on New Zealand music” (Sadie and Samuel 1995, 175). Variation Four of “Variations on a Theme by Douglas Lilburn” (SOUNZ #1864, n.d.). See CANZ “Festschrift.” See also: Circus Suite (1950); Cross-Country (1947); Sonatina (1957). [Cohen, SOUNZ, S&S] FRANCO, Clare (c. 1945- ) USA Pianist, composer; st. Bennington Coll., Juilliard. Works: orchestra, chamber, vocal, electronic. Fantasie (CPE 1969/ILL) 12p. Dissonant, whimsical; sparse textures, tricky rhythms, dynamic contrasts. Adv. [Boenke, Cohen] FRASIER, Jane (1951- ) USA Clarinetist, conductor, teacher, librarian, composer; st. U. Northern Colorado; teacher, public school music and private clarinet; owner, music copying company, The MusicPrinter. Works: orchestra, band, chamber, piano, choir. Festivous Sonata (Arsis 1983) 14:30, 16p. 1st published work. 3 mvts: Waltz; Hymne; Dance. Bitonal/quartal harmonies, dynamic rhythms, shifting accents. “Distinctive sound and logical structure that satisfied to the last chord”—Keyboard Magazine. Adv. [AMC, Arsis, Axford, Cohen, Hinson, Zaimont]

Fung 75 FREED [née Doorly], Dorothy Whitson (1919-2000) New Zealand Author, composer, leading music librarian, NZ; st. Victoria U; awards, grants, prizes. Works: orchestra, band, chamber, vocal, theatre. Style: traditional. The Chinese Terracotta Soldiers (SOUNZ 1982) 5'. One movement. Adv. The Circle (SOUNZ 1977). Incidental music for Somerset Maugham play. Waltz; Dinner Promenade; Bad News Waltz. Rondo (SOUNZ 1973) 4'. One movement. Adv. [Boenke, Cohen, Heinrich, SOUNZ, S&S] FRENSEL-WEGENER, Emmy: see WEGENER, Emmy Heil-Frensel FRIAS, Irvany Bedaque Ferreira (1931- ) Brazil Improvisando Uma Seresta (self-pub 1978) 6p. [FrMKassel] FRYKBERG, Susan (1954- ) New Zealand/Canada Teacher, computer programmer, composer; st. Simon Fraser U. (Canada), where she taught; commissions, grants. Works: electroacoustic music theatre. For pf & tape: Piano Study #1 (CMC 1984) 6'; Purple Shirt (SOUNZ 1982) 13'. [CMC, SOUNZ, S&S] FUJIE, Keiko (1963- ) Japan Composer; st. Tokyo National U. of Fine Arts and Music; awards, prizes. Works: orchestra, chamber, guitar, piano. Style: infl. Yoshio Hachimura; neoromantic, complex textures, organic structures; non-western. Pas de Deux I and II, Opp.9/14 (Zen-On 1991/ILL) 18p, 11p. Atonal, dissonant, extended techniques: imprecise notation, clusters, harmonics. Adv. [FrMKassel, K800, KOM, musicfromjapan, NG] FULLER-HALL, Sarah Margaret (1959- ) USA Composer; st. Appalachian State U. Works: orchestra, band, chamber, vocal. Av. from composer (Zaimont and Famera 1981, 200): Jazz Impromptu (1978) 4'. Int-Late Int. [Cohen, SAI, Zaimont] FUNG, Vivian (1975- ) Canada Pianist, teacher, composer; st. Violet Archer (q.v.), Juilliard; teacher, Connecticut School of Music, Westport; awards, commissions, residencies. Works: orchestra, chamber, piano, vocal. Toccata (CMC 2001) 6'. Assoc. of Canadian Women Composers commission. [ACWC, CMC]

76 Furgeri FURGERI, Biancamaria (1935- ) Italy Organist, teacher, composer; st. Milan, Padua; prizes, awards. Works: orchestra, chamber, organ, vocal, piano. Style: atonal, serial. Juvenilia (Zanibon 1983/ILL) 11', facs. 13p. Duet, pf 4-hands. 5-mvt suite; not for children, despite title. Dissonant, atonal, serial; briefly lyric, tonal. Lento e grave-Moderato con semplicità; Scorrevole e leggiero; Più lento; Corale, lento; Lentissimo. Early Adv. [Cohen, Heinrich, S&S]

G GABUS, Monique (1924- ) France Pianist, composer; st. Tagliaferro, Noël Gallon, Messaien at Paris Cons.; prizes. Works: orchestra, chamber, piano, vocal. See: numerous collections of colorful neo-classical sketches for children (ElemInt), pub. Lemoine: Le Clavier de Pierre et Françoise (1965); Images Indiennes (1977); Jeunes Artistes au Clavier (1966); Le Livre des Animaux, 2 vols (1974); La Roselière (1984); Trois Pièces de Piano Pour Enfants (1964). See also anthologies: Mes Premiers Classiques Pour Le Piano; Musique des Jours Heureux, 2 vols; Les Plaisirs de la Musique; Les Jardins Moghols, 2 vols (Billaudot 1988). [Boenke, Cohen, FrMKassel, KOM] GAIGEROVA, Varvara Adrianovna (1903-1944) Soviet Russia Pianist, composer; st. Myaskovsky, Moscow Cons.; concertmistress, Bolshoi Theatre; interested in musical folklore of southeastern Russia. Works: orchestra, chamber, piano, voice, opera. Style: nationalistic, use of Russian folk themes. Sonatina on Buriat-Mongolian Themes Op. 19 (Muzgiz 1949/Schirmer/ILL) 25p. In 3 movements. Late Int/Early Adv. See also: Four Sketches (Muzgiz 1929); Sonata. [Cohen, Grove, Meggett, Vodarsky] GALBRAITH, Nancy Riddle (1951- ) USA Pianist, organist, composer; st. Ohio U.; professor, Carnegie Mellon U.; residencies, awards, recordings, commissions. Fantasy for Piano (ACA 1980/ILL) 10p. Adv. Piano Sonata No. 1 (Subito 1997) 16'. 3 mvts. Adv. Also: Haunted Fantasy (1979); Alverta (1976); Clown Parade (1976); Matthew (1975); Moontide: A Prelude for Baptism (1975); Insects (1975); Prelude (1986) [Cohen, nancygalbraith. com., SAI]

Gárscia 77 GARCIA ROBSON, Magda (Magdalena) (1916- ) Argentina Pianist, lecturer, composer; studied, taught, and became director of the Conservatorio Nacional de Musica y Arte Escenico. Works: orchestra, chamber, piano, vocal, theatre. Sureña (Ricordi Am 1951/ILL) 2p. From the series “Estampas.” A graceful dance in 3/4-6/8. Late Int. Also: Sonatina; Suite. [Boenke, Cohen] GARDINER, Mary Elizabeth (1932- ) Canada Pianist, choir conductor, adjudicator, teacher, composer; st. U. Toronto; active in professional associations; commissions. Works: orchestra, chamber, piano, vocal, music theatre, multimedia. Style: well crafted, honest, imaginative. A Long Time Ago In The Future (1986) 10'. Contemporary techniques: 4-note cell, harmonics, raps on soundboard, wide range, motoric sections. Mosaic (CMC 1984) 5'. Commissioned by pianist Elaine Keillor. Short Circuits (1982) 10'. Commissioned by Alliance for Canadian New Music Projects. Synergy (1997) 4', 9p. Commissioned by Markham Music Festival. Rubato intro, then ternary: giusto toccata; espressive slow theme; toccata. Proportional rhythms, bitonal juxtaposition of unrelated harmonies. Early Adv. Also listed with the Canadian Music Centre: Footloose (Frederick Harris 1955); Modicums; Two for D (1991); Piano Concerto. [CMC, Cohen, IAWM] GARDNER, Kay [‘C.W. Child,’ ‘Cosmos Wonder-Child’] (1941- ) USA Flutist, conductor, lecturer, composer; st. U. Michigan, SUNY-Stonybrook; founded New England Women’s Symphony, Boston; pioneer in music healing. Works: orchestra, band, chamber, vocal, electronic, opera. Style: melodic foundation, modal, infl. world music (Sadie and Samuel 1995, 182). Seven Modal Improvisation Studies (Iris 1978) 5' each. Pf, or any bass instr with any treble instr. Int/Late Int. Song Studies for Piano Op. 17 (Iris Pub 1979) 1-6' each. First Easy Piece, Simple Gifts, Sioux Lullaby, Mountains at Dusk, Rhapsody in Sea, Rain Forest, Heart Healer in Green. Late Int/Early Adv. Also: Awakening; A Rainbow Path (1984) [Boenke, Cohen, IAWM, K800, LePage, NG, Pendle, S&S, Zaimont] GÁRSCIA (-GRESSEL), Janina (1920 -) Poland Pianist, conductor, lecturer, composer; studied and taught in Cracow; national awards. Style: imaginative, programmatic; functional tonal harmony, colorful dissonance; standard forms, lively rhythms, vivid illustrations.

78 Gartenlaub Bagatelles Op.4 (PWM 1991) 30p. 24 tuneful, mildly contemporary children’s pieces designed to encourage pianistic skills. Early Int. Colourful Children's World Op.65 (PWM 1995) 12p. 8 cute character pieces, such as “A Walk in the Zoo” and “A Stubborn Kid.” Elem. Ikebana Op.70 (PWM 1994) 33p. 11 colorful sketches of varying difficulty, dedicated “to the children and the young of the faraway country of Japan” (score notes). Includes companion cassette. Int-Late Int. Fairy Tales In Sound Op.66 (PWM 1994) 19p. 7 descriptive pieces with cassette (e.g. “Drummer’s March,” “Ghost Train”) for 5th-6th year students, requiring imagination and careful interpretation. Int/Late Int. Favourite Tunes Op.2 (PWM 1996) 20p. 20 folk song settings with colorful drawings. Early Int/Int. Miniatures Op.5 (PWM 1971) 28p. 13 contrasting character pieces. Early Int. Szkice [Sketches] Op.56 (PWM 1996) 32p. Attractive, pianistic programmatic scenes, described on companion tape in Polish/English. Int/Late Int. Teasers (PWM). Elem. Two Sonatinas Op.68 (PWM 1995) 9p. Rhythmic, appealing, and pianistic; also contains harmonized version of Polish Folk Song Op.26/9. Late Elem. Very Easy Piano Pieces for Children Op.3 (PWM 1971) 17p. 8 colorfully descriptive works. Early Int/Int. Winterliche Spiele [Winter Fun] Op.25 (PWM 1992) 12p. 9 very brief pieces; cute illustrations feature animals. Elem. [Agay, Axford, Boenke, Cohen, FRK, Hinson, K800, Kirby, KOM, Magrath, SCB] GARTENLAUB, Odette (1922- ) France Pianist, professor, composer; influential pedagogue; awards, prizes include Premier Grand Prix de Rome, 1948. Works: orchestra, chamber, piano, harpsichord, vocal. Le Coin des Enfants [Children’s Corner] (Rideau Rouge 1968) 2p. First two in a 6-piece progressive anthology. Avec Mélancholie: RH/LH alternate single tones. Avec Grâce: rocking accompaniment under a simple melody. Modal, in treble clef. Elem. Antique (Rideau Rouge 1970) 4:35, 7p. Presto, 4/4. Tonal but freely chromatic; a hexentanz/toccata with driving rhythms, alternating staccato 3rds, and a slightly slower middle section. Early Adv. Grave et Toccata (Durand/Rideau Rouge 1968/ILL) 6p. Neo-classical Ravellian textures, dissonant added-note chords, whole-tone fragments. Late Int. Sept Petites Études [7 Short Studies for Intervals] (Rideau Rouge 1974) 15p. Each piece focuses on one interval; mildly contemporary (Hinson 1979, 123). Int. See Cohen for titles of many more teaching pieces. [Boenke, Cohen, Combre, HinSup, KOM, Meggett, Stern]

Gazarossian 79 GARVIA (I SERRANO), Maria Isabel (1959- ) Spain Pianist, teacher, ethnomusicoiogist, composer; st. Cons. of Barcelona, where she teaches; prizes, grants. Works: piano, chamber. Collage Op. 17 (Clivis 1987) 5', 8p. Colorful miscellany of Spanish dance rhythms; lively, dissonant, in 5 sections, with clear changes in tempo, pattern, texture. Late Int/Early Adv. Glossari d’un Poeta Op.12 (Clivis 1987) 22', 43p. Four portraits based on Papasseit poems. Victòria: maestoso-allegretto, 3/4. Joventut: capriccioso, LH melody amid rippling 32nd-notes. Sofismes: adagio cantabile, 6/8. Sageta de foc: a sectional ballade; in opening, hands share leggiero 32nd-note arpeggios. Early Adv. See also: Dues Elegies Op.6 (1980) 5'; Simetries Op.5 (Clivis 1980) 4'; Triptych Op. 14/2 (Clivis 1982) 13'. [Clivis, KOM, 68CompCatalans] GARZTECKA (-JARZEBSKA), Irena (1913-1963) Poland Pianist, composer; st. Warsaw Cons., Lodz State Music Coll. Works: orchestra, chamber, piano, vocal. Style: conservative, romantic. Polish Dances (PWM 1954). 6 stylized miniatures. Mazurka: triple meter, accented weak beats. Kujawiak: a rapid mazurka. Krakowiak: 2/4, simple syncopations. Oberek. Zbójnicki. Polonaise: triple meter, stately and festive. Int. Suite (PWM 1952). Five mvts; may be performed singly. Simply constructed, serious (Hinson 2000, 327). Late Int/Early Adv. Also: Fantasy (1941); Prelude (1942); Rondo (1942); Short Pieces for Children (Czytelnik 1943); Six etudes (1958); Variations (1947). [Axford, Cohen, Hinson, Kirby] GAZAROSSIAN, Koharik (1907/8-1967) Turkey/Armenia Concert pianist, composer; st. Paris Cons. with Lévy, Dukas. Works: chamber, piano, vocal, arrangements. Style: many works inspired by Armenian liturgical chants and folksongs; “her piano music is gracious, immediate and wellbalanced, written with a sense of keyboard flair” (Sadie and Samuel 1995, 184). Prelude (“Oh Lass, Your Ma Is Dead”). “Based on a folk melody notated by Komitas, solemn without sounding severe, songful without seeming sentimental, and sophisticated without being stuffy” (from recording liner notes, Arzruni: An Anthology of Armenian Piano Music, Vol. II: Composers in the Diaspora (Tinton Falls, New Jersey: Musical Heritage Society, 1979). See also: Album; Les Armeniennes (1947); Eleven Preludes (1967); Sonatine (1956); Pf Suite (1934); Twenty-four Etudes (1958); 2 piano concertos. [Boenke, Cohen, S&S]

80 Geertens GEERTENS, Gerda (1955- ) Netherlands Composer; st. Klaas de Vries. Works: chamber. Style: atonal; kaleidoscopic interweaving of effects (Sadie and Samuel 1995, 184). She Weeps Over Rahoon (Donemus 1985/Peer) 8p. An introspective lament, exploring sonorities and dissonances around a single tone (middle E); sparse textures, octave displacements, precise rhythms, sudden contrasts in dynamics and articulation. Late Int. [KOM, S&S] GENTILE, Ada (1947- ) Italy Pianist, lecturer, composer; st. Naples, Accademia di St. Cecilia, Rome; prizes, honors. Works: orchestra, chamber, opera. Style: kaleidoscopical fabric of sounds. Appena Accennato, from “Musicisti Contemporanei” (Edipan 1986). Gli Studietti di Betty Boop (Ricordi 1992). Album for beginners. Trying (1980), from “Der Reihe: Musicisti Contemporanei” (Edipan 1986). [Boenke, Cohen, FrMKassel, K800, KOM, NG, Pendle, S&S] GHANDAR, Ann (1943- ) Australia Pianist, writer, professor, composer; st. Adelaide, Eleder Cons., Canberra, Southampton. Works: chamber, piano, orchestra, vocal. Style: contemporary, infl. by Middle East; “evokes colours and images which make you feel you are seeing something of immense beauty for the first time”—Armidale Express, 1996, as cited by Australian Music Centre. Dreaming of the Sea (Keys Press 2000) 5:30, 9p. 5 mvts: Sunlight; Waves; Rainforest; Moonlight; Dreaming of the Sea. Short cameos based on single motives; atonal, rhythmically complex; wide dynamic and pitch ranges. Adv. Fragments of a Song (Keys Press 1998/ILL) 6', 6p. 4 sections, atonal, built from characteristic motives; cross-rhythms, hand crossing. Late Int. Garden with Birds (Keys Press 2000) 9:56, 17p. 11 non-tonal sketches: Early Morning; Garden Walk; Sunflowers; Feeding the Parrots; Mist on the Mountain; Irises; The Lake; Water Lilies; Sunset. Late Int/Early Adv. Toushka (Keys Press 1998) 8p. Atmospheric suite in 4 mvts; wide pitch, dynamic ranges, rhythmically/technically demanding (descriptions: Carrigan 2002, 98-102). Adv. Also av., AusMC: Atomies; Eshelgharam (1978); Estuary (1990); For Adam (1984); Four Pieces; Gold Mosaic (1994); Paraselene; Piano Suite (1996); Ragtime Suite (2001); Shadows (1990); Sinai Music (1991-93); Uncertain Comets Chance Drifting (1973). Av. from Keys Press: Night Pictures (1997); Rainy Day Rag (2000); Scillitin (1991); September Suite (2000).

Gideon 81 Av. from Grevillea Editions: Dahab (1995); For Mostafa (1993); Four Bagatelles (1994); Four Songs for Piano (1996); Photophoresis (1989); Ras Mohammed (1992); Reflections (1996); Six Simple Pieces; Synapsis (1995). [AusMC, Boenke, Carrigan, Cohen] GHOSN, Rita ( - ) France Intermède (Eschig 1998/ILL) 4p. Dramatic, with romantic sweep and figuration, 20th c. chromaticism; 8vas, double notes, complex rhythms. Adv. Sur un Fil (Eschig 1992/ILL) 4p. Flashy, effective recital piece (Hinson 2000, 331). A lively caprice, freely tonal with some dissonance, shifting key centers, ternary. Late Int/Early Adv. [Hinson] GIBERT, M. Teresa ( - ) Spain Impromptu per a Piano (Clivis AC229). [Clivis Publishing] GIDEON, Miriam (1906-1996) USA Pianist, composer, professor; st. Saminsky, Lang, Sessions, Boston and Columbia universities; grants, honors, awards. Works: orchestra, chamber, piano, vocal, opera. Style: polished, lyric, freely atonal; disjunct melodies, 8va shifts, strong harmonies, sparse textures; infl. by 20th c. French idioms. Canzona (New Music Ed. Vol.20/2 1947/ILL) 5p. One mvt, atonal, 2-vc texture; lively staccatos, large skips; requires skillful musicianship. Early Adv. Of Shadows Numberless (ACA 1966/ILL) 21p. Suite: five delicate neoimpressionistic tone poems based on Keats’ “Ode to a Nightingale.” Allegretto: “magic casements opening.” Animato: “the blushful Hippocrene.” Ritornelle: 1 page reprise, “magic casements.” Presto: “the murmurous haunt of flies on summer eves.” Tranquillamente: “white hawthorne and the pastoral eglantine.” Moderato: “Adieu! thy plaintive anthem fades past the near meadows.” Early Adv. Piano Suite Nr.3, in “New Music for the Piano” (Lawson-Gould 1963). Three short atonal movements. Late Int/Early Adv. Six Cuckoos in Quest of a Composer (ACA 1953/ILL) 25p. Deftly crafted set of variations on in period styles: Renaissance ricercar; 2-vc Baroque prelude; 3-mvt Classical sonatina; late Romantic prelude, chromatic harmony; Impressionistic tone painting; 20th c. variant. Int-Late IntEarly Adv. Sonata for Piano (ACA 1977/ILL) 12p. Programmatic, 3 mvts: Veiled Destinies: ardamente con moto; Night: the Shadow of Light, andantino; Rapid and Footless Herds: allegro, rapid contrasts in tempo, meter, and dynamics. Adv.

82 Gifford Suite Nr.1: Three Cornered Pieces (ACA 1935). 6 brief attractive pieces in triple meter; tonal, with quartal harmonies; simple textures, wide spacing, and clever rhythmic shifts. Mid-Int. Walk, in “American Composers of Today” (Marks 1965) 1p. Amiable treble study in 3rds with shifting meters. Int. See also: Suites 4-7 (1951). See Ellie M. Hisama: “Rediscovering Miriam Gideon,” Institute for Studies in American Music Newsletter 27/2 (Spring 1998). [Agay, Bauer, Boenke, Butler1, Cohen, F&F, Finell, Fuller, Gordon, HAMW, Heinrich, Hinson, Hisama, K800, Kirby, LePage, Meggett, NG, Pendle, sdiego, S&S] GIFFORD, Helen Margaret (1935- ) Australia Pianist, composer; st. Melbourne U; fellowships, residencies; chair, Composers’ Guild of Australia; awards, fellowships, commissions. Works: orchestra, chamber, vocal, opera, theatre. Style: sensitive, highly individual; infl. French Impressionists, and Polish school, and Asian music. As Foretold to Khayyám (AusMC 1999) 5:20, 5p. Includes vocal effects by pianist. Contemporary, atonal, technically demanding. Commissioned by by ABC Classic FM in celebration of the new millennium. Adv. The Gifford Collection: Piano Music 1960-1994 (Red House 1997). Catalysis (1964) 5'. 12-tone, with clarity of gestures, contrasts of mood. Adv. Piano Sonata (1960) 8'. Gifford’s third work explores language of Prokofiev, Bartok; widely spaced contrapuntal lines. Early Adv/Adv. Three Short Pieces (1966)1:30, 1:40, 1:10. Cantillation; The Spell; Waltz. Contrasting, abstract character-mood pieces; may be performed separately. Early Adv. Toccata Attacca (1990) 10'. Commissioned by pianist Sally Mays. Dramatic, virtuosic, complex; sections of rapidly repeated percussive chord alternate with static episodes with slow, widely spaced notes. Adv. A Plaint for Lost Worlds (1994). Trio for pf, piccolo, and Bb clarinet. [AusMC, Boenke, Carrigan, Cohen, Heinrich, McCredie, Murdoch, NG, S&S] GINER, Consuelo (20th c.) Spain La Entra De La Murta, Pasodoble Valenciano (Union Mus. Ed. Madrid UME18456) [KOM] GIPPS [Wid (dy) Gipps], Ruth (Dorothy Louisa) (1921-1999) England Pianist, composer, conductor, professor; st. RCM-London; chair, Composers’ Guild of Great Britain; honors, awards incl. M.B.E. Works: orchestra, chamber, vocal. Style: accessible, infl. revival of British folksong; melodic, tonal/modal, complex harmonies.

Glickman 83 Conversation for Two Pianos Op.36 (1950/ILL) 7', 17p. 2pf duet. Programmatic depiction of two gossips. Late Int/Early Adv. Opalescence (1989). Dedicated to Selma Epstein. CD recording JADCD1053 (Carrigan 2002, 104). Also: The Fairy Shoemaker (Forsyth 1929); Theme & Variations Op.57a (1965). [Baker6, Carrigan, CGGB, Cohen, Fuller, Grove5, Heinrich, K800, Meggett, NG, S&S, Stern] GLANVILLE-HICKS, Peggy (1912-1990) Australia/USA Pianist, conductor, critic, composer; notable supporter of contemporary music, young composers; st. Vaughan Williams, Sargent, Wellesz, Boulanger; grants, fellowships, awards. Works: orchestra, chamber, piano, vocal, ballet, opera, film. Style: unique, influenced by non-western music (Murdoch 1972, 105). Prelude for a Pensive Pupil, in anthologies “The Century of Invention,” Part II, ed. Hinson (Eur. American 1996); “Frauen Komponieren,” ed. Rieger (Schott 1985), and “New Music for the Piano,” ed. Prostakoff (LawsonGould 1963). Neo-romantic, quiet; lovely flowing melody, parallel broken triads, added-note harmonies, LH octave skips. Late Int. See also: Sonata (Associated 1954/ILL) pf & perc; Sonatina (Schott 1941/ILL), pf & treble recorder/flute. See Deborah Hayes: Peggy Glanville-Hicks: A Bio-Bibliography (N.Y.: Greenwood 1990). [Agay, AusMC, Boenke, Butler, Cohen, FRK, FrMKassel, Hayes, HinSup, K800, KOM, LePage2, McCredie, Meggett, Murdoch, Pendle, SCB, sdiegomtac, S&S] GLICKMAN, Sylvia (20th c.) USA Composer, pianist, teacher, musicologist, publisher; st. Juilliard, RAM-London; researcher in women composers, contemporary composers, and American music; founder, Hildegard Publishing; prizes, grants, commissions, awards. Works: orchestra, chamber, vocal, piano. Dances and Entertainments (Hildegard 1990) 18p. Commissioned by Network for New Music. 8 short sections: solemn 1-page introduction; 4 Dances (Earth, Air, Fire, Water); 3 intervening Entertainments (Sarabande, Waltz, Rag). Direct-string playing, one preparation. Early Adv. American Women Composers: Piano Music from 1865-1915, ed. Glickman (Hildegard 1990) Amy Beach: Virtuoso Piano Music, ed. Glickman (Da Capo 1982) Anthology of American Piano Music, 1865-1909 [American Keyboard Music: 1866-1910], ed. Glickman. Vol.4 of series, Three Centuries of American Music (G.K. Hall 1990). Women Composers: Music Through the Ages, ed. Glickman and Schliefer, 12 vols. (G.K. Hall 1996-200x, forthcoming). [Cohen, score]

84 Goldschmidt GOLDSCHMIDT, Hadas (20th c.) Israel Works: orchestra, chamber, piano. For brief biography, see Israeli Music Center: http:/go.to/israelcomposers Echoes (IMC 1999) 17', 40p. [IMC] GOOLKASIAN-RAHBEE, Dianne Zabelle (1938- ) USA Pianist, lecturer, composer; st. Juilliard, Mozarteum with Paderewski, Helen Hopekirk (q.v. Vol.I); lectures, workshops. Works: orchestra, chamber, piano, voice. Style: mixture of Armenian background, formal Western training. For scores: call 617-489-1848 (Solomon 1998, 6). Abstracts Op.7 (DGR Publishers 1981/ILL) 10p. Ten contemporary studies in moderate tempos, contemplative moods. No. 1: LH nocturne. Late Int. Essays for the Piano Op.4 (Musicalligraphics 1980) 23p. 12 short contemporary studies; Nos.1, 9, 11, 12 especially noteworthy (Magrath 1995, 377). Int. Expressions Op.8 (DGR 1981/ILL) 11p. 9 contemporary mood pieces. Late Elem/Early Int. Fragments (Boston 1987) 10p. 14 imaginative mini-etudes focusing on specific technical challenges, described in score. Late Elem/Early Int. Nocturne (Homage to Chopin) Op.32/1 (DGR 1989/ILL) 4p. In 6/8, with Chopinesque figurations, 20th c. harmonies. Late Int. Phantasie Variations Op.12 (Seda Productions 1980) 5p. Serial with aleatoric elements, sectional; two 12-tone rows, shifting meters; pointillistic, dramatic (Hinson 2000, 342). Adv. Piano Sonata Op.25 (DGR 1986/ILL) 15'33p. Passionate and pianistic. 4 mvts: With furious energy; Scherzando; As if asking a question; Toccata. Some hand-arm clusters, bitonality, opt. measures. Adv. Piano Sonata No.2 Op.3l (Seda/DGR 1988/ILL) l5p. 4 dramatic mvts: Allegro maestoso, expressive; Scherzando, thin quartal harmony; Intermezzo, nocturne-like; Allegro energico, motoric (Hinson 2000, 343). Adv. Pictures Op.3 (Boston 1980/ILL) 12p. 10 charming, imaginative sketches based on movement types (e.g.: Chase, Roaming, Flocking, Parade); with performance instructions for extended techniques. Late Elem/Early Int. (Three) Preludes Op.5 (DGR 1980/ILL) 6p. Chopinesque textures, contemporary tonalities; exploration of interval of a 4th in various combinations (Solomon 1998, 6). No.1: cantabile LH melody, repeated RH 6/4 chords. No.2: dissonant RH melody acc. by 8th-note arpeggios. No.3: accents, staccatos, pesante LH 8vas, shifting meters, biting and energetic. Late Int. See also: Essay No.1 Op.1 (Carousel 1972); Novelette Op.37; Question Op.11; Y2K Phantasie Op.99; Scherzino Op.32/2 (Homage to Stravinsky); Soliloquies Op. 17; Three Intermezzi Op. 18, 21. [Agay, Cohen, FRK, FrMKassel, Heinrich, Hinson, IAWM, Magrath, Solomon]

Gregori 85 GOULD, Elizabeth Davies [Mrs. Hochman] (1904- ) USA Pianist, composer; st. Oberlin, U. Michigan; awards, prizes. Works: orchestra, chamber, organ, piano, vocal. Three Stylistic Effects (Boston 1992). Duet, pf 4-hands; freely tonal with extended chromaticism; energetic. Allegro; Lontano; Marcia gusto. Early Adv. Also: Bits and Bites; 4 Preludes (E. Gould 1979); 5 Ideas; Flashes of Our Time; Guidelines; Marches; Prelude (Lento pesante, 1947); Reflector, prelude; Smog; Sonata No.1 (1957 or 1958); Piano Sonata No.2 (1961); Sonatina (1962); Speed; Toccata (Elkan-Vogel 1950); Tranquilizer. Duets: Rhythm (1955/1971); Scintillations, ballet music (Elkan-Vogel 1969); Tarantella (1969). [Boenke, Cohen, Heinrich, K800, Meggett] GRANT, Alicia (1978- ) Australia Composer; st. RAM-London, Oxford; honors, prizes. Works: orchestra, vocal, chamber. Contact composer for scores: alicianina@ hotmail.com. Soliloquy (1996). Surreal Sailing (AusMC 2000) 6:30, 8p. Facsimile. Includes program note. Early Adv. [AusMC] GREENWELL, Andrée (1964- ) Australia Melbourne-based composer, performer, lecturer, U. Western Sydney. Works: film, television, music theatre, voice, opera. A Lovely Time, in “Australian Piano Miniatures” (Red House 1998) 1p. Toccata, static, minimalist, unmetered; alternation of hands, emphasis on rhythm, dynamics. Late Int. [AusMC, score] GREGORI, Nininha (1925- ) Brazil Composer; st. Koellreutter. Works: chamber, vocal. Style: mainly 12-tone. Macumba. African influence; repetition of hypnotic single rhythm underneath a simple melody. (The macumba is a religious cult of African origin whose ritual is based on singing and dancing—Dr. Luciana Soares, Nicholls State University, CMS lecture-recital, 9-29-02, Kansas City). [Cohen, CMS-Soares]

86 Grenfell GRENFELL, Maria (1969- ) Malaysia/New Zealand Composer, violinist, lecturer; st. U. Canterbury (New Zealand), Eastman School, USC-Los Angeles; commissions, awards; Works: orchestra, chamber, voice, flute. Ostinato (AusMC/SOUNZ 1993) 3'. One movement. Int. [AusMC, SOUNZ] GUBAIDULINA [Gubaydulina], Sofia Asgatovna (1931- ) Russia/Germany Pianist, composer; st. Kazan, Moscow conservatories; awards, commissions; “one of the leading composers in Russia” (Sadie and Samuel 1995, 200); “the most important living woman composer” (Sperber 1996, 101). Works: orchestra, chamber, piano, vocal, ballet, electronic, theatre, film. Style: contemporary techniques: serialism, direct string effects, clusters, improvisation; Romantic expression; timbres, religious feeling; virtuosic difficulties. Musical Toys, 14 children’s pieces (Boosey/Sikorski/Zen-On 1969) 25', 21p. Selected Piano Works, ed. Takahashi (Sikorski/Zen-On 1991/ILL). Many of these works are also av. singly. Chaconne (1962) 7', 16p. Also pub. Sikorski. Sonate (1965) 15', 31p. Also pub. Sikorski, and in Two Piano Sonatas by Young Soviet Composers (Associated 1977). Toccata-Troncata (1971) 1', 3p. Also pub. Sov. Kompozitor/Sikorski 1978. Invention (1974) 2', 3p. Also in “Album Sowjetischer Klaviermusik für Jugendliche” (Sikorski). Adv. Also: 8 Preludes (1955); Sonatina (1952); Variations on a Tartar Song Epipe (1946). [Axford, Bakers92, Boenke, CAMW, Cohen, FrMKassel, Gordon, Heinrich, HinSup, K800, Kirby, KOM, Meggett, NG, Nies, Pendle, SCB, Sperber, S&S] GUERRANT, Mary Thorington (1925- ) USA Pianist, professor, composer; st. Rosalyn Tureck, Mary Jeanne Van Appledorn (q.v.); teacher, Austin College, U. Dallas, Tunghai U., Taiwan. Works: chamber, opera. Passacaglia (AWC Music Lib 1974/ILL) 8p. Variations on atonal theme with tritones, 2nds; changing meters/tempos, sparse ctpt. Early Adv. [Cohen] GURAIEB KURI, Rosa (1931- ) Mexico Concert pianist, professor, composer of Lebanese origin; st. Mexico City Cons., Yale, National Cons. with Chavez. Works: chamber, piano, vocal. Pieza Ciclica (Ed. de la Liga de Compositores de Mexico 1977). Also: Allegro (1981); Espacios (1983); Prelude/Preludio/Präludium (1986); Scriabiniana(1981). [Cohen, K800, Pendle, S&S, Zaimont muswom]

Handel 87 GUYMER, Sheila Learmonth: see LEARMONTH, Sheila

H HABAN, Sister Teresine M. (Teri) (1914- ) USA Professor, composer; st. Chicago Musical Coll., Eastman School; department chair, College of St. Francis (Illinois). Works: orchestra, chamber, organ, vocal. Prelude (Willis 1966/ILL) 3p. Neo-impressionist, chordal, occasional addedtone, whole-tone colors. Int. [Cohen, Heinrich] HAIRSTON, Jacqueline Butler (1938- ) USA African-American professor, arranger, composer; st. Howard, Columbia universities. Works: spiritual arrangements, sacred and secular concert music, vocal. “Great Day” Ode (1991) 4:35, 13p. Based on 3 spirituals: “Great Day,” “Jesus Walked That Lonesome Valley,” and “Every Tome I Feel the Spirit.” Av. Hairston (Walker-Hill 1995, 11). Also: Theme and Variations on “In That Great Getting-Up Morning,” duet. [Cohen: Morgan State University, Walker] HANDEL, Amanda (1958- ) Australia Pianist, saxophonist, teacher, composer; st. Sydney Cons.; commissions. Works: chamber, guitar, piano. Style: eclectic, infl. jazz, Europe folk styles. Facsimile scores av. from composer through the Australian Music Centre (descriptions: Carrigan 2002, 116-117). Blue Bay (1987) 2:45, 4p. Waltz; ternary, jazz-influenced. Int. Chimera (1988) 2'. Contemporary: direct-string playing, clusters, preparations. Int. Crystal Amulet (2001) 9:20, 10p. 5-mvt suite: Topaz; Moonstone; Emerald; Amethyst; Garnet. Studies in tone color, centering around E. Adv. Partita (1990) 12'. 5-mvt suite: Prelude; Dance; The Indomitable; Somnolence; Toccata. Pianistic, interesting, challenging rhythms Adv.

88 Hannikainen Sun Shower (1987) 2', 2p. 7/8-6/8; broken-chord bass, light, flowing, pianistic. Int. Tiny Flower (1998) 2:10, 2p. Tragic memorial to a child; slow, delicate, sensitive. Late Int. Zardash (2001) 3-4', 5p. One mvt, many tempo changes; brilliant quick sections, skillful pedaling required. Early Adv. [AusMC, Carrigan] HANNIKAINEN, Ann-Elise (1946- ) Finland/Spain Composer, pianist; st. Sibelius Academy, Ernesto Halffter in Spain. Works: orchestra, chamber, piano. Style: moderately contemporary with Impressionist touches. Pensamientos 1974 [Thoughts] (Fazer 1982/ILL) 19p. Rhapsodic outpouring; rapidly shifting figurations, contrasting sections, freely chromatic. Adv. Toccata-Fantasia (Fazer 1982/ILL) 19p. Furious perpetuo moto in several contrasting sections; 8vas, rapid 16th-note figures, clusters; freely tonal, exciting and pianistic. Adv. Also: Theme and 2 variations (1968); Theme and 4 variations (1966). [Cohen, FMIC, KOM, S&S] HARA, Kazuko (1935- ) Japan Librettist, professor, singer, composer; st. Tokyo, Paris, Nice, Venice; prizes. Works: orchestra, chamber, piano, vocal, opera. Style: spare textures, simple melodies, effective rhythms, character depiction. Children’s Picture Book (ZOG 1971). Pieces for Children (Yamaha 1971). Gioco; Piccola Danza; Aria Antica. Sonatine (OGT 1957). See also: Composition (1971); Gavotte. [Boenke, Cohen, Japan Fed, musicfromjapan, NG, S&S] HARBACH, Barbara ( - ) USA Concert organist-harpsichordist, professor, composer; st. Musikhochschule Frankfurt; Yale U.; Eastman School, DMA 1981; editor-owner, Vivace Press; awards, prizes, recordings. Works: orchestra, chamber, organ, harpsichord, piano, choral, also arrangements, editions. Email: [email protected]; at University of Missouri-St. Louis as of 2003. Phantasy & Phugue (Vivace 1995) 4-5', 15p. “Following a thunderclap opening, the mysterious atmosphere builds until the tolling of low octaves in the bass heralds a hypnotic middle section . . . (with) a melody superimposed over a repeated rhythmic pattern. This moves into an athletic gigue-like fugue . . .a spellbinding contemporary piece to round out a program” (Vivace Press). Adv.

Harris, Ethel 89 Suite Alternatives (Vivace 1995) 12p. Upturn: bright and imitative. Nocturne: interesting contrasts between lyricism and unexpected melodic twists. Return: alternates between playfulness and percussiveness. Written for specific technical needs of advancing pianists, such as playing in the outer ranges of keyboard, accuracy with wide-spaced melodic lines, and balance between the hands in imitative sections (score). [composer, scores, Vivace] HARBERTS-HILGER, J. ( - ) Holland Impressies Uit Het Noorden (Jämtlandsslied) (Broekmans & v. Poppel 1975) 4p. Nordic folksong, 4 imitative variations in two and three-voice ctpt. Het Jämtlandlied; Variatie; Oud Fins Koraal; Kleine Fuga; Boerenbruiloftsdans. Late Romantic with a few altered chords. Int. [KOM] HARPER, Marjorie (1902- ) USA Pianist, composer; st. Alexander Lambert, Rubin Goldmark; toured with Tito Guzar; vice president, Concert Piano League, N.Y. Guitarras de Sevilla (Boston/ILL) 6p. Colorful teaching piece using simplified flamenco rhythms and gestures. Int. See Cohen for many other picturesque titles with a Spanish flavor; publishers include Belwin, Boston, Schirmer, Remick. [Axford, Cohen] HARRHY, Edith (20th c.) Australia Maori Sketches (Allan 1939/ILL) 11p. 6 descriptive works, late Romantic in style, based on native melodies. On the Wanganui; Lullaby; Love Song; War Dance; Poi Dance; Lament. Int. [Cohen] HARRIS, Ethel Hermina Ramos (1908-2003) USA African-American pianist, composer; st. New England Cons., Carnegie Mellon; pianist, Nat’l Negro Opera Co. Works: voice, chorus, piano. Av. from Paquita Harris Attaway (Walker-Hill 1995, 11): Paquita Mia (Volkwein 1942). Yolanda (Volkwein 1942). [Anderson, Cohen, Home, Walker]

90 Harris, Margaret HARRIS (-SCHOFIELD), Margaret Rosezarian (1943-2000) USA African-American concert pianist, conductor, composer; st. Curtis Inst., Juilliard; co-founder, Opera Ebony; first African-American woman to conduct symphony orchestras in Chicago, St. Louis, Los Angeles; associate dean, Pennsylvania Academy of Music. Works: orchestra, concert music, ballet, opera. Israel Suite (CPE 1991) 20'. Early Adv. Also: Collage One (1970); Deep River (1990); He’s Got the Whole World in His Hands (1990); Myriad (1970); The Old Rugged Cross/Cross of Jesus (1993); The Vineyard Suite (1968). See brief memorial biography in IAWM Journal 6/3 (2000): 42. [Axford, Cohen, Horne, IAWM, Walker] HARRIS, Shirley (1941- ) Australia Pianist, educator, editor; specializes in students with learning/coordination difficulties, physical handicaps; st. NY; holds honorary offices in educational organizations; director, Harbour Conservatory for Musical Growth. Study in A Minor, in anthology “Piano Music for One Hand,” ed. Harris (Allans 1984/ILL) 2', 1p. Allegro, 2/4. Broken a-minor chord and descending neighbor-tone scale, for single handed agility and accuracy. Late Elem. [AusMC, Carrigan, score] HARRISON, Pamela (1915-1990) England Pianist, teacher, composer; st. Herbert Howells, Gordon Jacob, RCM-London. Works: orchestra, chamber, piano, vocal. Style: gracefulness, clarity (Sadie and Samuel 1995, 211). Anderida: Six Diversions (Chappell 1963/ILL). Good teaching piece—Concert Guild of Great Britain. Also: Six Eclogues of Portugal (1962). [Boenke, CGGB, Cohen, S&S] HARRISON, Sadie (1965- ) Australia Composer; st. U. Surrey, King’s College (London) with Nicola Lefanu (q.v.); prizes, commissions. Works: orchestra, chamber. Style: affinity with Boulez; concern for immediate sensory appeal. Impresa Amorosa (AusMC/U.York 1997) 16', 28p. I. Falcon. II. Tortoise. III. Saltire Cross. IV. Porcupine. V. Lizard. VI. Labrynth. VII. Candle. Adv. [AusMC, composer web page, Pendle]

Hays 91 HASSE, Jean (1958- ) USA/London Composer, pianist, publisher-editor, teacher; st. Oberlin, Cleveland State; assistant to Gunther Schuller (Margun Music); US-Canadian rep, Faber Music; founder, Visible Music, 1987; residencies, commissions. Works: electronic, theatre, piano, film. Email: [email protected]. Four Bits for Piano (1986-87) (Visible Music/Bote & Bock 1994/ILL) 11', 19p. Jazz-oriented, freely chromatic: Purple Blues; You’re Like a Sunny Day; Moment X; The Fantastic Vacation. Late Int. FP: 6 (1987). Pf, voice. Impressionistic and jazzy, the work recalls the past but introduces new harmonies and rhythms”—The Hartford Courant, December 1987, as cited in composer’s web page. Kinkh (Visible Music 1997) 5p. Also: The Fantastic Vacation; Moment X; Purple Blues; You’re Like a Sunny Day, w/vc. [Boenke, composer web page, FrMKassel, KOM, SCB, score] HATCH, Mabel Lee (20th c.) USA The Gay Butterfly (Arthur Schmidt 1921/ILL) 3p. Graceful salon piece in the romantic tradition. Int. Also: April Blossoms; Wild Briar; The Dreamy Lake; Evening Shadows (all pub. Arthur P. Schmidt). [Cohen] HAYAKAWA, Kazuko (20th c.) Japan Composer; st. Tokyo U. of Fine Arts. Works: chamber, voice, piano. Dan (1986). [musicfromjapan.org] HAYS, Sorrel (Doris Ernestine) (1941- ) USA Pianist, lecturer, singer, composer; st. Chattanooga, Wisconsin, Iowa universities, Munich Hochschule; premiered contemporary piano works; performance prizes. Works: chamber, piano, vocal, electronic, multimedia. Style: similar to Ives, Cowell; juxtaposes bombastic tone clusters with serene chordal passages, direct-string effects (Sadie and Samuel 1995, 213). Sunday Mornings (Prelude to Sunday Nights) (Tetra Music 1981/ILL) 2p. Hymn-like added-tone chords, arm clusters march steadily along in a processional; shifting tonalities, vivid dynamics. Late Int. Sunday Nights (Broude/Tetra 1979/ILL) 5:15, 6p. Nostalgic tone sketch evoking her Southern background. Fluid rhythms, sonorities include sympathetic vibrations, forearm clusters, direct string damping. Early Adv. Past Present (1978) 7', 4p. Ms copy av. in Frau Musik Archiv, Kassel.

92 Hébert-Tremblay Also, pub. Quinska-Hays/Tallapoosa: Bits (1987), pf & synth; Chartres Red, 3'; Duet for Pianist and Public (1971); Etude Bass Basses (1978) 4'; If, (1972) pf, tapes; PAMP (1975) pf, tape, bird whistles; Saturday Evenings [Saturday Nights] 5', pf, tape recorder; Wildflowers (197279) pf, synth; 90s: A Calendar Bracelet (1990) cycle for MIDI grand, Dedicated to Smyth, Craw ford-Seeger. [Agay, Boenke, Cohen, FRK, FrHKassel, Heinrich, K800, LePage, NG, S&S, Zaimont] HÉBERT-TREMBLAY, Suzanne (1960- ) Canada Composer; ed. U. Montreal; numerous commissions; works performed in Canada, Belgium, U.S. Works: orchestra, chamber. L'île et l'eaU. (1998) 5', 11p. Neo-impressionist, Ravellian sketch. Undulating treble figurations surround the “island,” a lyric central section rooted by a low D-flat pedal tone; cascading 6-4 chords. Early Adv. [CMC] HEDSTRØM, Åse (1950- ) Norway Electronic instrumentalist, teacher, composer; st. Norwegian State Academy, Inst. of Sonology-Utrecht; Norwegian Society of Composers Composition of the Year award, 1985, 1989. Works: orchestra, chamber, vocal, electronic. Style: neo-expressionist, often based on basic physical effects such as movement, breathing (Grove Online, accessed 4 Feb 2004). Scores av. Music Information Centre Norway: Chain (1983) 6'. Signs and Pictures (1989) 7'. [Cohen, MICNorway, NG] HEIDEL, Ida Helene (1958- ) Norway Scores av. MIC Norway: Spalting (n.d.). The Stillpoint (1996). [MICNorway] HEINRICH, Adel Verna (1926- ) USA Harpsichordist, organist, conductor, professor, composer; st. Flora Stone Mather Coll., Union theological Seminary, U. Wisconsin; awards, grants; author, Organ and Harpsichord Music by Women Composers (Greenwood, 1991). Works: orchestra, chamber, organ, piano, vocal, dance. Pf works, possibly pub. Boston: Sonata in B, Op.24, For Those Who Mourn; Sonata in b, Op.22, The Cosmos; Sonata in f#, Op.23, For the Joyous. [Boenke, Cohen, Heinrich, Zaimont]

Heller 93 HELLER (-REICHENBACH), Barbara (1936- ) Germany Pianist, teacher, composer, editor; st. Mannheim, Munich, Siena; founding member, Internationaler Arbeitskreis Frau und Musik; editor of numerous scores by women composers, esp. Fanny Hensel. Style: traditional; occasionally, improvisation, experimentation with environmental sounds, tape, extended techniques, multimedia works. Currants—Johannisbeeren (1984)(Furore) 42p. Diary of summer moments; 27 brief glimpses. Includes Schmerz [Pain], Tagtraum [Daydream], Verwirrung [Confusion], Intensivo, Perpetuum. 20th c. harmonies, some arm-clusters. Late Int-Early Adv. Klaviermusik ed. Aulenkamp (Furore 1996) 39p. Intriguing, eclectic collection: folksongs, minimalist and prepared pf works, virtuosic compositions, and sound paintings. MMM-Mehr Musik als Mahlerei: for a painter whose work inspired her. Requiem für Loki: for a founding member, Women in Music Germany. Schwarz-weiss and Ostinato: from the unfinished Klavierfiguren; Ostinato was later used in collaborative electroacoustic compositions. Eiskalt. Anklange. Reissverschluss [Zipper]: from the collection Schmuckstücke. Furore-ein Traum: for R. Matthei, founder of Furore publishing; opt. intro. requires preparation. Anna Z.: for Anna Zensius, with outstanding ability to play quietly. Nelkenblume, from Un Poco (below). Rosa Quinten, from Das Quintenbuch (below). Schmerz; Tagtraum; Verwirrung; Intensivo, from Currants-Johannisbeeren (above). Early Int-Adv. Pianomuziek voor Anje van Harten, in anthology “Frauen Komponieren,: ed. Rieger (Schott 1985) 1p. Wide range, bitonal in black-white notes, contrasting rhythmic figures and dynamics. Early Adv. Un Poco (Schott 1990) 21 p. Study in repeated tones and triads, opening and closing with Nelkenblume [Carnation], which uses a stanza from Persian folksong “Lalai,” in memory of women killed in Teheran, 1989. Early Adv. Das Quintenbuch [Book of Fifths] (Furore 1997) 19p. Ten contrasting colorstudies of quintal melodies and harmonies: Blue, Yellow, Interrupted, Pink (2 versions), Unsteady, Orange, Two Left and Two Right (fast and slow versions), and New Year for Deborah Richards. Late Int. Ton-Zeichen [Tone-Signs] (Furore) 5'-15', 25p. 24 visually graphic compositions for piano, oboe, and instruments, to be repeated ad lib. Tre Lettere Scarlattine in “Scarlattiana,” an anthology (Schott 1984/Moeck 1985/ILL) 4p. Pf or hpd. Three contrasting miniatures: a rhythmic, staccato triplet study; a dreamy, exploration of dissonant intervals in open textures; and a rapid fire crossed-hand, alternate-note toccatina with reversed clef signs. Late Int/Early Adv.

94 Henderson, Moya Vier Klavierstücke (Moeck). Contains MMM—Mehr Musik als Malerei; Requiem für Loki; Eiskalt (1983). See Klaviermusik, above. Zwei Klavierstücke (Furore/ILL) 5pp, 3p. Toccatina: alternating, accented LH octaves and RH chords. Tonkette: textured like a Bach prelude, freely chromatic. Pianistic, well constructed. Early Adv. See also, pub. Schott: Anschlüsse (1986); Everyday Playtime; Freude und Trauer (1983); Intervalles (1987); Für Jeden Klavierstücke [Piano Workshop] (1994). Also: 8 Kurze Klavierstücke für den Unterricht (1982); Andantino (1977); Böhmisches Lied (1989); Ein Traum (1986); Für Unica Zürn (1992); Klavierspiele (1980); Klavierstücke von Kindern für Kindern, ed. Heller (1978); Klavier-Suite (1957); Presto (1966); Quartsext (1980); Requiem für die Verlorene Liebe, Freude und Trauer; Schmuckstücke (1986); Sonatine in 2 Sätzen (1962). [Boenke, CAMW, Cohen, FRK, FrMKassel, K800, KOM, NG, Pendle, SCB, Sperber, S&S] HENDERSON, Moya Patricia (1941- ) Australia Professor, former nun, composer; st. U. Queensland, Cologne Musikhochschule with Kagel, Stockhausen; prizes, grants, fellowships, commissions; invented the alemba (keyboard percussion instrument), Tosca Bells, and “noose” for stringed instruments. Works: chamber, piano, organ, vocal, theatre, new instruments. Style: interested in cultural myths; neo-romantic, intense, passionate, lyrical. Cross-Hatching: RARRK (Thürmchen 1998/ILL) 10:30, 15p. Title refers to symbol for exact figural repetitions. Lyric, frequent changes of texture, direction, character, and tempo; sense of spiritual yearning. Rhythmic, technically demanding, with brilliant passages, large chordal sections (Carrigan 2002, 127). Adv. See Australian Music Centre: Nolle Prosequi (1973); Preludes I, II (1969, 1972). [AusMC, Boenke, Carrigan, Cohen, FrMKassel, KOM, NG, SCB, S&S] HENDERSON, Ruth (Louise) Watson (1932- ) Canada Composer, concert pianist, accompanist, organist, choir director; st. RCMToronto, Mannes Coll., NY; commissions, awards. Works: orchestra, chamber, piano, choral. Style: tonal with colorful sonorities, well crafted. Six Miniatures for Piano (Frederick Harris 1994) 10p. Part of “The Young Pianist’s Repertoire Series.” Descriptive, sprightly. Early Int. See also: Children’s Suite; Suite in Memory of Alberto Guerrero (1978); Two at the Zoo, 4 duets (1989). [CMC, Cohen, Heinrich, S&S (as Watson Henderson)]

Hicks 95 HERNÁNDEZ (-GONZALO), Gisela (1910/1912-1971) Cuba Composer, teacher, conductor, administrator; st. Havana, Peabody Cons.; with Olga de Blanck Martin (q.v.), developed educational methods, co-founded Ediciones de Blanck publishing. Works: orchestra, chamber, piano, vocal. Style: neo-classic, impressionist, nationalistic; Afro-Cuban melodies and rhythms. Zapateo Cubano (Ed. Musical de Cuba 1986/ILL) 16p. Exhilarating and colorful, with cross-rhythms in 6/8; zapateo is related to the heelstamping, syncopated Spanish solo dance in triple time. Early Adv. See also: Pequeña Suite (1929); (4) Cubanas (1957); Sonata No.1 in C (1943); Sonatina Scarlatiana (1944); Preludio Cubano (1953). [Axford, Cohen, Meggett, MGG, NG, Pendle, S&S] HESS, Alice ( - ) England Rhapsody (1957) (Augener 1957/ILL) 12p. Passionate, forceful; Brahmsian textures, 20th c. harmonies; improvisational in feel. Adv. See also: Noel (Augener 1952). [CGGB] HESSE, Marjorie Anne, M.B.E. (1911-1986) Australia Concert pianist, professor, composer; st. with Mirrie Hill (q.v.), U. Sydney, Royal Academy of Music; adjudicator, Music Examinations Board. Works: chamber, vocal, piano. See Australian Music Centre for numerous teaching pieces, including: All Suddenly the Wind Comes Soft; The Piper (Augener 1939); The Ballerina; La Pastourelle (Leeds 1961); Country Jig (Allen 1957); Curious; Melancholy (Allans 1973); Discord; Gaiety (Allans 1973); Growing Up: 3 Impressions (W.H. Paling 1936); Rustic Dance (Allan 1957); Siciliana; Soldiers On Parade (Allans 1973); Sight Reading Excursions (Castle 1973-1974), 8 vols.; Valse Gracieuse (Allan 1950). [AusMC, Cohen] HICKS, Marjorie Kisbey (1905- ) London/Canada Organist, pianist, teacher, composer; st. Ontario Cons.; prizes for performance and composition. Works: piano, vocal. Two Indispositions (BMI Canada 1969/ILL) 5p. Two freely chromatic studies for single hands. Indisposed Right Hand: broken-chord triplets, yearning sadly in 12/8; Indisposed Left Hand: a merrily hopping scherzino with staccatos, 16th-note figures. Late Int. Also: numerous teaching pieces pub. BMl-Berandol, Boosey & Hawkes, Frederick Harris, Gordon Thompson, Waterloo Music. [Cohen, BMI]

96 Hindman HINDMAN, Dorothy (1966- ) USA Composer, lecturer, theorist; st. U. Miami, Duke U.; commissions, awards. Works: chamber, commercial, electroacoustic. Fin de Siecle (AMC 1996) 9'. Pf & tape. Av. on “Places Not Remote” (Living Artist Vol. 3) Forward Looking Back (AMC 1992) 14'. 6 mvts: Turning Apples; Slicing Screws; Concentricity; Implicit Wish; Release; Wanting-Night Music; Linger. [AMC] HISADA, Noriko (20th c.) Japan Genso-shi (Zen-On 2000) 4:10. [musicfromjapan.org] HISCOCKS, Wendy (1963- ) Australia Pianist, composer; st. U. Sydney; residencies, grants, commissions; teacher of composition courses for children. Works: chamber, piano. Style: tonal/modal, imbued with dance, melody. The Blue Star (Creativity & Music 1997) 2', 7p. Lively leaps, variety of articulations (all descriptions: Carrigan 2002, 49-53). Early Int. Cordelia, For Whom the Angels Dance (Creativity & Music 1996) 4p. Melodic, delicate, with quick decorative passages, wide range of dynamics and keyboard, ending glissando. Early Int. East Ukrainian Dance Tune and Tarantella, in “Australian Piano Music,” Vols.II and IV. Duets. Elem. Light (Creativity & Music 1996) 1' each. 6 descriptive children’s pieces. Elem. The Piper At The Gates Of Dawn (AusMC 1995) 13:30, 29p. Programmatic suite inspired by “The Wind in the Willows.” Prelude; Nocturne; Caprice; Finale (Homage to Turner). Virtuoso passages; many changes in character, dynamics, articulation. Adv. Rainforest Toccata (Creativity & Music 1988) 3:14, 10p. Single mvt; inspired by sounds, scents of Australian rainforest; attractive, atmospheric, colorful. Late Int. Toccata (Hovea Music 1998) 3', 9p. Also av. in “First Light,” Vol.3 (Keys 1999). Lively, influenced by Indian raga, concentrating on melody. rhythm. Lyric center section; repeated notes, hemiolas, accents, awkward leaps. Early Adv. See also: Joyu (1987); Caprice. [AusMC, Carrigan, composer, scores] HISHINUMA, Naoko (20th c.) Japan Reflex (Japan Federation of Composers 2000). Pf & orchestra. [Japan Fed, musicfromjapan.org]

Holland 97 HITOMI, Kaneko: see KANEKO, Hitomi HO, Alice Ping Yee (20th c.) Hong Kong/Canada Composer, pianist; st. Indiana U., U. Toronto; numerous awards, commissions. Works: orchestra (many concertos), chamber, piano, film, opera. Caprice (Ho 1997/ILL) 6', 7p. An exhilarating toccata, pianistic, well-written. Extremely rhythmic; steady 8th-note pulse, shifting accents and articulations; occasional brief chordal sections allow for recharging. Thin textures predominate, with sectional shifts in register. Adv. See also, Canadian Music Centre: Arc (1985); Cyclones (1994); Fire of Imagination (1991); Little Pieces (collection): Jolliness (1981), The Dance (1981), The Rain (1980), Fuga (1980); Seed of Passion (1997). [CMC, IAWM] HOELSZKY, Adriana: see HÖLSZKY, Adriana HOFFMAN, Laurie (Laura) (c.1948- ) USA/Canada Composer, teacher, arts administrator; st. Radford U., U. Memphis; commissions, prizes. Works: chamber, choral, piano. Style: eclectic, wide ranging. Jester (Pine Grove/AMC n.d.) 5:30. One mvt, with both gestural sections and a contrasting lyrical section. Early Adv. Some Places More Than Others (AMC 1991) 10'. Descriptive suite of American cities; mvts can performed singly. Late Int-Adv. [AMC] HOLLAND, Dulcie Sybil (1913-2000) Australia Cellist, concert pianist, teacher, prolific composer, arranger, adjudicator; St. Sydney Cons., RCM-London; 60-year career; many honors, prizes. Works: orchestra, band, chamber, organ, piano, vocal, film (descriptions: Carrigan 2002, 133-138). At the Fountain (AusMC 1996) 3:15. Descriptive, rhythmic, brilliant; octave stretches, agile scalar figures, accents. Int/Late Int. Four Aspects for Piano (AusMC 1997) 15:06. 4 commissioned pieces on loss and grief: Grieving; Stress; Hope; Healing. Late Int/Early Adv. The Lake, in “Australian Piano Anthology,” 5th-8th Grades (Allans 2001). Int. Northbridge Sketches (AusMC 1995) 11'. 3 descriptive solos. Twin Towers: sonorous, majestic. Valley Below: melodic. Weekend: a scherzo based on an ostinato. Int/Late Int. Piano Sonata (AusMC 1952). 3 mvts; a major work of the Australian repertoire. Quiet Procession: for One Hand (AusMC 1992) 5'. Slow march for either hand; large range used, double octaves, able pedaling essential. Int.

98 Holm A Scattering of Leaves (Allans 1986) 15'. 6 character pieces: A Scattering of Leaves; Toccatina; Unanswered Question; Bagatelle for Selma; the Dry West; Valse Ironic. Double parallel octaves, large chordal sections, syncopations; fast brilliant passages. Late Int. Sonatina (AusMC 1993) 9'. Allegretto; Andante; Allegro non troppo. Parallel double octaves, cross-rhythms (3x4), large chordal sections, diverse articulations. Late Int/Early Adv. Winter Lament (AusMC 1996) 4'. Slow; thick chordal texture, RH melody above; chromatic harmony; parallel double 3rds, octaves, large dynamic range. Late Int/Early Adv. See Australian Music Centre, Cohen for many more titles. See Ann Carr-Boyd: “In Memoriam,” Journal of the IAWM 6/3 (2000): 41. [AusMC, Boenke, Carrigan, Cohen, Heinrich, McCredie, Pendle, S&S] HOLM, Kristin (1965- ) Norway Scores av. Music Information Centre Norway: Air for the (Grand) Piano (1993) 10'; Bakkatinnenes Dans (1995) 20'; Corresponde: En Dialog I Flygelet Op.2 (1988) 7'; Fantasia: Piano Piece Op.3 (1988) 6'; Lullaby Op.10 (1990) 6'. [MICNorway] HOLMES, Leonie (1962- ) New Zealand Composer; st. U. Auckland; residencies, workshops. Fantasia II (SOUNZ 1986) 5'. One movement. Adv. [SOUNZ] HOLST, Imogen Clare (1907-1984) England Pianist, author, conductor, teacher, composer; daughter, Gustav Holst; st. RCMLondon; amanuensis to Benjamin Britten, 1952-1964; prizes. Works: orchestra, chamber, vocal, folk tune arrangements. Style: individual, linear, tonally ambiguous, often featuring the minor second (Sadie and Samuel 1995, 225). Six Old England Dances (Lyrebird Press 1937/ILL) 6p. Brief, pianistic arrangements of characteristic dances: The Duchess, gavotte; Hang Sorrow; Beautiful Clarinda, minuet; Good Advice; Dearest and Fairest, sarabande; Bullock’s Hornpipe. Int. See also: 18th-Century Dances (Oxford 1933); 12 Folk Songs of the British Isles (Boosey 1947) Int. [Cohen, Fuller, K800, Meggett, Newman, NG, S&S, Stern, UI]

Hoover 99 HÖLSZKY, Adriana (1953- ) Romania/Germany/Austria Pianist, composer, professor; st. Bucharest, Germany; awards, prizes. Works: chamber, vocal, opera, tape. Style: avant garde, with prepared piano, electronic instruments; form determined by geometric forms, chemical processes; improvisatory, flexible, meticulously notated (Sadie and Samuel 1995, 226). Hörfenster für Franz Liszt (Astoria 1993/ILL) 15', 46p. First mvt: prep. piano. 2nd mvt: unprepared second grand piano with microphones; pianist also sings, plays drums. Extended techniques, precise rhythms. Adv. Sonate für Klavier (Astoria 1975/ILL) 25p. In two mvts (2nd is a rondo), using a rhythmic pattern from classical Turkish music; extensive ornamental figuration, deliberate use of registers throughout the range, occasional arm-clusters. Adv. Vier Miniaturen für Klavier (Astoria 1974/ILL) 5p. Four brief works based on Romanian folksong; freely tonal. Early Int. Also: Decorum, for hpd. [Breitkopf, Briscoe2, Cohen, FRK, Heinrich, Hinson, K800, NG, Pendle, SCB, scores, Sperber, S&S] HOLT, Patricia Blomfield (1910- ) Canada Pianist, lecturer, composer; st. Royal Cons.-Toronto, where she later taught. Works: orchestra, chamber, piano, vocal, theatre. Lyric Piece No.2. 2-pf duo. On Braslavsky-Findlay duo recording. See: Greensleeves (Berandol 1971); Impromptu (BMI); March of the Penguins; Processional; Riding a Bicycle; A Sauntering Tune; Skating (Harris 1971); Study No.1, Touch; Study No.2, Imitation; The Promenade. [CBC, CMLA, CMC, Cohen (as Blomfield-Holt), Heinrich, MacMillan, Meggett, S&S, Stern, Vivace] HOOVER, Katherine (1937- ) USA Composer, flutist, teacher; st. Eastman, Manhattan Schools; taught at Juilliard, Manhattan; residencies, commissions, awards. Works: orchestra, chamber, vocal. Style: clear, eloquent, harmonies sometimes acerbic (Grove Music Online ed. L. Macy [accessed 4 Feb. 2004]). Allegro e Andante (1983). Int. Pieces for Piano (Papagena 1977/ILL) 3-4' each, 29p. Seven character pieces, freely tonal, 20th c. chromaticism. Also av. as Piano Book (AMC). Three + Three: game piece based on 3 quarter notes plus 3 8ths, modified. Forest Bird: single voice calling from shadows. Dream: unrelated sounds are merged. Chase: movie car chase. Lament: song of grief. Allegro molto: speed, whimsy, with a touch of jazz. Poem: small present for a sad friend (score notes). Late Int-Early Adv. [AMC, Boenke, Cohen, Heinrich, Jezic, K800, NG, sdiegomtac, SAI, S&S, Zaimont]

100 Horak HORAK, Hilda (1914- ) Slovenia Etüden 1-3 auf ein Thema von Paganini (Drzavna Zaozba Slovenije 1984) 19p, 24p, 18p. 3 separate vols. [Cohen, FrMKassel] HOWLETT [née Bird], May (1931- ) Australia Pianist, teacher, actress; st. Melbourne Cons., Canberra School of Music; appeared on stage, film, and TV; initiated statewide drama programs. Works: orchestra, ensemble, piano, vocal. Style: late romantic, lyrical (descriptions: Carrigan 2002, 140-41). Kryptiques: Six Miniatures for Piano (Grevillea 1995) 6'. Six “fragments of pianistic memorabilia,” three atmospheric, three satirical. Rhythmically challenging, texturally complex; double octaves, large chordal stretches, glissandi effects. Early Adv. Passing the Tower of Aggrievements (av. composer 1996) 6'. Sonata in 3 mvts: Toccata; Elegy; Furioso. Traditional idiom; effective syncopation, cross-rhythms; double octaves, technical agility required. Early Adv. Stimmungen (Keys Press 1999) 5', 14p. 5 atmospheric mood pieces, opening and closing with the same music. Contemporary idiom, occasionally with 3 staves; double consecutive 3rds, 8vas. Early Adv. [AusMC, Carrigan] HSIAO, Shu-sien: see XIAO, Shuxian HSU, Wen-Ying (1909- ) China/USA Cellist, pianist, violist, musicologist, poet, professor, composer; st. Peking, New England Cons., UCLA. Works: orchestra, chamber, piano, vocal, opera. Pub. Wen-Ying Studio (Zaimont and Famera 1981, 201): Etude (1952) 4'. Int/Late Int. Impromptu (1980) 5'. Prize winner. Adv. Jade Fountain (1958) 3'. Late Int/Early Adv. Perpetual Momentum (1974) 5'. Prize winner. Adv. Piano Sonata I (1972/H. Branch 1977) 10'. Library of Congress copy: LC M23II 874 No. 1. Adv. Piano Suite (1964) 8'. Prize winner. Adv. Running Water (1962) 3'. Late Int/Early Adv. Sound of Autumn (H. Branch 1977) 7'. Suite. Late Int/Early Adv. Swaying Willow (1958) 3'. Late Int/Early Adv. Variations (1956) 6'. Adv. [Boenke, Cohen, HinSup, SAI, Zaimont]

Hyde 101 HUBLER, Evelyne (20th c.) France J’accompagne la Danse, 2 vols. (M.R. Braun 1968/ILL) 44p. For the dance accompanist: skillfully constructed character pieces for work at the bar and in the center, as well polkas, waltzes, mazurkas, and character dances. Good instructional pieces for piano, as well. Late Int. [Cohen, Presser] HULFORD, Denise Lovona (1944- ) New Zealand Pianist, singer, teacher, composer; st Victoria, Auckland universities; private piano teacher, Australia and New Zealand. Works: vocal, electronic. Overture: Hollywood Musicals (SOUNZ 1986) 7'. Int. [Cohen, Heinrich, SOUNZ] HYDE, Miriam Beatrice, O.B.E. (1913- ) Australia Concert pianist, poet, examiner, lecturer, composer; st. Adelaide U., RCMLondon; numerous prizes, honors. Works: orchestra, chamber, vocal, piano (about 100 works), and nearly 500 poems. Brownhill Creek in Spring Op.55 (Keys Press 2001) 11p. Composer’s note: Impressionistic, inspired by a watercolor of the Adelaide foothills. Ternary with I-V pedal points; composed during WWII. Early Adv. Evening in Cordoba (Keys Press 2000) 10p. Opt. castanets, ad lib. Composer: A tone painting of young people moving through the streets of Cordoba at night, singing, clapping, playing guitars and castanets. Late Int. Magpies at Sunrise 1946 (Chappell) 3'. Built on the 6-note bird song (Hinson 2000,416). Late Int. In “Piano Music for One Hand” (Allans 1984), Australian anthology: Study on White Keys. 3p: a skittering RH perpetual motion piece requiring finger fluency and equality. Early Adv. Study in C Minor. 4p: a harmonic oil painting for RH, depending on liberal use of damper pedal. Late Int. Staccato Study in E Major. 3p: for RH; playful, with rapid interspersing of chords and single notes; chromatic and sequential, with wide dynamic range. Early Adv. Susan Bray’s Album. 10p: 10 LH pieces composed for a disabled child, each prefaced with poem; antiphonal effects, contrasts in articulation, dynamics, and range. Elem. The Piano Works of Miriam Hyde (Allans 1995). 8 graded pieces; extensive analysis/performance notes (Hinson 2000, 417). Int-Early Adv. Reflected Reeds 1956 (Allans) 4:30. Programmatic sketch. Late Int/Early Adv. Scherzo Fantastico, in “Bicentennial Piano Album” (Allans 1988/ILL) 2:17. Tonal/quintal, 5/8; staccatos, colorful added-tone chords, 9ths. Early Adv.

102 Irman Sonata in G minor Op.121 (Keys Press 2000). Dramatic, romantic, and powerful, written when her husband was in a German POW camp in WW II. Extensive composer’s note. Early Adv. Tap Tune Op.65 (Schirmer 1952/ILL) 3p. Also av. in “Australian Piano Anthology” (Allans 2001). Musical joke-encore describing a dripping bath faucet. Int. Three Concert Studies (Keys Press 2001) 26p. Composer notes: 1. In f#, broken octaves, mainly in RH; after key change, texture becomes more chordal and chromatic, leading to a big climax. Late Int/Early Adv. No.2. In F#, Romantic LH melody accompanied by double-note 16ths in RH; based on a Brahms figuration. Early Adv. No.3. In c#, deft alternation of hands, highly chromatic, continual shifting of tonality; most difficult of the three, virtuosic. Adv. Valley of Rocks 1975 (Albert) 5'. Strong, brooding, compelling; probably Hyde’s best known piece; inspired by scenery in North Devon (Hinson 2000, 417). Early Adv. See also: Rhapsody in f# Op. 25; Variations & Fugue in c Op.13; numerous other works av. through AusMC, including teaching pieces for all levels. See Hyde’s autobiography: Complete Accord (Currency Press, 1991). [AusMC, Boenke, Carrigan, Cohen, Hinson, McCredie, NG, Pendle, scores, S&S, Uszler]

I IRMAN (-ALLEMANN), Regina (1957- ) Switzerland Guitarist, percussionist, pianist, teacher, composer; St. Winterthur Cons.; commissions; 1991, co-founded composers’ self-publìshing collective “mikro.” Works: chamber, voice, multimedia. Style: brittle humor, percussive timbres, inspired by texts. Klangspiel and Zahlen (1986), in “CH Piano: Zeitgenössische Schweizer Klaviermusik” (Nepomuk 1987) 3p. Prepared pf, using safety pin, thread, rubber band, screw, erasers, pins. Klangspiel is a single melody; Zahlen is aleatoric. Int. Schwarzes Glück (1989/ILL) 36 p. Prep. pf; directions in German. Extended techniques, chromatic, rapid repetitions, wide range. Score reproduced on card stock. Adv. [Cohen, KOM, NG, S&S]

Jabôr 103 IVEY, Jean Eichelberger (1923- ) USA Pianist, professor, composer; st. Trinity Coll., Peabody Cons., Eastman School, U. Toronto; founder, Peabody electronic studio; grants, awards. Works: orchestra, chamber, piano, vocal, film, electronic. Style: tonal, neo-classical; later, serial, electroacoustic. Magic Circle, in “Contemporary Collection No.2,” ed. Goldstein et al (SummyBirchard 1965) 2p. Open-ended, whole-tone (Agay 1981, 428). Elem. Pentatonic Sketches (McLaughlin & Reilly 1967/ILL) 5p. 5 pieces using the white-note pentascale CDEAG; each uses a different note as tonic. By Quiet Waters; Kittens; Roll, River! Four Woodpeckers; In Sound of Bells. Early Int. Prelude and Passacaglia (AMC 1955). Prelude: flashy, motivic. Passacaglia: continuous variations/rondo form, 12-tones but not serial (Hinson 2000, 425). Early Adv. Skaniadaryo (Carl Fischer 1973/ILL) 11', 14p. Pf & tape. Commissioned by MTNA, 1973. Includes performance directions, explanations. Continuous tape; piano effects include pointillism, harmonics, tone clusters, dissonance, abrupt dynamic contrasts, glissandi, improvisation, direct-string dampening. Early Adv. Sleepy Time and Water Wheel (Lee Roberts/G. Schirmer) 2p. In “Pace Recital Series.” 2 brief pieces using black key pentatonic scales, ostinati; in 5/4, 7/8. Late Elem/Early Int. Sonata No.1 (AMC 1958/ILL) 25p. Neoclassic, well-constructed, colorful. Moderato; Allegro scherzando; Adagio; Vivace. Early Adv. Theme and Variations (AMC 1952/ILL) 10p. Brief theme, 26 contrasting variations, by turns lyrical, dramatic, humorous. Contemporary, making full use of piano’s possibilities (Hinson 2000, 425). Early Adv. [Agay, AMT, Axford, Boenke, Cohen, Fuller, Gordon, Hinson, ISMTA, Kirby, LePage, Meggett, NG, Pendle, Poppe, SAI, S&S]

J JABÔR (Maia de Carvalho), Najla [Nadia] (1915-) Brazil Conductor, composer; st. U. Brazil; awards, prizes; first Brazilian woman to write a piano concerto. Works: orchestra, vocal, piano. Batuquinho Classico (Mangione 1972). Humorous. Estoria do Bondinho Puxado a Burros (Ricordi Brasileira 1971) 2p. Estudo Alvorada [Dawn] (Vitale/ILL) 2p. 5-finger exercise in shifting keys accompanying a simple triadic melody; hands alternate parts. Early Int. Estudo para 3, 4, e 5 dedos (Ricordi Brasileira 1974). Samba. Estudo Transcendental Nr.1 fur Klavier: Bailado dos Fantasmas (Ricordi Brasileira 1963).

104 Jacobsen Jongo (Ricordi 1958/ILL) 7p. 1st Prize, Courrier Int’l competition (USA); adopted in Brazilian conservatories. Modified rondo; syncopated staccato dance in accented duple time alternates with lyric “cantante” sections. Late Int. Noturnos Nos. 1, 2 (Mangione 1961). Ponteio Nr.1 (Vitale 1970). Suite de 3 Peças (Ricordi Brasileira 1958). Tango Brasileira (Ricordi Brasileira 1958). Complete catalog of works: Ministério das Relações Exteriores (Brasília 1977). [Cohen, FrMKassel, KOM, Ricordi, S&S] JACOBSEN, Sonia (20th c.) Australia In Anticipation (AusMC 2002) 3', facs. 8p. Commissioned by Vision Into Arts; premiered at Rock Hotel Piano Festival, NY, 2002. Adv. [AusMC] JACQUES-RENÉ, Sister M. [pseud: Rhene-Jaques; Rhene, Jacque; Jacque, Rhené; née Marguerite Cartier] (1918-) Canada Pianist, violinist, teacher, composer; st. École Vincent d’Indy (Quebec), U. Montreal; teacher, École Vincent-d’Indy. Works: orchestra, chamber, vocal, many charming piano teaching pieces, av. through multiple publishers; singly and in anthologies. Style: neoclassical, lyric, extremely accessible. Badinerie [Jesting] (BMI 1962). Graceful, lyric RH melody, Phrygian mode; contrasting middle section. Also av. Vol.2 “Canadian Festival Album” (BMI 1964/ILL). Int. Caprice [Whims]; Jeux [Games]; Lutin [Mischief]; Marionnette, in Vol.II of “Meet Canadian Composers at the Piano” (G.V. Thompson 1968/ILL). Int. Danse (BMI 1962). Merry; diatonic, with some chromatic, whole-tone, and quartal harmonies. Int. Deux Inventions à Deux Voix [Two 2-part inventions] (BMI 1963) 4p. Andante: reflective; Allegro: gay, robust. Well-constructed, effective; artificial modes using aug. 2nds and tritones. Late Int. Deuxième Suite (BMI Canada 1964). Graceful Prélude; pensive Impressions; brilliant, scherzo-like Toccate. Recent recording: Elaine Keillor, “By A Canadian Lady: Piano Music 1841-1997” (Carleton Sound CSCD1006, 2000). Late Int/Early Adv. The Little Grey Donkey (G. Thompson 1968) 2p. Cheerfully awkward, with stubborn harmonic 2nds; in Lydian mode. Early Int. Mischief [Lutin] (G.V. Thompson 1968) 2 p. Delightfully playful scherzo; rapid dynamic and textural contrasts. Tonal, freely chromatic. Also av. in Vol.II, “Meet Canadian Composers at the Piano (Thompson 1968)ILL). Int/Late Int.

Jambor 105 Rustic Dance (Berandol BMI 1962). Neoclassic, artless and appealing; some use of Dorian mode, quartal/quintal harmonies. Also av. Vol.1, “Canadian Festival Album” (BMI 1964/ILL). Int. Suite pour Piano Op. 11 (BMI 1961). 5 brief mvts, neoclassical, skillful, picturesque. De l’Aurore au Plein Midi. Heure d’Angoisse: dirgelike; augmented intervals. Dans le Sentiment d’une Joie Enfantine: toccatalike jubilation. Pour Danser Modérément: a gracious dance in 5/4. Dans la Caractère de la Gigue: sparkling finale (Gillespie 1965, 390391). Int. [Brisson, Butler1, Cohen (as Rhene-Jaque), Heinrich, Hinson (as Rhene Jacque), Gillespie, IAWM, MacMillan, Meggett] JAGER BICKEL, Johanna ( - ) Netherlands Zo Singen de Vogels (Broekmans & V. Poppel). Twelve Romantic character sketches based on birdsong; tonal, in major keys, with sweet melodies, unvarying accompaniment patterns, occasional tone painting. Int. [KOM] JAGGER, Bryony [Phillips, Maglona Patricia Bryony] (1948- ) England/New Zealand Oboist, singer, writer, composer; st. Cambridge, Boston, U. Auckland; grants, prizes. Works: orchestra, chamber, vocal, opera, theatre. For Tessa, 7 Easy Pieces (SOUNZ 1978). [Cohen (as Phillips), Heinrich, SOUNZ] JAMA, Agnes (1921-1993) Netherlands Works: chamber, vocal. Sonatine 1942 (Donemus 1990) 10', 10p. Late Romantic figurations and harmonies with some modal colors. Pianistic; freely constructed, many tempo changes. Begins with a funeral march in mixed meters, moves on to a rubato Allegro in flowing triplets. Early Adv. [Cohen, KOM] JAMBOR, Agi (1909-1997) Hungary/USA Pianistic prodigy, teacher; st. Edwin Fisher, Berlin, Kodaly in Budapest; performance prizes; member of Hungarian Resistance, WW II; favorite soloist of Eugene Ormandy; famous Bach interpreter. Works: piano, voice. Piano Sonata (Hildegard 1997) 22p. Dedicated to the victims of Auschwitz. 3 mvts: Allegro appassionata; Epitaph-Andante teneramente; Allegro. Late Romantic sweep and passion; tonal but freely dissonant, with unrest, anxiety, and gripping tension. Late Int/Early Adv.

106 James Three Pieces (Elkan-Vogel 1965/ILL). Three easy duets, pf 4-hands, tonal. Bagpipe; Berceuse; This Terrible Minor Scale. Elem. Also: Preludes. [Cohen, Hinson, score] JAMES, Dorothy E. (1901-1982) USA Composer, professor, critic; st. American Cons., Eastman, U. Michigan; prizes, honors, fellowships; author, Music of Living Michigan Women Composers (1976). Works: orchestra, chamber, organ, piano, vocal, opera. Style: chromatic, well constructed; 19th c. techniques with some contemporary content (Sadie and Samuel 1995, 239). Dirge (Pioneer/ACE 1964). Av. NYPL. Mitzie Polka and Sevilliana (G. Schirmer). Teaching pieces. Tone Row Suite (U. Michigan Press 1964). A study, av. NYPL. Also: Impressionistic Study (1962); Pagoda of Exquisite Purity; Two in One (1962); Two Satirical Dances (1934); Dance, Johnny, 4-hand duet. [Boenke, Cohen, Heinrich, Meggett, S&S] JAMES, Vera (20th c.) Cuntry unknown In Dancing Mood (OUP 1948). Suite. [Cohen] JAMESON, Fritha (20th c.) New Zealand Pianist, composer; st. Victoria U. Works: orchestra, chamber. Three Studies for Piano (Montbretia Press 1997) 4'. Ungraded. [SOUNZ] JANÁR EKOVÁ, Viera (1941/1944-) Czechoslovakia/Germany Pianist, composer, painter, playwright; st. Bratislava, Prague, Lucerne; prizes; developed new instrumental techniques, graphic score notation. Works: chamber, vocal, radio drama. Style: improvisational sections, rhythmic buildups, balance of tension, transitions between sound and noise. Abgestaubte Saiten [Dusted-off Strings] (Furore 1986) 28p. 14 short studies introducing extended techniques, unusual notation. Two require grand piano realization. Includes clear, helpful composer’s notes. Int/Late Int. Also: F + F für Klavier. [A-Z, Cohen, FRK, KOM, NG, Pendle (as Janáceková), Sperber, S&S] JAQUE, RHENÉ: see JACQUES-RENÉ, Sister M.

Johns 107 JASTRZEBSKA [Jastrz ebska], Anna (1950- ) Norway Works: piano, vocal. Telex to Poland: We Are Together With You—We Do Our Best (Music Information Centre Norway 1982). Copy av. NYPL. [Cohen, MICNorway] JEREA, Hilda (1916/1919-1980) Romania Concert pianist, teacher, composer; st. Bucharest, Paris, Budapest; founded and conducted Musica Nova touring ensemble, promoting the avant garde and supporting young composers; prizes, awards. Works: orchestra, chamber, piano, vocal, ballet, opera. Style: post-Romantic, infl. folk music, social realism, serialism; melodious, fluid, spontaneous (Grove Online 4 Feb. 2004). Tabara de Munte (Ed. Musicala 1960). Suite. Also: Sonata (1934); Suita in Stil Romanesc (1939). [Cohen, NG] JOCHSBERGER, Tzipora H. (1920- ) Germany/Israel/USA Pianist, professor, composer; st. Palestine, Jerusalem, Jewish Theological Seminary (NY); founder-director, Hebrew Arts School for Music and Dance; founder, American Jewish Choral Festival. Hebrew Folk Melodies (Tara Pub-Hebrew Arts Music/ILL). 11 teaching pieces based on Israeli, Yiddish, and Hassidic melodies. Rhythmic, modal, and attractive, in simple textures. Early Int. Also: Contrasts; Dancing Leaves; Favorite Hassidic and Israeli Melodies; Fragments; Moods; Variations on a Song. [Cohen, score] JOHNS, Altona Trent (1904-1977) USA African-American pianist, professor, historian, composer; st. Atlanta U, Columbia U; teacher, Virginia State U; co-founder/director of the Black Music Center, with colleague and friend Undine Smith Moore (q.v.). Works: piano. Play Songs of the Deep South (Associated Publishers 1944/ILL) 33p. From foreword: 12 Negro children’s play songs and a lullaby; pentatonic scales, in simple arrangements suitable for young pianists or folk dance teachers; dance directions given. Late Elem/Early Int. Also: Barcarolle, on “There’s No Hiding Place Down Here” (Handy); Ethiopia, an African Intermezzo (Witmark); Fellowcraft, March & Two-Step (F.A. Mills); In Dahomey, Characteristic March & Cake Walk (Sol Bloom). [Brown, Cohen, Horne, Southern, Walker]

108 Johnson, Harriet JOHNSON, Harriet (1908–1987) USA Music critic, New York Post. Works: vocal, opera (“The Pet of the Met”). Questions I, II, III (Carl Fischer 1972/ILL) 4', 5p. Enjoyable contemporary set in 3 contrasting mvts: Allegretto; Adagio; Vivace. Rhythmic, modal, chromatic, with some bitonalism. Early Adv. [Cohen, Finell, HinSup] JOHNSTON-REID, Sarah Ruth: see REID, Sally Johnston JOLAS [Illouz], Betsy (1926- ) France Organist, pianist, professor, editor, singer, composer; st. Messiaen, Milhaud, Plé Caussade (q.v., Vol.1), Boulez protégée; awards, honors. Works: orchestra, chamber, piano, vocal, opera, film. Style: dissonant chromaticism, pointillism, extended techniques, open forms, minimalism (Sadie and Samuel 1995, 241-44). B for Sonata (Heugel 1974) 20', 30p. Avant-garde study in sonorities and registers; one continuous mvt; sometimes requires 4 staves. Adv. Calling E.C. (Leduc 1984/ILL) 1', 3p. Scampering 16th and 32nd-note figures based on E-flat, E, E#. Chanson d’Approche (Heugel 1973/ILL) 8:30, 11p. Unmetered, with measures timed by seconds. Unusual notation, half-pedaling, clusters, dynamic contrasts explore sonorities. Adv. Mon Ami (Huegel) 4p. Arietta, a folk-like French song, with 5 variations; for treble singer-pianist; pianist accompanies self, also plays solo passages; some lovely sonorities (Hinson 2000, 434). Late Int. Petite Suite Sérieuse Pour Concert de Famille (Billaudot 1983/ILL). Also av. in “Collection Panorama” (Billaudot 1984) 2', 2p. Attractive contemporary cycle: Entrée; Prélude; Duo; Étude; Danse. Late Elem. Une Journée de Gadad (Leduc 1986/ILL) 4p. Another children’s suite: 5 brief tonal pieces in 2-vc ctpt; contemporary colorings. Early Int. Pièce Pour (Billaudot 1997) 7', 9p. Early Adv. Pièce pour Saint Germain (Billaudot 1997/ILL) 10', 13p. Hymn-like sections alternate with flurrying toccata passages. Early Adv. Signets (Salabert 1989/ILL) 3:30, 4p. Written in honor of Maurice Ravel, 1987. Early Adv. Sonata (Heugel et Cie 1974) 30p. Stancés (Heugel/Leduc 1981/ILL) 56p. For pf & orch. Adv. Tango Si 1984(Leduc 1986/ILL) 1:25, 2p. Late Int/Early Adv. Trois Études Campanaires (Leduc 1992/ILL) 7', 6p. Three bell studies for piano or keyboard carillon, based on accumulated resonances. Awareness of line, color, density are important; suggested attack is half-staccato or portato from supple wrist, elbow, or arm; half and flutter pedaling. Early Adv.

Kanai 109 Also, for hpd: Autour (Heugel); Auprès (Billaudot 1997). [Boenke, CAMW, Cohen, FRK, Heinrich, Hinson, K800, Kirby, KOM, LePage, Meggett, NG, Pendle, SCB, S&S] JONES, Carol (20th c.) New Zealand Three Vignettes for Piano (1976) 3'. Adv. [SOUNZ] JONES, Susan Lloyd (20th c.) Wales Dwylo ar y Piano; Dwylo eto ar y Piano (Y Lolfa 1985/1990). Teaching series. Two Piano Pieces (1996) 11'. Mambonansa; Ymchwiliad. [WelshMIC] JOUVENEL, Germaine de (20th c.) France A Trois Temps, in “Les Contemporaires,” Vol.4 (Noel/Billaudot 1952) 2p. [Cohen, FRK, FrMKassel] JUGEND, Nurit (20th c.) Israel Works: orchestra, chamber, vocal. For brief biography, see Israeli Music Center: http:/go.to/israelcomposers. Ballad (IMC-442 1994) 12', 14p. Manuscript. Impressions (IMC-441 1993) 6', 8p. Manuscript. Three Piano Pieces for Children (IMC-601 1993) 5', 6p. Manuscript. [IMC]

K KABE, Mariko (1950- ) Japan Composer; st. Toho-Gakuen U. Works: orchestra, chamber, vocal. Fantasy I (1982) 18'. Piano concerto, composed in 1981. [Cohen, Japan Fed, musicfromjapan.org] KANAI [née Kawahira], Kikuko (1911-1986) Japan One of the first Japanese women composers; singer, ethnomusicologist; st. Nihon and Tokyo Music Schools, 12-tone techniques in Brazil; collected Japanese folksongs; prizes, awards. Works: orchestra, vocal, opera, ballet. Style: extensive use of folk melodies (Grove Online, 4 Feb. 2004).

110 Kaneko Pf works listed in New Grove Dictionary: Ry ky Ballade (1951); Brazil Rhapsody (1955); Ry ky Ky s kyoku No.2 (1950), for pf octet. [Cohen, musicfromjapan, NG] KANEKO, Hitomi (ca. 1968- ) Japan Composer; st. Toho-Gakuen School, Paris Conservatory; prizes. Dans l’Abri [In the Shelter] (Zen-On 1997/ILL) 11', 29p. Avant-garde, probably with extended techniques; unexplained notation may indicate tone clusters, direct-string playing. “There is no intention in this piece to reproduce anything from the composer’s imagination . . . Each listener should apply his or her ears in an individual way to the non-message” (composer). Adv. L ’Expression Methodique d’une Fugue (Zen-On 2000) 7:36. Un Jour Avec le Piano (Zen-On 1992) 5:30', 18p. “One day, after a long interval without a piano, I realized its distinctive character, and was amazed” (composer, in score). Clusters, percussive effects, atonal exploration of registers, dynamic contrasts. Adv. [composer, IAWM, KOM, EurAmcat, musicfromjapan.org, scores] KANKAANPÄÄ, Tuulikki (20th c.) Finland Publisher’s email address: [email protected]. Files (Modus 1982). Winter Suite (Modus). [Finnish MIC] KÄNZIG, Eva (1962- ) Switzerland Pianist, teacher, composer; st. Zurich; prize in pedagogy. Ätsch, in “CH Piano: Zeitgenössische Schweizer Klaviermusik” (Nepomuk 1987) 2p. Presto, 4/4, modal, 6 sharps; a nervous little schottische, with widening staccato double notes under a rhythmic melody. Int. Klavier Klamauk (Hug 1990). Five humorous, imaginative teaching pieces: (Student’s name) in Spain, Olé. Sometimes an Ant Dreams of Belly Dancing. Buffalo Boogie in F. Complaining Song of a Half-Dragon. Madame Qualderwahl on a Hat Search. Tonal, catchy rhythms, attention to articulation, dynamics, amusing illustrations. Early Int. [KOM, score]

Karnitskaya 111 KAPRÁLOVÁ, Vítêzlava (Vita) (1915-1940) Czechoslovakia/France Conductor, composer; st. Brno, Prague, Paris with Martinu; died of TB contracted during WWII evacuation of Paris. “There is no doubt that had she lived she would have become one of the greatest women composers in Europe” (Hartog 1967, 296-319). Works: orchestra, chamber, piano, vocal. Style: Postromantic polytonal technique. Variations sur le Carillon de l’Eglise Saint-Etienne dU. Mort Op. 16 (La Sirène 1938) 8p. Six skillful, contrasting variations on the 8-note chimes of a Parisian church. Impressionistic textures, colors, figurations; tonal, with occasional dissonances for the carillon overtones. Late Int/Early Adv. Also: April Preludes Op. 13 (Hubedni Matice 1947); 3 Stücke Op.9 (includes Grotesque Passacaglia) (1935/36); 5 Stücke Op.1 (1931); Funeral March Op.2 (1932); Ein Liedchen für Klavier (Pazdirek 1936); Ostinato Fox (1937); Sonata Appassionata Op.6 (1933); 2 Tänzen Op.23 (1940). [Baker6, Cohen, Grove5, Hartog, kapralova.org, K800, KOM, Meggett, NG, S&S] KARAMANUK, Sirvart (1912/1916- ) Turkey/Armenia Pianist, composer; st. Istanbul Cons., masterclasses with Lévy, Roger-Ducasse, but mainly self-taught as a composer. Works: piano, vocal, children's opera. Style: “facile melodic gift that is imbued with the spirit of traditional Armenian music. Often her work is vivid, opulent in colour and buoyant in texture” (Sadie and Samuel 1995, 246). Admiration. “Developed in a very idiomatic and virtuosic manner for the piano. A dramatic, soaring melody is interposed between two sections featuring cascading octaves à la Liszt” (Recording liner notes, Arzruni: An Anthology of Armenian Piano Music, Vol.II: Composers in the Diaspora [Musical Heritage Society, 1979]). [Arzruni, S&S] KARNITSKAYA, Nina Andreyevna (1906- ) Soviet Russia Pianist, lecturer, composer; st. Baku Cons.; composer for Russian theater; active in Ossetian government, Azerbaijan (1941-1946). Works: orchestra, chamber, piano, vocal, theatre (music for more than 100 plays). Preludes and Fugues (Sovietski Kompozitor 1979/ILL) 89p. Collection. Carefully constructed 2-vc ctpt; tonal with 20th c. dissonance. Adv. See also: Azerbaijanian Pieces (1968); Etude-Sketches (1966); Little Tales (1957); Sonatas I, II, III (1954/67/71); (1971); Suites I, II (1960/67). [Cohen, Meggett]

112 Karveno KARVENO, Wally (1914- ) Country unknown Works: chamber, piano, vocal, opera. Passacaille Graduée (Combre 1964). 18 brief variations on an 8-bar descending bass line, in the form of character pieces; genres include a tango, a waltz, a Hungarian dance, and homages to Chopin and Handel. Enjoyable and well written. Early Int. Sonatine-Minute (ORTF/Ed. Frabcaises de Musique 1964) 6p. Theme et 28 Variations (Lemoine 1966) 17p. A musical and extremely useful set of variations of progressive rhythmic difficulty, set in the middle of the keyboard. “My compliments to Wally Karveno for a charming work. By musical paths, it makes easy that which is difficult” (Janine Weill, score preface). Elem. Variations Romantiques (Combre 1980) 8p. 24-bar Grieg-like theme in simple song form, waltz time, with 6 textural variations: 5 in 2/4, 1 in 6/8, and 2 in the parallel minor. Int. [Cohen, FRK, FrMKassel, Heinrich, KOM, score] KASILAG, Lucrecia Roces (1915/1918- ) Philippines Professor, administrator, composer; st. Eastman School, Central Escolar U., Philippine Women’s U., where she became Dean of Music and Fine Arts; president/director, Cultural Centre of the Philippines; chair, Filipino and Asian composers’ leagues; honors, awards. Works: orchestra, chamber, organ, piano, vocal, operetta, dance, electronic. Style: original combination of occidental and oriental instruments, resources, and techniques. Burlesque 1957 (Silliman). “Sprightly genial 2/4 dance tune in simple linear style with quartal drum-bass, a triple central andantino sostenuto on the same theme building to an effective climax, before a return and octave coda” (Faurot 1974, 175-176). Int. Derivation I-V (Peer Southern) Prep. pf. I: Buphali Raga, 1961. Derivation II: Shalom-Aloha, 1963. Derivation III: Hendai-Hogaku, 1966. Derivation IV: Orientalia (1969). Derivation V: 1982. Fantasy on a Muslim Theme (CPE 1962). Late Int/Early Adv. Philippine Suite (CPE 1949). Int. Sonata Orientale (CPE 1961). Int-Adv. Theme and Variations (Peer 1968/ILL) 11p. Based on Filipino folk tune, “Walay Angay.” Simple 6-bar theme in g, 11 textural variations, finale. Late Int. Variations on a Philippine tune: ‘Si Tatau, si Nanay’ (CPE 1941). Int. Also: Elegy on Mt. Pintaubo (1991); see Cohen for more pf titles. [Boenke, Cohen, Faurot, Heinrich, Hinson, Meggett, NG, S&S] KATO, Yukiko (20th c.) Japan Works: violin, piano. Sonata for Piano (Japan Federation 2000) 13'. [musicfromjapan.org]

Kats-Chernin 113 KATS-CHERNIN [Katz], Elena (1957-) Uzbekistan/Germany/Australia Pianist, teacher, composer; st. Sydney Cons., Hanover Hochschule; awards, commissions. Works: orchestra, chamber, piano, ballet, theatre, opera. Style: simple formulaic material treated in idiosyncratic textures (Sadie and Samuel 1995,248). Book of Rags for Piano (Boosey 2002) 12 rags, 3-5' each, 76p. Popular, personal glimpses of small worlds in which pain and joy intermingle in a uniquely Russian way (score notes). Late Int-Adv. Russian Rag: slow, melancholic, nostalgic harmonies reminiscent of early 20th c. Russian piano music; begins in b-flat, ends in g#. Four brilliant and demanding rags dedicated to pianist Ian Munro: Peggy's Rag: named after Peggy Glanville-Hicks (q.v.); Rug Rag: more insistent in character; Russian Rag II: fastest in the group, from sketch material in Rug Rag; Removalist Rag: composed in 2 different homes. Sunday Rag: written on a hot February day. Get Well Rag: in C-G, dedicated to her seriously ill middle son. Alexander Rag: optimistic in nature. Suburban Rag: from some incidental music written for a Berlin theatre. Zee Rag: the most virtuosic and least melodic in the set, full of harmonic changes. Backstage Rag: written at same time as Combination Rag: chromatic. Purple Prelude (AusMC 1996) 6:49, 7p. Single tonally based mvt. Simple, haunting melody is harmonically enriched, ends in thick chordal textures, with melody always discernible; large leaps, sempre pedale. Adv. Av. through Australian Music Centre (descriptions: Carrigan 2002, 150-155): Charleston Noir (1996) 10:30. Dark, thick-textured. Adv. Page Turn (1999) 5:32. Commissioned by for 2000 Sidney Competition; minimalist with pulsating chords and ostinati. Adv. Revolving Doors (2003) 2p. Commissioned by to commemorate terrorist attack on Bali. The Schubert Blues (1996) 9'. One atonal mvt. loosely based on a Schubert theme. Adv. Shestizvuchiya—Six Sounds (1977) 2'. Short atonal student work. Rhythmically complex, large leaps. Adv. Sonata Lost And Found (1999) 21:39. Difficult large-scale work in 3 mvts, technically and rhythmically challenging. Adv. Stur In Dur (1998) 2:02. Pf & pianist's voice. Etude-like: many repeated-note sections, intermittent major chords, large dynamic range, chordal leaps. Adv. Tast-En (1991) 10:20. Virtuosic study, rhythmically challenging, repetitions, extreme mage of dynamics, overtones. Adv. Tremors, Dreams, Memories (2003) 5p. Commissioned by Ananda Sukarlan to commemorate terrorist attack on Bali. Twelve One-Page Piano Pieces (2001) 1' each. Appealing, tonally based, for students. Int.

114 Kawamoto Variations In A Serious Black Dress (1995) 10:30. 6 virtuosic variations: brilliant flourishes, glissandi, clusters, large leaps, grace notes. Adv. [AusMC, Boosey, Boenke (as Katz), Carrigan, Cohen, Hinson, NG, S&S, scores] KAWAMOTO, Hideko (20th c.) Japan/USA Pianist, teacher, composer; st. U. North Texas, 1RCAM; prizes, awards, recordings. Works: instrumental, electronic, electroacoustic. Email: hk0008@ mac.com. After the Summer Rain (AMC 2000). Pf & tape. [AMC, IAWM] KAWANAKA, Akiko (20th c.) Japan Resides in Tokyo. Style: European idioms. Sonatine Op.4 (Centraton/Moeck 1982/ILL) 16p. Charming neo-impressionist work in a minor; pentatonic theme, 9th chords, cross-rhythms. Allegro moderato, 4/4; Andante, 3/4; Allegro con anima, 4/4. “Composer is seeking to convey mutual understanding between East and West” (score notes). Late Int. [FrMKassel, SCB, score] KAYDEN, Mildred (1922- ) USA Author, lecturer, composer; st. Juilliard, Vassar, Radcliff with Krenek, Piston; taught at Vassar, 1946-52; hosted WEVD radio program, 1956-63. Works: chamber, vocal, theatre, film. Sonata in D minor (Vassar 1942). Av. NYPL. See also: Theme and Variations; Psalm 121 (Mercury 1964/ILL) for vc & pf. [Boenke, Cohen, Heinrich] KAZANDJIAN-PEARSON, Sirvart H. (1944- ) Armenia/Switzerland Singer, composer; st. Erevan, Paris, Geneva; produced radio programs. Works: chamber, orchestral, vocal. A Ma Patrie (1965-1971/ILL) 31p. Winner of Distinction, 1973 International Composition, Italy. Collection of 8 character pieces, lyric, neo-classic, influenced by 20th c. French styles. Nostalgie de la Terre; Mes Freres Op.7; Nocturne; Illusions Op.24; Tempête Op.24; Lamento Op.25; Les Cloches d’Ani Op.27; Hymne de Joie Op. 11. Int-Adv. [Cohen, FRK, FrMKassel, K800]

Keller 115 KAZHAEVA, Tatiana Ibragimovna (1950- ) U.S.S.R. Pianist, composer; st. Tatiana Nikolayeva (q.v.), T. Khrennikov, Moscow Cons. Works: orchestra, chamber, piano, vocal. Chorale and Invention (Sovietski Kompozitor 1980/ILL) 10p. Tonal, shifting key centers and meters, displaced harmonies. Chorale: andante, poignant, lyric, imitative. Invention: vivace, 6/8, a sprightly contrapuntal jig. Clever writing. Early Adv. [Cohen] KEAM, Glenda (20th c.) New Zealand Chaconnes-Rondeaux (SOUNZ 1988) 6'. Three movements. Adv. Piano Sonata (SOUNZ 1983) 5'. Three movements. Adv. [SOUNZ] KEATING, Sister Marie Thomas, O.P. [née Margaret Ann] (1906-1983) USA Dominican Sister, pianist, teacher; st. A. Courtaux (q.v. Vol.1), American Cons., Boulanger; taught in Illinois and Minnesota over 50 years. Allegretto, ed. Smisek (Alliance 1999) 2p. Caprice-peasant dance, with a repetitive rocking bass and “wrong-note” bitonal harmonies. Int. [Alliance, score] KEEFER, Euphrosyne (1919- ) England/Canada Singer, pianist, violist, teacher, composer; st. RAM-London; taught in Toronto. Works: chamber, vocal, piano teaching pieces. Style: influenced by Bartok, Hindemith, Stravinsky, Sibelius; serial early works, later more melodic. Coral Reef (1993) 17:30, 21p. 10 musical sketches of sea creatures, with drawings, teaching notes; wide intervals, changing accents, unusual chords, tone rows, articulation contrasts, chromatic/whole tone scales, heavily pedaled “underwater sonorities” (score). Int. Tidal Pools I, II (CMC 1992) 11'. Brief teaching studies inspired by sea life; whole-tone/pentatonic scales, dynamics, phrasing, intervals. Late Elem. See also: Landscape with trees (1970); Pieces for Young Pianists: Randoms, Problems, Brevities, Feelings, Haphazards (1971). [CMC, Cohen, Heinrich] KELLER, Ginette (1925- ) France Lecturer, composer; st. Boulanger, Messiaen, Paris Cons.; Grand Prix de Rome, 1951. Works: chamber, orchestra, vocal, ballet. Soliloque (Eschig 1991/ILL) 2:30, 4p. Atonal yet neo-romantic character sketch; intro alternates broken-octave flourishes with pensive lyric fragments; main portion is a song without words/nocturne in 6/8. Early Adv. [Boenke, Cohen, H&H]

116 Kessler KENESSEY, Stefania M. de: see DE KENESSEY KESSLER, Minuetta Schumiatcher (1914- ) Russia/Canada/USA Concert pianist, teacher, prolific composer; st. Canada, Juilliard with Ernest Hutcheson; taught at Juilliard; honors, awards. Works: orchestra, chamber, piano, vocal, ballet. Etude Brilliante Op. 129 (Transcontinental 1965) 5p. “Energetic, requires firm and well-coordinated fingers” (Hinson 2000, 447). Late Int/Early Adv. Nocturne in Blue Op. 50/2 (Willis 1983). “Chromatic melody, moves between hands, moderately contemporary” (Hinson 2000, 447). Int. Rustic Dance Op. 29/3 (Willis 1984). “Modal, strong rhythms” (Hinson 2000, 447). Int. Toccata in Red Op. 50/1 (Willis) 3p. “Brisk alternating hand figures, melodic mid-section” (Hinson 2000, 447). Int. Also: many teaching titles are available, pub. Boston or Willis. [Boenke, Cohen, Heinrich, Hinson] KETTERING, Eunice Lea (1906- ) USA Professor, composer; st. Oberlin, Union Theological Seminary, privately with Lockwood, Labunski, Stringham, and Bartok; awards, prizes, honors, residencies. Works: orchestra, chamber, harp, organ, piano, vocal, operetta, theatre, multimedia, arrangements. Examples of her many pieces, all pub. Schirmer, include: Cascading Waters; Etude in B Major; Rain, Clouds, Wind Suite; Paddy O’Hara (1970) pf 4-hands; Rigadoon (ILL), Int.; Three Spanish Folk Dances (ILL), Int.; Etude in F-sharp Minor. [Agay, Boenke, Cohen, Meggett] KIM, Cecilia Heejeong (20th c.) Korea Lecturer, pianist, composer; professor, Sangmyung U, Seoul. Works: chorus, orchestra, piano. Illusions. Performed by composer at Lehigh U. (Bethlehem, PA, March 2001); part of lecture-recital on traditional and contemporary music in Korea. [IAWM] KIMPER, Paula (20th c.) USA Simple Works (Once in a Blue Moon Music n.d./AMC). On the Nature of Light; Venus Projection; Three Waltzes. See AMC site for purchasing info. Also: pf arrangement of Debussy’s “Prelude a l’apres midi d’un faun.” [AMC]

Kitazume 117 KING, Betty [Betty Lou/Lois] Jackson (1928-1994) USA African-American choral conductor, lecturer, composer; st. Roosevelt U., Oakland U.; president, National Assn. of Negro Musicians, 1979-1984; honors, awards; est. Jacksonian Press. Works: chamber, piano, voice, opera. Spring Intermezzo, in “Black Women Composers” (Hildegard 1992) 3p. Neoimpressionist; arpeggiated bass under legato melody. First of “Four Seasonal Sketches” (Jacksonian Press 1955): Spring Intermezzo; Summer Interlude; Autumn Dance; Winter Holiday. Late Int. See also, pub. Jacksonian Press: Aftermath (1975); Fantastic Mirror; Mother Goose Parade. [Cohen, Heinrich, Home, Pendle, Walker] KING, Rebecca Clift (20th c.) England/South Africa Composer; st. Royal Academy of Music; collected many African songs and dances. Works: orchestra, chamber, piano, vocal. Isle Of Delight, Valse Caprice (Paterson’s Pub.). Sous Les Palmiers, Danse Exotique (Goodwin & Tabb). Three Musical Sketches (Joseph Williams). Three Old English Scenes (Joseph Williams). [Cohen] KINOSHITA, Makiko (20th c.) Japan Famous in Japan for her choral music. Piano Suite “Circuit of Dreams” (Japan Federation 1986) 16:30. [musicfromjapan.org] KIRKWOOD, Antoinette (1930- ) England Conductor, composer; st. Royal Irish Academy and in London; founder-director of the St. Columba’s Orchestra; executive committee member, Composers’ Guild of Great Britain. Works: orchestra, chamber, vocal, ballet, theatre. Six Intermezzi (Bardic Edition 1959) 31p. Bartokian. Also: Nocturne Op.2/2; Prelude and Fugue; Six Intermezzi; Sonatina; Suite; Sonatina op. 2/1; Suite op. 3/1; Prelude & Fugue Op. 3/2 (Bardic Edition). [Bardic, Boenke, CGGB, Cohen, FrMKassel, S&S KITAZUME, Yayoi (1945- ) Japan Composer; st. Tokyo U. of the Arts; awards. Works: chamber, piano, vocal. Ének III (Contemporary Japanese Music). Also: Deep Blue Sky (1977); Enek III (1979); Indice '72 (1972); Inner Space for Two Pianos (Japan Fed 1978/ILL) 12', 13pp; Sonatine (Billaudot). [Cohen, FrMKassel, Japan Fed, musicfromjapan.org]

118 Klotzman KLOTZMAN, Dorothy Ann Hill (1937- ) USA Conductor, teacher, composer; st. Bergsma, Persichetti, Milhaud (Juilliard); prizes; head of music department, Brooklyn College; first woman to conduct the Goldman Band. Works: orchestra, chamber, piano, vocal. Sonatine for Piano (Mercury Music/ILL) 4 p. Effective, skillful, neo-classic; tonal, freely chromatic, 2-3 voice textures (Butler II 1973, 43). 3 mvts: Allegretto: 3/8, sprightly; Andante: 4/8, pastoral, with an open-5ths drone; Allegro: 3/8, driving, continuous triplets doubled two octaves apart. Late Int. [Butler2, Cohen] KNERR, Katrina (20th c.) USA Year Thing (Peters 1975) 15p. Rustic seasonal sketches, 20th c. techniques: uneven phrases, register contrasts, parallel 4ths/3rds, polytonality, shifting meters. Spring Things: April Ostinato, Spring Fanfare, Tree Toad, Lilacs. Summer Things: June Dance, Ballad for July, Climbing Rocks, Tree Shade. Fall Things: Cider Mill, Changing Color, Jumping in Leaves, October Hymn. Winter Things: Frozen Pump, November Snow, December Wind, Deer by the Ice Pond. Elem. Also: “Twentieth Century Composers: Easiest Piano Pieces” (Peters), 4 pieces. [Agay, Hinson2 (collections), KOM] KOBLENZ, Babette (1956- ) Germany Freelance composer, writer, guest lecturer; st. Hamburg, with Ligeti; prizes incl. Prix de Rome, 1988. Works: chamber, vocal, opera, piano. Style: interest in jazz and rock; “working on a new relation between rhythm, meter, pulse, time and tempo (‘flexible beats’)” (Sperber 1991, 67). Klavierstück 1983 (Kodasi/ILL) 5p. Tempo rubato, langsam; many metric changes based on steady 8th-note pulse; texture is primarily chordal accompaniment of melody in center of keyboard. Early Adv. Klavierstück 1986 (Kodasi/ILL) 2p. Rapid 32nd-note figures in 3/8; many accidentals, accents, dynamic contrasts. Adv. See also: No Entry to the Lions Club (Kodasi 1983) for 2pf & perc. [Cohen, K800, Sperber] KODÁLY, Emma (20th c.) Hungary Composer; m. Zoltan Kodály. Works: piano. Style: Style: musical, extremely competent late-Romantic writing. “These melodies may reflect a few personal traits of a most remarkable woman, the beloved companion of my life for 48 years. She did not care to be published, or to figure as a composer; her music was just an organic part of her life, as well as her very fine piano playing and

Kolb 119 singing. She was a ‘phantom of delight’ for everybody who met her” (Zoltan Kodaly, preface to waltzes, below). Valses Viennoìses (Boosey & Hawkes 1965/ILL) 14p. Late Romantic harmonies, standard waltz figurations; echoes of Strauss’ Der Rosenkavalier. Int/Late Int. Variations for Piano (Ed. Musica Budapest/Boosey & Hawkes/ILL) 24p. Standard 16-bar binary modulating theme, modal, 10 textural variations, and a fugue. Late Int/Early Adv. See also: Hungarian Country Dance; Mek, Mek, Mek, folk dance. [Cohen, H&H, score] KOH, Joyce Bee Tuan (1968- )Singapore/France Pianist, composer; st. King’s Coll.-London, U. York with LeFanu (q.v.), Murail. Works: orchestra, chamber, chorus, electronic. Style: influenced by relationship of Chinese calligraphy to music; impetus, gesture, density of sound. La Pierre Magenta, in “Spectrum 3,” comp. Myers (ABRSM 2001). 2p. A calligraphic expression of letters P and M on a sonic canvas (composer). Brassy, attractive fanfare, loud, fast, vivacious, with changing meters; hands alternate in shimmering clusters, 2nds; rapid upward flourishes, harmonics. Early Adv. [ABRSM, score] KOHAN (de Scher), Celina (1931- ) Argentina Concert pianist, composer; st. State University, Buenos Aires, with Raul Spivak, Aldo Romaniello (piano), Gilardi (composition). Works: orchestra, chamber, piano, vocal. Burlesca (Ed. Argentina de Mâusica 1966). Copy housed at DLC. Suite (1953). [Cohen] KOLB, Barbara (1939- ) USA Clarinetist, professor, composer; st. Hartt Coll.; commissions, awards, fellowships; first American woman to receive the Prix de Rome, 1969-71. Works: orchestra, chamber, vocal, theatre, electronic. Style: eclectic synthesis of contemporary idioms from serialism to jazz, “characterized by interwoven, impressionistic textures and a freely atonal yet deeply expressive harmonic language” (Boosey.com). Appello (Boosey & Hawkes 1978/ILL) 14', 17p. Fascinating, dramatic, more ambitious than Solitaire, with eclectic use of notational styles; “mixes serial and minimalist techniques in an original and logical way. The four movements build effectively to a decisive close” (Burge 1990, 252-54). Last movement “exploits virtuoso pianistic percussion techniques; cascades of sound pour forth” (Hinson 2000, 454). Adv.

120 Kolodub Solitaire (Boosey 1972/ILL) 13:30, 32p. Pf & tape. Reverie-like; “a charming, atmospheric work for piano and tape, a mélange of quotations from Scarlatti, Chopin, and others” (Burge 1990, 252). Early Adv. See also: Antoine’s Tango (Boosey); Toccata (Peters 1971/ILL), hpd & tape; Spring River Flowers Moon Night (1974-5, Boosey 1975/ILL) 2pf, tape & percussion. [Boenke, Boosey, Burge, CAMW, Cohen, Fuller, Heinrich, Hinson, Jezic, K800, Kirby, KOM, LePage, Meggett, NewGrAm, NG, Pendle, SCB, S&S, Stern] KOLODUB, Zhanna Efimovna (1930- ) Ukraine Pianist, professor, composer; st. Kiev State Cons, with Liatoshinsky, Levko Kolodub (her husband). Works: orchestra, chamber, piano, voice, theatre, ballet, film. Style: neo-classic, rhythmic, colorful, infused with folk idiom. Arkán: A Gutsuly Dance, in “Easy Russian Piano Music,” Bk. 2, ed. Aldridge (OUP/ILL). Anthology with works by Vlasova, Kolodub, Litkova. Carpathian Waterfall, in “Postcards from the Ukraine” (Frederick Harris 1995) 3p. Allegro, 3/4, C, ternary. Sparkling block/broken RH triads alternate with LH single tones/octaves. Late Elem. Dances of the People: Piano Works from the Ukraine (Vivace 1996) 19p. Vibrant, strong rhythms and modalities of the region. Toccatina: appealing melody, 16th-note energy. Dance: rousing march, first of a set of 3, with Prelude, Ukranian Song. Waltz: stirring interpretation of traditional dance. Late Int. A Musical Picture, in “Childhood Memories” (Frederick Harris). Elem. See also: Exprompt (1969); 4 Pieces (1974); 17 Piece Album (1974); 6 Ukranian Folk Songs (1975); 3 Etude Pictures (1973); 3 Pieces For Children (1973); Vesenniye Vpechatleniya, cycle (1965); Zverniets (1966). [Boenke, Cohen, Patti, Vivace] KONDOH, Harue (20th c.) Japan) Composer; st. Tokyo U. of Fine Arts; prizes. Works: orchestra, chamber, vocal, opera, piano. Poema II (Japan Fed 2000) 10'. [Japan Fed, musicfromjapan.org] KONISHI, Nagako (1945- ) Japan Composer; st. Tokyo U. Fine Arts, UC-Berkeley; leader, Japan Federation of Women Composers; prizes. Works: chamber, vocal. Style: often writes for both Japanese and western instruments; longer lines often emerge from short motifs or single inflected pitches (Sadie and Samuel 1995, 252-53). Fantasy (Japan Fed 1995-1996). Excerpt performed by Margaret Lucia, College Music Society conference, Kansas City, Missouri, 9-27-02.

Krause 121 Romanze III. Listed with Frau Musik Archiv, Kassel. Tree of Love (1914). [Cohen, FrMKassel, Heinrich, Japan Fed, musicfromjapan, S&S] KONSHINA, Elena [Yelena] Sergeyevna (1950-) Russia Composer. Works: orchestra, chamber, piano, choral. Style: quiet, pure, refined, restrained; deep interest in simple traditions of the Orthodox church and Russian folk music (Sadie and Samuel 1995, 253). Three Preludes 1985 (Boosey & Hawkes). Morning Silences. Quietness and Stillness. Evening Song. Also: Piano Concerto (1975). [S&S] KOPTAGEL, Yüksel (1931- ) Turkey Concert pianist, one of the leading 1 st-generation women composers in Turkey; st. Istanbul, with Rodrigo in Spain, with Aubin and Jolivet at the Paris Cons.; member, Istanbul State Symphony Orchestra; medals, prizes. Works: orchestra, chamber, piano, vocal. Brian's Diary [Le Carnet du Petit Brian] (Eschig). Children’s album. Int. Epitafio (Bote & Bock 1960) 4p. Fossil Suite: Suite Antique (Bote & Bock 1960) 5p. Pastorale (Eschig 1991/ILL) 9p. A lovely neo-classical sketch of contrasting rural scenes; modal with mild dissonance, piquant color. Int/Late Int. Tarnnzara [Esquisse Turque/Tamzara] (Eschig 1980). Indigenous Turkish dance and dancing song from Anatolia. In 9/8 (4+5), requiring precise rhythmic drive (Hinson 2000, 455). Toccata (Eschig/ILL) 7p. 1st prize, Radio Paris ORTF, 1959. Dynamic rhythmic energy, shifting meters and accents over a steady 8th-note pulse; peasant dance-like fun. Late Int. See also, pub. Max Eschig: Capriccio (1998), pf & orch.; Danse Mélancholique; Danse Rituelle; Danse Rustique; Etude; Impressions de Minorque [“Minorca” Sonata]; Pastorale; Trois Danses; Trois Pieces. [Cohen, FrMKassel, H&H, Hinson, K800, KOM, NG, SCB, S&S] KRAUSE, Lucie-Marie ( - ) Germany Lady Madonna (Eres #2604 1982) 17p. Theme, 7 variations on the LennonMcCartney tune. Improvisational studies, all in 4/4, A major: crossing and exchange of hands, wide leaps, chromatic movement, bass melody, slurred thirds, rolled 10ths, octaves, and a rock-and-roll study with a walking bass. Composer’s notes in German. Late Int. Also: Capriccio, listed with Frau Musik Archiv, Kassel. [FrMKassel, KOM]

122 Kubo KUBO, Mayako (1947- ) Japan/Germany Pianist, musicologist, composer; st. Osaka, Vienna, Hanover, Rome, Berlin. Works: orchestra, chamber, vocal, opera, ballet, piano, electronic, performance art. Style: eclectic, experimental, unconventional, occasional quotes from other musical sources. “Composing is an aspect of traveling . . . You think of nothing but setting out”(composer, as cited in Sperber 1996, 95). Klavierstück für Zwei Hände (Breitkopf 1984) 10:15, 8p. Full score plus parts, for prepared pf, tape recorder. Based on the ancient tune, “Das Lied vom armen Mann.” Extended techniques, non-traditional notation. Adv. 3 Studies for Piano (Ariadne/ILL) 25p. Tone clusters, proportional rhythms; contrasts in timbres, registers, dynamics, aleatoric elements. I. Sempre molto legato. II. No pedal, black notes as short as possible. III. Performer decides tempo, pedaling. Adv. Studie für Fingerhut (Ariadne 1997/ILL) 5p. “Thimble Study.” Glissandi of approximate span, repeated tones, indeterminate pitches, staccato chords in C major. Early Adv. See also: Bach-Variationen, any instrument & tape recorder; Tableaux (1991) 6hand pieces. [Cohen, FRK, FrMKassel, K800, NG, SCB, Sperber] KUKUCK [née Cohnheim], Felicitas (1914- ) Germany Flutist, pianist, teacher, composer; st. Hindemith, Berlin Hochschule; banned from teaching by the Nazis; 1995 recipient, Hamburg Brahms Medal. Works: chamber, sacred vocal, theatre, violin, piano. Style: free tonality (Sperber 1996, 68-69). Die Brücke über den Main: Klaviervariationen (Möseler 1976) 5p. From the anthology series Hausmusik. Theme: an ancient German song in d minor, 10 bars/3 phrases long. 12 seamless variations in various meters, figurations, marked by letters. Gentle contemporary harmonies: parallel 6-4 chords, quartal, pandiatonic, added-tones; rhythmic hemiolas. Pleasurable 2 and 3-voice writing, reminiscent of an organ prelude. Int. See also: Choralvorspiel zu “Geh aus mein Herz” (pf/organ 1984); O Heiland, Reiss die Himmel auf, meditations (Möseler 1981); Klavierspiele zur Weihnachtsgeschichte in Liedern (Möseler 1981); Variations on “Es ist ein Schnitter heisst der Tod” (1939); Songs (Furore). [Boenke, Cohen, FRK, FrMKassel, Heinrich, HinSup, Philipp, KOM, SCB, Sperber] KULENTY, Hanna (1961- ) Poland/Netherlands Composer, lecturer; st. (Warsaw), Louis Andriessen (The Hague); guest lecturer, international events; prizes; commissions from Dutch and German ensembles. Works: orchestra, chamber. Style: percussive rhythms, repeated gestures, clarity, sense of momentum; arpeggios, ostinati, glissandi.

Kurimoto 123 Sesto (PWM 1989) 9', 14p. Contemporary; atonal, with clusters, contrasts of texture and register, unusual notation, chordal glissandi; improvisatory elements, with six serialized emotions determining changes of character. Adv. Also pub. PWM: Drive Blues (2000) 7'; A Third Circle (1996) 8'; Souvenir from a Sanatorium (1988) 8', computer & synklavier; E for E (1991) 7', hpd; Quinto(1987) 10',2pf. [KOM, NG, score] KUNKEL, Renata (1954- ) Poland Composer, conductor, teacher; st. and taught at Warsaw Academy; prizes. Works: orchestra, chamber, vocal. Style: “strives for clarity of utterance and consistency in the development of her musical ideas, regardless of the complexity of the music” (Sadie and Samuel 1995, 257). Frazy na fortepian [Phrases] (PWM 1988/ILL) 6p. Contemporary techniques: indeterminate rhythms and tempos, obsessive repetitions, sudden dynamic contrasts, special pedaling. Adv. Also: Fa Presto. [S&S] KUPELIAN, Louise (1928- ) USA Theme and Variations on Happy Birthday (Summy-Birchard 1995) 10p. Theme, 6 witty variations in the styles of Mozart (Alberti bass, both hands in treble); Chopin (e-minor nocturne); George Shearing (syncopated swing); Ragtime; Bebop; Bill Evans (3/4, dreamy rubato). Late Int. [Hinson, Summy] KURIMOTO, Yōko (1951- ) Japan Composer; st. Aichi U. of the Arts; awards. Works: chamber, piano, vocal. Breathing Space (Japan Fed 1975/ILL) 13p. Four contemporary pieces. Breathing Space: molto lento, single pitches above repeated clusters. Falling Blues; Longing Blues: atonal 2-vc ctpt, continuous 8th notes. Freezing Voice: dissonant parallel thirds, both hands. Adv. Messages From One Pianist (ONT Contemporary Japanese Music 1973/ILL) 35', facs.16p. 6-mvt. suite. Contemporary, tiny notation, clusters, 2nds, repetitions, indeterminate rhythms, dynamic contrasts. Adv. The Red Shoes (ONT 1979/rev. 1982/Contemporary Japanese Music). Also: Invention in Blue; Windows (1986) 9:45. [Cohen, FrMKassel, Japan Federation, musicfromjapan.org]

124 Kuzmenko KUZMENKO, Larysa (1956- ) Canada Concert pianist, lecturer, composer; st. Toronto U.; teacher, Royal Cons.Toronto; commissions. Works: orchestra, band, voice, chamber, piano. Dance Suite [Suite of Dances] (CMC 2002). A mixed-consort suite, with one mvt for solo pf: Diabolic Dance: a feverish hexentanz/perpetuo moto in 6/8. Not a Jig, Dance of the Midnight Spirits: trios for flute, cello, pf; Melancholy Waltz: duet for flute, pf; Tarantella: duet for cello, pf. Piano parts: Early Adv. See also: Elihia (1974); Little Suite (1982); Silver Birds (1977); In Memoriam to the Victims of Chernobyl. [CMC, Cohen, IAWM] KYRIAKOU, Rena (1918- ) Country unknown Style: Impressionistic, Ravellian. Burlesque (Durand 1938) 7p. Lively, humorous toccata/scherzo, 4/4-3/4, alternating hands; staccato, martellato, sfz touches, repeated figures; modal, whole-tone, pentatonic, quartal fragments; octaves. Early Adv. Les Cloches (Bells) (Durand 1938) 7p. Lento, 2/2. Modal (Bb Lydian), quintal: “bonging” octaves and tremolo 5ths in the bass reverberate underneath chiming open 5ths in treble. Ternary, with a central “fantastico” section. Early Adv. [Durand]

L LACKMAN, Susan Cohn (1948- ) USA Pianist, professor, composer; st. Temple, American, Rutgers universities; treasurer, IAWM. Works: orchestra, chamber, piano, vocal, opera, electronic. Scores av. from composer: Music Dept-Box 2371, Rollins College, 1000 Holt Avenue, Winter Park, FL 32789-4499. Email: [email protected]. Fits. Variable time: aleatoric. Minka Variations (2000). Composed in honor of her mother’s 75th birthday. Rondo for Piano Solo. 5'. Int. Three Little Pieces for Piano. 4'. Elem. Also: Five Little Pieces; Three Characters. [Boenke, Cohen, IAWM, Zaimont]

Lambert 125 LACROIX, Nicole ( - ) France Theme et Variations (Ed. Musicales Transatlantiques 1966). 13p. 24-bar theme centering around a variant e-minor scale, and 6 figurational variations: prestissimo tarantella-like triplets, an augmentation, a caprice, a Schumannesque song without words, a variation with decorative ornaments and clusters, finishing with whirlwind 16th-note figures and double octaves. Pianistic, well written. Adv. [EMT, Presser] LA CRUZ, Zulema de (1958- ) Spain Pianist, professor, composer; st. Madrid Cons., UC-Stanford (California); founded computer music lab, Madrid Cons. Works: orchestra, chamber, vocal, piano, electroacoustic. Style: structures mathematical based; simple forms, vigorous, dense textures. Púlsar (SGAE Madrid 1989). Púlsares (1990). Pf & tape. Quasar (SGAE Madrid 1979-89). Tres Piezas para piano (SGAE, Madrid). [NG, KOM (as Cruz)] LAM Bun-Ching (1954- ) China Pianist, composer, teacher, conductor; st. Chinese University of Hong Kong, UC-San Diego with Olivero (q.v.); prizes, grants, fellowships, commissions, residencies. Works: orchestra, chamber, dance, piano, opera. Style: colorful, sensitive, lyrical, transparent, avant-garde (Sadie and Samuel 1995, 263); combines Chinese sensibility with contemporary Western technique. Works composed before 2000: contact Subito Music Corp., tel. 973-857-3440, e-mail [email protected]. Later works: see web site, bunchinglam.com. Listed with American Music Center: Little Pieces (1977) 4'; Six Phenomena (1998) 18'; Three Tiny Bits-After Schoenberg’s Six (Paterson/Peoples Music 1976) 4'; After Spring (1983) 15', 2pf duet. [AMC, Boenke, composer, NG, S&S] LAMBERT, Cecily (1915- ) USA/England American composer who moved to England. Works: chamber, piano, vocal. London Scenes (Schott 1965/ILL). 5 teaching sketches of the city: In Hyde Park; Chelsea Promenade; No.221b Baker Street; Piccadilly Clock; Street Game. Elem. March with Bells (Boston) Elem. Pieces of Eight (CPE). Suite: Cubana; Pastorale; Toccata; Finale. Int. Also: Elegy for the Drowned; Island Pieces; Sonata. Works also appear in “A Little Treasury Series,” 4 vols. (Heritage). [Axford, Cohen, Meggett, Newman, UI]

126 Lambertini LAMBERTINI, Marta (1937- ) Argentina Composer, professor; st. Universidad Católica Argentina; Dean of UCA School of Music from 1971; prizes, competitions. Works: orchestra, chamber, vocal, opera. Style: interest in the cosmos, humor, literature, deconstructionism (Sadie and Samuel 1995, 261-62). Cinco Piezas Transversales (EAC-Moeck/ILL) 14p. Five contrasting tone sketches, “cross-sections” mainly in upper register; rhythmic, tonal but freely chromatic. Coral: slow, widely spaced chords. El Gallo Americano: jazzy, spirited. Claro de Luna en la Nebulosa de Orión: ethereal tinklings. El Campo de Croquet de la Reina: ragtime. Postludio: a farewell. Adv. See also: Posters de una Exposicion (1972). [NG, scores, S&S] LANG ZAIMONT, Judith: see ZAIMONT, Judith Lang LANG (-BECK), Ivana (1912-1983) Croatia (Yugoslavia) Pianist, professor, composer; st. Zagreb, where she later taught. Works: orchestra, chamber, harp, piano, vocal, ballet, opera, theatre. Listed with Frau Musik Archiv, Kassel: Groteska Op.11 (Vlastita Naklada 1944). Istarska [Istrische Barkarola; Istrian Barcarole] Op.31 (Zagreb 1944) Tri Preludija Op.25 (1946). For many more titles, see Cohen. [Cohen, FrMKassel] LANN, Vanessa (1968- ) USA/The Netherlands Composer, music director, teacher; st. Schonthal (q.v.) at Westchester Cons., Harvard, Royal Cons.-The Hague; teacher, Webster U. in Netherlands; prizes, commissions. Works: orchestra, chamber, dance, piano. Style: subtle, ritualistic repeated figures, ratios and patterns, extremes within limitations. Entranced by the Beckoning Light (Donemus 1991) 10', 16p. Single note widens into huge ringing chords, powerful, steady, and persistent. Adv. Inner Piece (Donemus 1994) 8', 21p. Winner of 3 international competitions. Virtuosic moto perpetuo based on agitated trilling and flutter effects, beginning with a deep bass rumble; accents, sudden contrasts in dynamics, articulation. Adv. Also listed with AMC: DD (Double D) (n.d.); Recalling Chimes (n.d.). [AMC, K.OM]

Latz 127 LAPEYRE, Thérèse Neo-classical harmonies and figurations, pianistic writing. Ballade dans le Cosmos (Ed. Musicales Transatlantiques 1965) 7p. Dedicated to John Glenn, “the first American astronaut.” A tonal sketch in shifting meters and tonalities. Early Adv. Deux Pieces (EMT) 6p. Belle Madame, Complainte Médiévale: lute-like strums precede each modal phrase. Elegie, en Souvenir de Blanche: lyric LH melody accompanied by repeated RH triads. Late Int. Scherzo Parisien (EMT) 5p. Lively skittering around the keyboard, with some trills and octaves. Early Adv. [BMI, EMT, KOM] LARSEN, Libby (Elizabeth) Brown (1950- ) USA One of America’s most prolific and most-performed composers, strong and vocal advocate for American music; st. Argento, Fetler, Stokes (U. Minnesota); est. Minnesota Composers’ Forum, 1976; awards, commissions, honors. Works: orchestra, chamber, vocal, opera, theatre. Style: lyric, poetic, imaginative, evocative, skillful, with “a continuing interest in composing biographical works that illuminate strong-minded women through music and words” (Sadie and Samuel 1995,267). Mephisto Rag (Oxford 2002). Ragtime fantasy on Liszt’s famous waltz. Three sections: fantasy on waltz themes; 2-part game; presto finale. Adv. Piano Suite (E.C. Schirmer 1983). 5p. Four characteristic antique dances in 20th c. harmonic dress: Allemande; Courante; Sarabande; Gigue. Adv. [Boenke, Briscoe2, Cohen, Fuller, Heinrich, NG, OUP, Pendle, SAI, S&S] LASSIMONE, Denise ( - ) Great Britain Composer. Style: neoclassical; tonal idiom expanded with gentle dissonance. Aubade on a Ground Bass (Musica Obscura 1983/ILL) 2p. Graceful air over an ostinato which includes C and D, initials of Prince Charles and Lady Diana. Int. Berceuse (Musica Obscura/ILL) 2p. A lullaby for Prince William in 6/8, flowing and tonal, with occasional chromatic color. Int. [Hinson, Kirby] LATZ, Inge (1929-1994) Germany Pianist, teacher, composer; st. Staatliche Musikhochschule, Cologne, where she later taught. Works: piano, vocal (approx 100 songs), ballet, incidental music. Traumweise für Klavier, Heft 1 (Munich: Life-Musik 1993). Also: Freundinnen; many improvisational pieces. Recording: “Die Traumtänzerin, Improvisations for Piano;” Inge Latz, pianist (Munich: Life-Musik). [Cohen, FRK, K800]

128 Lauber LAUBER, Anne (Marianne) (1943- ) Switzerland/Canada Pianist, violinist, conductor, teacher, composer; st. Lausanne, McGill and Montreal universities with André Prévost, Darius Milhaud; commissions, grants, awards. Works: orchestra, chamber, piano, voice, ballet, theatre. Style: variety of techniques using traditional forms, harmony. Le Petit Prince (CMC 1979) 27', 39p. 4-mvt suite inspired by the fantasy. 1. The little Prince in the immense desert. 2. Trips to various planets, descriptions of their inhabitants. 3. Three friends: Rose, poetic but pretentious; Sheep, muzzled so it cannot nibble on Rose; Fox, wise, mysterious, with the secret of life. 4. The Prince is bitten by a poisonous serpent and dies. Early Adv. Also: Monologue (CMC 1980) 8'; Pour Jeunes et Vieux Enfants, 28 progressive pieces (1960); Scherzo (CMC 1989); Sonata (1976); Variations (1966). [Boenke, CMC, Cohen, Heinrich, NG, S&S] LAUDER, Kathryn (20th c.) New Zealand Composer, teacher; st. Auckland University; teacher, Auckland Diocesan School for Girls. Works: chamber, vocal. H20 (1994). Prep. pf. School of Music prizewinner. Noisy Types (SOUNZ 2002) 5'. Set of 3 fun pieces. Early Int/Int. [SOUNZ] LAUER, Elizabeth (1932- ) USA Composer, teacher, pianist; st. Bennington Coll., Columbia U., Hamburg (Fulbright scholarship); associate producer, Columbia Records; on faculty, University of Bridgeport. Works: voice, chamber, opera. A Bouquet of Bagatelles (ACA 1999). Commissioned by Margaret Mills for Carnegie Hall anniversary concert. Five Flower Rags. Includes Magnolia; Fleur de Lou. Six Haiku for Solo Piano (Arsis 1996) 10:30', 16p. Composer: Short pieces inspired by her young son’s poems. No.l uses the haiku pattern (5+7+5). No.2 explores register extremes. In No.3, a tune is varied, closes quietly. In No.4 tremolos, scales, trills buzz and fly about. No.5 shows a connection to the clock. No.6 explores damper pedal, glissandi, overtones, shifting harmonies. Int-Late Int. Sonata (Arsis). Performed at ACA concert, 2001 (IAWM Vol. 7/3, 2001). Elem. teaching sets: Soundings (Fischer 1979); Starting Sounds (Boston 1992). [A&A, ACA, Arsis, Cohen, Heinrich, IAWM, SAI, score] LAURIN, Rachel (1961- ) Canada Organist, pianist, teacher, composer, st. Montreal Conservatory, where she now teaches improvisation; commissions. Works: orchestra, chamber, organ, piano, voice. Style: tonal-modal, lyric, conservative, accessible.

Leahy 129 Dix Petites Pièces pour Piano Opp. 1, 3, 5, 8 (CMC 1987) 30', 42p. Ten neoromantic character pieces. Op.l: Prélude; Capriccio; Berceuse en canon; Ballade. Op.3: Prélude; Intermezzo; Prélude; Intermezzo. Op.5: Hommage. Op.8: Intermezzo. Int/Late Int See also: Prélude et Fugue in b Op.31 (CMC 1997) 5', from unfinished Suite Classique; Sonate in e Op.2 (CMC 1982) 9', 4 mvts. [CMC] LAVIN, Sister Marie Duchesne (1930- ) USA/Australia Nun, music educator, pianist, violinist, composer; st. Catholic University, Kodaly/Orff institutes; researcher, traditional music of New Guinea. Works: piano, chorus, children’s operettas (descriptions: Carrigan 2002, 162-63). Papua New Guinea Theme with Variations (composer 1978). Theme & 12 variation-etudes presenting different technical problems, such as parallel thirds, triads, 2-note slurs, double octaves, syncopation. Int. Pentatonic Miniatures (AusMC 1989) 13p. 4 short character pieces: Burlesco; Bagatelle; Minuet; Valse Lente. Late Elem/Early Int. Sonatina No. 1 in Bb (composer 1979-80). 3 mvts, tonal, classical style: Allegro; Minuet; Rondo. Early Int. Three Poetic Tone Poems (AusMC 1989) 2' each, 11p. Caprice; Valse Elegante; Pastorale. Based on tone rows; an introduction to serialism. Late Elem/Early Int. [AusMC, Carrigan, Cohen, Heinrich] LEACH, Mary Jane (20th c.) USA Composer; grants, awards, commissions. Works: chamber, mixed media, choral (pub. C. F. Peters), theatre, dance. Style: eclectic influences, fascination with physicality of sound and space. Email: [email protected]. By'm Bye (AMC/composer 2001) 3', 2p. Commissioned by Sarah Cahill in honor of Ruth Crawford Seeger: her Ninth Prelude inspired the classical side; By’m Bye became the folk element (composer’s notes). Wide registers, open textures, low bass tones, dissonances, continuous pedal, vocal glissandos. Int. [AMC, Cahill, composer] LEAHY, Mary Weldon (1926- ) USA Pianist, composer; st. North Texas State, privately in England. Works: orchestra, band, chamber, carillon, piano, organ, vocal. Piano Sonata No.2 (Manuscript Publications/ILL). 13p. Dedicated to Myrna von Nimitz. Three neo-romantic movements, freely chromatic, strongly rhythmic: Moderato; Andante; Vivace. Early Adv.

130 Learmonth See Cohen for titles of many teaching pieces. See also: Nocturne for Carillon (Guild of Carilloneurs N.A. 1964/ILL). [Boenke, Cohen, Heinrich] LEARMONTH [GUYMER], Sheila ( - ) Australia Pianist, philosopher, composer; st. U. Queensland; presently working on doctorate, studying women composers. Works: voice, performer-composer collaboration (bio: Carrigan 2002, 163). Helios, in “Australian Piano Miniatures,” Vol.3 (Red House 1998) 4:03, lp. Rapid chromatic clusters, staccatissimo. “Each tacet bracketed chord defines the pitches for the subsequent aleatorical section, creating a continuous textural cloud that is punctuated by other events” (composer). Late Int. [AusMC, Carrigan, score] LEBENBOM, Elaine F. (1933- ) USA Pianist, teacher, composer; st. Ross Finney, Ruth Wylie (q.v.), University of Michigan; taught at Detroit Community Music School. Sonata for Piano (AWC Music Lib 1975/ILL) 22p. Three-mvt contemporary sonata, neoclassical in effect, with slender textures; dissonant, chromatic, well-constructed. Adagio-Allegretto, 6/8; Andantino grazioso, 3/8; Allegro vivace, 2/4. Early Adv. See also: Suite. [Boenke, Cohen] LEE, Consuela (1926- ) USA African-American performer, director, teacher, composer; st. Fisk, Northwestern universities; established Springtree/Snow Hill Institute for the Performing Arts. Works: jazz, classical concert, and dramatic music (Walker 2002, 369). Pub. Springtree Music, Snowhill, Alabama: Etude On a Rainy Day; Field Hand (1969); Letter to Chris (1969); Rain Barrel (1975); Saying Goodbye (1989); The Sun Is Rising (1979); Three Spirituals for Piano (1989). [Walker] LEE, Hope Anne Keng-Wai (1953- ) China/Canada Cellist, flutist, organist, pianist, choir director, lecturer, composer; st. Toronto, Montreal, Freiburg, Germany; awards; Works: orchestra, chamber, piano, voice, electronic. Style: interested in heritage of Chinese arts and philosophy; extended techniques, experimentation in tonal brush-strokes, colors, and effects. Across The Veiled Distances (Furore 1996/ILL) 11', 15p. 4 sketches depicting fantasy and reality in the art of a legendary Chinese painter. I. Being. II. Growth. III. Seeking. IV. Transformation. Adv.

LeFanu 131 Dindle 1979 (Furore #210) 9', 9p. “In this piece, where silence creates unspeakable tension, suggesting the mystery of uncertainty, sound is destined to thrill” (composer). Contrary motion, double notes, repetition; contrasting meters, registers, articulations, textures. Adv. Entends, Entends La Passé Qui Marche. . . (Furore 1992/ILL) 10', 8p. For pf & tape recorder. “One of the most beautiful pieces ever written for this combination . . . a kind of night music exploring the subconscious through its use of darker, mysterious timbres and ascetic gestures”— The Albertan Composer, 1994/3 (cited in score). Adv. Flake upon Flake upon . . . (Furore 1996/CMC) 20', 43p. 13 progressive studies for young pianists, with extensive composer’s notes. Elem-Adv. [CAMW, CMC, Cohen, Heinrich, KOM, Pendle, S&S] LEE, Young-ja (1931/1936- ) Korea Professor, composer; st. Ewha Women’s University, Paris Cons., Royal Cons.Brussels, Manhattan School, Sorbonne; department chair, Ewha Women’s U.; prizes. Works: orchestra, chamber, piano, vocal. Style: French influence. Piano Sonata (1985). Three mvts. Dissonant clusters imitate traditional percussion groups; 2nd mvt describes Korean repression with high block chords; finale emphasizes regular oscillating bass (Sadie and Samuel 1995, 273). Sonatine (Munjo 1972). Fluid andantino develops oscillating bass ostinatos, blocks of descending chord clusters (Sadie and Samuel 1995, 273). Theme and Variations (Munjo 1961). Also: Reminiscence (1988); Suite Romantic (1967); 2 Poems (1958); 2 Preludes and Bagatelle (1952). [Cohen, S&S] LEFANU, Nicola Frances (1947- ) Great Britain Composer, teacher; daughter of Elizabeth Maconchy (q.v.); st. Oxford U., RCM; founder-member, Women in Music; commissions, residencies. Works: orchestra, chamber, vocal, ballet, opera, theatre. Style: organized, attention to line, timbres. Chiaroscuro (Novello 1969/ILL) 13', 23p. Seven musical illustrations of contrasting light and shade: Exulatate; Refrain; Sound & Silence; Epithalamion; Reflection & Cadenza; Refrain; Scherzo-Epilogue. “Interpretative directions, rhythmic difficulties, sharp characterization and definition of musical ideas. Effective sonorities cleverly juxtaposed; variation concept permeates entire work” (Hinson 2000, 437). Early Adv. [Baker6, Briscoe2, CAMW, CGGB, Cohen, Fuller, Heinrich, Hinson, K800, LePage3, Meggett, NG, Pendle, S&S, Stern]

132 LeFevre LEFEVRE, Armande (20th c.) France Villanelle (Billaudot 1955) 2p. An old-fashioned sicilienne in a-minor, 6/8, andantino.Early Int. [Billaudot, Cohen, FrMKassel, KOM] LEGGE-WILKINSON, Margaret (1958- ) Australia Composer, pianist; st. Melbourne, Amsterdam. Works: theatre, voice, chamber. High Clouds (1989) 14'. Set of seven pieces. CD recording CNME0003 (Carrigan 2002, 166). [Carrigan] LEITE (DIAS BATISTA), Clarisse (1917- ) Brazil Concert pianist, professor, composer; st. São Paulo, France; professor, Academia Internacional, Rio de Janeiro. Works: orchestra, chamber, piano, vocal. Style: invokes Brazilian folk genres. Brasileirando (Vitale 1980). Carnaval em Venus (Irmãos Vitale 1970). Copy owned by Chester County Library, Pennsylvania. Impressões de Vienna (Ricordi Brasileira 1975). Lendas. . . e nada mais (Ricordi 1972). Indiana University special collection. Minuano (Ricordi Brasileira/ILL) 8p. Nocturne in c#-minor, sectional, with arching LH arpeggios, RH parallel 6ths, colorful chromatic touches. Early Adv. Oi a Saia Déla, Indere (Vitale 1970). Suite Barroca (Vitale 1976). Also, pub. Ricordi Brasileira: Aboiado (1971); 5 Poemas (1970); Ciclo do Jazz (1976); Consumatum Est (1971); Domingo no Engenho (1973); Intimidade; Quilombo dos Palmares; Rabiscos Na Areia O Mar Apaga (1970); Resurrectio; Suite Nordestina; Suite Ouro Verde; 10 Poems: 5 New Poems, 5 Last Poems (1981); Tombam Estrelas no Espaco (1970); Transmigracao; Um Pouco de Mar em Meus Olhos; Valsa Eterea. [Cohen, FrMKassel, Heinrich, KOM, NG, Ricordi, S&S] LEIVISKÄ, Helvi Lemmikki (1902-1982) Finland Librarian, critic, first significant Finnish woman composer; st. Helskini Institute, Vienna. Works: orchestra, chamber, vocal, films, piano. Style: Bruckneresque, dynamic, powerful; rugged post-romanticism with neo-classic touches (Finnish MIC 2000); later became highly contrapuntal, freely tonal. Canto Intima Op.29/1 (FMIC 1994) 4p. Cantabile melody over legato 8th-note accompaniment; neo-romantic, dissonant. Early Adv. Con Fuoco Op.29/2 (FMIC 1963) 6p. Vivace, alternating 3/4-4/4 measures. Sonatine in F major Op. 14 (Fennica Gehrman/Fazer 1967) 6p. Her most frequently performed piece; 3 brief neoclassic mvts. Int.

León 133 Suite Antique Op.3 (1929). Neo-Baroque suite with appropriate textures. Also: Capriccio; 5 Small Children’s Pieces Op.5; 2 Fantasies (1943, 1944). [Cohen, FMIC, Heinrich, NG, S&S] LEJET, Edith (1941- ) France Professor, professor, composer; st. Paris Cons.; prizes. Works: orchestra, chamber, voice. Style: careful structure, extended instrumental techniques, French ‘colorist’ tradition (Sadie and Samuel 1995, 277-78). Trois Eaux-Fortes (Amphion 1994) 10', 13p. State-commissioned triptych. Mouvementé: dynamic, intense, expressive; contrast, variability preside. Suspendu: complex harmony, with harmonic halo as principal motif; superimposed by brilliancies, reminiscences, resonances. Contrasté: persistent G# at all pitch levels, in a variety of attacks and nuances, interrupts the discourse, presented like bits and pieces of a monologue (from composer’s notes). Adv. [Boenke, Cohen, Heinrich, K800, S&S, score] LEÓN, Tania Justina (1943-1994) Cuba/USA Conductor, pianist, educator, composer; st. Havana, NYU with Ursula Mamlok (q.v.), conducting with Bernstein, Ozawa; 1st music director, Dance Theatre of Harlem; professor, Brooklyn Coll.; visiting lecturer, Harvard, Yale, Hamburg Musikschule; honors, residencies, international conducting engagements, commissions. Works: orchestra, chamber, voice, ballet, electronic, theatre, opera, multimedia. Style: African-Cuban elements, jazz, strongly contemporary idioms; rhythmic, colorful, dense, dissonant. Mistica (AMC 2003) 12'. Commissioned by Ursula Oppens. Momentum (Peer Southern 1986) 7:50, 7p. Quick, intense, highly personal synthesis of American, Latin, and international styles; thick, moody jumble of 12-tone rows, Latin dance rhythms, stride piano—Newsday. Also av. in “Contemporary Anthology of Music by Women,” ed. Briscoe(IUP 1997). Adv. Prelude No.1: “Sorpresa.” Prelude No.2: “Pecera,” in “Black Women Composers” (Hildegard 1992) 2p. No.l [Surprise]: allegretto, 2/4. No.2 [Aquarium]: adagio. Late Int/Early Adv. Rituál (Southern 1987) 5:45', 10p. Inspired by Buddhist chant. 6/8, atonal, rhythmic, percussive; dissonant intervals, disjunct single tones. Adv. See also: Homenaje a Prokofiev/Vals (1960s); Ensayos Sobre una Toccata (AMC 1966). [AMC, Anderson, Bauer, Briscoe2, Cohen, Fuller, Hinson, Horne, K800, KOM, NG, Pendle, Southern, S&S, Walker]

134 Le Siege LE SIEGE, Annette (c. 1945- ) USA Musicologist, composer; Ph.D., Eastman School, 1975. Works: orchestra, chamber, electronic. Piano Sonata (Seesaw 1979/ILL) 12', 14p. 3 mvts; dissonant intervals, repeated notes, alternating hands. Rhapsody: brightly, proportional rhythms, like an etude. Chorale: 4/4, “slowly, let the sounds resonate.” Toccata: proportional rhythms, 32nd notes. Adv. Piano Sonata No.2 (Seesaw 1997/ILL) 20p. Neoclassical, gentle, musical; modal/tonal, hemiola rhythms, added-tone chords. Rhapsody: playfully. Nocturne: gently. Fantasy: faster, driving rhythms, accents, syncopations. Late Int/Early Adv. [Boenke, Cohen, Seesaw] LEWANDOWSKA, Jadwiga Szajna: see SZAJNA-LEWANDOWSKA, Jadwiga LIPSCHUTZ, Lita ( - ) USA Three Episodes for Piano (C. Fischer 1953/ILL) 4', 9p. Winner, Young People’s Concert Committee competition, 1953 (NY Philharmonic Society). 20th c. dissonance, 2-vc ctpt. Presto: 8/8-4/8, toccata-like, octatonic. Adagio espressivo: 4/4, lyric. Vivace: witty, contrary motion (Hinson 1979, 199). Int. [Cohen, FRK, HinSup] LIPUMA, Nelly (1971- ) Italy Conductor, concert pianist, composer, arranger; st. Catania, Vienna; 2001, founded the Vienna International Girls Choir. Works: chamber, piano. Works for pf, pub. Musica Nuova-Musikverlag: 5 Etude pour piano (1995); Zoiros (1995); Folletti (1995); Fable (1995); Nonna Lia (1995); Alex (1997); Daddy’s Omage (1995); Ottundimento (1995); C’est la Vie (1996); In a Joplin’s Mood (1998). [nellylipuma.com] LIU, Zhuang (1932- ) China Composer; st. Shanghai and Beijing conservatories, Syracuse U. (USA). Works: orchestra, chamber, vocal, film. Style: accomplished, poetic, clearly structured (Sadie and Samuel 1995, 283). Principal publisher: People’s Music Publishing House, Beijing. Theme and Variations (1956). [S&S]

Lomon 135 LIZEE, Nicole (1973- ) Canada Composer; st. Brandon and McGill universities; prizes, commissions. Works: orchestra, chamber. Pipeline (CMC 1995). [CMC, [email protected]] LLEWELLYN, Becky (20th c.) Australia Fire Tiger (Songlines 2000) 7p. Written for Gabriella Smart, with assistance from Arts South Australia. Includes brief program note. [AusMC] LOCKWOOD, Annea [Anna] Ferguson (1939-) New Zealand/USA Pianist, singer, lecturer, composer; st. U. Canterbury, RCM-London, electronic music in Holland, Cologne; teacher at Vassar from 1985; awards, grants. Works: orchestra, voice, electronic, multimedia. Style: avant-garde, experimental. Ear-Walking Woman (SOUNZ 1996). Piano Burning (1968). Concept piece: upright piano is “to be set on fire, its strings having been tuned as high as possible so that they will snap impressively under the heat; kerosene and firecrackers are optional” (Kirby 1995, 395). RCSC (2001). Commissioned by Sarah Cahill. Red Mesa (Waiteata Press 1993/SOUNZ/ILL) 14', 8p. Pf & 3 microphones. Avant-garde; direct-string effects with various objects, glissandi, clusters, repeated tones, variety of registers, dynamics. Inspired by the Painted Desert. “Dry, quiet and wild as the desert it depicts, and among her best works”—Village Voice. Adv. Other sound sculptures-events: Piano Drowning; Piano Garden (1971). [Burge, Cahill, Cohen, K800, Kirby, NG, Pendle, SOUNZ, S&S] LOMON, Ruth Margaret (1930- ) Canada/USA Composer, pianist, teacher; st. Quebec, Montreal, and New England conservatories, McGill University; further study with F. Cooke, W. Lutoslawski; grants, commissions, awards and fellowships. Works: orchestra, chamber, vocal, multimedia. Style: sometimes atonal, with extended techniques; inspired by literature, history, Native American rituals. Esquisses (Arsis 1993/ILL) 10:40', 14p. 3 sketches “in the grand continuity of writing for piano”—Boston Globe (Arsis Press 2001). Les Cloches: harmonic structure from complex partials of European bells and ringing patterns. La Fete: rhythmic and melodic character inspired by the Taos (N.M.) Pueblo Turtle Dance. Memoirs de. . . : introspective, balladelike, with a cantabile theme (score notes). Early Adv.

136 López Artiga Five Ceremonial Masks (Arsis 1980/AMC/ILL) 14:40', 14p. Changing Woman; Dancer; Spirit; Clown; Talking Power. Inspired by Navajo masks used in Yeibichai Night Chant ceremonies, “in which the ineffable world is made visible and audible through ritual” (score notes). Clusters struck with mallets, plucked strings, enharmonics; neoimpressionist, mystical, evocative. Early Adv. Rondo (1959) (AMC 1959/ILL) 6p. Moderate 6/8, with chromatic dissonance, contrasting articulations. Early Adv. Toccata and Fugue (AMC 1961/ILL) 8p. Lively rhythmic drive, changing meters, disjunct, pointillistic, chromatic. Adv. See also: Dreams and Drama (1994), pf; 7 Portals of Vision (1982) and Commentaries (1988), organ; Soundings (Arsis 1975), pf 4-hands; Triptych (AMC 1977), 2 pf. [Arsis, Axford, Cohen, Heinrich, Hinson, K800, NG, S&S, Zaimont] LÓPEZ ARTIGA, Angeles (20th c.) Spain Los Inmortales (Piles 1991/ILL) 42p. Seven evocative preludes on elemental forces, inspired by Vicente Aleixandre poems. Impressionistic, with addedtone and 7th chords, occasional quartal and whole-tone effects. La Tierra [Land]: adagio, 2/4. El Aire [Air]: tranquillo, 3/4. La Lluvia [Rain]: ternary, 2/4-4/4, allegretto-moderato-allegretto. El Sol [Sun]: unmetered, improvisatory effect of wide chords contrasted with rapid flourishes. La Palabra [Promise]: moderato cantabile, 2/4-3/4, 4 sections with marked textural contrasts. El Mar [Sea]: adagio, 2/4. El Fuego [Fire]: allegro, 4/4, repeated tones, accents. Poems included, in Spanish. Late Int/Early Adv. [KOM] LOUIE, Alexina Diane (1949- ) Canada Pianist, lecturer, composer, of Chinese descent; st. U. British Columbia, UC-San Diego with Pauline Oliveros (q.v.); teacher, City Colleges of Pasadena and Los Angeles, Royal Cons., Toronto; commissions, awards, honors. Works: orchestra, chamber, solo instrumental. Style: unique blend of Asian sounds with avant garde techniques. I Leap Through the Sky with Stars (G.V. Thompson 1994) 8'. Colorful, pianistic contrasts of consonant and dissonant sonorities, black-white keys; minimalist, extreme ranges and dynamics, changing meters, 20th c. scales (Hinson 2000, 503). Adv. Star Light, Star Bright (Frederick Harris 1995) 25p. Composer: 9 contemporary pieces; proportional notation, rapid repeated figures, clusters, gracenote phrases, timbre exploration, minimalism. Late Int/Early Adv. Also: Dragon Bells, pf & tape (1978); Music for PF (1982); Scenes from a Jade Terrace (CMC 1988); Star-Filled Night (1987); Three Coloured Fragments (1967).

Luff

137

See J.K. Parker: “The Solo Piano Music of Alexina Louie: A Blend of East and West” (DMA diss., Juilliard School, 1989). [Boenke, CMC, Cohen, Hinson, NG, S&S] LUCAS, Marie-Luce (1935- ) France Interesting teaching pieces; neoclassical, very French in mood and style; clear influence of Satie, Poulenc. Piano Jazz: Au Bord de l'Eau (Lemoine 1997) 10p. French jazz at 5 ports of call: La Baule, Deauville, Nice, Biarritz, and Enghien. Early Int. Fanfare pour Soldats des Bois (Leduc) 2p. Wooden soldiers’ march. Elem. Fleur de Sel (Leduc) 2p. Late Elem. Les Insectes Dansent (Billaudot 1971) 5p. 5 cheerfully imaginative pieces cleverly based on the movement patterns of insects: a flea’s staccato waltz; a slow, repetitive ballade for a beetle; cricket’s mechanical dance; dragonfly arabesques; and a mosquito rondo. Int. [KOM, SCB] LUDVIG-PEČAR, Nada (1929- ) Yugoslavia Croatian professor, composer; st. M. Špiler (Sarajevo), L. Škerjanc (Ljubljana); from 1969, taught theory at Sarajevo Music Academy; awards for children’s songs. Works: orchestra, chamber, voice, piano. Style: rooted in early 20th c. European techniques (Sadie and Samuel 1995, 291). Suita Hexatonica (1973 Sarjevo/ILL) 16p. Intriguing 5-mvt set composed on whole-tone scale C#-D#-f-g-a-b, with various tones serving as tonic; lively rhythms, pianistic textures. Invencija: allegro, 4/4, imitative. Uspavanka: andante, 4/4, lyric. Ples: giocoso, 5/8, cheerful. Bagatela: simple lyric melody over ascending staccato octaves. Tokata: a noholds-barred presto. Early Adv. Also: Deset Studija [10 Studies] (1965); Prelude And Fugue (1953); Suite in C Minor (1954); 2 Sonatinas (1960). [Cohen, S&S] LUFF, Enid (1935- ) Wales Pianist, composer; st. Cambridge, U. Wales, with Lutyens (q.v.), Payne, Donati; 1980 established Primavera Publishing (with Julia Usher, q.v.). Works: dance, orchestra, chamber, piano, voice, theatre. Style: contemporary. Four Piano Pieces (Primavera 1980/ILL) 6', 6p. Tiny, dense notation, thick with accidentals, tricky rhythms. Adv. Mixed Feelings (Primavera 1980/ILL) 8p. Five short mood pieces: Serious; Quiet; Fierce; Song; One More. Late Int. Statements (Primavera 1980/ILL) 2', 2p. Three miniscule pieces; atonal, quiet, with extensive ranges, thin textures. Early Adv. Sky Whispering (Primavera 1986/1LL) 9', 16p. Adv.

138 Lutyens Also, pub. Primavera: Angry Machine (1983); Belltower (1985); Haunted Nightclub (1985) 4'; Ships (1986) 2'; Sonata, “Storm Tide” (1986) 15'. [Cohen, Heinrich, K800, S&S, WelshMIC] LUTYENS, Dame (Agnes) Elisabeth (1906-1983) Great Britain Violist, author, prolific composer, indomitable champion of 20th c. music; st. RCM-London, with Manziarly, Caussade in Paris; founded contemporary concert series; est. Olivan Press; awards, honors include C.B.E., 1969. Works: orchestra, chamber, organ, piano, voice, ballet, opera, radio, film, theatre, electronic. Style: one of first British serialists; also wrote in expressionistic and neo-classical idioms. Encore-Maybe Op.159 (Olivan 1982/ILL) 8p. Serial, pointillist, sparse textures. Maybe: much longer than 2nd piece. Composer suggests long gap (like an intermission) before playing the rapid, brief Encore, sempre ff. Early Adv. Five Bagatelles Opus 49 (Schott 1962) 7', 8p. 12-tone miniatures inspired by Van Gogh landscapes; Webernesque, concise, varied in design, mood. Nos. 1, 3 are av. in “Frauen Komponieren,” ed. Rieger & Walter (Schott 1992). Early Adv. Five Impromptus Op.116 (Olivan 1977/ ILL) 10', 9p. Brief, improvisatorysounding 12-tone pieces, thin textures, contrasting dynamics and registers. Early Adv. Five Intermezzi Op.9 (Belwin 1941). 12-tone rows used in traditionally shaped motives. Early Adv. Piano e Forte Op.43 (Mills 1965/ILL) 15', 10p. “Fantasia-like dramatic study in dynamics. Finale is rondo-like” (Hinson 2000, 506). Early Adv. Plenum I Op.86, in “Contemporary Anthology of Music by Women,” ed. Briscoe (IUP 1997) 12', 7p. Orig. pub. U. York Music (1972). Pointillist, chromatic; contrasting gestures of resonating tones, chords, repeated notes, flourishes, plucked strings. Incorporates freedom of notation, rhythmic flexibility. Early Adv. Three Books of Bagatelles Op.141 (Olivan 1979) 31'. Three Improvisations Op.15 (Lengnick 1948/ILL) 4p. Short chromatic sketches: Adumbration (foreshadowing); Obfuscation (obscuring); Peroration (summarizing). Late Int. See also, pub. Olivan Press: Hommage à la France; La Natura dell’Aqua Op. 154 (1981) 8:30'; 3 Pièces Brèves (1969); The Ring of Bone Op.106, pf & opt. speakers (1975); Seven Preludes Op.126 (1978) 22'; Temenos Op.72 (1969). Teaching sets: The Check-book (Augener 1939); Holiday Diary (Lengnick 1949); Overture (Mills 1965). [Bakers92, Boenke, Burge, CAMW, CGGB, Cohen, FRK, Fuller, Gordon, Heinrich, Hinson, K800, Kirby, KOM, Meggett, NG, Pendle, SCB, S&S]

Maconchy 139 LYLE DE BOHUN: see BOONE, Clara Lyle

M MACAROWA, Nina: see Makarova, Nina MACEDO, Maria Apparecida da Cortes (1937- ) Brazil Interludio para Cristina (self-pub 1985) 2p. Marolando (Vitale 1984) 3p. Tarantela (Vitale 1978) 4p. Also: 5 Klavierstücke; contains Barcarola; Noturno No.2; Chorinho No.3; Preludio No. 1; Carissima-Mazurka. [FrMKassel] MACKENZIE, Kirsten (20th c.) New Zealand Scores av. through Centre for New Zealand Music (SOUNZ): Go Ahead; Now I Know YoU. (1994). Two jazz piano pieces. Int. Blues for P.D.; Something in Three (1994). Lead sheets only. Int. [SOUNZ] MACONCHY, Elizabeth (1907-1994) Great Britain Pianist, composer of Irish parentage; mother of Nicola LeFanu (q.v.); st. RCM with Vaughan Williams, Jirak in Prague. Works: orchestra, chamber, piano, voice. Style: infl. by Bartok; linear, short motifs, motoric rhythms, rhythmic and melodic counterpoint, dramatic, passionate (Sadie and Samuel 1995, 302). A Country Town (Hinrichsen 1945/ILL) 10p. Suite of 9 short, colorful character sketches: The Fair; The Beggar; The Quarrel; Lament; The KnifeGrinder; The Singer; Bells; The Recruit; Good-Night. Int/Late Int. Mill Race (Ricordi-Lengnick 1963/ILL) 1:25, 3p. Cheerful, unique perpetuo moto, alternating 3/4-3/8, major-minor; some Phrygian coloring, simple added-note chords; dynamic contrasts (Butler 1973, 1:78). Int. The Yaffle (Ricordi-Lengnick 1961/ILL) 1:30, 3p. (Yaffle: green woodpecker). Imaginative musical treatment in 5/4, G major/mixolydian; some alternation of hands (Butler 1973, 1:78). Int. Sonatina (Lengnick 1972) 6', 14p. 4 mvts, for 2-manual hpd, “although the work sounds remarkably well on the piano. . . Many repeated patterns, short phrases, linear, forceful rhythmic treatment. Effective arpeggiando and legatissimo writing” (Hinson 2000, 513). Early Adv.

140 Mageau Also: Contrapuntal Pieces (1941); Four Pieces for Piano (1962): Conversation, Moonlight Night, Mill Race, The Yaffle; Impromptu-Fantasia On One Note Op.16 1938 (Hinrichsen 1939); Prelude, Canon and Fugue (1940). In children’s anthology “5 x 10” (Lengnick): The Sewing Machine (gr.5); Spring Waters (gr.5); The Dancing Bear (gr.4); Nodding (gr.3); Cradle Song (gr.2); Sad Story; The Bell; Conversation (gr.l) (CGGB grading). [Boenke, Butler 1, CGGB, Cohen, Fuller, Heinrich, Hinson, K800, LePage, Meggett, Newman, NG, Pendle, S&S] MAGEAU, Mary Magdalen (1934- ) USA/Australia Teacher, pianist, harpsichordist, composer; st. DePaul U., U. Michigan; dual Australian-US citizenship; awards, commissions. Works: orchestra, chamber, voice, ballet, piano. Australia’s Animals (Schirmer 1978) 5p. 6 excellent teaching pieces: short, descriptive, contemporary, with challenging rhythms and articulations, glissandi, clusters, pedal effects (Carrigan 2002, 173-74). “Wandering Wombat” av. in “Australian Anthology” (Allans 2003). Elem. Cityscapes (Alpheus Music 1978) 5'. 5 short descriptive pieces: High Street; Noon Cathedral Square; Rendezvous; Rain; Homeward. Some atonal harmonies, shifting meters and accents, grace notes, double 8vas. Revised, renamed City Sketches in 2002; later version omits 2nd piece (Carrigan 2002, 173-74). Int. Cycles and Series (Tersun Press 2000) 9', 19p. 3 contrasting mood pieces; contemporary techniques and notation. Entrance Piece: with driving energy. Night Music: mysterious. Cycle Complete: excited. Adv. Forecasts (Schmitt, Hall & McCreary 1972) 3p. 4 short meteorological pieces without meters or key signatures. Clouds: clusters; Rain Rain Go Away; Feathery Fog: free notation; Out Comes the Sun! Late Elem. Mostly Short Pieces (AusMC 2001) 7', 9p. Westerly Wind; Berceuse; Toccatina. Late Int/Early Adv. Ragtime (AusMC 1977/ILL) 5', 10p. Composer’s note: Three contrasting movements integrating Joplin’s Missouri Rags with contemporary techniques. Elite Syncopations (1902): lively rhythmic study; literal quotes of Joplin’s rag, surrounded by changing rhythms, displaced accents. Bethena (1905): nostalgic concert waltz; some aleatoric passages, repeated notes, LH leaps. The Cascades (1904): musical description of fountains and waterfalls at St. Louis World’s Fair; Joplin passages disguised by metric and harmonic changes; unusual patterns, splashing sounds, glissandi create a ‘water music’ atmosphere. Technically demanding, humorous, with dynamic contrasts, double 8vas, shifting keys and meters (Carrigan 2002, 173-74). Early Adv. Ragtime Remembered (Lyric Press 2001/AusMC). 7', 12p. Sanford Rag: bright, tonal; We Love to Tango: languid; Rollicking Rag: fast, virtuosic. Consecutive 3rds, 6ths, 8vas, large leaps, brilliant flourishes (Carrigan 2002, 173-74). Early Adv.

Makarova 141 Soliloquy: Dance Piece 1 (AusMC 1984) 3:40'. In 3/4, written on 3 staves, continuous 8th-note pulse, some double 8vas. Cassette available. (Carrigan 2002, 173-74). Int. See also: “Adventures in Time and Space,” 5-vol. teaching series (Schmitt 1975); Etude (1970). [AusMC, Axford, Boenke, Carrigan, Cohen, Heinrich, Hinson, ISMTA, LePage3, Magrath, Meggett, Pendle, S&S, Zaimont] MÄGI, Ester (1922- ) Estonia The “first lady of Estonian music” (scores, below); st. with M. Saar at Tallinn Cons.; awards. Works: orchestra, chamber, vocal. Style: nationalistic, use of folk music; sensitive, strong sense of form; later works use complex polytonal and coloristic textures, repetition, static tonal figures (Grove Online, 4 Feb. 2004). Lappländische Weisen (Antes 1995/ILL) l8p. 9 modal folk tunes in a variety of moods, meters, tempos, accompaniments. Late Int. Neun Stücke von C bis Fis (Eres/ILL) 27p. 9 descriptive teaching pieces: Invention; Wistfulness; In the Pasture; Lapp Narrating Melody; It’s Raining! It’s Raining! Mouse Dance; Canon; Slow Waltz; Tinkling Piece for Four Hands. Simple textures, appealing melodies, evocative and well written. Early Int. Also: Lappländische Joike (Eres). [Estonian MIC, KOM, NG, scores] MAHLER, Hellgart (20th c.) Australia Photons (Quamby Books 1992) 9p. For Geoffrey Tozer, who premiered it in Vladivostock, June 1990. Three Galactic Fragments (Quamby Books 1991) 4p. Ecliptic; Equinox; Zenith. [AusMC] MAIXANDEAU, Marie-Vera (1929- ) France Composer. Works: chamber, solo voice, sacred cantatas. Sonate No.2 (Eschig 1965/ILL) 16p. 3 mvts: Allegro assai: changing quarternote meters. Intermezzo: andante, 2/2. Toccata: allegro con moto, 4/4, nearly a perpetuo moto with running l6th-note figures. “Well-written, requires large span, incisive sonorities” (Hinson 1973, 406). [Cohen, Hinson, KOM, Stewart-Green] MAKAROVA, Nina Vladimirovna (1908-1976) Russia Soviet composer; st. Miaskovsky, Moscow Conservatory; m. Khachaturian; interested in Russian and Mari folksong. Works: orchestra, chamber, piano, voice-choral, opera, theatre.

142 Malmlöf-Forssling Six Studies Op. 16 (Soviet State 1946/ILL) 47p. Six dramatic, skillfully written etudes, modal with clear tonal centers. Allegro: 2/2, triplets vs. duplets. Moderato: 3/4, sudden contrasts in range, dynamics. Allegro: 4/4, agility and speed, contrasting articulations. Allegro: 4/4, sustained LH melody, airy RH 8th-note figures. Moderato: 6/8, quasi-siciliana, repeated LH chords, RH double note figures. Allegro: 3/4, rhythmic rotary movement, hands in repeated double 3rds, in rotary motion. Early Adv/Adv. Sonatine No.1 Op.9 (Soviet State 1935/ILL) 26p. 3 mvts: Allegro ma non troppo, 4/4. Andantino, 2/4. Allegro, 2/4. Freely tonal/modal, with a folk-music spirit, shifting tonalities, many key signatures. Well written, pianistic. Late Int/Early Adv. Also: Suite; Nocturne; Pastorale, Chorale, & Prelude (1928); La Rêve de l’Héroine; 6 Preludes; 2 Children’s Suites (1955). [Cohen, FrMKassel, K800, Meggett, Vodarsky] MALMLÖF-FORSSLING, Carin (1916- ) Sweden Pianist, teacher, composer; st. Melchers in Stockholm, Boulanger in Paris; taught piano from 1943; elected to Society of Swedish Composers, 1970, she was its only woman member for many years. Works: orchestra, chamber, piano, voice, theatre. Style: strongly personal, expressive, masterly miniatures with idiomatic instrumental sonorities (Sadie and Samuel 1995, 308). Humoristisk Miniatyr in “Pianolyric” (Swedish Piano Album), ed. Kjellberg (Nordiska 1949/ILL) 1p. Allegro, 3/8. A scherzo in 2-vc ctpt, freely tonal with shifting key centers, many accidentals. Int. See also: Five Small Pieces (1947); Sonata in D Minor (1944); Suite (1935); Viewpoints (1980). [Boenke, Cohen, FRK, FrMKassel, Heinrich, Hinson (collections), KOM, NG, Pendle, S&S] MAMLOK, Ursula Lewis (1928- ) Germany/USA Pianist, professor, composer; st. Szell, Sessions, Wolpe, Shapey (NY); grants, awards. Works: orchestra, chamber, piano, voice. Style: elegantly crafted, delicate, dramatic intensity; “thoughtful, well-constructed, challenging pieces for students are important additions to the genre”(Sadie and Samuel 1995, 309). Four Recital Pieces for Young Pianists (Casia 1993) 4p. The Sunken Bell: meter changes, chord clusters, crossing hands, long pedals. Throwing Pebbles: clusters, repeated chords, echo effects, approximate tempos/repeats. The Bewitched Pond: black and white key pentatonic scales, Lydian scale on F, long pedals mixing them together. Revving Up and Away: three 9-tone scales, on B-F#-C# (score notes). Int.

Marbé 143 Grasshoppers: Six Humoresques for Piano (Casia 1993) 7p. Sunday Walk: 2/4, gay. Night Serenade: 6/8, calm. In the Rain: 2/4, fast and brilliant. Minuet: 3/4, graceful. In the Army: fast, in mock march time. Hurrying Home: 3/8, very lightly. Late Int. Piano Piece 1952 (ACA 1963/ILL) l4p. Allegro energico, 3/4. Freely chromatic, with tonal centers F/F#. Energetic triplet figure contrasts with gentler, lyric motifs; much octave doubling; chordal center section. Early Adv. Sculpture I (ACA 1969/ILL) 4p. An atonal mood piece, with sparse, pointillistic texture, extreme ranges of keyboard, sudden dynamic contrasts, free rhythms. Late Int. Three Bagatelles (Peters 1991) 3', 5p. Brief, light contemporary works, for hpd or piano. Recorded by Sara Cahill, CRI. Late Int. 2000 Notes (2000). Written for Sarah Cahill, co-commission. Also: Children’s Pieces (1945); Cycle, 6 pieces (1983); Parakeet Slumber Song (Presser); Scherzo (ACE 1947); Six Recital Pieces for Young Pianists (1981). [Boenke, Cahill, Cohen, Finell, Fuller, Heinrich, Hinson, K800, KOM, LePage, Meggett, NG, Pendle, Peters, SAI, Sperber, S&S] MANZIARLY, Marcelle de: see Supplement to Volume I MARBÉ, Myriam Lucia (1931-1997) Rumania Pianist, music editor, professor, composer; st. Bucharest Cons., where she later taught, 1954-88; awards, prizes. Works: orchestra, chamber, piano, voice, electronic. Style: early works employ avant-garde techniques, variety of sources; later works are simpler. Principal publishers: Breitkopf, Ed. Muzicala. Allegro, in “Neue Rumänische Klaviermusik,” Bk. 1, ed. Hrisanide (Gerig/ Breitkopf 1971) 1p. From a 90-piece teaching collection, “Piese Pentru Pan” (Muzikala 1962). Brisk folk dance in g minor, with shifting meters and accents, 2-vc ctpt, bass drone. Int. Das Storrische Eselein [The Stubborn Little Donkey], in “Rumänische Klavierminiaturen für Kinder und Jugendliche,” ed. Comes, 2 vols. (Peters 1976/ILL) 1p. Shifting tonal centers, accidentals, quintal. Elem. Sonate (ESPLA/Ed. Muzikalà 1962). 18p. Serial techniques used with modal systems, polyphonic structures; rubato (Grove Online, 4 Feb. 2004). Also: Accents (1971); Allegro; Clusterstudien I, II (1970); Din Lumea Copiilor (ESPLA 1957); Le Temps Inevitable (1968-71) pf & tape; Piese (ESPLA 1962); Preludin-Choral-Final (1959); Suita Pentru Pan; Unvermeidliche Zeit. [Boenke, Cohen, FRK, FrMKassel, Heinrich, Hinson (collections), K800, NG, Pendle, SCB, Sperber, S&S]

144 Marchi MARCHI, Giuliana (1925- ) Italy Works: piano, arrangements of works by 18th c. Spanish harpsichordists. Il Cigno [The Swan] (Berben 1969) 3p. Legato melody and gently rippling accompaniment, in a graceful neo-romantic portrait. Int. Piccolo Zoo Musicale (Ricordi). 5 pianistic fantasies. Tempo di Gavotta (Berben 1968) 2p. The customary baroque dance, complete with upbeat phrase beginnings, staccatos, and 2-note slurs. Early Int. [Berben, Cohen, Ricordi] MARCUS, Ada Belle Gross (1929- ) USA Pianist, teacher, composer; st. DePaul, Roosevelt universities, American Conservatory; awards. Works: orchestra, chamber, piano, voice. A Child’s Day (H. Branch 1977) 10'. Suite. Late Int/Early Adv. Etude Erotique (H. Branch 1977) 3'. 12-tone. Late Int/Early Adv. Piano Sonata No.2 (AMC) 17'. Late Int/Early Adv. Theme and Variations (H. Branch 1977) 7'. Late Int/Early Adv. Also, self-published: A Day in New York City (1951); Look! No Fingers! Monologue (1973); Paratones; Piano Sonata No.1; Refractions Through a Prism (1973); Sound Score; Three Modules (1980); Two Preludes; Youth in Orbit (1969). [AMC, Axford, Boenke, Cohen, Heinrich, Zaimont] MARCUS, Bunita (1952- ) USA Clarinetist, pianist, conductor, professor, composer; st. U. Wisconsin, SUNYBuffalo with F. Loschnigg, M. Feldman; commissions, awards. Works: chamber, piano, voice, theatre, multi-media. Style: contemporary. Piano Piece (1979) (autograph score/ILL) 10p. Widely-spaced, lean textures create pointillistic effect; shifting meters; sustained tones contrasted with 32nd notes; abrupt dynamic contrasts; closing section contains 4voice chords of longer duration. Early Adv. Merry Christmas Mrs. Whiting (autograph score 1982/ILL) 1p. Quartal fournote arpeggios, strummed upward, form briefly held chords in shifting 8th-note meters. Int. Wolpe Variations (autograph score 1980/ILL) 7p. Changing meters, sparse texture, dissonant gapped scale, 6 textural variations. Early Adv. [Cohen] MAREE, Joanne (1939- ) England/Australia Violinist, violist, pianist, teacher, composer; st. England, Australia; experience in musical comedy, chamber music; accompanist, Adelaide Cons. Works: piano, chamber, educational material (bio, descriptions: Carrigan 2002, 176-77).

Marez Oyens 145 Giant’s Causeway (AusMC). Depiction of Irish landmark; slow, in c. Late Elem. Images (AusMC 1984) 10', 30p. 17 illustrated character pieces, from Bunny Hops to Tarantella. Articulation, grace notes, accents, triplet and dotted rhythms. Elem-Late Elem. Impressions (AusMC 1991-92). 3'-4' each, 66p. 8 pieces: Shadows (see below); Preludes 1, 2 (see below); An Illusion; Fragments of Time; Romance; Forest Fantasies; Sonata (4-mvt). Some double 8vas, brilliant sections, large chordal passages. Int-Late Int. Shadows (AusMC 1992) 4', 4p. (From Impressions, above). Short, descriptive, in a minor; some awkward LH leaps, parallel double 3rds; brilliant sections with parallel double 8vas and tremolos. Int/Late Int. Two Preludes (AusMC 1992). 7', l0p. (From Impressions, above). Two romantic works, tonal harmonies. Prelude 1: E-flat minor, somber, some beautiful chords, cadenza-like passages. Prelude 2: Fast, with much 16th note movement. Double 8vas, rubatos, cross-rhythms, large leaps, hand crossing. Int. [AusMC, Carrigan] MAREZ OYENS [née Wansink], Tera de (1932-1996) Holland Concert pianist, teacher, conductor, author, prolific composer; st. Amsterdam Cons., Utrecht; lecturer in modern music, Zwolle Cons.; commissions; active champion of women composers. Works: orchestra, chamber, voice, children’s operas. Style: contemporary, occasional use of graphic notation. Ballerina on a Cliff (Donemus 1980) 8p. An intermezzo, lento, unmetered. Atonal, contrasting dynamics, registers, and textures; contemporary techniques include direct-string playing, special pedal effects, accelerandos on repeated tones, some ad lib. durations. Adv. Charon’s Gift (Donemus 1982) 13:50', 20p. For pf and pre-recorded tape, av. Institute of Sonology, Utrecht University. Nocturne: “A Chopin Joke” (Harmonia 1976/ILL) 4p. “Denying plagiarism monopoly to ‘medium’ Rosemary Brown” (composer’s note). Composed and performed during a live TV program to prove competent musicians can emulate styles of great composers without communicating with the dead. Lovely piece in g minor, 6/8, with Chopin’s characteristic patterns, filigree melodies. Early Adv. Preludium und Tanz (Donemus 1993) 9', 13p. Dedicated to Prof. Konrad and Frau Martha Musalek in honor of their 60th birthdays. Flowing Prelude, rhythmic Tanz, both in continuous l6th-note figures, offbalance changing meters (e.g. 11/16, 5/8); polytonal, dissonant. Adv. Sentenced to Dream (Donemus 1993) l4p. Unmetered free tempo; dissonant block chords alternate with wispy l6th-32nd-note gestures; contrasting registers, tempos, dynamics; atonal/bitonal/quartal harmony. Adv. Sonatine 1963 (Donemus 1964/ILL) l0p. Vivace, 6/8; Lento, 6/4; Presto, 7/8. Atonal/bitonal dissonance, lively pianism. Early Adv.

146 Mari Also: Seven Dances (Harmonia 1973); Valentine’s Music Book, for group instruction (Broekmans & V. Poppel 1974) 2pf. [Boenke, Cohen, FRK, FrMKassel, Heinrich, K800, KOM, NG, Pendle, S&S] MARI, Pierrette (Anne Valerie) (1929- ) France Music critic, musicologist, composer; st. Paris and Nice conservatories with Gallon, Aubin, Messiaen; prizes; wrote books on Messiaen, Dutilleux, Bartok. Works: orchestra, chamber, piano, electronic. Calèche en 2000 (Combre 1999/ILL) 4p. Lent: 3/4, 4-bar introduction. Allegretto: staccato open 5ths, alternate hands, in contrast with shared legato triplet figures; contemporary harmonies, pianistic. Early Adv. Le Chardonet (Billaudot 1980) 6p. Third Escalade for piano. “Reflects both its title, ‘The Goldfinch,’ and subtitle, ‘scaling a mountain,’ with its sections of swooping broken arpeggios alternating with running lines. Tense, insistent, contemporary writing.”(Hinson 2000, 518). Adv. Also: A l’École (Combre); Barcarole (Chappell 1973); Campagnolette; Escalades sur un Piano (1955-1970); Gayle (1958); Le Petit Ecrit Musical (1971); Le Rouet (1956); Theme et Variations (1955); Nicolas et Pimpernelle (Ed. Mus. Transatlantiques); Poissinoux Michelette (Leduc-Heugel/Furore). [Boenke, Cohen, EMT, FrMKassel, Heinrich, Hinson2, KOM, SCB, score] MARIĆ, Ljubica (1909- ) Serbia-Jugoslavia Conductor, professor, artist, writer, composer; st. Prague Cons.; anti-Nazi partisan, WWII; teacher, Stanković and Belgrade; one of the most important contemporary Serbian composers (score notes, below). Works: orchestra, chamber, piano, voice. Style: early works explored atonality, athematicism, quarter-tones; personal, contemporary mature style was enriched by Serbian folk music and Orthodox liturgical music, resulting in a “novel combination of old and new” (Sadie and Samuel 1995, 315). Klaviermusik I (Furore 1998/ILL) 14'. 12pp/5p. Three Preludes and an Etude, from 1945. Preludes: racy, buoyant pieces of moderate difficulty; good teaching material (score notes). Etude: atonal octave study. Early Adv. Klaviermusik II (Furore 1999/ILL) 4pp, l5p. Pandiatonic. Song & Dance: A dyptich. Pesma, andante, 2/4; smooth, simple melody, modal; Igra, allegro, 3/4-2/4, the companion dance, flowing. Branko’s Round Dance [Brankovo Kolo 1947]: A folk music suite, a “wreath of songs.” Introduction, 4/4, open chords over ostinato bass; Srbijanka, 2/4-4/4, lively accents, staccatos, alternating hands on open chords; Hrvatsko, 2/4; Makedonsko, 5/8-3/8; Crnogorsko, 2/4, an exuberant closing. Early Adv. Also Skice [Sketches] (1945); Pf Suite, for quarter-toned pf (1937). [Boenke, Cohen, Furore, JugoslavMIC, NG, S&S]

Masumoto 147 MARKIEWICZÓWNA, Wladyslawa (1900- ) Poland Concert pianist, professor, composer; st. piano with Eisenberger and Eisner, composition with Jachimecki and Leichtentritt (Cracow, Berlin); concertized in Berlin and Poland, 1926-1929, after which she taught at the Conservatory of Katowice. Works: chamber, voice, piano. Kolorowe Obrazki [Coloured Pictures] 2 vols. (PWM). 12 contemporary teaching pieces with colorful illustrations, robust rhythms, sharp dissonances, and non-functional harmonies. Mid-Late Int. Sonatina (PWM 1942/ILL) 8p. 3 short mvts: Allegro, Lento funebre, Vivace leggiero. Dissonant 2-voice counterpoint. Late Int. Tema con Variazioni (PWM). “Clear textures, biting dissonance, easy to read and features writing of high quality. Level 10” (Magrath 1995, 427). Late Int/Early Adv. Zoo Time (PWM 1978/ILL). Appealing, rhythmic tonal sketches of zoo animals, with illustrations. Late Int. See also: Humoresque Op.11 (1933); Miniatures; Preludes; Sonatas; Variations on a Folk Theme (1924); Compendium of 17 Pieces (1973); Suite Op.9, 2 pf. [Boenke, Cohen, FRK, KOM, Magrath] MARTIN, Delores J. Edwards (1943- ) USA African-American pianist, composer; st. Pepperdine U., American Academy in Paris. Works: chamber, piano; popular and concert music (Walker 2002, 370). Works for piano: The Art of Edward Hopper; Circle of Dreams (1974); Cities Three; Un Jour (Soundworks 1979), av. Martin. [Cohen, Walker] MARTINS, Maria de Lourdes (Clara da Silva) (1926- ) Portugal Clavichordist, harpsichordist, pianist, professor, composer; st. Lisbon Cons., Munich, Darmstadt, Siena, Orff-Institut; active music educator; prizes, awards. Works: orchestra, band, chamber, piano, vocal, opera, theatre. Style: infl. neoclassicism, nationalism, serialism; later, fusion of techniques. Principal publishers: Pizzicato, Valentim de Carvalho. Pecas para Criancas Op.21 (Valentim de Carvalho 1978). Also: Grotesca Op.16 (1950); Inventions; Sonatinas Opp.3, 14 (1947/1957); Ritmite (1983); Toccatina Op.13 (1976); Valsas Op.33 (1976). [Boenke, Cohen, Heinrich, NG, S&S] MASUMOTO [Massumoto], Kikuko (1937- ) Japan Pianist, lecturer, composer, ethnomusicologist; st. Toho-Gakuen School of Music, U. Tokyo; teacher, Toho-Gakuen U; awards. Works: chamber, opera, voice, piano, traditional instruments. Style: microtones, proportional rhythm, linear writing, gradual unfolding of themes (Sadie and Samuel 1995, 320).

148 Matuszczak Kage: piano to dokusoyo ju-shichi-gen no tame ni (Japan Federation 1994). Lamentation (1979) 13:36. CD: Fontec FOCD2550, pianist Hiroko Nakamura. Reflections (Japan Federation 1991). Pf duet. [Cohen, Heinrich, Japan Fed, musicfromjapan.org, NG, S&S] MASTERS, Juan (pseud): see EAMES, Juanita MATUSZCZAK, Bernadetta (1937- ) Poland Pianist, composer; st. Seligowski, Sikorski, Boulanger; prizes. Works: orchestra, chamber, voice, opera, oratorio. Style: expressive, strong, economic writing. Sny Dziecięce [Children’s Dreams] (PWM 1996) l8p. 9 brief tonal sketches, of countryside scenes, with colorful illustrations (e.g. Forest Phantoms, Fountain). Contemporary; strongly rhythmic in a variety of tempos and meters; tonal with chromatic dissonance; contrasting dynamics and articulations. Int. Also, pub. PWM: Aforyzmy [Aphorism] (1984; 1975 flute piece has same title); Dzwiekowe Zabawki: 24 Bajki [Sound Toys: 24 Fairy Tales] (1984); Quasi Sonata (1963); Sound Games. [Boenke, Cohen, FrMKassel, Heinrich, K800, KOM, NG, S&S] MAURICE, Paule (1910-1967) France Teacher, composer; st. Gallon, Busser; taught sight reading, Paris Conservatoire; co-authored Treatise on Harmony, with her husband. Works: orchestra, chamber, piano, voice, ballet. Memoires d’un Chat (Durand 1942) l9p. Six enjoyable impressionistic sketches; tonal/modal, quartal, added-tone chords, grace notes, leaps. Danse: 3/4, a waltz. Minuet Ronronne et Sommeille [Minuet purring and dozing]: 9/8, slow, then animated. Course à la Souris [Chasing a mouse]: 2/4, lively and graceful. Patte de Velours [Velvet paws]: 4/4, without haste, tenderly. Songe Devant l’Aquarium [Dreaming in front of the aquarium]: 3/4, without slowness. Pirouettes: 6/8, lively spinning arpeggios, trill figures. Late Int. Danse Hindoue in “Magie du Clavier,” Bk.2 (Lemoine). Tambour et Trompettes in “Les Plaisirs de la Musique” (Lemoine). Valse du Prince et de la Belle in “Les Contemporains,” Bk.l, comp. Descaves (Noël/Billaudot 1950/ILL). Elem. Also for teaching: Il Était une Fois (Billaudot); Melodies (1939); Le Music Hall des Marionettes (Leduc); Preludes (1942). [Cohen, FrMKassel, KOM]

McCombe 149 MAYNE, Kathleen (20th c.) USA Composer; st. privately with Ernest Gold; owner, Snowcrest Publishing; awards. See: www.mmmrecordings.com/snowcrest Ten Variations on an Original Theme (Snowcrest, forthcoming). Valse D’Amour (Snowcrest 1992) 4p. Neo-romantic, with rubatos, occasional tonal shifts. Int. [Composer, score, Tfront] MAYS, Sally ( - ) Australia/England Pianist, teacher, editor, examiner, composer; st. Melbourne, RCM-London, Paris; teacher, U. London, U. Surrey. Works: chamber, vocal, musical theatre, educational. “Australian Piano Music,” ed. Sally Mays (Currency Press 1990). Excellent 7volume series of graded music exploring contemporary techniques for the piano. First 2 vols. include fine teaching pieces by Mays. Elem/Int. [AusMC, Carrigan, scores] MCAULIFFE, Kass (20th c.) New Zealand Most scores are available through Centre for New Zealand Music (SOUNZ): Level 1 (Elem): Miniatures for Children (1971-7) 5'. Level 2 (Int): Alone on a Hilltop (n.d.); Kotaki (n.d.); There’s a Place in the USA (n.d.); What Might’ve Happened (1986) 4'. Level 3 (Late Int-Adv): Bird-Dreaming (1986) 4'; The City’s Lonely (1985) 4'; Every Place I Live In (1984) 4'; Maupia (1982), 4'; Moonshine and Magnolia Blues; It’s Kinda Nice (1981) 7'. Ungraded: Luna Park & It’s Valentine’s Day (1985) 7'; Nostalgia (1984) 4', for piano/synthesizer; There’s Still Time & It’s One Degree in Dublin (1984) 7'; What Rousseau Had to Say (1982) 3'. [SOUNZ] MCCOMBE, Christine (1967- ) Australia Pianist, teacher, composer; st. U. Melbourne, Victorian Coll. of the Arts, Royal Scottish Academy, Glasgow; grants, commissions, awards. Works: theatre, dance, chamber, voice (descriptions below: Carrigan 2002, 180-81). Asphyxed, in “Australian Piano Miniatures” (Red House 1998) 3:10. Charming contemporary piece: aleatoric devices; exploration of sonorities, and effects; register extremes. Early Int. Divergence (AusMC 1998). 8', 8p. Pianistic, atonal. Begins simply, tenderly, becomes virtuosic, intense; challenging. Adv.

150 McIntosh Songs of Truth and Loneliness (AusMC 1995). 15', l5p. 8 descriptive mood pieces: First Song; Fragmentation #1; Lullaby; (No.4: Untitled); Two Voices Alone; Lux Aeterna; Fragmentation #2; Truth. Wide range of dynamics, articulations; some rhythmic complexities. Int/Late Int. [AusMC, Carrigan, score] MCINTOSH, Diana (1937- ) Canada Concert pianist, lecturer, composer; founder-director, Winnipeg’s Music InterAlia; st. and taught U. Manitoba; commissions, awards. Works: orchestra, chamber, voice, piano, theatre, electronic, multimedia. Style: eclectic. See Canadian Music Centre: Aiby-Aicy-Aidyai, toy piano, mouth sounds (1982); All in Good Time, pf & tape (1987); Channels (1986); Climb to Camp One (1990); Extensions, pf & tape (1981); Music for Wire and Wood, pf & perc. (1987); Points of View (1990); Processions (1993); Sound Assemblings, pf & tape (1983); Worlds Apart (1988). [CMC, Cohen, IAWM, S&S] MCLEAN [née Taylor], Priscilla Anne (1942- ) USA Electronic instrumentalist, pianist, teacher, composer; st. Massachusetts, Indiana U., Boston U.; awards, grants, fellowships. Works: orchestra, band, chamber, voice, electronic, multimedia. Style: infl. Xenakis; dramatic, unfussy, sonic tension, large-scale coherence (Sadie and Samuel 1995, 300). The Inner Universe (MLC Publications 1981/ILL) ca.25', 43p. Pf, tape, & optional electron-microscope slides. 6 independent pieces, 2 interludes. Prep. pf, direct-string playing, contemporary notation; descriptive, naturalistic titles, e.g. Landscape of a Coleus; Sweet Alyssum; Mosquitoscape. Adv. Interplanes (MLC 1970) 2pf duet. See ASUC Journal of Music Scores, Vol. 5 (1978). Recorded by Advance Recordings, FGR 19S. [Cohen, LePage3, S&S] MCLEOD, Jennifer Helen (1941- ) New Zealand Pianist, poet, professor, composer; st. Europe with Messiaen, Stockhausen, Boulez, Berio. Works: orchestra, chamber, piano, voice, opera, film, TV, theatre. Style: European avant-garde, Maori music, popular idioms. Piano Piece 1965 (Waiteata 1990/SOUNZ/ILL) 14', 25p. Contemporary; 12tone, shifting meters, contrapuntal layers. Adv. Rock Sonata No. 1 (SOUNZ 1987) 15'. Commissioned by the QEII Arts council. Allegro molto; Andante espressivo; Allegro giocoso. Adv. Rock Sonata No.2 (SOUNZ 1987) 15'. Comm. by QEII Arts council. I. Steady, with contained energy. II. Elegy-slow. III. Very Fast. Adv.

McPartland 151 Seven Tone Clock Pieces (Waiteata 1993/SOUNZ/ILL) 30p. Infl. by Peter Schat’s theories of harmonic chromaticism. I. “For David, a small but affectionate meditation, on his 60th birthday.” II. Meditativo, 4/4, very soft dynamics. III. Fast, firm, strict tempo, changing 8th-note meters, accented. IV. Slow, rather free, graceful and expressive. V. (Vive Messiaen!) For his 80th birthday. Shifting meters, vivo, accents and staccatos, register contrasts. VI. Pensive, slow, to be played as though improvised. Early Adv-Adv. See also: Six Little Pieces (1962); Suite (1961). [Boenke, CGGB, Cohen, SOUNZ, S&S] MCLIN, Lena Johnson (1929- ) USA African-American pianist, violinist, choral conductor, teacher, composer; st. Spelman Coll., American Cons., Roosevelt U.; niece of gospel pioneer Thomas Dorsey; long-time secondary school music teacher, Chicago; honors, awards. Works: orchestra, piano, voice, opera, electronic. Style: greatly influenced by gospel music. A Summer Day, in “Black Women Composers” (Hildegard 1992) 3p. Andantino, 6/8; a sweetly swaying pastorale. Int. Also: Impressions for Piano (1957); Song in C minor. [Ammer, Boenke, Cohen, Green, Heinrich, Horne, Meggett, Pendle, Southern, Walker] MCPARTLAND, (Margaret) Marian Turner (ca.1920- ) Great Britain/USA Consummate club pianist, improviser, arranger, composer; st. London Guildhall School of Music; played vaudeville, USO camp shows in WW II; m. Chicago cornetist Jimmy McPartland; host and musician, National Public Radio program, “Piano Jazz.” Style: unique, delicate, eclectic, touching on every era of jazz and popular song; deft textures, dynamics. The Artistry of Marian McPartland, trans. Oddo & Sickler (CPP/Warner 1985/ILL) 50p. Transcribed improvisations on favorite standards: Close Your Eyes, Emily, For All We Know, If YoU. Could See Me Now, Laura, Sweet and Lovely. “The idea is to give you, the player, as much freedom as possible, within the scope of the written notes and the harmonic structure. Above all, you are meant to have fun with these pieces” (McPartland, score notes). Greensleeves Variations in “Contemporary Keyboard Journal” Vol.5 (August 1978): 19-25. Marian McPartland Piano Jazz, 2 vols. (Belwin/Warner 1993/ILL). Vol.1 arrangements: Easy Living; It’s You or No One; Love You Madly; My Funny Valentine; Prelude to a Kiss; Turn Around; This Time the Dream’s On Me. Also contains the original work, Twilight World: dreamy added-tone chords over a laid-back bass pattern; slender textures, delicate. Late Int.

152 Mefano Portraits (Warner 2001/Pepper) 92p. 23 improvisatory musical portraits, tributes to the unique styles of guests on McPartland’s NPR program, “Piano Jazz.” Portraits of Tony Bennett, Wynton Marsalis, Dizzy Gillespie, Bobby Short, Chick Corea, Bud Powell and others. Adv. Willow Creek and Other Ballads (Warner Bros). [Hinson2, IA WM, Pendle] MEFANO, Jacqueline (20th c.) France Jeu de Durées (Jobert 1967/ILL) 9p. 3-mvt “play of durations.” Atonal, special pedaling, difficult rhythms. Introduction: lively, bustling tempo. Rimes: serious, slow, held back, shifting 8th-note meters. Psalmodie: “sweetly sounding through a mist” (score), changing quarter-note meters. Adv. [HinSup] MEIER, Margaret Shelton (20th c.) USA Pianist, teacher, composer; st. Eastman, UCLA, where she was the first woman to receive the Ph.D. in composition. Works: orchestra, voice, chamber, opera, piano, organ. Listed with AMC: Fountains Water the Garden (1999) 5'; Reflections of Robert (1974) 8', Meditator, Bouncer; The Repose of Vengeance (1987) 4'; Romantic Passacaglia on a 12 Tone Theme (1990) 7'. [AMC, Boenke, SAI] MEKEEL, Joyce (1931-1997) USA Harpsichordist, pianist, anthropologist, professor, arts administrator, composer; st. Longy School of Music, with Boulanger in France, Yale; awards, grants. Works: chamber, voice, theatre, electronic, multimedia. Style: theatrical, explores full range of sonorities. Gifts of the Ebb Tide (Facsimile ms 1965/ILL) l4p. Tiny notation, unmetered, special pedaling, slapped and rolled clusters. Hands far apart in layers of dissonant counterpoint; RH lightly plays continuous randomseeming 16th-notes in upper registers. Adv. See also: Epiphanies; Variations. [Boenke, Cohen, Heinrich, NG, Pendle, SAI] MELIN-RÉMY, Marguerite (20th c.) France La Petite Boite à Musique (Billaudot) 2p. A quaint little music box piece in C major; upper registers, triadic melody, “revolving” accompaniment. Int. [FrMKassel, KOM]

Migranyan 153 MENKIN, Lyana (20th c.) Israel Works: chamber, vocal, piano. For brief biography, see Israeli Music Center: http :/go.to/israelcomposers. Invitation to Dance (IMC-1556 1986) 10', l0p. Ms. Music for Piano Dedicated to Dr. K (IMC-1910 1998) 15', l3p. Ms. Occasionelly sf (sic) (IMC-1913 1996) 18', 8p. Ms. Phantasy on Petrarka ’s Sonet No. 123 by F. Liszt (sic) (IMC-1557 1984) 6', 8p. [IMC] MERIDAN, Lissa (1972- ) New Zealand Composer; st. U. Auckland; commissions. Works: orchestra, chamber, electroacoustic, multimedia, computer music. Piano works listed with New Zealand MIC: Three Phases Of Drowning (1996); And Then, Silence (1995); E Toru Nga Moehewa (1992). [SOUNZ] METALLIDI, Zhanna (Zhanneta) Lazarevna (1934- ) Russia Composer, accompanist, teacher; st. Ustvol’skaya (q.v.), Leningrad Cons.; teacher, children’s music school. Works: orchestra, chamber, theatre, piano, voice, ballet, films. Style: melodious, humorous, imaginative, cheerful. Listed with Composers’ Union of St. Petersburg: The Golden Ring of Russia (1988), a cycle; The Hermitage Sketches (1992), triptych; The House With a Bell (1994), 10 easy pieces; Reminiscences of the North (1986), a cycle; Rondo (1988); Youth Sonata (1969); and many children’s pieces, solo and ensemble. [Cohen, Comp.Union, S&S] MICHIELSEN, Alie (20th c.) Holland Het Kinderkerstboek (Broekmans & V. Poppel #74, n.d.) 8p. A suite of six delicate Christmas vignettes; tonal-modal, with simple, appealing textures. A Child is Born to Us; The Angels’ Concert; Ox and Ass; Shepherds Come With Pipe and Drum; Journey of the 3 Kings; Mary’s Lullaby. Late Elem/Early Int. See also: Het Sprookjesboek; Rim-Ram-Rare (Broekmans & V. Poppel) [KOM] MIGRANYAN, Emma (1940- ) Russia Pianist, lecturer, composer; st. G.I. Yegiazarian, Erivan Conservatory; taught at K. Saradzhev music school, Erivan, after 1967. Works: orchestra, chamber, piano, vocal, ballet, theatre.

154 Milà Sonatina (Sov. Kompozitor 1977/ILL) 7p. 3 mvts, all in 4/4. Allegro: in C, a swinging march; Moderato: centers around F, a peasant dance with accents and syncopations; Allegretto: in G, briskly running repeated tones and 16th-note scales. Freely tonal, with occasional dissonant chromaticism. Int. Also: Four Sonatas (1961-78); Children’s Pieces (1971). [Cohen] MILÀ (I ROMEU), Leonora (1942- ) Spain Child prodigy concert pianist, composer; studied privately, concertized from an early age, often playing her own works. Works: piano, voice, orchestra. Images from Count Berenguer IV of Catalonia’s Court Op.39 (International 1982/ILL) l8p. Gently contemporary 14-piece suite, with contrasting tempos, meters, moods, in Spanish hues. Late Int/Early Adv. See also: Equitant Op.42/3; Carnaval Op.43; Cinc Estudis per a Piano Op.45; Rondos Brilliant Nos.l, 2 Opp. 18-20 (International); Setze Compositions Op.6 (Boileau 1949); Toccata Op.23/2 (International). [68CompCatalans, Cohen, FrMKassel, Magrath] MILANKOVIĆ, Vera (1953- ) Yugoslavia Teacher, pianist, composer, born in London; st. Guildhall School of Music and Drama, Belgrade Faculty of Musical Arts. Email: [email protected] Scores av. through Jugoslav MIC: Adagio and Rondeau (1973) 10'. A dyptich. Nokturno (Beograd 1996) 3', 6p. A miniature in D-flat, 3/4, flowing. On the Threshold of Life (1974) 8'. Variations. 27 Preludiuma za Klavier (Beograd 1988) 45'. Collection. Quasi una Sonata (1983) 4'. Sonata. Rakić (Beograd 1990) 10'. Cycle of 11 pieces inspired by famous Serbian poet. Scherzo (1973) 3'. Suite (1972) 7'. The Way We Are (1977) 7'. Well-tempered Swing (1987) 7'. A suite. [YugoslavMIC] MILLER, Elma (1954- ) Canada Clarinetist, composer; st. U. Toronto, Stanford U.; commissions. Works: orchestra, chamber, multimedia. Style: expressionist, inventive, colorful, rhythmic, with robust humor. Voices in Stone (1995). On Carleton CSCD-1006, “By a Canadian Lady: Piano Music 1981-1997.” “Monolithic opening, then moves from ascending synthetic scales and dyadic structures, through a waltz-like section, to frenetic motivic passãges”(IAWM Journal 1/2 (2001): 49).

Milne 155 Av. CMC: Minnemata (1978) 10'; Through a Narrow Window (1985) 14'. [Boenke, CMC, Cohen, IAWM] MILLER STOTT, Rosemary (20th c.) New Zealand Votes for Women (SOUNZ/IRMT 1993). Suite of 6 pieces. Int. [SOUNZ] MILLS, Joan Geilfuss (20th c.) USA Composer of chamber music and piano pieces. Phrygian Fable (Lee Roberts 1964/ILL). Expressive modal melody with many repeated tones over LH accompaniment of open 5ths. Skillful shifts of tonality, meter (Butler 1973, 1:23). Late Elem. [Butler1, Cohen] MILNE, Elissa (1967- ) New Zealand/Australia Teacher, pianist, composer; based in Sydney. Works: theatre, cabaret, piano (bio, descriptions: Carrigan 2002, 183-84). Little Peppers; More Little Peppers; Even More Little Peppers (Pepperbox 1997, 2000). Three graded teaching books; 7-9 short pieces each. (Cloak & Dagger, More Little Peppers, av. in “Australian Anthology,” Pre-4th Grades, Allans 2003). Elem-Early Int. Pepperbox Jazz 1, 2 (Pepperbox 1997, 1999). 11 short jazz pieces in each collection; well written. Early Int-Int. [Carrigan] MILNE, Lorraine (1946- ) Australia Pianist, teacher, stage manager, composer; st. Ballarat Teachers’ Coll., Melbourne U.; taught school music for 15 years; composer-arranger-director, Australian Broadcasting radio programs and publications. Works: cabaret, theatre, educational materials (bio, descriptions: Carrigan 2002, 184). Jazzamatazz (AusMC 1986, Dubbles). Collection of jazz-style solos. Includes Pale Blue (av. singly) 1', 2pp: gentle, tonal but colorful, octave stretches, 5note chords. Elem/Late Elem. Kaleidoscope (AusMC 1998) 3:45, 6p. 3 short pieces. Flashes: half-step chords used in a triplet pattern. Slow Revolve: revolving theme doubles in both hands. Colours: flashes of sound interrupted by rests; ternary. Int. The Whole Suite (AusMC 1998) 14:30, 23p. 7 pieces based on half and whole tone scales. Adam’s Half; Second Slice; In a Heartbeat; Walking the Straight Line; Bitter Sweet; White Chocolate; Tango with a Twist. Jazzinfluenced; plenty of pianistic, harmonic, and rhythmic interest. Int-Late Int. [AusMC, Carrigan, Cohen]

156 Mineo MINEO, Antoinette (1926- ) USA Pianist, choral conductor, publisher, composer; st. privately; founded Mineo Publishing. Works: orchestra, chamber, vocal. Eight Dorian Modes (1968-1972) (Mineo Music). [Cohen] MINSMER, Jeanne (20th c.) France Pub. Eschig: Nocturne (E2069D); Trois Pieces (E1893D); Trois Preludes (E3538D). [KOM] MITCHELL, Darleen Cowles (Hoover) (1942- ) USA Professor, composer, arts administrator; st. De Paul and Northwestern Universities, U. Chicago; awards, scholarships. Works: orchestra, band, chamber, vocal, electronic. All works av. through American Composers Alliance (Boenke 1988, 83). Suite (ACA 1965). [Boenke, Cohen (as Cowles), Pendle] MIYAKE, Haruna [pseud: Shibata, Haruna] (1942- ) Japan Pianist, composer; st. Tokyo Music School, at Juilliard with Persichetti. Works: chamber, vocal. Style: mixture of Japanese idioms, European avant-garde, and classical styles (Sadie and Samuel 1995, 328). Piano Sonata III 1964 (Ongaku No Tomo) 8:09. 1 atonal mvt; expressionistic, thin textures, changing meter, tempo, dynamics (Hinson 1979, 227). Listed with Music From Japan: The Shadow of a Bird (1984); Variations on Theme of Japanese Songs (n.d.), for children; Why Not, My Baby? No.II: Sutego Elegy (1974) 47'. [Boenke, Cohen, Hinsup, Japan Fed, musicfromjapan.org, NG, S&S] MONK FELDMAN, Barbara: see FELDMAN, Barbara Monk MONKOVICH, Rita (20th c.) Israel Works: chamber, piano, vocal. Israeli Music Center: http:/go.to/israelcomposers. Scores listed with the Israeli Music Center: Caleidoscope (IMC-1534 1995) 15', 11p; Fantasia for Piano Solo (CGI/IMC-838 1995) 6', 11p; Four Fugues and Two Interludes (IMC-1551 1979) 12', l4p; Quasi Choral (IMC-1550 1991) 20', l2p; Sonatina (IMC-1545 1990)5', l2p; A Thought. . . (CGI/IMC-837 1997) 7', 9p; 24 Miniatures for Piano (IMC-1543 1992) 25', 50p; Unending (IMC-1542 1979) 5', 4p. [IMC]

Moore, Undine 157 MONROE, Deborah Jean ( - ) USA Composer, computer specialist; st. Wheaton College; gave lessons in piano, software; co-founded Stravin Group, Inc., a Dallas computer consulting firm for musicians. Variations on a Theme by Johannes Brahms (Arsis 1997/ILL) 8:35, 13p. 2nd prize, IAWM annual competition. Opening theme to Brahms’ Ballade in g-minor, Op.118/3, is fragmented, deconstructed, and rendered unrecognizable by rhythmic and melodic alterations, contemporary harmonies. Five variations. Early Adv. [Arsis, IAWM, score] MOON, Chloe Elizabeth (1952- ) New Zealand Violinist, lecturer, composer; st. U. Canterbury, Ghent Cons. (Belgium); teacher, privately, U. Canterbury; prizes. Works: orchestra, chamber, piano, voice. Scores may be av. through New Zealand MIC: Plumb-bob (1983); Silhouette (1982); Traceries (1982); Scherzando (1978), clavichord. [Cohen, SOUNZ] MOORE, Dorothy Rudd (1940- ) USA African-American lecturer, poet, composer; st. Howard U., with Boulanger, Chou Wen-chung; co-founded Society of Black Composers, 1968. Works: orchestra, chamber, voice. Style: contrapuntal, with block harmonies, clusters, chords built in 2nds, 4ths (Sadie and Samuel 1995, 331). Dream and Variations (ACA 1974/Rudmor/ILL) 20', facs. 21p. Introduction, theme, 6 variations in one continuous mvt; nightmarish interpretation of the dream idea. Major interpretive challenge, reminiscent of Webern’s 12-tone Piano Variations (Walker-Hill 2002, 238-40). Adv. A Little Whimsy (ACA 1978) 2', 4p. Also av. in “Black Women Composers” (Hildegard 1992). Scales, dissonant intervals, LH ostinato based on 7ths; from an incomplete set of teaching pieces (Walker-Hill 2002, 241). Int. [Boenke, Cohen, HinSup, Horne, KOM, NG, S&S, Walker] MOORE, Undine Smith (1904-1989) USA African-American teacher, conductor, composer; st. Fisk U., Columbia U.; teacher, Virginia State Coll., 1927-1971, where she co-founded its Black Music Center; toured widely, West Africa, U.S. Works: chamber, piano, vocal, dance. Style: strongly rooted in tonal tradition and spiritual heritage; choral works use style derived from southern hymnody (Grove Online, 4 February 2004). Before I’d Be a Slave, in “Black Women Composers” (Hildegard 1992) 3p. Programmatic dance work outlining progression from slavery to freedom. Clusters, dissonance, tempo changes. Early Adv.

158 Moretto Many Thousand Gone (CPE). Intermediate-Advanced. Ax 204, description. Also: Romantic Young Clown (1952); Scherzo (1930); Valse Caprice (1930). [Axford, Boenke, CAMW, Cohen, Heinrich, Horne, NewGrAm, NG, Pendle, Southern, Stern, S&S, Walker] MORETTO, Nelly (1925-1978) Argentina Pianist, composer; st. Buenos Aires, University of Illinois. Works: orchestra, chamber, tape, electroacoustic. Style: contemporary. Principal publisher: Ediciones Culturales Argentinas. See: Hipocicloides No.l (1953); 7 Inventions (1948); Music for 2 Pianos (1955). [Boenke, Cohen, NG, S&S] MORI, Junko (Yanai) (1948- ) Japan Composer, professor; st. Tokyo National U.; founding member, Fed. of Women Composers-Japan. Works: chamber, voice, piano. Style: impressionistic, lyrical, with linear clarity, extended tertial harmony. Publisher: Ongaku no Tomo Sha (Sadie and Samuel 1995, 336). Imagery (1987) 7:58. Perf. Margaret Lucia, CMS conference, September 2002, Kansas City. CD available, pianist Chie Sato Roden: ALM ALCD-32. Junninin no komodo [Twelve children] (1988). [Boenke, Cohen, musicfromjapan.org, S&S] MORLEY [née Morgan], Nina Diane (1929- ) USA/Canada Pianist, composer; st. Eastman School, with Jean Coulthard (q.v.). Works: orchestra, band, chamber, piano, vocal. See Canadian Music Centre for scores: Pensive Dances, 6 pieces (1972); Sonata (1972); Sonatina (1948); Toy Box Suite (1972). [CMC, Cohen, Heinrich] MORRISSEY, Wendy (20th c.) Australia Dance Suite (AusMC 1987) 5p. Piano reduction of SATB choral work (words by Stella Turner). Bird Fling; Musette for Mopokes; Jigged Hare; Sarabande for Snails; Wallflower Waltz; Parrot Polka. [AusMC] MOSZUMAÑSKA-NAZAR, Krystyna (1924- ) Poland Pianist, professor, composer; st. Kraków Conservatory, where she became professor of composition; prizes, awards. Works: orchestra, chamber, piano, vocal, electronic. Style: lyrical intensity, timbral exploration.

Mulsant 159 Bagatele (PWM 1975/ILL) 12', l3p. 9 brief modern pieces with contemporary notation and extended techniques: clusters, repetitions, striking the frame, rhythmic ambiguities, aleatoric passages. Late Int/Early Adv. Konstellacje [Constellations] (Tonos 1972) 8p. Avant-garde; direct-string playing, pointillistic, tone clusters, some aleatoric effects. Adv. Suita Polskich [Polish Dance Suite] (Agencja Autorska 1980/ILL) 11', 25p. 5 national dances. Folk-like materials with chromatic colors, strong rhythms; modal/polytonal, Bartokian. Oberek: allegro vivace, 3/4, staccato 5ths. Kujawiak: allegretto, 3/4, improvisational, lyric. Krakowiak: allegro vivace-giocoso, 2/4, staccato walking bass. Mazurek: allegro modo, 3/4, espressivo. Zielony/góralski: allegro feroce, 4/4, crashing chords, running l6ths dash to the end. Early Adv. See also: Sonatina (PWM); Mala Etiuda (1975); Variationen (1949). [Boenke, Cohen, FRK, FrMKassel, HinSup, K800, KOM, NG, SCB, S&S] MOYSEOWICZ, Gabriela (1944- ) Poland/Germany Composer, teacher, church musician; st. Kraków, Katowice; Arts Ministry grants, commissions. Works: Orchestra, chamber, piano, voice. Style: early works in Romantic tonal tradition of Chopin; later, more contemporary. Rapsod Nr. 1, 2, u. 3 (Ries & Erler 1993/ILL) 52p. Autograph manuscript, tiny note heads. Contemporary harmonies, driving rhythms, passionate writing; many accidentals; noticeably rhythmic, even when meters are unmarked. Nr.l, l2p: allegro ma non troppo. Nr.2, l6p: maestoso/allegro assai. Nr.3 “Empyreum,” 24p: maestoso/allegro con fuoco. Adv. See also: Passsacaglia und Fuge (1967); 9 Piano Sonatas (Ries & Erler); Variations; 3 Piano Concerti; Triptik Orientalis (1962). [Cohen, FrMKassel, K800, KOM, SCB, Sperber, S&S] MUCHA, Geraldine: see THOMSEN, Geraldine MULSANT, Florentine (1962-) France Composer, professor; st. Schola Cantorum, Academia Chigiana, Paris Cons.; developed teaching program for teenagers; commissions, festival performances. Style: post-serial, expressionist (Furore 1997, Sonate preface). 5 Pièces pour Piano [Cinq Pièces pour les Enfants] (Furore 1998) 3:30, 5p. Brief childhood reflections, of varying design, displaying by turns melody, humor, playfulness, cheerfulness (composer). Early Int. Huit Pieces pour Piano (Furore 1997/ILL) 9', 8p. 8 short pieces of opposing natures, which “expose moments of elegy, fast rhythm, resonance, and of wandering and play in the fog of harmonics or clusters. The whole amounts to a fleeting and expressive work” (composer). Early Adv.

160 Munn Uno (Furore 1997/ILL) 5:30, 7p. A unique theme generates its own development in continuous variation form; “colour and harmony dominate the piece, bringing light, contrast, and peace” (composer). Early Adv. Sonate pour Piano: Hommage à Domenico Scarlatti (Furore 1997) 5:30, 4p. Strictly follows l7th-c. sonata form, including ritornelli; liberties taken only with elements of harmony, melody, and rhythm; fluid, with reference to Viennese pointillism (composer). Late Int. [Furore, scores, Tfront] MUNN, Zae( 1953- ) USA Cellist, pianist, conductor, professor, composer; st. Roosevelt U., U. Illinois; teacher, Saint Mary’s Coll. (Indiana), Interlochen Arts Camp; commissions. Works: chamber, choral, vocal, piano. Email: [email protected]. Scores listed with American Music Center: Fascination at a Distance (1987) 12'; Three Piano Pieces With Important Things for the Left Hand (Frank E. Warren 1995) 5'; Viscomp 1 and Viscomp 2 (1991) 3' each. [AMC] MURAO, Sachie (1945-) Japan Composer; st. Osaka H.S. for the Blind and privately. Works: chamber, piano. 7290 Kleine Stück für Klavier (Nr. 6) (Japan Fed 1979/ILL) 11', l2p. Contemporary writing and notation; unmetered, few durations notated, some aleatoric elements, clusters. Adv. See also: 7487 Pieces; 7746, for 2pf. [Cohen, Japan Fed, musicfromjapan.org] MURPHY, Kelly-Marie (20th c.) Canada Composer; st. U. Calgary, Leeds (England); prizes, residencies, commissions. Works: orchestra, chamber, electroacoustic. Aural Tectonics: Fragments, Shards, and Jagged Little Pieces (CMC 1999) 15'. Prem. U. Calgary by Colleen Arpathia (1AWM Journal Vol.6/3, 2000). Star Burning Blue (CMC 2000). 10'. Commissioned by Calgary International Piano Competition. [CMC, IAWM] MUSGRAVE, Thea (1928- ) Scotland/USA Conductor, professor, composer; st. Edinburgh U., privately with Boulanger, Copland; commissions, awards, honors. Works: orchestra, band, chamber, piano, voice, ballet, opera, operetta, electronic. Style: dramatic, brilliant, expressive, with technical control. Early diatonic language became chromatic, abstract; moderate use of serialism.

Na 161 Monologue (Chester 1970/ILL) 5', l5p. 12-tone chromatic theme (Solennemente) anchored on Bb, with curiously tonal implications and gestures. Four variations, concentrated and developmental in effect: Andante notturnale; Moderato cantabile; Allegro fantastico-molto ritmico; Fugato scherzevole; cadenza, tumultuoso; reiteration of theme, declamando. Adv. Piano Sonata 1956 (Chester) 14'. “An early work in free harmonic style, secco, linear, often two-part, but with one voice in 3rds underlining the dry calligraphic quality. Propulsive rhythmic drive” (Faurot 1974, 216). Adv. Sonata No.2 (Novello 1974/ILL) l5'l5, 2lp. Comm. for 1956 Cheltenham Festival. Molto allegro e con energia, 2/4. Andante tranquillo, 2/4-3/4: an arioso with many ornamental melodic flourishes. Recitativo-Allegro, 3/4; Allegro brilliante, 4/8-3/8: sempre staccato, a brilliant toccata-like finish. Adv. Also of interest: Excursions (Chester 1965/ILL). Duets, pf 4-hands. “Eight short pieces depicting automobile driving experiences; a humorous suite, written with teacher and pupil parts” (Agay 1981, 351). Int. Piccolo Play (Novello 1989/ILL). Pf & piccolo. 8 descriptive sketches with titles from Couperin harpsichord pieces. [Agay, Boenke, Bowling, CGGB, Cohen, Faurot, FRK, FrMkassel, Fuller, HAMW, Heinrich, Hinson, K800, Kirby, LePage, Meggett, NG, Pendle, SCB, sdiego, S&S]

N NA Hyo-shin (20th c.) Korea/USA Composer, lecturer; st. Ewha U. (Seoul), Manhattan School, U. Colorado; twotime recipient, Korean National Composers Prize; residencies, commissions. Works: orchestra, chamber, piano, traditional Korean instruments. Email: [email protected]. Piano Study 1 (1997). 1st in series of five studies; 2 overlapping melodies and the resulting sustained notes; hand crossing and superimposition. Piano Study 2 (composer 2001) 5p. 3rd in series. Written as companion piece to Schoenberg’s Op.19. Five brief coloristic sketches, to be played very quickly and lightly; clusters, glissandi, grace notes, some aleatoric elements, unmetered. Adv. Piano Study 3 (composer 2001) 5:49, 9p. 4th in series, refers to simple Norwegian melody; white vs. black notes, rapid, soft, with contrasts in register, articulation. Adv.

162 Nabeshima Rain Study (YeDang Press 2000) 11:46, 6p. 2nd in series. Layering of melodies, superimposition of pianist’s hands; material is drawn from “Sanyombul,” a Korean folk song. Composed for pianist Thomas Schultz. Adv. Sleeping Muse Study (AMC 2002). 5th in series. Title refers to a Brancusi sculpture. Pianist wears bracelets of dried seed pods while playing. Variations (Korea 1990) l2'l5, 8p. 6 variations around a single melodic interval and a short rhythmic figure. Adv. Walking, Walking (AMC 2002). NYC premiere, May 2004. See also: The Music (2 pf duet, 8'22); Map of the Way, pf, strings, percussion. [AMC, Boenke, Cahill, hyo-shinna.com, Schultz] NABESHIMA, Kaori (20th c.) Japan Composer; born in Tokyo. Rising Sun ’96 (Japan Federation 1996). Flexible length. [Japan Fed, musicfromjapan.org] NAGATOMI, Masayuki (20th c.) Japan Trois Esquisses (Leduc 1982) 5'30, 8p. An atonal evocation of the elements: Air; Fire; Water and Earth. Schoenbergian, with blocks of color created by contrasting gestures, textures, dynamics, registers. Early Adv/Adv. [Axford, Hinson, KOM] NAITO, Akemi (1956- ) Japan/USA Pianist, teacher, composer; st. Toho Gakuen University, where she taught, 198091; grants, prizes, residencies, fellowships. Works: orchestra, chamber, marimba, guitar, piano, electronic, electroacoustic. Across the Universe (AMC 1991) 5'. Rain, Calling Autumn (AMC 1994) 9'. CRI CD 771 recording av., Martin Christ. [AMC, Cohen, Japan Fed, musicfromjapan.org] NAKAMURA, Yoko (20th c.) Japan Fu-en (Japan Federation, n.d.) 17:37. For harpsichord. [Japan Fed, musicfromjapan.org] NATSUDA, Shoko (20th c.) Japan Composer; st. Teikoku College of Music; prizes. Works: chamber, piano, organ. Ballet Suite, Stories of Female Convicts (Japan Fed 1955) 8'. See also: Premiere Piece; Fantasia, organ. [Cohen, Japan Fed, musicfromjapan.org]

163 NAZAROVA, Tatiana Borisovna (1928- ) Soviet Russia Pianist, teacher, composer; st. E. Gnesina (q.v. Vol.I), Gnesin Institute of Music, Moscow, where she became concertmistress, teacher; interested in folklore. Works: orchestra, chamber, bayan, piano, voice, film. Hiker’s March in “From Russia For Youth: Contemporary Piano Music By Russian Composers,” ed. Berlin (Harris 1971 /ILL). Teaching piece. Little Drops in “Russian Music for the Young Pianist,” Bk.3, comp. Zeitlin & Goldberger (MCA 1967/ILL). l p. Simple LH melody sings sweetly under repetitive broken 3rds; freely tonal. Early Int. Poetisches Bild in “Album Sowjetischer Kindermusik,” Band IX (Sikorski). Teaching piece. Also: Five Vietnamese Folk Melodies (1976); Introduction and Toccata (1970); Prelude and fugue (1971); Polyphonic sonata (1967); Polyphonic variations on Kazakh folk melodies (1974). [Cohen, KOM] NEČASOVÁ, Jindra (1960- ) Czech Republic Pianist, teacher, composer; doctorate in composition, Academy of Performing Arts, Prague; awards, recordings, commissions; teaches at Prague Conservatory. Works: orchestra, chamber, piano, theatre. Style: incorporates 12-tone technique, folkloric elements, interest in instrumental colors. Sonata for Piano (Alliance Publications 1999) 6:06, 11p. Allegro agitato, changing meters; toccata-like, in one mvt, with alternating and doubled 8vas. 12-tone, but not strictly dodecaphonic; often sounds tonal. Adv. Two Piano Preludes (Alliance 1999) 4'30, 8p. Allegro: 3/2-4/2, continuous 8th notes, 2-part texture. Andante-Allegretto: changing meters. Lyrical, then caprice-like. Adv. [Alliance] NEMTEANU-ROTARU, Doina: see ROTARU, Doina NENČIĆ, Ivanka (20th c.) Yugoslavia Zbirka Minijatura za Klavier (Knjaževac 1979/ILL) 11p. Collection of 6 character pieces in 20th c. dress, dissonant and rhythmic. Romansa: waltz. Mali Kaprico: caprice. Dečja Žalost: 4/8, sostenuto, a lament. Skercino: scherzino, triplet figures. Neobičan Doživljaj: moody adagio based on tritones. Tokata: allegro assai. Late Int. [Cohen] NESTE, Rosane van: see VAN NESTE, Rosane

164 Nettheim NETTHEIM, Dawn (20th c.) Australia Composer, teacher; lives in Sydney; many teaching works and commissions for school groups. Six Piano Solos for Aussie Kids (Keys Press 1996) 1-2' each, 11p. Here Comes Ned Kelly; An Outback Lullaby; At the Goldfields I: Chinese Miners; At the Goldfields II: Oh, That Squeaky Windlass; Convicts at Moreton Bay; Fun at Luna Park. Traditional idioms, with extended techniques that include clapping, slapping, glissandi, clusters; dynamically diverse, interesting rhythms (Carrigan 2002, 187). Elem-Early Int. [AusMC, Carrigan, Hinson] NEWLIN, Dika (1923- ) USA Pianist, critic, musicologist, professor, composer; st. Michigan State U., UCLA, Columbia U., privately with Farwell, Sessions, Schoenberg; research, publications on Bruckner, Mahler, Schoenberg. Works: orchestra, chamber, voice, piano, opera, electronic, multimedia, experimental musical theatre. Fantasy on a Row (ACA 1970/ILL) 7p. Dodecaphonic, rhythmic, sparse textures, contrasts in tempo, articulation. Early Adv. Lhazebur (ACA 1970/ILL) 6p. Variations on 2 themes from Julia Morrison’s opera “Rübezahl.” Additional instrumentation: 3 bells played by pianist (elephant bell, medium and small cowbells), plus a large cowbell, played by an assistant in the audience. “The pianist should show the assistant where to start and stop by raising and lowering a flag” (score). Early Adv. Sinfonia (ACA 1947/ILL) l7p. Autograph score. One mvt, sectional: Adagio, 2/2, pesante; Andantino scherzando, 5/8; Adagio-largamente, 2/2. Passionate and rhythmic, marked dynamic contrasts, some quartal harmony, octaves. Early Adv. See also: Fantasia (1957); Fido Flew Away (ACA); Old Dog Tweetie (ACA); Passacaglia (1941); Six (piano) pieces (1942); Sonata da chiesa (also organ) (1956); Variations on a row from Mahlers Tenth Symphony (1960); Variations on a theme from The Magic Flute (1956). [ACA, Boonin, Cohen, Finell, Heinrich, HinSup, Meggett, NG, SAI, S&S] NGUYEN VAN TY, Louise (1915- ) Viet Nam Fêtes du Têt (Lemoine 1952/Presser/ILL) 10p. Four continuous movements depicting the national festival: Joyous Procession; Offerings at the Altar of the Ancestors; Feast/Exchange of Vows/Year of the Dragon; Song of Hope/Departure of the Procession. Colorful, pleasing neoimpressionist work with modal/quartal/pentatonic harmonies. Also scored for pf & orchestra. Early Adv.

Nordenfelt 165 Suite de Poèmes (Lemoine 1955/ILL) 23p. 10 charming impressionist sketches: My Boat Glides Under the White Moon; Moon and Breeze; Night Progresses; I Stroll on the Veranda; Tenderly We Are Promised; The Nature of Constancy; We Take Each Other by the Hand; I Pondered On This Thing; We Will Be Happy; Likewise Nature. Late Int/Early Adv. Viêt Nam (Lemoine 1954/ILL) 37p. 30 descriptive pieces of progressive difficulty; Asian scenes, French titles, repetitive folk-like melodies, modal/pentatonic colors. Late Elem-Late Int. [Cohen, Presser] NIEWIADOMSKA, Barbara (1938- ) Poland Composer; st. State Music College, Warsaw, and in Paris with Boulanger. Works: chamber, orchestra, voice, piano, numerous teaching pieces. Children’s Miniatures (1964-1972) (PWM). Imaginative, colorful, and skillful writing; very pianistic. Int-Late Int. See also: Three Rhythmical Sketches (1973). [Boenke, Cohen, Magrath] NIKOLAJEVA [Nikolayeva], Tatiana Petrovna (1924-1993) Russia Renowned pianist, composer, professor; st. Moscow Cons., where she became a professor; extensive concertizing; prizes, awards as pianist and composer. Works: orchestra, chamber, piano, voice, film, theatre. 24 Concert Etudesr, 2 vols. Nos.1-12 Op.13; Nos.13-24 Op.19 (USSR 1955/G. Schirmer/ILL). 87pp/106p. Contemporary sonorities, full-blown late romantic textures; large reach needed. Late Int-Adv. Album for Children (Zen-On 1992). 14 character sketches, e.g. Music Box, Elegy, Tarantella. Int. We Draw Animals (Zen-On 1993). 14 children’s pieces with illustrations; colorful, very skillful. Int. See Cohen for more titles, including sonatas, variations, and children’s works. [Axford, Baker6, Boenke, Cohen, Hinson, K800, KOM, Meggett, NG, S&S] NORDENFELT, Dagmar (1908- ) Sweden Concert pianist, teacher, composer; st. Copenhagen, Vienna, Stockholm. Works: piano, voice. Works pub. Nordiska/Hansen: I Nordanskog [In the Northern Forest]; Isola Madre; Vaggvisa [Lullaby]. [Cohen, Nordiska]

166 Norman NORMAN, Ruth (1927- ) USA African-American concert pianist, composer; st. U. Nebraska, Eastman; toured for U.S. State Dept; lecture-recitals, recording grants. Works: piano, orchestra, chamber, opera, voice, choral. Autumn (self-pub 1979/ILL) 3', 4p. Dedicated to Mildred Ellis. Sweet and melancholy sketch, modally wandering harmonies, sense of drifting, fluttering leaves. Int. Cosmic Journey (self-pub 1984/ILL) 6:30, l7p. Sectional, quasi-rhapsodic; figurations include LH-RH in alternating single tones an 8va apart, frantic buzzing-trilling figures, cadenzas, and lyric sections; atonal, quintal, whole tone harmonies. Late Int/Early Adv. Force Centers. 6:30, 8p. Unmetered; opens with direct-string glissando; based on dissonant harmonies; directions refer to spiritual attunements, chakras; “an example of her somewhat esoteric piano style” (Walker-Hill 2002, 41). Molto allegro: Toccata (self-pub 1979/ILL) 3', 7p. Dedicated to Patrick and Evelyn Hayes. Dissonant, motoric, rapid repeated tones, octaves. Adv. Prelude No.1 (self-pub 1969/ILL) 1:30, 2p. Dedicated to Ruth Watanabe. Duet for 2 voices, dissonant ctpt, changing quarter-note meters. Int. Prelude No.2: A Sketch (self-pub 1969/ILL) 3p. 2-part invention; imitative, dissonant, changing 8th-note meters. Int. See also, av. composer: Children’s Pieces, 8 brief sketches; Intermezzo (1987) 4:30; Introspection (1969) 5p; Prelude No.3 (1970) 2p; Prelude No.4 (1980) 2p; Romance (1985) 4'. [Cohen, Walker] NORRE, Dorkas [Dorcas] (1911- ) Sweden Concert pianist, teacher, composer; st. Royal Academy (Stockholm), Accademia Chigiana (Siena, Italy). Works: orchestra, chamber, piano, voice, electronic, teaching pieces. Ballad-Ballata (Swedish MIC 1985/ILL) 6p. Chromatic dissonance, 2-vc. textures, double octave passages, accents, dynamic contrasts; grows more and more excited, ends tranquilly. Adv. Profiler [Profiles] (Nordiska 1947). See also: Aries (1975); I Variationsstil (1968); Improvisation (1979); Preludium (1973); Salonsstycke (1079); Sonata (1985); Theme & Chromatic Variations (1948); Visioner (1951); teaching pieces, pub. Ehrlings. [Cohen, Nordiska] NOZAWA, Keiko (20th c.) Japan Composer; st. Toho School of Music. Works: traditional instruments, piano. Hikiuta III (Japan Federation 1992) 9:30. [Japan Fed, musicfromjapan.org]

167 NOZAWA, Mica (20th c.) Japan Composer; born Tokyo. Works: traditional instruments, piano. Tuning with John (Zen-on 2000) 4:15. Made on the Inside (2002). [musicfromjapan.org] NUNLIST, Juli (1916- ) USA Poet, teacher, arts administrator, composer; st. Ludmilla Ulehla (q.v.), Manhattan School; taught at Clark U., Akron U., Connecticut College. Works: orchestra, chamber, piano, voice, ballet, opera. Giocoso, in “Contemporary Harmony,” ed. Ulehla (General Music/Novello). “Exercise in the analysis of 12-tone technique” (Meggett 1981, 127). Russian Song and Little March in “Piano Music for the Young” (Galaxy/ILL) 2pp/2p. Well-written contemporary teaching pieces; modal, attractive, with good movement. Early Int. Two Piano Pieces (Lento, Presto) (ACA 1963/ILL) 6pp/7p. First prize, Olivet College 1962. Skillful, pianistic. Lento: 3/4, a yearning lament. Presto: 3/8-12/8, a scherzo-burlesque in 2-vc ctpt, with 2-note slurs, staccatos, doubling between the hands, lyric middle section. Late Int/Early Adv. See also: Piece in Serial Style; Three Little Pieces. [Boenke, Cohen, Meggett]

O (-TUTUIANU), Irina (1937- ) Romania Pianist, professor, writer, composer; st. Bucharest Cons., where, from 1967, she was a professor. Works: orchestra, chamber, piano, vocal. Style: synthesis of traditional and contemporary, modal and serial idioms (Sadie and Samuel 1995, 349). Rondo Toccata Op.9 (Editura Muzicala 1979). Vier Kinderstücke Op. 12 (Editura Muzicala 1979). Also: 3 Preludes Op.1 (1960); Patru Piese Dedicate Copiilor Op. 12 (1966); Scherzo Toccata Op. 14 (1968); Sonata Monopartita Op.5 (1962); Toccata (1971); Variatiuni pe o Tema Populara din Bihor Op.2 (1961). [Cohen, Heinrich, K800, NG, S&S] OERBECK, Anne-Marie: see ØRBECK, Anne-Marie

168 Ogilvie OGILVIE, Signe (20th c.) Denmark Works: piano, voice. Maler-Marsch Koebenhavns Malerlaug Tilegnet (Kleinerts Musikforlag) [Cohen] OKAMOTO, Kanako (20th c.) Japan Crystal Vision (Japan Federation 2000) 8'. [Japan Fed, musicfromjapan.org] O’LEARY [née Strong], Jane (1946- ) USA/Ireland Pianist, professor, composer; st. Vassar, Princeton with Milton Babbitt, Accademia Chigiana; awards. Works: chamber, piano, voice. Style: serial early works; since 1983, freer approach shows in longer melodic lines, beauty of sound, fluid textures (Sadie and Samuel 1995, 350). Cartoline da Sicilia (CMC Dublin 1987/ILL) 4', 6p. Composed at request of Gertrud Firnkees (q.v.). Five miniatures of holiday scenes in Sicily: Mt. Etna; Funivia (ride in a cable car); public gardens; Isola Bella; and Castelmola, a mountain town. Int. Forgotten Worlds (CMC Dublin 1987/ILL) 3', 4p. Andante con moto, quarternote meters; direct-string playing, silent-key depressing, sudden contrasts in articulation, dynamics. Late Int. Piano Piece (Mobart 1979/ILL) 9', 10p. Atonal, in 3 mvts; slender textures, dissonant intervals, staccatos. Cantabile: 4/4-3/4. Lively, cheerful: 3/86/16. Quarter note=92, 3/4. Early Adv. Piano Piece II (autograph ms 1980/ILL) 12p. Pointillistic, contrapuntal, thin textures, in 2/2-3/4. Late Int/Early Adv. Reflections: A Set Of Five Images For Solo Piano (autograph ms 1985/86/ILL) 16', 22p. Extended techniques include glissandi on strings, muted strings, sostenuto pedal, silently depressed keys. Brief flourishes, motivic fragments punctuated by single tones and quartal chords; wide contrasts in register, dynamics. Adv. When the Bells Have Stopped Ringing (CMC Dublin 1989/ILL) 8', 8p. “Knowing that this piece was to have a first performance in St. Canice’s Cathedral in Kilkenny, I wrote it with thoughts of the special resonance of church bells and the ringing sonorities of the strings of a grand piano”—composer. Free-flowing motivic growth; sustained and repeated tones, sostenuto pedal, direct-string playing. See also: From the Crest of a Green Wave, from “Piano Album” (1993). [Boenke, Cohen, Fuller, Heinrich, FRK, FrMKassel, K800, NG, S&S]

Olivero 169 OLIVE, Vivienne (1950- ) England/Germany/Australia Harpsichordist, organist, scholar, teacher, composer; st. Trinity College, U. York, Milan, Vienna, Freiburg; from 1979, senior lectureship, Nuremberg; from 1994, lecturer, James Cook U., Townsville, Australia. Works: orchestra, chamber, flute, piano, voice. The Dream Gardens (Furore 1988/ILL) 17'21p. From composer’s note: Cycle of 7 sketches, based on transposed, shifted row; tonal in concept. Cottage Garden: improvisatory, romantic, old fashioned. Corridor Herb Garden: meticulously planned details. Carpet Garden: constantly shifting passacaglia theme (chord progression). Multilevel Garden: bitonal perpetuum mobile with bacchanalian explosion at end. Leading directly into Architectural Garden: tranquil double fugue. Romantic Garden: tribute to the rose, borrowing from Chopin nocturne. Japanese Garden: meditative, aleatoric, reminiscent of complete cycle. Adv. Five Australian Landscapes (AusMC 1998). 12-15', 35p. 5 contrasting sketches of Australian scenes. Michaelmas Cay: bright and fast, continuous 8th notes, static minimal patterns. Ghost Gums: sparse, clusters, wide range. Reefscape: depicts fish, shadows, water, light. Brief Downpour in Wulguru: fast, varying intensities. Brolga Dreaming: slow, static melody, rolling accompaniment. Large-scale, technically demanding, complex, rhythmically challenging (Carrigan 2002, 188-89). Adv. Perpetuum Mobile (Furore 2001) 2', 2p. For pf or elec. kybd. Tonally based on a row, transposed and serialized. Minimalist; busy RH, chordal LH; 60th birthday piece for Eva Rieger (q.v.) (Carrigan 2002, 188-89). Late Int/Early Adv. Text III (Furore 1993) 15', 13p. Depiction of deep-sea diver’s enchantment, with sudden flashes of colorful fish; large-scale, rhythmically complex; many brilliant passages and effects, some improvisation, hand/forearm clusters (Carrigan 2002, 188-89). Adv. Tuareg Love Song (Furore 199-/ILL) 3', 5p. Proportional notation, serial; may be improvised upon. Based on Tuareg Berber melody, with cluster accompaniment; intended to convey “the rhythm of their life, the heat, the gentle swaying of their camels”—composer’s note. Int. See also, pf 4-hands: Pentakel (Tonos 1987/Dorn/ILL). [AusMC, Boenke, Cohen, FRK, FrMKassel, K800, KOM, SCB, S&S] OLIVERO, Betty (1954- ) Israel Pianist, composer; st. Schidlowsky, Druckman, Amy, Berio. Works: chamber, orchestra, voice. Style: Jewish folk music blended with contemporary techniques; rhythmically complex (Sadie and Samuel 1995, 351). Sofim (Endings) (IMI 1992) 9', 11p. Proportional notation, repeated tones, grace notes in a pointillistic texture (monophonic, with 8va displacements); quintal, violent dynamic contrasts. Closes with 30 repetitions of a crashingly dissonant chord. Adv. [Hinson, NG, S&S]

170 Oliveros OLIVEROS, Pauline (1932- ) USA Conductor, professor, avant-garde composer; st. U. Houston, San Francisco State College, UC-San Diego; grants, prizes, fellowships, honors. Works: chamber, accordion, piano, voice, opera, theatre, film, electronic, multimedia. Style: individualist, minimalist, Orff-like chords and rhythms; emphasis on hypnotic, meditative properties of music (Agay 1981, 502). The Autobiography of Lady Steinway (1978). Pf, amplification, lights. “The performer is requested to describe the piano, its journeys, memories, and dreams. A brilliant spotlight focuses on the instrument and a slow fade is used until the piano disappears”(Young 1990, 138-39). Av. Music Library, UC-San Diego. Essay for Piano (1954, ms). “Fairly difficult with many changes of tempo and many interpretive suggestions such as dramatically, delicately, heavily” (Young 1990, 144). Adv. Fugue for Piano (1955, ms). Premiered with Essay, above, by Dianne Philips at the Composers’ Workshop, San Francisco State College. Hallo (1966). For prepared piano. Light Piece for David Tudor (1965). Prepared piano. Ode To A Morbid Marble (1951, ms). Oliveros’ first piano piece. Piano Piece (1951, ms). Very easy. Psi Star Psi d Tau equals One (1969). Prepared piano. Quintuplets Play Pen (2001). Commissioned by pianist-critic Sarah Cahill. Song for Piano (1952, ms). Prem. 5-25-1952, Jo Ann Hoffman, U. Houston. Suite for Piano (1981, ms). I. March. II. Lento. III. Allegro (incomplete). Easy. Coming Together. Quartet for prep, pf, 8-hands. See M.E. Young: “Tashi Gomang. Pauline Oliveros: A Biography and Descriptive Catalog of Compositions,” Ph.D. dissertation (University of Minnesota, 1990). [Agay, Boenke, Cahill, Cohen, Fuller, HAMW, Heinrich, IAWM, K800, LePage, NG, Pendle, S&S, Young] O’MALLEY, Eileen (20th c.) Country unknown Six Short Dance Variations (Hinrichsen 1967). [FrMKassel] ØRBECK [Oerbeck, Orbeck], Anne-Marie (1911-1996) Norway Pianist, composer; st. Berlin, Jelinek in Vienna, Boulanger and Milhaud in Paris. Works: orchestra, chamber, piano, voice. Style: lyric, modern but tonal; early works romantic, later infl. Stravinsky, Prokofiev. Caprice, in “Norwegian Pianorama” (Norsk 1959/ILL) 2p. 2/4, giocoso, in F. Freely tonal, chromatic colors; light, facetious, rhythmic, with marked contrasts in articulation; rather French. Int.

Osiander 171 Sonatine Nr. 2 (Norsk 1989/ILL) l6p. Light, cheerful, bright colors, lean textures. Allegro vivace: 4/8, gallop, 2-vc imitation. Intermezzotranquillo: 3/4, gentle waltz. Frisk og freidig: 6/8, modal, pastorale figurations. Int. Copies av. MIC Norway: Presto; Sagn Og Tusselåt. See also: Marcia Indomabile (Lyche); Tre Små Klaverstykker (Norsk); Sonatina (Musikk-Husets 1967); Valse Piccante (Musikk-Husets 1971). [Boenke, Cohen (as Oerbeck), FRK, FrMKassel, KOM, MICNorway, Pendle, S&S] ORFF, Gertrud: see WILLERT-ORFF, Gertrud OREFICE, Olga ( - ) Country unknown Valse Capricciosos (Ricordi). [Cohen (Ricordi Milan) ORLEANS, Reine (20th c.) France Nocturne Op.27 “Le Ruisseau” (Max Eschig 1978). [FRK, FrMKassel] OSAWA, Kazuko (1926- ) Japan Composer; st. Tokyo U. of the Arts; prizes. Works: orchestra, chamber, piano, vocal. Ko (Ongaku-no-tomo sha 1984). See also: Birds, suite for children (1971); Dance suite (1955); Poem (1952); Short pieces, nos. 1-4 (1973). [Boenke, Cohen] OSIANDER (Oisander Vogel), Irene (1903-1980) Russia/Denmark Pianist, composer; st. Tbilisi, Berlin, Denmark. Works: orchestra, chamber, piano, vocal. Suite (Skandinavischer Muiskverlag 1944). Listed with Frau Musik Archiv, Kassel. Also, pub. Skandinavischer Musikverlag: 3 Klavierstucke Op. 33 (1945); Kleine Suite Op. 29 (1944); Orientalische Variationen Op. 38 (1947); Variationen über ein eigenes Thema Op. 34 (1942). [Cohen, FRK, FrMKassel, K800

172 Osterman OSTERMAN, Eurydice V. (1950- ) USA African-American lecturer, composer; st. Andrews U., U. Alabama; teacher, Oakwood Coll. Works: sacred and secular choral, instrumental (Walker-Hill 2002, 371). Scores may be av. from composer (Walker-Hill 1995, 14-15). Sonatina in F Op.5/1 (1985) 8'. Whiter Than Snow (Lorenz 1984) 2:45. Arrangements of spirituals: Medley: Jacob’s Ladder/I Want Jesus to Walk With Me (1992); Morning Has Broken (1984); My Faith Looks Up to Thee (1984); My Jesus I Love Thee (1984); O Love That Will Not Let me Go (1984). [Walker] OVERMAN [Russcher-Overman], Meta (20th c.) Holland/Australia Composer; in Australia since 1951; st. Pijper, Flipse in Holland; prizes, commissions. Works: opera, ballet, orchestra, chamber, keyboard, voice. 3 Dances (AusMC 1955) 10', 16p. Sonata I (AusMC 1939/1964?) 12p. Sonata II (AusMC 1953) 7:30, 14p. Sonatina (AusMC 1955) 6p. Three Impressions (AusMC 1942) 9', 10p. [AusMC, Cohen, McCredie] OWENS, Terry Winter (1935- ) USA Violinist, pianist, harpsichordist, teacher, composer, editor; st. CCNY, NYU; grants, prizes, commissions. Works: piano, orchestra, film, chamber, voice. Web page: terrywinterowens.com. Astrological Preludes (Frederick Harris/ILL) 24p. Journey through the zodiac signs for young pianists. Elem. Confetti (Galaxy 1968/Schirmer) 14p. 13 character pieces for children. Piano Quarterly Best of the Year, 1972. Late Elem. Exposed on the Cliffs of the Heart (AMC rev. ed. 1995/ILL) 10p. Three-mvt work inspired by mountaintop imagery of Rilke poem; spacious, dissonant intervals. Adagio appassionato: mainly in treble, with proportional rhythms, octave displacements, ostinato “heartbeat.” Andante espressivo. Sostenuto e cantabile. Early Adv. AMC listings: Ancient Fire; Elegy for the Nephew of Prince Mukhransky; Homage to Corelli; Pianophoria 1, 2; The Rapture of Beta Lyrae (1998); Rendezvous with Hyakutake; Spectral Glow (& narration); The Still Point; Toccata (prize winner); When My Senses Deepen. Pf and narration: The Bending of the Light and the Resonant Continuum (2003); From Underneath My Eyelids; Magnetized by the Triangular Flight (1999); Red Shift. For children: Serenades to the Instruments (Kjos); Nocturne; Caprice (C. Fischer). [AMC, Axford, IAWM]

Pakhmutova 173 OYENS, Tera de Marez: see MAREZ OYENS, Tera de

P PACKHÄUSER, Ursula (20th c.) Country unknown Traumreisen: Journeys of Dreams (Tezak 1992) 22p. Fourteen neo-romantic preludes, each prefaced by a poem; squarely tonal repetitive melodies, Schumannesque accompaniments. Int. [KOM, sdiegomtac] PAGE, Rosalind (20th c.) Australia Sydney-based composer, teacher; eclectic range of styles. Notes and Crosses, in “Australian Piano Music” Vol.2 (Currency 1996) 2p. Cross-rhythm study: ostinato bass of chromatic quintuplets, under staccato syncopated RH chords; jazz influence. Int. [AusMC, score] PAINTAL, Priti (1960- ) India Composer; st. Delhi U., York U., Royal Northern Coll. of Music (England); commissions. Works: orchestra, chamber, vocal, dance, theatre, piano. Style: driving rhythms, modal harmonies, lyricism, often includes improvisation. Pf works listed with the Frau Musik Archiv, Kassel (no publisher): Abys Krite, a study (1978); Manali Fantasia (1980); Prayrna (1981). [Cohen, FrMKassel, Fuller, NG, Pendle] PAKHMUTOVA, Aleksandra Nikolayevna (1929- ) Russia Composer; st. Moscow Cons.; became famous for her songwriting; first winner of Komsomol Prize; awarded Order of Lenin. Works: orchestra, choral, over 300 songs, film. Style: romantic, dramatic, lyric, combining soulfulness and passion in simple diatonic melodies; bold juxtapositions of classical, folk, military music, Western popular styles (Sadie and Samuel 1995, 358). Pernatye tdruziya (Moscow 1969/ILL) 23p. Pf 4-hands, a lively suite: March, Cuckoo, Burlesque, Waltz, Toccata. Int. See also: Ballettmusik “Ozaryonnost” (Muszika 1975); Sonatine (1946); Little Variations (1960), for pf 4-hands. [Cohen, K800, NG, S&S]

174 Palmer PALMER, Juliet (20th c.) New Zealand/Canada Composer; st. Princeton with Meredith Monk (q.v.); grants. Works: avant-garde, electronic, chamber, sound installations. Aquamarine (SOUNZ 2000) 20'. One-mvt commissioned work. Adv. Tongue-Tied (SOUNZ 1997) 10'. Int. [SOUNZ] PANETTI, Joan (1940/1941- ) USA Pianist, professor, composer; st. Peabody Cons.; toured Europe as a pianist, taught at Yale U., Swarthmore. Works: orchestra, chamber, piano, voice. Cavata (Continuo Music/Broude 1967/ILL) 4:30, 11p. An epigrammatic arioso; Schoenbergian; atonal, tricky rhythms, shifting meters and tempos; contrasting dynamics, articulations, and registers; dissonant chords contrasted with single tones and ornamental flourishes. Early Adv. [Cohen, Greenberg, Meggett] PANNETON, Isabelle (c. 1960- ) Canada Composer, professor; st. Quebec Cons. and Belgium; teacher, Concordia U., U. Montreal; grants, prizes, commissions. Works: orchestra, chamber. Traits, Ecart, Reparties (CMC 1984) 9'. Prem. 1986, Montreal, Radio-Canada. [Canadian Music Centre] PARKER, Katharine (20th c.) Australia Down Longford Way, No.2 of “Four Musical Sketches for Piano.” Included in “Australian Anthology,” 5th-8th Grades (Allans 2001). Int. [AusMC] PATTERSON, Andra (1964- ) New Zealand Composer; st. Victoria U., Wellington; winner of the New Zealand emergent composers’ award, 1984. Works: chamber, piano, voice, theatre. No publisher listed; may be av. through Centre for New Zealand Music: Five Short Piano Pieces (1989) 7'. Adv. Mobile (1982) 5'. Int. Theme and Variations (1983) 7'. Adv. Three Short Pieces for Piano (1983) 4'. Adv. Two Pieces (1983). [Cohen, SOUNZ]

Pelegrí 175 PAULL, Barberi (1946- ) USA Pianist, conductor, psychologist, teacher, composer; st. Manhattan School, Juilliard, NYU; uses music theatre techniques with disturbed children; commissions, awards, fellowships. Works: chamber, vocal, theatre, electronic, multimedia. Antifon (Broude 1974). Pf & tape. The Man Alone (Broude 1974/AMC) 11'. Prize-winner. Int. [AMC, Boenke, Cohen, Heinrich, Zaimont] PAYNE, Maggi (1945- ) USA Flutist, video artist, recording engineer, professor, composer; st. Northwestern U., U. of Illinois, Mills College, where she became co-director of Center for Contemporary Music; grants, honors. Works: flute, tape, vocal, chamber, dance, video. Style: electronic, musique concrète, transformed acoustic sounds, mixed media. Holding Pattern (2001). Commissioned by pianist Sarah Cahill. [Cahill, NG, SAI] PAULSEN, Anniken (1955- ) Norway 1 Nomos (MICNorway). [MICNorway] PEARL-MANN [Perelmann], Dora Deborah (1905- ) Russia/ USA Concert pianist, conductor, composer; st. St. Petersburg, Vienna, Mozarteum, Juilliard, Curtis, Columbia U., NYU; conducted orchestras, operatic society. Works: orchestra, piano, voice, ballet. Vision Victorieuse (Edward B. Marks 1942/ILL) 5p. Allegro moderato, 2/4. Late Romantic in style, heroic, strong, lyric, and passionate; Chopinesque. Dedicated to her mother. Early Adv. See also: Prelude. [Cohen] PELEGRÍ (I MARIMÓN), Maria Teresa (1907- ) Spain Pianist, composer; st. Poch, Guinovart, Soler. Works: orchestra, chamber, organ, piano, voice, opera. Style: influenced by 2nd Viennese School (dodecaphony). Dos Impromptus (Clivis AC017 1988) 6', 11p. Impressionistic textures, dissonant chords/intervals, changing meters. 1. Placido e Intimo/poco piu vivo: a leisurely nocturne. 2. Allegro moderato: livelier. Early Adv. See also: Dos Piezas; Suite para Piano (1986) 7'; Tres Piezas. [68CompCatalans, Clivis, Cohen, FRK, FrMKassel, Heinrich, KOM, S&S]

176 Pellitteri PELLITTERI, Mariarita (1966- ) Italy Improvvisi Op.791, 792, 793 e Studio Op.794 (Berben 4385) 27p. Four conservative studies, early romantic in style. Op.791: printed in D-flat and C; vivace, 6/8. Op.792: c# minor, allegro, 2/4. Op.793: g# minor, allegro agitato, 6/8. Op.794: e minor, allegro, 2/4. Int-Late Int. [Berben] PELUSO, Rachel (1909- ) Brazil Rosas Celestias: Valsa Romantica Op. 10/1 (Vitale 1983). Ternura: Valsa Romantica Op.20/33 (Vitale 1983). [FrMKassel] PENTLAND, Barbara Lally (1912-2000) Canada Pianist, professor, composer; st. Paris, Juilliard, with Copland (Berkshire); taught Royal Cons.-Toronto, U. British Columbia; awards, medals, commissions. Works: orchestra, chamber, organ, piano, voice, ballet, opera, radio, numerous piano pieces for children. Style: early works neo-classic, serial. Later works: economical textures, free serialism, syncopations, light melodies, brisk staccatos, aleatory techniques (Sadie and Samuel 1995, 365-67). Arctica: For Young Pianists (CMC 1971-72/ILL) 6p. 4 Northern sketches: Ice Floe [Banquise], Thaw [Dégel], Snowy Owl [Harfang des Neiges], Tuktu [Caribou]. Variety of textures and techniques, aleatoric ending Late Int. Dirge (Berandol 1961/ILL) 2:30, 2p. Sonorous, dissonant, starkly moving picture of suffering. Grim chords, reiterated pedal tone, occasional lamenting lyric phrases. Late Int. Echoes I, II (Waterloo 1968/ILL) 2p. Clever little studies in sympathetic vibration: one hand plays merry staccato tune as the other silently depresses chords (parts exchange in 2nd piece). Elem. Fantasy (1962) (BMI Canada 1966/ILL) 7', 9p. “Splendidly imaginative and integrated Allegro in the Schoenberg-Webern axis. Composer’s concern for sonority and scherzo elements make the work fairly accessible. Combines tonality and twelve-tone principles” (Butler 1975, 2: 122). Early Adv. Five Piano Preludes (1938). Franckian, thick textures, chromatic harmonies. Adv. (Four) Studies in Line (BMI 1949/ILL) 6', 10p. Four contrasting contemporary works; contours and emotions reflect the linear sketch heading each study. “Her most unique piano collection” (Gillespie 1965, 389). Late Int. Hands Across the C (Waterloo 1968) 10p. Three appealing sketch-studies: Sparks; Mist; Seashore. Tone rows, wide ranges, leaps, slurs, rhythmic intricacy; each preceded by technical study. Early Int. Interlude (Waterloo 1968) 2p. From “Pieces for Young Pianists.” Atonal, wide range, 2-vc ctpt, changing meters. Int.

Pentland 177 Maze/Labrinthe, Casse-tête/Puzzle (Waterloo 1968) 2p. Two contrasting works in shifting pentascales, bitonal, 2-vc ctpt; Bartokian. Late Elem. Music of Now (Waterloo 1970/ILL). 3 vols. Excellent series for teaching contemporary techniques: intervals, inversions, half-step relations, canons, clusters, chromatics, rhythms. Elem-Early Int. Piano Sonata (CMC 1945/ILL) 21 p. Freely chromatic, dissonant, with shifting tonal centers. Allegro maestoso, 4/4. Larghetto mesto, 3/4-2/4. Presto, 5/8-4/8. Early Adv. Rhapsody (1939). Angular, chromatic march with striking harmonies and ctpt. Shadows [Ombres] (Waterloo 1968) 3p. Sombre, impressionistic, pointillist, creepily effective mood piece. Serial, atonal, mirror writing, extreme registers, quartal-quintal effects, continuous development. Int. Space Studies (Waterloo 1968/ILL) 5p. Five interesting studies in “rhythm and compass” (all 12-tone except for No.III). I. Frolic: wide range. II. From Outer Space 1. In Space: pedal connects wide-spaced melody, overtone vibrations. 2. Beeps: rhythm. III. Quest: contrapuntal phrasing. IV. Balancing Act: rhythm. Early Int. Suite Borealis (CMC 1972/ILL) 20', 26p. Unknown Shores; Settlements; Rapids; Wide Horizons; Mountains. “An imaginary journey across Canada as our forefathers might have experienced it,” built on the permutations of a single tone row—composer. Early Adv. Three Pairs (Berandol 1966/ILL) 3', 6p. 3 sets of contrasting pieces built on bitonal pentascales: Daydreaming/Turn about. Reflections/Follow Me!: 2 mirror canons. Slow Song/Folk Dance. Elem. Toccata (BMI 1961/ILL) 9', 8p. Allegro con brio, 3/4-6/8-12/16. 12-tone, with dissonant intervals, contrasting registers, dynamics, and textures, compelling rhythms; quiet center, ends brilliantly. Early Adv. Variations (CMC 1942/ILL) l2p. Attractive work: 12-bar theme, 15 brief variations, lengthy cadenza, closing 4-page fugue. Changing meters, shifting tonal centers, similar to Copland’s Variations. Late Int. Vita Brevis (CMC 1973/ILL) 6p. Atonal, epigrammatic. Int. Also av. CMC: Ephemera: Angelus, Spectra, Whales, Coral Reef, Persiflages (CMC 1978); Horizons (1985); Tenebrae (1976); Vinicula (1983). See Jane Solose: “Imaginative Sounds in Many Piano Pieces of Barbara Pentland,” Clavier 42, No.8 (October 2003): 24-32. See also Sheila Eastman and Timothy J. McGee: Barbara Pentland (University of Toronto Press, 1983). [Agay, Axford, Bakers92, Bauer, Boenke, Butler1-2, Canaday, CMC, Cohen, Gillespie, Gordon, Heinrich, Hinson, IAWM, ISMTA, K800, Kirby, Magrath, Meggett, NG, Pendle, S&S, Uszler] PEREIRA DA SILVA, Adelaide: see SILVA, Adelaide Pereira da

178 Perkin PERKIN, Helen (1909- ) England Concert pianist, composer; A.R.C.M; st. A. Alexander, J. Ireland, Webern, Steuermann. Works: brass band, chamber, piano, voice, ballet, film. Four Preludes (Schott 1938/ILL) l4p. Modal, evocative works with middleeastern motifs, Ravellian textures; clear tonal centers, freely shifting tonalities/modes. Cortège: lento e pesante, 5/4, e-flat Dorian, a funeral march. The Wheel: con moto, 3/4, f# minor, RH quintuplet spinning figure. Shifting Sands: lento espressivo/poco animato, 4/4-3/4, in e; lyric, eerie. Ambush: allegro agitato, 2/2, in c; running figures, sudden leaps and accents, whole-tone fragments. Early Adv. See also: Ballade; Eleven Impressions; Episode; Village Fair (suite). [Boenke, Cohen] PERRY, Anita [A. D.] (1960- ) Canada Teacher, composer; st. U. British Columbia. Works: orchestra, chamber, piano, music theatre. Style: diverse; traditional, impressionist, fondness for whole tone modalities. See Canadian Music Centre: Fantasy for Piano (1990) 8'; Inspirations: Music for Dance Class (Ansu 1986); Portraits (1978) 5'; Serenade for Andre (1987) 6'; Transformations I & II (1994) 10'; Vignettes (1984) 8'. [CMC] PERRY, Julia Amanda (1924-1979) USA African-American pianist, conductor, lecturer, composer; st. Westminster Choir Coll., Juilliard, with Boulanger, at Accademia Chigiana; fellowships, awards; teacher, Florida State U. Works: orchestra, chamber, piano, voice, opera. Style: early works show influence of spirituals, blues; later works are abstract, neoclassical. Principal publishers: Carl Fischer, Galaxy, Peer-Southern. Miniature, in “New Scribner Music Library” Vol.4, ed. Montgomery (Scribner’s 1972/ILL) 2p. A skittery little toccata: alternating hands, dissonant intervals, shifting quarter-note meters, register leaps. Early Adv. Prelude for Piano, in “Black Women Composers” (Hildegard 1992) l p. Grave, chorale-like chords in changing meters. Late Int. See also: Lament (1947); Pearls on Silk (1947); Suite of Shoes (1947); Three Piano Pieces for Children. [Ammer, Boenke, Cohen, Fuller, Green, HAMW, Heinrich, Meggett, NewGrAm, NG, Pendle, Southern, S&S, Walker] PERRY, Zenobia Powell (1914-2004) USA African-American pianist, lecturer, composer; st. Tuskegee Inst, Northern Colorado U., Wyoming U.; teacher, Arkansas Tech, Central State U. Works: orchestra, band, chamber, voice.

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Homage, in “Black Women Composers” anthology, ed. Walker (Hildegard 1992) 3p. An ode to William Dawson, based on a Negro folk song; 4/4, cantabile, shifting tonal centers. Lyric, passionate melody thickens to full chords; improvisatory feel, with some jazz harmonies. Late Int. Jazz Notes, from “Piano Potpourri” (self-pub 1980) 2p. G major, 4/4, spirituallike melody, jazz harmonies. Int. See also: Essay for Piano; March; Pavanne; Reflections; Salon du Capricci; Sonata (1960); Sonatina (1970); Three Sketches (1960). [Anderson, Axford, Boenke, Cohen, Heinrich, Horne, Mu Phi Triangle, Walker] PESCE, Lina (1923- ) Brazil Encantamento/Vala (Vitale 1953) 2p. [FrMKassel] PETERSON-SERAFINOWITSCH, Märta (1912- ) Country unknown Suite für Klavier im alten Stil (1977) (Munich: VDMK-Manuskriptearchiv). [FRK, FrMKassel] PETRA-BASACOPOL, Carmen (1926- ) Romania Writer, teacher, composer; st. Bucharest Cons., where she later taught musical form; musicology doctorate, Sorbonne; numerous articles; prizes, honors. Works: orchestra, chamber, harp, piano, vocal, ballet. Style: neo-romantic, incorporates folk music; has experimented with clusters, new techniques. Impressi din Muzeul Satului Op. 15 (Editura Muzicala). Douazecipatru Imagini Pitoresti [Children’s Suite] Op.7 (Ed. Muzicala). Metoda di Pian (Ed. Muzicala 1959). Piano method. Mit Dem Ball, in “Rumanische Klavierminiaturen fur Kinder und Jugendliche” (Ed. Muzicala). Also: Concert Suite, Impressions of the Village Museum (1960); Imagini Marocane Op.38 (1973); Rondo Op.2 (1949) [Baker6, Boenke, Cohen, K800, Meggett, NG, S&S] PFEIFFER, Irena (1912- ) Poland Pianist, choral conductor, teacher, composer; st. Krakow, Katowice; taught high school music, conducted choirs for thirty years, touring Poland, Yugoslavia, Hungary; prizes, awards. Works: orchestra, chamber, piano, voice. Let Us Hasten to the Stable (PWM 1972/ILL) 29p. 20 Christmas carols, pastorales in pleasant contemporary settings. Int. Piano Miniatures [Swiat Dziecka] (1948) (PWM). Rhythmic, contemporary but tonal, evenly balanced phrases. Late Elem.

180 Philiba See also, pub. PWM: Angels Came Flying; Customs and Folk Dances; Dance Suite (1949); From the Life of Animals; Nine Polish Dances. [Bauer, Cohen, FRK, Heinrich, Hinson, K800, Magrath] PHILIBA, Nicole (1937- ) France Pianist, professor, composer; st. Dutilleux, Aubin, Jolivet, Messiaen at Paris Conservatoire; professor there since 1969; performances in France, Italy, Belgium, Lebanon. Works: orchestra, chamber, piano, voice, electronic. Evocations, 2 vols. (Lemoine) 10p. each. 12 short pieces for beginners, 2/3voice textures, mildly contemporary. Elem-Early Int. Jubilé (Billaudot 1975) 8p. “Vivacious opening; then moves to a toccata style full of octaves and unison figuration. Brilliant with some dissonance” (Hinson 2000, 599). Proportional rhythms, sudden dynamic contrasts, modal, dissonant intervals, “wrong-note” chords. Early Adv. Quatre Mouvements Successifs (Ed. Musicales Transatlantiques 1973) 10:30, l4p. Dissonant, changing meters, continuous 8th-note motion. I. Lento. II. Presto. III. Allegro molto. IV. Lento-Allegro marcato. Early Adv. Six Pièces, 2 vols. (Billaudot, 1974) 6p/7p. Lyric teaching pieces, mildly contemporary. Vol.1: Six character pieces: Prelude, Mouvement, Marche, Andante, Valse, Final. Vol.2: 2 Etudes, 2 Inventions (not contrapuntal), and 2 “Finals.” Early Int. Tangos Pour un Film Imaginaire (Billaudot/ILL) 9:50, 10p. Four rather amusing tangos in minor keys, with occasional wrong-note dissonances, standard tango rhythms and figurations. Vision; Nuit; Rêve; Idylle. Int. See also: Five Piano Pieces In The Form Of A Suite (1960); Three Inventions (1966); Visions (1969). [Boenke, Cohen, FRK, FrMKassel, Heinrich, Hinson, K800, KOM, Magrath] PHILLIPS, Bryony Jagger: see JAGGER, Bryony PHILLIPS, Linda, O.B.E. [Mrs. Kauffmann] (20th c.) Australia Concert pianist, music critic, poet, adjudicator, teacher, composer; st. Melbourne U., Melba Cons.; numerous radio broadcasts, recitals of her own and others’ works; reviewer-critic, 27 years; O.B.E., 1975. Works: orchestra, chamber, numerous piano miniatures, voice (about 100 songs). Butterflies, Noon (Augener). Sea Impressions (AusMC) 9:30, 19p. Mermaid and Harp; The Dancing Sunlight; Waves. See also: Two Suites of Three Pieces. [AusMC, Cohen]

Pierce 181 PIERCE, Alexandra (1934- ) USA Concert pianist, professor, composer; st. U. Michigan, New England Cons., Harvard, Brandeis; taught piano, theory, movement, Antioch College, University of Redlands. Works: orchestra, chamber, piano, prepared piano, voice, theatre, film, electronic. Style, self-described: “concert repertory, lyric, pantonal, with strong rhythmic character” (Boenke 1988, 96). Ballad and Ostinato (1985/ILL) 14p. Two character pieces, thin textures. Ballad: Andante, 4/4. Ostinato: Animated, 3/4. Late Int. Blending Stumps (Seesaw 1976/ILL U) 11', 10p. Prep. pf; “blending stumps” are artist’s supplies, pencil-shaped cyclinders of tightly wound paper. Other materials: bamboo wedges, eraser, washer, shoulder hook; instructions included. Diatonic, with chromaticism; plucked strings, pedal effects, harmonics, pointillistic. Adv. Dry Rot (Seesaw 1977/ILL) 15:25, 17p. Prep. pf, 4 pages of materials and instruction. “15 prepared sounds, soft-yarn marimba mallets played on the piano’s reverberant brass bars, as well as a guitar plectrum and a tuner’s damper. . . pianist plays standing or perched on a tall stool able to reach both the insides of the instrument and the keyboard” (composer). Adv. Four Done Deals (Pierce 1994/ILL) 10:30, 13p. Four-mvt suite. Beyond and here—as if through stillness, a conversation between melody and harmony. Scherzando grazioso, a short rondo. Night Song, a nocturne. With delicate, energetic good humor, fanfare and tango. Early Adv. Greycastle 1974 (Seesaw 1974/ILL) 8:30, 13p. Prep. pf, 4 pages of directions. Trills, repeated notes, pointillistic, trills, thin textures, rapid contrasts in dynamics. Late Int/Early Adv. Heart of the Beast (Pierce 1988/ILL) 9', 15p. “From a movement improvisation. Melodies are suspended within a fabric of harmonies that are blended by the pedal to form an atmosphere suggesting both spaciousness and distance” (composer). Early Adv. Keener’s Way (Seesaw 1997) 13:10, 15p. Appealing piece in 3 mvts. Diamond Step: transparent hymn-like melody; middle C# rung at intervals provides motive for capricious melodic offshoots. Chasm View: rondo, alternately pensive and dramatic. Lamb’s Slide: “a fast, giddy, slipping of melody, often in octaves, with flashes of counterpoint and short gaps of silence” (composer). The Lost River, Sevier (Seesaw 1978/ILL) 11', 12p. Proportional rhythm, specific directions for pedaling, articulation. Adv. Mixed Nocturne and Toccata (Seesaw 1989/ILL) 10', 16p. Lyric, introspective melodies over ostinati or broken chord patterns, mixed within more virtuosic sections which explore idiomatic keyboard touches (composer). Adv.

182 Pierce Offering to Birdfeather 1974 (Seesaw/ILL) 5', 7p. “Intermittent tonally askew trills, quick arpeggios and tremolos, and dance-like sections with uneven and shifting meters suggest unpredictable and dreamlike states which contrast with the more comfortable and known reality of the stable outer portions of the piece” (composer). Early Adv. Orb (Seesaw 1976/ILL) 9', 13p. Prep. pf. “Ideas and fragments are repeated and expanded; no meters indicated; thin textures; varied pedal effects; subtle sonorities emerge from trills. Highly effective” (Hinson 2002, 602). Early Adv. Seven Waltzes for Emily Dickinson (Seesaw 1999) 17', 13p. Prep. pf. Shifting meters, thin textures. Late Int/Early Adv. Six Sentient Waltzes (Pierce 1980/ILL) 9:50, 9p. Prep. pf. Rich mixture of prepared and unprepared pitches; improvisatory effect from the contrasting sustained, hesitant sections, interspersed with rhythmic, active passages. Int/Late Int. Soundings (Seesaw 1978/ILL) 11', 7p. Avant-garde notation, approximate durations. “The image is the ocean. The idea of surface tension is suggestive of the musical shape. The horizontal surface of the piece is the tone, ‘A-flat.’ Its tones ramify.” (Hinson 2000, 602). Early Adv. Spectres: 5 Easy Eraser Preparations (Seesaw 1975/ILL) 8:45, 12p. Prep. pf. On Intermediate Compositions list, San Diego MTA. A study in repeated notes, alternating hands, pedal effects. Late Int. Transverse Process (Seesaw 1977/ILL) 11', 15p. Proportional notation, textural contrasts, expressionistic, harmonics, interesting sonorities, tricky pedaling. “Explores different qualities of moving and being still with melodic lines which pile up and unpile into thin and thicker collections of sound”—composer. Early Adv. Two Movements Through Space (1992/ILL) 12:55, 14p. 2 pieces explore the movement of things through space. The Boy Ecstatic: the waves and wind dally with his feet and hair. The Yellow Half-Moon, Enlarged: the moon sags, droops, ‘almost touches the sea. “Lyrical and declamatory, with frequent shifts in tone of voice” (composer). Early Adv. Upslope (Seesaw 1998) 15:15, 17p. Suite: I. Fantasia. II. Cantilena. III. Scherzo. IV. Chorale. V. Chorale with Descant. Damper and sostenuto pedals, grace notes, ringing tones, “marimba-roll” fast repetitions. Adv. Variations 7 (Seesaw 1978/ILL) 7:30, 9p. Prep. pf. Adv. Waltz Op.120 (Seesaw 1996/ILL) 5:40, 5p. Rumination on the waltz, with homage to Ravel, Satie, Glenn Gould, Schubert, Beethoven; steady and dance-like, lyric melody; dramatic shifts, declamatory freedom in middle section. Late Int. See also: Coming to Standing (Seesaw 1975); Joint Geography Dance (1982); Lament (1964); Popo Agie (1979), prep. pf; Rings of Saturn; Spirits That Lend Strength (1990); Serenade, for Zander’s Cobweb Photo (transcribed guitar piece) (1981); Solenodon (1964); Song in Licia for Savonarola (1974 Seesaw); Two Sound Studies (1983), prep. pf. [Boenke, Cohen, Heinrich, Hinson, K800, Kirby, sdiegomtac, Zaimont]

Pizer 183 PIETILÄINEN, Aino (20th c.) Finland Kaksi Pientä Pianokappaletta Op. 11/1-2 (Finnish MIC 1985 #8207) 3p. Two brief lyric pieces with shifting tonal centers, dissonant tritones, repeated quintal chords. Syyslehtien Viimeiset Tanssiaiset: 4/4-3/4: introduction followed by a brisk waltz. Lumpeen Kukka: a changing-meters dance with repeated LH duplets supporting melody in octaves. Int. [Finnish MIC] PIPER, Deirdre (20th c.) United Kingdom/Canada Organist, pianist, choral conductor, teacher, musicologist, composer; st. RCMLondon, U. Manchester; teacher, U. Manchester, Huddersfield Polytechnic, Carleton U. Works: orchestra, chamber, choral, vocal, music theatre. See Canadian Music Centre for scores: Reflections II (CMC 1982) 10'; Sonata: für Elaine (1989) 10'. [CMC] PIRES DE CAMPOS, Lina: see CAMPOS, Lina Pires de. PISTONO D’ANGELO, Piera (1937/1938- ) Italy Teacher, composer; st, Rome with Barbara Giurana (q.v.), Ravinale, Tosatti; teacher, Conservatorio di St. Cecilia. Works: chamber, instrumental, vocal. Style: eclectic. 8 Klavierstücke (Edipan EP7649). Sonate (Edipan EP657). [FrMKassel, KOM, S&S] PIZER, Elizabeth Faw Hayden (1954- ) USA Pianist, opera coach, musicologist, composer; st. Boston Cons.; ILWC chair, 1982-3; formed International Women’s Music Sound Archive 1974; awards. Works: orchestra, band, chamber, piano, voice, choral, electronic, jazz. Charms (Pizer 1987/ILL) 15p. Suite in 6 mvts. Modal, in shifting meters; clean, simple lyric writing, ostinato-like motives, minimalist, neo-classic in effect. I. Melancholy, gently, as a lullaby, 2-vc ctpt, contrary motion, dissonant. II. Carousel-like, in 2 voices. III. Energetic, double 3rds, contrary motion, imitative. IV. Pulsating, LH pedal tone. V. Rhythmically precise, a toccata-tarantella, continuous 8th-notes, shifting accents, parallel 3rds. VI. Very legato, brief impressionistic postlude. Int. Lyric Fancies (AMC 1983/ILL) 23p. Improvisatory, with sectionally contrasting tempos, moods; attractive Brittenesque colors; modal, pentatonic, quartal harmonies, parallelism, simple textures, repeated motives, ostinati. Early Adv.

184 Plowman Strains and Restrains (Pizer 1984/ILL) 10p. Suite in 3 mvts; romantic textures and sensibilities, 20th c. dissonances, shifting meters; rubato, lyric, tonal, delicate. Short static motives set to displaced accents. I. Bittersweet. II. Ethereal, melancholy waltz, 3/4. III. Playful, with innocence, gentle. Late Int/Early Adv. Also av. AMC: A Mon Père, Pour Mon Père Op.40 (1977) Adv; Expressions Intime Op. 14-18 (AMC 1974-75) Early Adv; Jimnobody Nos.1, 2 Opp.22, 24 (1976) Late Int; Piano Sonata (n.d.); Piano Sonata No.2 Op. 10 (1974) Adv; 2 Brief Pieces, Opp.12, 13 (1975) Early Adv. Jazz piano titles: All The World’s A Stage; Another Town; A Quiet Space; Birds Of Paradise; Blue Rain; Carnival Waltz; Come Smell The Roses; Dancing In The Street; Emerald Isle; Equinox; Evantide; Farewell To Summer Days; Grab The Golden Ring; Inclinations; In Pursuit; In Quiet Solitude; It’s Time To Go; Let’s Dance; Lonesome Waltz; Maya Nova; Morning Afternoon; Passionada; Pass The Test Of Time; Premonition; Saudi; Shadow; Walker; Solitaire; Spring Swing; That’s How It Has To Be; The Summit; Truth Is Stranger Than Fiction. [Boenke, Cohen, Heinrich, K800, S&S, Zaimont] PLOWMAN, Lynne (20th c.) Wales See Welsh Music Information Centre for score: Seguiriya I (1994) 6'. [WelshMIC] PÓCS, Katalin (1963- ) Hungary Teacher, composer; st. Ferenc Liszt Academy of Music, Budapest; prizes, scholarships, residencies, concerts and radio performances of her works. Works: orchestra, chamber, guitar, dulcimer, piano, electronic. Piano pieces below, described by composer, are available from her at [email protected]. Homage a Georges Seurat (1985) 10'. 2 mvts in an impressionistic mood, inspired by Seurat’s pictures. Artist/gifted student level. Early Adv. Impressions about Banff (1998) 12'. Originally for harpsichord. Written during her stay in Canada, when awarded a scholarship to the Banff Centre. I. The Bow River. II. Walking in the Forest. III. The Running Squirrels. Indian Summer (1990) 10'. Suite in 3 mvts, expressing changing weather of Indian summer; romantic feeling, contemporary harmonies. Adv. Meditation Music (1997) 6'. Mondsee (1990-1991) 11'. Two mvts inspired by the beautiful Austrian lake; the first expresses a quiet romantic atmosphere, the second the swarm (sic) along the shore. For artists/advanced students. Early Adv. Tünde Aszalós: Child Playing the Piano, Vols. 2, 3 (1990) 15'. Teaching anthology, includes 14 pieces by Koc: folksong arrangements, classical and contemporary character pieces. Short programmatic descriptions of animals and nature for 2, 3, 4-year students. Int.

Polin 185 Two Ballades (1992) 8'. Two lyric pieces expressing the atmosphere of romantic ballades with contemporary harmonies; 2nd mvt, orig. for harp, has a dramatic culmination in the middle. Two Movements (1996) 10'. I. Slow, occasionally impressionistic harmonies. II. Fast and rhythmic with whirling 16ths in middle section. Adv. Duets: Duo for Two Pianos (children) (1988); Pictures from Gallya (1995); Piece for Four Hands (1992); Two Little Pieces for Four Hands (1994). Concerto for Piano and Orchestra (3 mvts). [Hungarian MIC, composer] POLDEN, Angela (1960-) Australia Pianist, singer, teacher, self-taught composer; certificates in voice, teaching from the University of South Queensland; commissions. Works: chamber, voice, piano. Style: tonal/modal, sonorous, accessible. Klokwerx (AusMC-Polden 2001) 18p. Eight graded solos, each describing “an aspect of the impact of time on our lives: time for clock watching and time for ignoring the clock” (composer). 5 to 4 is available in “Australian Anthology,” Prel.-4th Grades (Allans 2003). Late Elem-Int. [AusMC, score] POLIN, Claire C. J. [Mrs. Merle S. Schaff] (1926-1995) USA Flutist, musicologist, professor, composer; st. Persichetti, Foss, Sessions, at Philadelphia Cons., Juilliard, Tanglewood; fellowships, prizes, grants, commissions. Works: orchestra, chamber, piano, voice, electronic. Style: reflects interest in folklore, birdsong, biblical and medieval times; sometimes dissonant, contrapuntal (Sadie and Samuel 1995, 372). Laissez Sonner (Seesaw 1976/ILL) 16', 12p. Strong, well written sonata in 3 mvts. Inventio: moderato, molto legato; chromatic, expressionistic, glissandi. Fabula: lento molto e misterioso; prep. pf, subtle, arpeggios. Parodía: poco vivo e sempre staccato; flexible tempos, thin textures. Adv. Out of Childhood (Seesaw 1973/ILL) 8p. Attractive variations of 7 RussianTurkish folksongs. Modal tunes, contemporary treatments reminiscent of Bartok, Prokofiev, Kabalevsky; poems included. Russian Provinces; The Orchard; Rocking Chair Song; Sing, Birdie, Sing! The Rooster; A Gypsy Song; The Sleigh. Int-Late Int. Shirildang: Trans-Ural Suite (Arsis-Sisra) 11:40, 19p. Four short mvts using Uzbekian, Khazak, Turkomenian, Tadjik and Khirghiz materials. From the score: Debussyan delicacy, meditative, elegant, simple melodies, polyphonic treatment, expressive rubati, virile rhythms. Late Int/Early Adv. Also: Phantasmagoria (Arsis), pf 4-hands. [arsispress, Bauer, Boenke, Cohen, Heinrich, Hinson, Meggett, NG, S&S]

186 Pollock POLLOCK [Pollack], Muriel (Molly Davidson) (1904-? ) USA Organist, pianist, composer; began composing age 11; worked as organist, accompanist, soloist for NBC and in Hollywood. Works: orchestra, piano, voice, theatre, talking books for children. Rooster Rag (1917), in “Ragtime Jubilee: 42 Piano Gems, 1911-21,” ed. Jasen (Dover 1997) 4p. Composed at age 13; orig. pub. Jos. Stern. Standard rhythms, voicings, and form. Late Int. See also: Notions, suite (1935). [Cohen, Jasen] POSTON, Elizabeth (1905-1987) England Organist, concert pianist, author, composer; st Royal Academy of Music, with later support from R. Vaughan Williams; director of music, European BBC; president, Society of Women Musicians; respected editor of folksong, hymns, carols; expert on Warlock’s music. Works: orchestra, chamber, piano, voice, opera, theatre, radio, film. Style: careful craftmanship, fluent melodies, neoclassical tradition (Sadie and Samuel 1995, 373). Two Pieces: Lullaby & Festa (Novello 1960) 6p. Simple, effective character pieces. Lullaby: andantino piacevole, 4/4; sweet, modal, repetitive movement, regular brief phrases, narrow range. Festa: gaio con spirito, 7/4-5/4; ternary, enjoyable introduction to uneven meters. Int. [Boenke, CGGB, Cohen, Heinrich, Meggett, NG, S&S] PREZAMENT, Wendy (1955- ) Canada Composer; st. McGill U.; RCM-Toronto with Alexina Louie (q.v.); commissions. Works: chamber, harpsichord, piano. Av. Canadian Music Centre: Recollection, in “25 Miniatures.” Also: Two Pieces for harpsichord, in “The Door In The Wall.” [CMC) PRICE, Deon Nielsen (1934- ) USA Pianist, harpsichordist, accompanist, teacher, composer; st. Brigham Young U., U. Michigan, U. Southern California; taught at California universities; IAWM president, 1996-99. Works: orchestra, chamber, voice. Angelic Piano Pieces (Culver Crest 1995) 29p. Nine “New Age” pieces with angel titles, “light-hearted works written originally for her piano students”—score. Pink Clouds and Harps: root position major triads. Angel Cookies: 7th chords, jazz rhythms. Descending Night: black key groups. Descending Night: graphic notation. Cupid’s Darts: 3 white and 3 black keys, irregular meter. Snow Angels: white key pentascales, clusters. Angels Dancing: irregular meter, RH on black keys, LH on white. Green Tara: legato 3rds/6ths, irregular meter. Cherubic Messenger: impressionistic; from “Angel Trio” for pf, vn, cello. Int.

Procaccini 187 Diversions (Culver Crest 1984) 22p. Four pieces: Freeway Fugue; Desert Impression; Surf Dance; Quake Fantasy. From score: Initial chromatic subject, No. 1, heard again in Nos. 3, 4; C-F# tritone range serves dominant function in Nos. 1, 4. In No. 2, a lyric melody is accompanied by dissonant-consonant harmony. No. 3 has a folklike melody in F# Mixolydian, lively palindromic rhythm. Late Int. See also: Passacaglia; Allegra Barbara. [Boenke, Cohen, Heinrich, Hinson, IAWM] PRIETO (y Fernandez de la Llana), María Teresa: see Supplement PRIOLLI, Maria Luisa de Matos (1915- ) Brazil Pianist, lecturer, composer; st. Rio de Janeiro, London (Trinity College of Music). Works: orchestra, chamber, piano, vocal. Mini-Suite (self-pub 1974) 3p. Papillons (Ediçoes Musicais Guanabara). Poema (self-pub 1974) 2p. See Cohen for more pf titles. [Cohen, FrMKassel] PROCACCINI, Teresa (1934- ) Italy Organist, pianist, professor, composer; st. St. Cecilia Cons., Accademia Chigiana; prizes. Works: orchestra, chamber, organ, piano, voice, ballet, opera, electronic. Style: classical forms, creative facility, spontaneity of expression; versatile, immediately accessible (Sadie and Samuel 1995, 376). Piccoli Pezzi Op.91 (Edipan 1984/ILL) 16p. 14 children’s pieces in 2-voice textures; Bartokian harmonies, simple folklike melodies, ostinati; reminiscent of Pinto’s Scenas Infantis. Late Elem/Early Int. Sonatina No.2 Op.43 (Edipan 1981/ILL) 7', 11p. Allegro scorrevole: 3/4, flowing 16th-note figures in RH, steady 8ths in LH. Andantino mesto: 3/4. Presto: 4/4, LH octaves. Early Adv. See also, pub. Edipan: Andante Elegiaco Op.48; Un Cavallino Avventuroso Op.22 (1960, Int); Fantasia Op.4 (1956, Adv); Nove Preludi Op.29 (1982); Sei pezzi infantili Op.25 (1961); Sonata Op.3 (1958, Int); Sonata in Tricromia Op.2 (Bongiovanni 1955); Sonatina Op. 18 (1958, Int); Sonatina Op.44 (1970). [Boenke, Cohen, FRK, Heinrich, K800, KOM, Pendle (as Procaccino), S&S, Zaimont]

188 Pstronkońska-Nawratil Grażyna Hanna (1947- ) Poland Musicologist, professor, composer; st. State Music College, and with Messiaen and Boulez; worked in experimental music studios, France; head of theory-composition, Wroclaw Academy; prizes. Works: orchestra, chamber, piano, voice, electronic. Style: traditional forms, contemporary sonorities, varied resources. La Vetrata (PWM 1979) 12', l8p. “The glass window.” Tiny notation, double pages. A sectional toccata-suite with minimalist restricted themes, textures, repetition, proportional rhythms. Pastorale: presto-piu presto, alternation of hands in pentascales, clusters. Meditatio: secco staccato tones, high registers. Scherzando: accelerando alternating 2nds, treble register. Meditatio: quartal chords, repeated dissonant clusters. Appassionata, furioso, double-note trill figures; Meditatio, clusters; Finale: pastorale and furioso alternate. Scherzando codetta: 3 measures of secco single tones in treble, a fourth apart. Adv. See also: Sonatina (1972). [Cohen, NG, Presser, S&S] Marta (1943- ) Poland/USA Percussionist, pianist, professor, composer; st. Warsaw Cons., with Boulanger, Cleveland Inst.; specializes in performing avant-garde percussion works; university lecturer, Poland, California, Indiana; awards, prizes, residencies. Works: orchestra, chamber, piano, voice, opera, theatre, electronic, multimedia. Style: ranges from pointillism to cantabile writing; colorful, often delicate; keen sense of architecture, occasional aleatory procedures” (Sadie and Samuel 1995, 378). Farewell Souvenir (Presser 1975) 6'. Hommage à I. J. Paderewski (Presser 1992) 5'. Journeys into Space, 2 vols. (PWM 1981) 19p. 19 charming miniatures for children, contemporary techniques. Elem-Int. Miniatures for Young Pianists (1982) (E.B. Marks 1983) 14p. 14 contemporary children’s pieces, fun and attractive, with strong rhythms, colorful tonalities. Early Int. Duets for children: Four Seasons for Four Hands (EBM); Music Alphabet for Two Pianos (PWM). [A&A, Boenke, CAMW, Cohen, Heinrich, Hinson, K800, KOM, LePage, NG, Pendle, Presser, S&S] PUIG-ROGET, Henriette: see ROGET, Henriette

Ran 189

R RABER DE REINDERS, Esther (1940- ) Holland/South Africa. Pianist, teacher, writer, composer; st. Buenos Aires, South Africa; teacher, Argentina, Israel, Johannesburg. Works: piano. El Rio Me Trae Recuerdos (Julio Korn 1961). Susurrandote (Korn 1961). Also: Preludes (1985); Six Sentimental Pieces (1983). [Cohen] RADFORD, Laurie (1958- ) Canada Scores av. Canadian Music Centre: PaRaBoLa (1989) 6'; Roiling (1997) 10'; Schoda(1989) 4'. [CMC] RAHBEE, Dianne Goolkasian: see GOOLKASIAN-RAHBEE, Dianne RAINIER, (Ivy) Priaulx (1903-1986) South Africa/Great Britain Violinist, professor, composer; st. South African Coll. of Music, RAM-London; honors, grants, commissions, awards. Works: orchestra, chamber, organ, piano, vocal, film. Style: unique, meticulous, infl. Zulu language and music, natural sounds; early works neo-tonal, clear textures; later, dissonance, clusters, pulsating rhythmic figures (Sadie and Samuel 1995, 382). Barbaric Dance Suite (Schott 1950/ILL) 12', 11p. 3 mvts, changing meters, bitonal dissonance, percussive, motivic. No.2 av. in “Frauen Komponieren,” ed. Rieger (Schott 1983). “Dominant impression is of delicacy rather than savagery” (Sadie and Samuel 1995, 382). Adv. Five Pieces for Keyboard Sets I, II (Schott 1955) 16'. Some are for piano, some for harpsichord. [Baker6, Boenke, CGGB, Cohen, FRK, FrMKassel, Fuller, Grove5, Heinrich, HinSup, K800, KOM, LePage3, Meggett, Pendle, NG, SCB, S&S] RAN, Shulamit (1949- ) Israel Concert pianist, professor, composer; st. Mannes College, Darmstadt, Tanglewood; residencies, fellowships, grants, commissions, awards, including 1991 Pulitzer Prize (Symphony). Works: orchestra, chamber, piano, vocal, electronic. Style: first conservative, later more avant-garde, with driving rhythmic energy. “Smart, sinewy music, its tone of intelligence is congruent with its sense of aliveness, necessity, soul” (The Boston Globe, as cited by Presser Publishing).

190 Raum Hyperbolae (IMI 1977) 7', 9p. “Searing, vibrant” (Burge 1990, 256). Set piece for 1977 Rubenstein competition (Israel). Maestoso-Molto energico. Opening measures supply material for entire piece; pointillistic, spacious, virtuosic, Messiaenic; some avant-garde notation (Hinson 2000, 629). Adv. Piano Sonata No.2 (IMI 1967/ILL) 10', 20p. 3 mvts: Moderate; Lento; VivoRondo. Early work; impressionistic, folk-like materials, linear, slender textures. Late Int/Early Adv. Short Piano Pieces (IMI 1967) 12', 13p. 7 melodic studies embodying musical effects: Crescendo; Semplice; Pesante; Staccato; Legato; Lugubre; Ritenuto. Dissonant, skillful, shifting meters and accents. On San Diego Music Teachers Intermediate Compositions list. Late Int. Verticals (Presser 1995/ILL) 17', 23p. One mvt in several interlocking sections roughly suggesting sonata-allegro form. All materials are based on opening 8-note chord; “inspired by pianistic style and textures, indeed by the sheer physical sensation experienced by the performer” (composer). Chromatic, pointillistic, clusters. Adv. Sonata Walzer for Piano (Presser 1994) 15p. Comm. for Elliott Carter’s 75th birthday, 1983. Autograph ms. reprint, proportional notation; score markings include “with resolution,” “with abandon,” “with growing brilliance,” “with grandeur.” Adv. See also: Structures (Boosey 1968); Toccata (Boosey 1965); 10 Children’s Scenes (Fischer 1970), pf 4-hands. [A&A, Axford, Baker6, Boenke, Burge, CAMW, Cohen, Fuller, Heinrich, Hinson, Kirby, LePage3, Meggett, NG, Pendle, Presser, SCB, sdiegomtac, S&S] RAUM [née Hodges], Elizabeth (1945- ) USA/Canada Oboist, writer, prolific composer; st. Eastman School, U. Regina; principal oboe, Atlantic S.O. (Halifax), Regina S.O.; awards. Works: opera, orchestra, chamber, keyboard, ballet, voice, electroacoustic, film. Style: conservative, eclectic, accessible. River Rhapsodie (CMC). On San Diego Music Teachers Intermediate Compositions list. [Boenke, CMC, IAWM, NG, sdiego, S&S) REES, Leanne (20th c.) USA Pianist, composer. Funky Tango. Praised by McClellan, Washington Post. Recorded on “Women Composers and the Men in Their Lives,” Fleur de Son Classics FDS 57939 (IAWM Journal Vol.7 Nos. 1/2 (2001): 51). [IAWM]

Reiser 191 REHNQVIST, Karin Birgitta (1957- ) Sweden Teacher, choir leader, composer; st. Royal College of Music, Stockholm; member, Society of Swedish Composers; residencies. Works: orchestra, chamber, vocal, electronic. Style: lyric; use of transformed folk materials. Web site: www.mic.stim (biographies). Dans (SwedishMIC 1985/ILL) 5', 8p. Abridged, from score notes: Explores limited timbral and expressive sphere; to be performed simply, playfully, with flexible rhythm, movement. Basic element, a wave movement, is expressed by marked tempo fluctuations, wave-like gestures. In 2 voices, lyric pentatonic melody and light, soft staccato clusters. Early Adv. [Cohen, FrMKassel, NG, Pendle, S&S, SwedishMIC] REID, Sally (Sarah) Johnston (1948- ) USA Oboist/English horn player, professor, composer; st. Abilene Christian U., Hardin-Simmons U., UT-Austin; professor, dept. chair and director of electronic lab, Abilene Christian U.; editor, ILWC Journal; IAWM president, 1999-2001; awards, prizes. Works: band, chamber, piano, vocal, electronic, film, electroacoustic. From Whence Butterflies? (AMC 1986/1992). Romance for pf & tape; on San Diego Music Teachers Intermediate Compositions list. Melancholy Piano (AMC 2003). Suite for the Ears of a Child (AMC 1985). March; Lullaby; Waltz. Three Bagatelles (composer, 1969) 5'. Late Int. Also: Sketch Based on Schumann Romance (1978). [AMC, Cohen, Heinrich, SAI, sdiegomtac, S&S, Zaimont] REISER, Violet (1905/1915- ) USA Organist, pianist, teacher, composer; st. privately; organist, Loews Theatre circuit, radio, Pythian Temple; over 100 published piano and vocal works. A Bouquet of Violets (Willis 1980) 10p. 5 graceful waltzes; lyric, charming teaching pieces, Romantic in style. Frivolities; Lilacs in the Moonlight; Lotus Blossoms; Moonlight Magic; Valse Sapphire. Int. New Dawn Fantasy (Musicord 1952/ILL) 6p. Romantic-style rhapsody in ternary form, Brahmsian texture of RH octaves/full chords, sweeping LH arpeggios. Early Adv. Enchantment, in “Recital Pieces for Piano: 26 Graded Solos for Recital Use” (Willis 1977) 3p. Moderately slow, 3/4; a graceful waltz-arabesque. Int. Waltzing Ballerina, in “Recital Time US.A: 19 Piano Solos by American Composers” (C. Fischer 1965) 2p. Lyric, gracious. Int. See also: Motivations; Impromptu (Presser); Cathedral Chimes (Southern). See Cohen for long list of concert and educational titles. [Cohen, Fazzio, Meggett, Stern]

192 Ribas RHENÉ-JAQUE: see JACQUES-RENÉ, Sister M. RIBAS (I MONNÉ), Maria Rosa (1944- ) Spain Pianist, guitarist, teacher, composer; st. Barcelona Cons. with Montsalvatge, Soler; prizes; teacher, Barcelona Cons. Works: chamber, piano, guitar. Accés Blau (Clivis 1987/ILL) 7', 10p. Atonal 2-vc ctpt, dissonant intervals, some quartal harmony; free form with sectional tempo, mood, and meter changes. Late Int. Díptic Op.16 (Clivis 1986) 12', facs. 18p. Two contemporary sketches: Vivo energico; Espressivo. Dissonant, changing meters/tempi, late romantic textures. Late Int/Early Adv. See also: L’Angoixa (1988) 6'; Fuga (1975) 3'; Preludi, Nocturn I Marxa (1978) 7'; Remembrança (1983) 2'; Sonatina Romàntica (1981) 6'; Suita Antiga (1970) 20'; Tema Variant (1980) 12'. [68CompCatalans, Clivis, KOM] RICHARDS, Kathleen: see DALE, Kathleen, Supplement RICHER, Jeannine [Janine] (1924- ) France Lecturer, composer; st. Rouen, Paris Cons.; serial music with Deutsch, Schoenberg; electronic music at International Center of Music Research; teacher, École Normale de Musique, Paris. Works: orchestra, chamber, guitar, piano, vocal, opera, theatre, electronic. Sonorité (Billaudot 1979/ILL) 8p. Duet, pf 4-hands & 3 accessories. Composer’s stated goal: introduction to unusual notation and extended playing techniques, including imprecise durations and tempos, approximate pitches, clusters, direct-string playing, striking frame, strings with sticks and a metal ruler. Late Int. See also: Delta V (1971); Entrechoquements et Zones Silencieuses (1971); Hantise (1978); Musique Mobile (1970); Tremblements/derapages (1982). [Cohen, K800] RICHTER, Elsa (20th c.) Country unknown Im Frischen, Grünen Wald (Tonger 1983). [FrMKassel]

Rickard 193 RICHTER, Marga (1926- ) USA Pianist, teacher, composer; st. Bergsma, Persichetti at Juilliard; founded Long Island Composers’ Alliance; commissions, grants, awards. Works: orchestra, band, chamber, piano, vocal, ballet. Style: multi-textural structures, accessible modern idiom. Eight Pieces for Piano (C. Fischer 1978/ILL) 10p. Alternating slow/fast tempos, thin textures, mixed meters, expressionistic. Late Int. Exequy (C. Fischer 1980/ILL) 2p. 6/8-3/4, 2-vc ctpt, LH ostinato, rhythmically offset RH. “Written at the death of Richter’s father, (it) is an effective mood piece expressing both anger and resignation” (Solomon 1994, 6). Late Int/Early Adv. Fragments (C. Fischer 1976/ILL) 5', 4pp, facsimile. “A collection of five miniature pieces, each developing motivic cells, with interrelations between them” (Solomon 1994, 6). Late Int. Remembrances (Elkan-Vogel 1979/ILL) 4p. 2-vc texture, soft pedal used throughout; murmuring broken-chord bass supports decorative stepwise melody, yearning 2-note slurs, gentle dissonances. Late Int/Early Adv. Requiem (C. Fischer 1986/ILL) 21', 17p. “Evocative, intense writing, enormously effective” (Hinson 2000, 643). Continually shifting textures, sections, tempi; toccata-like center, strongly rhythmic throughout. Adv. Sonata for Piano (C. Fischer 1980/ILL) 35p. MGM Records commission. Slow/Fast; Slow; Fast (furioso). Somber, even sinister, compelling, angular, dissonant harmonies, demanding (Hinson 2000, 643). Adv. See also: Bird of Yearning (Fischer 1976); 4 Romantic Studies Op.25 (Augener); Rhapsody (Chester); Short Prelude in Baroque Style (C. Fischer 1974); 3 Pieces Op.35 (Chester); Piano Concerto. Teaching pieces: 4 Piano Pieces; The Lost People; The Dancers; 2 Short Suites for Young Pianists. [Ammer, Bakers, Boenke, Cohen, Finell, FRK, FrMKassel, Fuller, Heinrich, Hinson, Jezic, K800, LePage, Meggett, NewGrAm, NG, SAI, S&S, Zaimont] RICKARD, Sylvia (1937- ) Canada Pianist, educator, writer, composer; st. Jean Coulthard (q.v.), Banff Centre, Toronto Cons., universities of British Columbia, Vancouver, StanfordCalifornia, Grenoble (France); prizes. Works: orchestra, chamber, piano, vocal. Music in Many Forms [A Student’s Guide to Musical Form], by Coulthard, Duke, and Sylvia Rickard (Waterloo 1983/Kjos). Useful volume for 20th c. study. Scores available from the Canadian Music Centre: Amblystoma (1981); L’Arcen-Ciel (1980), pf/hp; Estival [Ballet Sonatina] (1973); Nagareboshi/ Shooting Stars (1997); Sonatine. [Boenke, CMC, Cohen, Heinrich]

194 Rippas-Lüthy RIPPAS-LÜTHY, Susi (1936- ) Switzerland Märchen vom Däumelinchen [Tales of Thumbelina] (Hug #11211). Piano book for children. [Hug, KOM] ROBERT (–Diessel), Lucie (1936- ) France Concert pianist, organist, teacher, composer; st. Paris Conservatoire with Gallon, Aubin, Henriette Puig-Roget (q.v.); Premier Grand Prix de Rome, 1965; taught solfège at the Conservatoire. Works: orchestra, chamber, piano, vocal, opera. Deux Sonatines (Billaudot 1989) 3:45 and 4', 23p. Two 3-mvt sonatinas in 2-vc ctpt, hands often sharing one treble staff. Shifting tonalities/modes; some quintal writing, dissonance; rapid, rhythmic, light. I. Allegretto; Andantino; Presto. II. Gavotte; Andante; Prestissimo. Adv. See also: Deux Preludes (1963); Sonata (1975); Suite (1964). [Boenke, Cohen, FRK, FrMKassel, Heinrich, K800, KOM] ROBERTS, Gertrud Hermine Kuenzel (1906- ) USA Harpsichordist, teacher, composer; st. U. Minnesota, Leipzig Cons.; taught in Minnesota, Hawaii; pioneer of the 1930s American harpsichord renaissance. Works: orchestra, chamber, harpsichord, piano, vocal, film, theatre. Twelve Time-Gardens (Ho’okani Ent. 1976/ILL) 25', 31p. Impressionistic sketches of 12 different gardens in Hawaii. Tonal-modal, slender textures, attractive colors and movement; accompanied by evocative poems by Ruth Barati. Late Int/Early Adv. See also: Christmas Chaconne (Island Heritage 1970) pf/hpd; Elegy for John F. Kennedy (1965); Gavotte (1933) pf or hpd; Ländler; Three Bagatelles. [Axford, Cohen, Heinrich, Meggett, Zaimont] ROCHEROLLE [née Ricau], Eugénie Katherine (1936- ) USA Pianist, composer; st. Tulane U., in Paris with Burnham, Boulanger, Grundman. Works: orchestra, band, chamber, piano, vocal, sacred. Style: charming and melodic, influenced by composer’s French ancestry, “the ‘Cécile Chaminade’ of our time”(Journal of the IAWM 2000, 6/3: 54). Rocherolle has composed a huge number of teaching works for piano, including some National Federation selections. Some popular and readily available intermediate-level titles, pub. Kjos, are: American Sampler (1980); Blockbuster! Miniatures Montage (1980); New Orleans Remembered; Pages from a Scrapbook; Seven Scenes; Six Moods. Other publishers: Warner Bros, CPP/Belwin Mills, Alfred, General Words & Music, and Marks. [Albergo, Axford, Bauer, Boenke, Cohen, Fazzio, Heinrich, IAWM, ISMTA, Patti, SAI]

Roger 195 RODGERS, Sarah (20th c.) Great Britain Composer; director, Mechanical-Copyright Protection British Music Information Centre (BMIC); Chair of the the British Academy of Composers and Songwriters; Works: orchestra, chamber, solo instruments, film, vocal. www.impulse-music.co.uk/sarahrodgers. Letter from China (Impulse Edition 1998). Piano solo. [Impulse Music]

Society; Trustee of Concert Executive of commissions, prizes. Composer’s web site:

RODRIGUE, Nicole (c.1945- ) Canada Composer, teacher; st. École de Musique Vincent d’Indy, McGill U., U. Montreal; teacher, School Commission of Montreal, 1970-98. Works: chamber, band, choral, solo instrumental. Scores available from Canadian Music Centre: Babillage [Chatter] (2002); L'Oie Blanche [The White Goose], suite (2001). [CMC] ROFE, Esther Freda (1904-2000) Australia Pianist, composer; st. Melbourne Cons., later at the RCM-London with Vaughan Williams, Howell, Benjamin. Works: ballet, vocal, theatre, chamber, commercial arrangements. Style: infl. narrative ideas; uses free counterpoint, modes, English pastoral style (descriptions below: Carrigan 2001, 207). The Island (AusMC 1938 rev. 1993) 5'. Rhapsodic, romantic depiction of island landscape; large chords, brilliant flourishes, double 8vas. Adv. Piano Music (AusMC) 20p. 4-piece collection. Pro-tem Suite: little suite for the left hand (1937). The Island (1933, rev. 1993). Jester: arr. from the ballet “The Lake” (1962). Fur Elise (1989): single expressive movement, tonal, legato double thirds, consecutive chords. Int. Pierrette at Court (n.d.) 3p. A minuet. Facsimile score pub. by Graham Gill. See also: L’Amour Enchantée (ballet), 2pf duet. [AusMC, Carrigan, Cohen, NG] ROGATIS, Teresa de (Feninger): see Supplement ROGER, Denise (1924- ) France Concert pianist, composer; st. piano with Marguerite Long, Yvonne Lefebure, composition with Henri Busser, Noel Gallon, Paris Cons.; prizes incl. laureate, Concours International in Geneva. Works: orchestra, chamber, piano, vocal. Cinq Pieces Pour Piano (autograph facs. 1980/ILL) 11:35, 20p. 5 neo-classical pieces in thin textures, continuous 8th-notes; motivic repetitions, chromatic, changing meters. Lent. Leger et fluide. Doux: 3/4, legato. Lent. Final: très animé, steady 16ths. Early Adv.

196 Roget See also: Petite Romance. [Boenke, Cohen, Heinrich, K800] ROGET [Roget-Puig, Puig-Roget], Henriette (1910- ) France Organist, pianist, professor, composer; st. Paris Cons.; organist, Oratoire du Louvre, Paris; singing mistress, Paris Opera; Grand Prix de Rome, 1929 and 1933. Works: orchestra, ballet, chamber, piano, organ, vocal, theatre, opera. Abécédaire (Lemoine 1958/ILL) 36p. 26 bagatelles of progressive difficulty; descriptive character pieces (e.g. Jardinier, Marionettes, Xylophone). Bartokian, metric, simple melodies, contemporary harmonies, dissonant 2-vc ctpt. Several appear in anthologies “Magie du Clavier” and “Printemps Musical” (Lemoine). Late Elem-Late Int. Marine (Choudens 1934). [Cohen, Heinrich, K800 (as Puig-Roget), Meggett] ROI, Micheline (1963- ) Canada Composer; st. Queen’s U, McGill U; awards, honors, commissions. Works: chamber, vocal, piano, electroacoustic. Email: [email protected] Scores available from Canadian Music Centre: Don’t Try This At Home (1987) prepared pf; Of Experiential Fruit (1989). [CMC] ROO-VIERDAG, Corry de (1925-) The Netherlands Muziek voor Eurhythme (Donemus 1981) 35', 29p. 33 brief pieces to accompany eurhythmics classes. Simple folk-like melodies, basic accompaniments, tonal and pleasant, in easy keys; perfectly usable as short solos. Int. [KOM] ROSAS-FERNANDES, Maria Helena (1933- ) Brazil Pianist, choral conductor, professor, composer; st. Rio de Janeiro, Sao Paulo. Works: chamber, piano, vocal, choral. Style: often incorporates native American material. Ciclos (Ricordi Brazil? 1979). Prize-winning piece in the repertoire of many Brazilian pianists Sadie and Samuel 1995, 395). See also: Estudos (1976). [Cohen, NG, S&S] ROSATO, Clorinda (1913- ) Brazil Organist, pianist, teacher, composer; st. Conservatorio São Paulo. Works: chamber, piano, vocal.

Rossi 197 Valsinha (Pan American Union 1938). From “Coleção Infantil.” See also: Anjo da Guarda (1962); Baby (1942); Brinquedo de Road; Caximbobo; Chaconne; Dança do Caboclo; Dance Movement; Seresta; Sonata (1942); Valsa Afetuosa; Waltzes 1-3. [Cohen, Luper] ROSCO, B. Jeanie [B. J., Mrs. Bumpus; née Groh] (1932- ) USA Pianist, teacher, composer; st. Washington State U., Butler U., California State U.; workshops, lectures throughout the country. Works: orchestra, chamber, piano. Black Cubicals, in “Blue Ribbon Series Favorite Piano Solos,” ed. Flatau, Vol.1 (Belwin 1985). ISMTA Level IV. Country Sketches (CPP/Belwin 1990) 33p. 30 nature sketches. Elem-Early Int. Folk Tune Novelettes, 2 vols. (Belwin-Mills 1986/Warner Bros). Intended to “extend the melodic content through various modal accompaniments without disrupting the rhythm or distorting the main idea” (score). Elem-Int. Gallery of Sound Patterns (Willis 1984) 21 p. 6 contemporary solos using modes, tone clusters, parallelism, triads and non-tertian harmony, exotic scales, prepared piano, some unusual notation. Int-Early Adv. Spectrums Op.9 (Belwin-Mills 1980/WB) 11p. Four pieces demonstrating a range of characteristics. Evolution: tenderly, a piacere; one of a series of complex movements and formations. Equinox: quasi misterioso, one of two opposite points of circular movement. Imminency’s: grazioso, giocoso; something hanging or about to happen. Abstractions: vivace; geometric patterns or obscure forms (notes adapted from score). Dissonant, contemporary. Late Int. Variations on an American Folk Song (Willis). Tune: “Sing, Gaily Sing.” Int. Variations on an American Folk Tune (Willis). Tune: “The Fairy Ring.” Int. Whimseys (Willis 1985) 20p. Introduction to 20th c. melodic and rhythmic designs; includes analysis for each of the 10 pieces. Early Int. [Axford, Cohen, Hinson, ISMTA, scores] ROSSI, Wynn-Anne ( - ) USA Pianist, composer, educator; st. U. Colorado, Harvard, U. Illinois; presenter, Minnesota public schools; commissions, grants, festivals. Works: instrumental, vocal, piano. Web site: rossi-music.com. Contact composer for score: Theme and Ten Variations (self-pub). Adv. Many teaching pieces pub. FJH and Boston Music (Elem-Int). Popular titles include: An Alaskan Tour (FJH), a National Federation selection; Fourth Seasons (Boston 1992), 4 pieces; A Trip through the Rainforest (FJH), 7 pieces. Int. [AMT, Axford, composer, FJH

198 Rotaru ROTARU [Nemteanu-Rotaru], Doina Marilena (1951- ) Romania Professor, composer; st. Bucharest Conservatory, where she became professor, 1991; prizes. Works: orchestra, chamber, piano. Style: infl. Romanian folk music; heterophony, modal harmony, continuous variation, rhythmic, lyric, clear forms (Sadie and Samuel 1995, 396). Rascrucea Macilor [The Crossroad of the Poppies] (Ed. Muzicala 1980/1983). (May possibly be found in collection, “Kreuzweg der MohnBluhmen”). [Cohen (as Nemteanu-Rotaru), FRK, K800, NG, S&S] ROTH, Esther: see AESCHLIMANN-ROTH, Esther ROWLIN, Caitlin (1973- ) Australia Composer; st. U. Sydney. Works: concert music, music for films (bio, descriptions: Carrigan 2002, 207-208). Haiku 1 (AusMC-composer 1998) 2'. For prep. piano: paper clips on strings. Ternary, in haiku form: three sections of 7, 9, 7 measures. Int. Pieces of Eight (Aubade Music 1999/AusMC) 2'. Eight comical miniatures, each one line long; rhythmic interest, large stretches, contrary motion. Int. Shimmer (AusMC-composer 1998) 9:07. Calm, reflective, sensitive; measured/ unmeasured sections, pedal creates wash of sound. Late Int/Early Adv. The Four Egg Omelette (AusMC-composer 1998) 7'. Four pieces inspired by Satie; minimal rubato, pedal. First Egg: LH ostinato. Second Egg: interlude. Third Egg: sunny side up waltz. Fourth Egg: lively. Late Int. [AusMC, Carrigan] RUBIN, Anna Ita (1946- ) USA Pianist, professor, writer, composer; st. California Inst. of the Arts; fellowships, residencies, awards, grants; IAWM president elect (2007). Works: orchestra, chamber, piano, vocal, dance, electronic. Style: lyrical, dramatic, heterophonic, vocally inspired (Sadie and Samuel 1995, 396). Email: Rubin.Anna@oberlin. edu. Haunted House. “Wonderful introduction to non-traditional notation” (San Diego Music Teachers Intermediate Compositions list). Early Int. Also: Banana Rag (1976); Short Suite (1975); Ways of the Hand (1990); White Sound-White Space (1980). [Cohen, Heinrich, IAWM, K800, NG, sdiego, S&S] RUDISSIL, Bess: see Supplement

Ruff-Stöhr

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RUDOW, Vivian Adelburg (1936- ) USA Conductor, concert producer, pianist, composer; st. Peabody; awards, fellowships. Works: orchestra, chamber, solo instruments, electronic. Style: “a ‘Sound Portrait Painter,’ creating sound canvases of life. She uses music to express lives and feelings of people using musical language they can understand” (Solomon 1998, 5). Email: [email protected]. Rebecca’s Suite (Hollins & Park/Rubdown 1991) 16p. 2 pieces in memory of a young cancer victim. Rebecca’s Rainbow Racing Among the Stars: quasi-impressionistic, repeated chords, alternation of hands, 8th-note meters, shifting accents; tonal, with modal, pentatonic, added-tone and parallel chords. Rebecca’s Song: lyric, neo-romantic, Schumannesque, chordal, sweet. Late Int/Early Adv. [Cohen, Solomon] RUEFF, Jeanine (1922- ) France Pianist, lecturer, composer; st. Paris Conservatoire; prizes incl. 2nd Grand Prix de Rome, 1948; accompanist, solfège teacher, Conservatoire. Works: orchestra, chamber (esp. winds), ballet, opera. Prelude et Toccata (Leduc 1965) 8p. Neo-classical, modal in F, chromatic. Prélude: adagio, 3/2, a stately sarabande. Toccata: allegro, 2/4, running 16th-notes, alternating hands, octave doubling. Early Adv. Vacances Vol.1 (Holidays) (Leduc). 10 neo-romantic, conservative pieces with very easy chromaticism, modulations. Early Int. Vacances Vol.2 (Leduc). French suavity, taste, conservative 20th c. writing; 7ths, 9ths, added-tone chords; many gentle modulations, meter changes, idiomatic writing (Butler 1973, 1: 134-35). Int. [Boenke, Butler 1, Cohen, Combre, FrMKassel, Heinrich, KOM, SCB] RUFF-STÖHR, Herta Maria Klara (1904-1991) Germany Organist, pianist, violinist, teacher, composer; st. Berlin, Music Academy Stuttgart, U. Tübingen; piano and organ teacher, Hechingen. Works: orchestra, chamber, organ, piano, vocal. See München VDMK archives: Mobile; Sieben Klavierstücke; Tagebuch einer Ausstellung (1958), 5 pieces. Also: Adagio-Allegretto (1982); Karfreitag-Östersonntag [Good Friday-Easter Sunday] (1962); Maestoso e Andante Religioso (1954); Metamorphoso (1980); Schreitende Doppelfuge (1978); Sonatinensatz (1947); 4 Klavierstücke, 8p.; 20 Kleine Klavierstücke (1942-1975). [Boenke, Cohen, FRK, FrMKassel, Heinrich, K800]

200 Saariaho

S SAARIAHO, Kaija Anneli (1952- ) Finland/France Composer; st. Sibelius Academy, Freiburg, IRCAM-Paris; awards, commissions. Works: orchestra, chamber, vocal, theatre, electronic, ballet, multimedia. Style: exploration of harmony and timbres from electronic and acoustic sources. Monkey Fingers, Velvet Hand (Chester 1991). For further reading, see Sanna Iitti: “Kaija Saariaho: Stylistic Development and Artistic Principles,” IAWM Journal 7/3 (2001): 17-20. [Cohen, Finnish MIC, IAWM, NG, Pendle, S&S] SAINT-MARCOUX [Coulombe Saint-Marcoux], Micheline Coulombe (19381985) Canada Composer, pianist, electronic instrumentalist, teacher; st. Montreal Cons., École Vincent d’Indy, ORTF, Paris; teacher, Montreal Cons.; commissions. Works: orchestra, chamber, vocal. Style: early works serial; later favored atmospheric effects, manipulation of intervallic modules (Sadie and Samuel 1995, 401). Scores available from the Canadian Music Centre: Assemblages (1969); Brouillard-Épais; Doréanes (G.V. Thompson 1969); Kaléidoscope (1964), for LH; Mandalas I, II (1980); Variations sur un Theme Personnel (1963). [CMC, Cohen (as Coulombe Saint-Marcoux), Heinrich, Meggett, NG, Pendle, S&S, Stern] SAIZ-SALAZAR, Marina (1930- ) Panama Sonata (Pan American Union 1954-55). In three mvts, all duple meters. Dramatic, with much rhythmic drive, disjunct motion; neoclassic with chromatic dissonance, some 12-tone techniques (Cohen 2000, 665). Late Int-Early Adv. Also: Preludes for Piano. [Cohen, Hinson, Indiana U, Meggett] SALLES, Annita (1920- ) Brazil Impressoes da Amazonia (Brasil Editora Musical 1977). Pf or organ. Improviso (Cultura Musical) 3p. Sandalias Do Pescador (Cultura Musical) 2p. [FrMKassel]

Samter 201 SALUTRINSKAYA, Tatiana (20th c.) Russia Composer. Works: orchestra, piano. Numerous brief character pieces for teaching; pleasant, with mildly contemporary harmonies and rhythms. Elem-Int. The Shepherd Plays [The Shepherd Pipes; Chant du Berger], in “Contemporary Collection for Piano Students,” No.l, ed. Goldstein et al (Summy Birchard 1963). Also appears in “First Steps in Keyboard Literature,” ed. Olson (Alfred), “Everybody’s Perfect Masterpieces,” Vol. I (Alfred), “The Joy of Modern Piano Pieces,” ed. Agay (Yorktown), and others, below. 12-bar tune, andante cantabile, 4/4, D-Dorian mode, accompanied by a drone bass. Elem. Bedtime [Crepuscule], Hop Scotch [La Marelle], The Shepherd’s Tune [Chant du Berger], in “From Russia For Youth—Contemporary Piano Music By Russian Composers,” ed. Berlin (Frederick Harris 1971). Anthology of 28 contemporary pieces. Early Int. The Cuckoo, in “Guild Repertoire,” Elementary C-D, ed. Poldosky (Summy Birchard) 2p. Cute character piece. Elem/Late Elem. Time to Go to Sleep; The Shepherd Plays; Sonatina, in “Russian Music for the Young Pianist,” Bk.l, ed. Zeitlin & Goldberger (MCA Music 1967). Elem. [Albergo, Butler, Cohen (as Saliutrinskaya), Hinson (collections), ISMTA] SALVADOR, Matilde (1918- ) Spain Pianist, lecturer, the leading female Spanish composer of the century (Grove Online, 4 February 2004); studied and taught at the Conservatorio Superior de Musica in Valencia; grants, prizes. Works: orchestra, chamber, vocal, ballet, opera, theatre. Style: combines Valencian traditions and contemporary harmony. Sonatina (EMEC Madrid # E00033). [Cohen, KOM, NG] SAMTER, Alice (1908- ) Germany Pianist, teacher, composer; st. Berlin; taught art and music, Berlin high schools; co-founder, Berlin Chamber Music Circle; commissions, honors. Works: orchestra, chamber, piano, vocal, theatre, educational music, multimedia. Style: emphasis on humor; short, succinct, aphoristic; affinity with Stravinsky (Sperber 1996, 57). Eskapaden (Furore 1987/ILL) 7p. 3 caprices, playful and pianistic; staccatos, alternating hands, wide ranges, proportional rhythms, shifting accents, 8th–note textures; tonal, with “wrong-note” dissonances. Allegroleggiero: controlled leaps, changing rhythms. Presto: repeated notes, impression of daring. Vivace: continual “outbreaks” of short tonal figures. Adv. Match (Cranz 1981/ILL) 4p. Allegro moderato. Colorful rhythmic race in changing quarter-note meters; shifting accents, staccatos; tonal center C, with added-tone dissonances. Early Adv.

202 Samuel, Rhian See also: 3 Aphorismen (1962); 3 Klavierstücke zu Plastiken von Jos; Magnus (1973); 3 Phasen (1968); Prisma, pf/organ (1972); Varianten (1976). [Boenke, Cohen, FRK, FrMKassel, Heinrich, K800, KOM, SCB, Sperber, S&S, Zaimont] SAMUEL, Rhian (1944- ) Wales Lecturer, composer, author; st. U. Reading, Washington U. (St. Louis); prizes, awards; co-editor, Norton/Grove Dictionary of Women Composers (Norton & Co., 1995). Works: orchestra, chamber, vocal. Style: mature abstract modernism with residual 12-tone procedures; recent works more tonally forthright (Sadie and Samuel 1995, 403). Dream-Images (Stainer & Bell 1997) 15', 34p. A cycle of five neo-classical sketches; tonal but dissonant, shifting key centers, slender textures, Brittenesque. From score notes: Rhapsodic dream sections are interspersed with short angular Interludes. Winding Paths; Interlude I; Distant Fountains; Interlude II; Weeping Trellises: refers to drooping wisteria blooms on a lattice, depicting inevitability, loss. Early Adv. See also: Mosaics (1988) 6'; Ymddiddan [Dialogue] (Stainer & Bell 1998), 2pf. [Cohen, NG, Pendle, S&S, WelshMIC] SAMUEL, Virginia (20th c.) USA Recipient, 1994 Walter Hinrichsen Award, sponsored by C.F. Peters Corporation, and presented via auspices of American Academy of Arts and Letters. “uttermost parts of the sea” (Henmar 1995/C.F. Peters) 12', 25p. Rhapsodic work of shifting moods, through-composed, mainly in 2-vc dissonant ctpt; extreme registers, wide dynamic range, changing meters, difficult rhythms. Includes many unusual affective markings, such as “eerie, affectionate, lazy, violent, impatient, wailing.” Adv. [Patti, Tfront] SANDIFUR, Ann Elizabeth (1949- ) Editor, poet, teacher, composer; st. Mills College, San Francisco Cons.; instructor in broadcast engineering and TV-radio communications; prizes, grants. Works: chamber, electronic, theatre, multimedia. In Celebration of Movement (Berkeley: Arsciene 1978) pf & tape. Scored Improvisation (Arsciene). Acoustic or electric keyboard. Also: Columbia River (1981), synth, electric pf, acoustic pf; TVCOMOO1.TEL (1984) synth; Shared Improvisations (Arsciene 1977), 4-hands duet. [Cohen]

Sato 203 SANDRESKY, Margaret Vardell (1921- ) USA Organist, teacher, composer; st. Salem Coll. (North Carolina), Eastman School, Frankfurt (Germany); teacher, Oberlin, UT-Austin, Salem Coll.; commissions, awards. Works: orchestra, chamber, organ, piano, voice. Scores listed with American Music Center: Pajaro en el Espacio [Bird in Space] (2000); Ricercare (1970). Also: Nocturne (1938); Quiet Shining (1984); To Be Played in the Mountains (1974). [AMC, Cohen, Heinrich, SAI, Stern] SANGÜESA, Iris (193?- ) Chile Percussionist, pianist, teacher, conductor, composer; st. Chile National Cons. with Becerra, Ginastera. Works: orchestra, chamber, piano, vocal, ballet, multimedia. Mariposas; Paseo; Cancion Araucana; Tonaditas Nos.2, 4, in “El Pianista Chileno,” Vol.1 (Chile Nacional Cons. 1963). 5 contemporary teaching pieces: bitonal, whole tone, quintal harmonies, 2-vc textures, rhythmic. Late Elem-Early Int. See also: Pieces for Children (1969); Variations (1962). [Boenke, Cohen, score] SASTOK, Helve (1958- ) Canada Pianist, violinist, teacher, composer; of Estonian parentage; st. U. Alberta; 1993 Artist in Schools, serving as resident teacher of piano and composition. Available from Canadian Music Centre: 14 Children's Pieces for Piano (1984); Duologue (1997); Elegy (1984); Jubilee Miniatures 1-4 (1998); Piano Variations (1981); Sonata No. 1 (1978) [CMC SATO [Satoh], Kimi (1949- ) Japan Composer; st. Toho-Gakuen School, Paris Cons. with Messiaen; commissions, 1984 Prix de Rome. Works: orchestra, chamber, flute, electronic, vocal, traditional instruments, piano. Style: rich, colorful timbres, dynamics provide shape and motion (Sadie and Samuel 1995, 405). Cho-Ku-On pour Piano (ONT Contemp. Japanese Music Series 1976). Super-Ciel-Sonore [Beyond Space, Sound] (1976). Flexible length. Also: Bleu et Bleu (1982), 2pf duet, comm. Radio France. [Cohen (as Satoh), Japan Fed, musicfromjapan.org, S&S, Yamaha]

204 Sauter SAUTER, Maya (1910/1915- ) Switzerland Pianist, composer; st. Neuchâtel. Works: flute, piano. Klaviermusik für eine Hand allein (Hug/ILL) 23p. 24 imaginative exercises, etudes, and character pieces for either hand alone: 8 short Improvisations, to be transposed. 12 Etudes in one or more voices. 4 Impromptus: Sennentanz; Allegro; Ping-Pong (bouncing triads); Der Hampelmann (jumping-jack). Early Int-Early Adv. [Boenke, Cohen, SCB] SCHEIDEL, Elizabeth R.: see AUSTIN, Elizabeth R. Scheidel SCHERCHEN (-HSIAO), Tona (1938- ) France/China Conductor, lecturer, composer; st. Chinese music with mother, composer Xiao Shuxian (Hsiao Shui-sen, q.v.), Western music with father, conductor Hermann Scherchen; later st. Mozarteum, with Messiaen (Paris Cons.), Ligeti (Vienna); awards, prizes. Works: orchestra, chamber, vocal, ballet, theatre, electronic. Style: oriental influence discernible in her approach to sound and form, tying them to the development of rhythm and tempo (Sadie and Samuel 1995, 407). Radar (Amphion 1983/ILL) 14', 38p. Primitivistic toccata, vivace-prestissimo, with occasional slower passages. Chromatic, dissonant intervals, shifting accents in continuous 8th-note texture, dynamic range pp-p. Extended techniques: approximate durations and tempos, aleatoric repetitions, tone clusters, muted strings. Adv. [Boenke, Cohen, Heinrich, K800, NG] SCHIEFFER, Eva ( - ) Country unknown Punkt [Period] (Dohr/ILL) 2p. The ultimate minimalist piece, this consists of one note, a bass C held by the pedal. Score includes extensive directions (in German): 1. During the ringing of the tone, the player must hold tension in his body until the end of the piece. 2. The tone must die away completely before slowly releasing the pedal. 3. In the pause at the end, the player must continue to show bodily tension. [KOM] SCHMIDT, Heather (20th c.) Canada/USA Concert pianist, professor; st. Indiana U., Juilliard; commissions, awards, prizes. Works: orchestra, chamber, solo instruments. Style: neo-romantic, expansive, lushly textured, elegant. American Music Center, Canadian Music Centre listings: Chaconne (1999) 10'; Prelude and Fugue (2000) 8'; Solus (1996); Sonata in 2 mvts (1994); Sprint (2003) 7'. [AMC, CMC]

Schonthal 205 SCHMITZ-GORE, Else (1901-1987) Germany Concert pianist, professor, composer; st. Cologne and Stern conservatories; professor, Musikhochschule in Cologne; awards. Works: orchestra, chamber, piano. Elegie (für die linke Hand allein), in “Frauen Komponieren,” ed. Rieger and Walter (Schott 1992) 2p. Andante sostenuto, 6/8. A lovely work, sonorous, lyric, rhapsodic and elegiac. Excellent study in careful voicing and phrasing, balancing melody, accompanying chord tones. Late Int/Early Adv. Ms copies, listed with Frau Musik Archiv, Kassel: Andante, Capriccio; Fantasie in F Major; Improvisation und Fugato über E-S-G; Suite (1945). [Boenke, Cohen, FRK, FrMKassel, score] SCHONTHAL, Ruth E. (1924- ) Germany/USA Pianist, lecturer, prolific composer; st. Berlin, Stockholm, Mexico City, Yale; prizes, awards, commissions. Works: orchestra, chamber, piano, vocal, ballet, opera, film. Style: blend of traditional and contemporary techniques; sensitive, with strong feeling. Bird Calls for Piano (OUP 1988) 2p. Commissioned by Clavier. Whole-tone twitters echoed from one hand to another. Late Elem. The Canticles of Hieronymus (Furore 1997) 18', 33p. “Three interconnected movements, based loosely on the triptych by Hieronymus Bosch ‘The Garden of Delight.’ Virtuosic, dramatic and contrasting with some reference to medieval and spiritual elements”—score. Adv. Fiestas y Danzas (Furore/Leonarda) 13', 19p. Opening Fiesta, 4 Danzas, and 2 “Borracheras,” a tribute to the spirit of Mexican music and its people. Using Latino folk-like melodies and rhythms, bitonality; “it is meant to exude a kind of blissful intoxication” (composer, as cited in Solomon 1994, 5). Early Adv. Fourteen Inventions (1984) (Furore 1997) 41 p. For hpd or pf. In 14 different keys; most are in 2-vc ctpt with changing meters. Late Int. Frag-me-nts From A Wom-an’s Di-ary (Hildegard 1997) 42p. MTNA commission, 1982. A 20th c. “Frauenliebe und Leben.” 29 descriptive sketches of events in a woman’s life, in an enchanting variety of pianistic styles; titles include Kinder, Küche, Kirche; Tentative Beginnings; Wedding March; Cradle Song; Distraught; and Final Waltz. Early Adv. From North and South of the Border (Yorktown) 5p. 4 brief teaching pieces: Sweet Americana; Leisurely Ride; Duet in the Fields; Memories from Mexico. Late Elem. Gestures (Eleven Pieces) (Hildegard 1991) 8', 8p. 11 brief pieces with expression indications for titles; traditional & extended techniques. Int. Heidelberger Fanfare with Variations (Furore 1996) 7', 14p. Written for the 500th anniversary of the city of Heidelberg. 11 short, pianistic variations, based on the letters “Hedebeg” (composer, score). Late Int.

206 Schonthal In Homage of . . . (Furore 1997/Leonarda) 18', 21p. 24 preludes honoring Chopin, Bartok, Hindemith, Scriabin, Rachmaninoff. “The effect is often very fleeting, romantic in content, impressionistic in treatment, with twentieth century harmonies and sensibilities incorporated” (composer, as cited in Solomon 1998, 2). Adv. Japanese Sketches, 3 bks. (Furore 2000). Descriptive sketches. Elem-Early Int. Miniatures, 3 bks. (Galaxy/Shawnee 1964). 31 attractive study/recital pieces of progressive difficulty, with helpful notes. Elem-Early Int. Miniscules (Carl Fischer 1973) 14p. 10 tiny tone poems, many throughcomposed, well-shaped phrases; see esp. Bugles from Afar, Bells on the Top of the Hill, and Sunset (Agay 1981, 394). Elem. Nachklänge [Reverberations] (Oxford 1974/Furore) 16', 16p. Pf & added timbres. Preludium; Choral; Sehnsuchtstema; Der Krieg; Ich hatt’ einen Kameraden; Verzweiflung; Nachklänge; Vulgärheit (Waltzer); Nachklänge; Abgesang. Adv. Near and Far (Carl Fischer 1975) 14p. 13 musical sketches of scenes in nature; atmospheric. Late Elem/Early Int. Pentatonics (Carl Fischer 1996). “11 imaginative pieces exploiting the pentatonic scale, bitonality, changing meters, and parallelism (Hinson 2000, 689). Int. Potpourri (Carl Fischer 1976) 11p. 10 descriptive sketches, both thoughtful and gay, requiring careful pedaling, delicate touch, rubato; “atmospheric, sensitive music, notable for the plasticity of its phrasing” (Agay 1981, 401). Early Int. Self Portrait of the Artist as an Older Woman (Hildegard 1995) 12p. Contemporary idioms and techniques. Early Adv. 65 Celebrations (Furore 1996) 38p. For pf or organ. Preludes, interludes, postludes, for use in religious services. Sonata Brève (Furore 2000) 7:30, 8p. Single movement in changing tempos and moods; “a study in warm sonorities and color from the tranquillo opening through large climaxes to the final decay of sound” (Magrath 1995, 491). Early Adv. Sonata in E-flat (1947) 16'. Adv. Sonata, Quasi un’Improvisazione (Furore 2002) 11', 14p. Thin textures, through composed, changing meters, register, and moods. Adv. Sonatensatz (Furore 1997) 7', 12p. Contemporary; proportional rhythms. Adv. Sonatina (Furore 1998) 10', 6p. Tonal, pianistic, and pleasurable. Allegro; Andantino; Allegro scherzando. Late Int/Early Adv. Three Elegies [3 Elegies for a Murder Victim] (Furore 1997) 6', 6p. In memoriam for Gregg Vance. Andante con moto: sorrow. Allegro non troppo: anger. Molto tranquillo: reconciliation. “Suitable for lecture recitals, memorial services or as a recital piece”—score. Int. Toccata and Arietta (Fine Arts 1989) 5p. In a minor, alternating hands in 16ths, changing meters; Allegro, Cantabile molto, Andante. Early Adv.

Schubanowa 207 Variations in Search of a Theme (OUP 1976) 16', 15p. Fifteen contrasting variations of an implied theme, with “brittle gestures, dissonant harmonies”(Hinson 2000, 688). Early Adv. Also: Blue Preludes (1963); Capriccio Español (1945); Etüde C-dur (1939); Etüde d-moll (1939); Etüde Es-dur (1939); 14 Inventions a Due Voci, hpd or pf (Furore); Impromptu c-moll (1939); Kleines Prelude C-dur (1940); Neun Variationen über ein romantisches Thema e-moll (1942); Pierrot Dansant, Prelude cis-moll (1941); Präludium und Fuge in b (1945); Präludium und Fuge in f (1947); Präludium und Melodie (1936); Prelude cis-moll (1939); Prelude Des-dur (1940); Prelude Cdur (1940); Rhapsodie g-moll (1940); Sechs Preludes (1945); Sonata in b (1950); Sonate D-dur (1936); 12 Inventions a Due Voci (1984); Walzer (1930); Wiegenlied A-dur (1945). See C. Bisda: “The Piano Works of Ruth Schonthal,” Ph.D. diss. (Manhattan School of Music, 1991). [A&A, Agay, AMT, Axford, Bauer, Cohen, FRK, FrMKassel, Heinrich, Hinson, Jezic, K800, Kirby, KOM, LePage, Magrath, Meggett, NG, SAI, sdiego, Sperber, S&S, Zaimont] SCHORR (-WEILER) [née Weiler], Eva (1927- ) Germany Painter, organist, child prodigy pianist/composer; st. Stuttgart Staatliche Hochschule für Musik, with Messiaen in Darmstadt; international competition winner. Works: orchestra, chamber, piano, organ, vocal, opera. Style: strict serialism, linear, contrapuntal; traditional and contemporary techniques. “Zeitbilder” für Klavier (1988) (Carus 1999/ILL) 12', 13p. 4 attractive “timepictures” based on a 12-tone tone row and its permutations. 1. Tropft [Dripped], 2. Eilt [Hurried]. 3. Dauert [Lasting]: passacaglia bass. 4. Steht Still [Standing still]: begins with a fugue. Pointillistic, extreme ranges, tricky rhythms, silent chords held by sostenuto pedal; performance notes in German. Adv. See also: 8 Präludien und Fugen (1949); 8 Variationen (1957); Fantasie und Toccata (1954); 4 Rhythmische Etüden (1961); Der Kleine Zoo (1949); Movie für Sebastian (1993); One Step (1993); 6 Bilder (1967); 70 Spots (1988); Sonata in F major; Toccata; Der Tierkreis, 12 Klavierstücke (1958); 4 Sätze für Klavier: Toccata/Passacaglia/ Intermezzo/Fuge. [Boenke, Cohen, FRK, FrMKassel, Heinrich, K800, Sperber, S&S] SCHUBANOWA, Gasisa (1927- ) Russia Praeludium in “Album Sowejtischer Kindermusik,” Band IX (Sikorski). [KOM]

208 Schubinskaja SCHUBINSKAJA, Valentina (1926- ) Russia Lied fur Klavier in “Album Sowejtischer Kindermusik,” Band IX (Sikorski). [KOM] SCHUYLER, Philippa Duke (1931-1967) USA African-American writer, child prodigy composer/concert pianist; guest artist with orchestras around the world; died in helicopter crash, Vietnam. Works: orchestra, piano, vocal, folk music arrangements. Style: piano juvenilia; later pieces infl. Bartok, traditional African music (Sadie and Samuel 1995, 416). African Rhapsody (1964). Indiana University Music Library has a tape recording (Axford 1997, 32). Int-Adv. Fortune Favored the Bold Player, in “Black Women Composers,” ed. WalkerHill (Hildegard 1992) 2p. Third movement of White Nile Suite. Vivace, 4/4, short phrases, chordal center section. Late Int. Men At Work (The WPA On a Construction Job) (James Weldon Johnson Collection) 2p. From Nine Little Pieces (Schuyler 1938). 8/8, atonal, programmatic; 32nd notes, LH octaves (Axford 1997, 177). Elem-Int. Rumpelstiltsken (Ricordi S.A. 1955/ILL) l0p. Molto allegro-scherzoso, 12/8, f minor. Vigorous, exciting ballade-rondo; dramatic sectional contrasts depict story’s characters. Early Adv. Suite Africaine 1958 (Composer/Performer Ed.) 8p. Tweyanze; Chisamnaru; Nogomo Fumita; Embogo Sanga. Int-Adv. Wanchai Road (n.p. 1959) 2p. A location in Hong Kong. White Nile Suite, A Musical Saga Depicting Arab History in Egypt and the Sudan 1964 (Library of Congress). African idioms: shifting accents and meters, syncopations, additive rhythms, driving bass ostinati, ornately ornamented melodies. The Foundations of the Arab Revolt: The Clashing Jealousies: augmented intervals, forearm clusters. Alexandria (Oldest Metropolis of Modern Egypt): 2/2, oriental mode. Fortune Favored the Bold Player: see above. The Fall of the Fortress of Babylon, Egypt (Thus Began the Epic of Arab-African History): rapid 6/8, descending trills, motivic repetition (Axford 1997, 32). Int-Adv. Also: Eight Little Pieces; Five Little pieces; Khanghai 1959 (n.p.) The Rhapsody of Youth; Three Little Pieces; Nile Fantasia, pf & orchestra See Helen Walker-Hill: From Spirituals to Symphonies: African-American Women Composers and Their Music (Greenwood, 2002). [Anderson, Axford, Cohen, Home, KOM, NG, Southern, S&S, Walker] SCHWENDINGER, Laura (20th c.) USA Composer, professor; st. UC-Berkeley; teacher, U. Illinois-Chicago, San Francisco Cons., UC-Santa Cruz; grants, commissions. Works: chamber, piano, voice. Style: luster, transparency, sinewy counterpoint—The Washington Post. Point of Balance (Freeland #34) 2:45.

Scurria 209 See American Music Center listing for scores: Magic Carpet Music (2002) 13'. Pointillisms (1997) 12'. Collection: Point of Departure; Pedal-Point; Point of Balance; Boiling Point; Exclamation Point. [AMC, Tfront] SCLIAR (CABRAL), Esther [Ester] (1926-1978) Brazil Concert pianist, conductor, teacher, composer; st. and taught in Porto Alegre and Rio de Janeiro; formed choirs; prizes, awards. Works: orchestra, chamber, piano, vocal, film. Sonata (1961) (Goldberg Ed. 1997/ILL) 40p. 1st Prize winner, 1961 Brazilian National Radio Competition. Well-written, appealing tonal-modal themes; 2-vc ctpt, neo-classical with some folk and jazz influence, syncopations, quartal writing. Allegro: vigorous, accents, changing meters. Solene: expressivo, lyric melody in middle voice. Allegro: 16th-note toccata. Early Adv/Adv. [Boenke, Cohen, NG, S&S] SCOTT, Hazel Dorothy (1920-1981) Trinidad/USA African-American classical and jazz pianist, singer, actress, composer; child prodigy; st. Juilliard; began in radio, clubs; had an enthusiastic following, many recordings. Works: piano. Caribbean Fete (n.p. 1940). Score av. American Music Research Center, University of Colorado-Boulder. 4-mvt suite: Dame Lorraine; Castellan; Paseo-Careso; Ash Wednesday. “For the Carnival in Trinidad marking the last three days preceding Ash Wednesday and ushering in Lent. Traditional melodies; waltz and calypso rhythms” (Axford 1997, 341). Int-Adv. Five Piano solos from Boogie-Woogie to the Classics (Leeds 1943/ILL) 23p. Clever, pianistic collection. One original work: Hazel’s Boogie Woogie, 5p. In C; a fast cut-time boogie with standard ostinato bass, nimble RH, added-tone blues chords. Collection also contains 4 jazz arrangements of classics, performed by Scott in 1940s upscale jazz clubs: Bach Two-Part Invention in a minor, Rachmaninoff Prelude in c#, Liszt Hungarian Rhapsody No.2, and the gypsy song, “Dark Eyes.” Great fun. Early Adv. [Axford, Cohen, FRK, FrMKassel, NG, Walker] SCURRIA, Amy (1973- ) USA Pianist, composer; st. Rice U., Peabody Cons. with Chen Yi (q.v.) and Robert Sirota; awards, commissions. Works: chamber, piano, vocal, choral. Av. through Theodore Presser or directly from composer: www.amyscurria.com.

210 Sebastiani Fantasy for Piano (Scurria 1992) 3:45, 5p. Flowing figures, sectional changes in meter, texture, mood; accessible modal harmonies, 7ths, added-tone chords; strongly rhythmic, conservative. Late Int. Variations on Reflection (1994) 5:30, 5p. Lyric, neo-romantic, tonal with addedtone chords, 3x2 cross rhythms. Int/Late Int. See also: After Tomorrow (1990); Charlotte (1990); Chris’ Song (winner, 1990 N. Va. Young Composers’ Competition); Class of '91 (1991); A Fork in the Road (1989); The Irish Song (1989); Silent Words (1991); Simple Thoughts (1989); Sometimes in the Evening (1986); Unforgettable Moments (1989); Untitled (1989); Vocalise (1992). [composer, Presser] SEBASTIANI, Pia (1925- ) Argentina Concert pianist, composer; daughter of Italian harpist Augusto Sebastiani; st. Messiaen (Paris), Copland (Berkshire), Milhaud (Boston); international performance honors, awards. Works: orchestra, chamber, piano, vocal. Cuatro Preludios Nos.1-4 (Southern-Peer 1944-47/ILL). “Published separately. Nos.1 and 3: technically the easiest, with No. 3 (Lento) freer. No.4: bright, festive” (Hinson 2000, 724). Preludio No.2 (6p, av. ILL): Vivace, 6/8-3/8, a lively jig; dissonant but tonal, with wrong-note harmonies, hand-crossing, imitative 2-vc ctpt. Clever writing. Late Int. Cancion de Cuna Para Bibi (Ed. Argentina de Music 1947/Southern/ILL) 2p. 2/4, modal in G, a gentle cradle song. Narrow range, close 2-voice duet writing; delicate rocking sensation results from continual suspensions between hands (LH plays “late” throughout). Int. [Axford, Cohen, Hinson, Meggett] SEEGER, Ruth Crawford: see CRAWFORD SEEGER, Ruth SEHRIG, Maria ( - ) Germany Improvisation auf 10 Jazz-Themen (Robert Lienau 1980/ILL) 30p. Ten original tunes, each with several brief improvisations in various conservative jazz styles: Dreaming at the Beach; Railroad Travel; A Rainy Day; Blue Evening; Talking About You; White Lady; November Melody; Mexican Honey; Funny Girl; Happy End. Solidly pianistic, tonal; good teaching or cocktail pieces; performance notes in German. Int/Late Int. See also: Jazz-Studien (Robert Lienau). [KOM]

Setti 211 SELLECK, Johanna (20th c.) Australia Teacher, flutist, music critic, composer; st. Melbourne U., Victorian Coll. of the Arts, where she is also lecturer/tutor; commissions, prizes. Works: orchestra, band, chamber, flute, electronic, opera. Recantations (AusMC 1998) 5:30, 5p. Composed for Ian Holtham. [Australian Music Centre] SEMEGEN, Daria (1946- ) Germany/USA Electronic instrumentalist, professor, author, composer; st. Eastman, Yale, Columbia, with in Poland; awards, grants. Works: orchestra, chamber, piano, vocal, dance, film, electronic. Style: focus on aural color, shapes; often uses tone rows like traditional scales; droll sense of humor (Sadie and Samuel 1995, 418). Five Early Pieces (ACA 1974/ILL) 5p. 5 Bartokian teaching pieces. Quiet Song: 4/4, moderato, modal in C, RH melody, LH descending C scales. March: 4/4, LH staccato 2nds, legato RH melody. Dance 1 (7/8), Dance 2 (5/4-3/4): fast, lively. Twelve-tone Study: changing 8th-note meters, 2-vc ctpt. Late Elem/Early Int. Three Pieces for the Piano (1966) (ACA 1979/ILL) 5p. A serial student work. Adagio: quasi chorale, expressive, lyric. Allegretto giocoso: leggiero, pointillistic, wide pitch range. Moderato-grave: chordal. Early Adv. See also: Rhapsody for Midi Grand Pf (1990). [Boenke, Cohen, Fuller, LePage, NG, SAI, S&S, Zaimont] SERAFIN, Ewa (1955- ) Norway Miniatures for Piano (Music Information Centre Norway 1975) 13'. [MICNorway] SETTI (DE CASTRO LIMA), Kilza (1932- ) Brazil Ethnomusicologist, composer, professor, pianist; st. with Guarnieri in Sao Paulo, ethnomusicology in Lisbon; founding member, Brazilian Folklore Association. Works: orchestra, chamber, piano, vocal. Style: individual, with some works based on popular folk melodies. Cinco Peças Sobre Mucama Bonita (1960). Theme and variations on a children’s song, Mixolydian mode. Performed by Dr. Luciana Soares (Nicholls State University), CMS conference, Kansas City, 9-29-02. Duas Peças para Piano (1958) (Ed. Novas Metas 1978/ILL) 4p. Roda: 2/4, com alegria. Tanguinho: 2/4, simples. Delicate, simple dances in the treble clef, with folk-like tunes, modal and pandiatonic colors. Int. Oito Variações Sobre um tema popular “Onde Vaise, Helena” (Ricordi 1972) 15', 19p. Eight contrasting variations, individualistic, strongly chromatic (Hinson 2000, 672). Late Int/Early Adv.

212 Shapiro Valsa (Ricordi 1970) 5', 9p. Calmo: chromatic, thin textures, central climax, ppp ending (Hinson 2000, 672). Late Int/Early Adv. See also: Ciranda; Duas Pecas: Canto de Yemanja; Canto de Ere (1972); Interludio (in memory of J.C. Nobre) (1959); A Moda de Luiz Gonzaga, baiao; Multisarabanda (1987); Samba-lenco; [Axford, Boenke, Cohen, Hinson, NG, S&S] SHAPIRO, Alex (1962- ) USA Pianist, composer, essayist; st. Juilliard, Manhattan School with Ursula Mamlock (q.v.), J. Corigliano; awards, grants, fellowships. Works: chamber, piano, film, television. Piano Suite No.1: The Resonance of Childhood (Activist 1999) 12', 19p. From composer’s notes: “Intentionally simple, this piece is a personal reflection of a childhood that remains unsettling.” Variations on a Memory: 4/4, hesitant, searching. On My Mother: 9/8, adrift at sea. Quiet Child: 6/8, curious, sensitive. For My Father: 3/4, pensive, a cruel descent into dementia. Older: 6/4, with hope, time brings acceptance. Late Int/Early Adv. Sonata (Activist 1999) 16', 27p. From composer’s notes: classical form, motivic development, strong melodies and rhythms. Moderate: 2 themes develop independently, then are interwoven; implied jazz harmonies against more angular melodic lines. Lento/Andante: emotional, dreamlike journey leads to passionate outburst. Scherzo: impish romp through bitonality; amusing recital encore. Early Adv. See also: Intermezzo (AMC 1998) 3'. [AMC, IAWM, SAI, scores, www.alexshapiro.org] SHATIN [Allen; Shatin Allen], Judith Allen (1949- ) USA Professor, composer; st. Douglas Coll., Juilliard, Princeton, with Babbitt, Luening, Druckman, Schuller; fellowships, awards, commissions; director of Computer Music Center, U. Virginia; president, American Women Composers, Inc. Works: orchestra, chamber, vocal, opera, electronic, electroacoustic. Email: [email protected]. Widdershins (Arsis 1983) 8:30, 18p. 3 mvts: Energetic; Tranquil; Savage. Title is reflected in use of contrary intervals, motives, and contours. 12-tone construction (overlapping cycles of three 4-note groups), occasional 3rds, underlying pulse. Adv. American Music Center listing: Chai Variations on Eliahu Hanavi (1995) 21'; Fantasy on St. Cecilia (1996) 21'; Scirocco (1981) 4'; Sphinx (1982) 4'. [AMC, Cohen (as Allen), Heinrich, K800, NG, Pendle, SAI, score, S&S, Zaimont] SHIBATA, Haruna (pseud.): see MIYAKE, Haruna

Shlonsky 213 SHIOMI, Mieko [Chieko] (1938- ) Japan Composer, pianist, performing artist; st. Tokyo Nat’l University of the Arts. Works: experimental events, mixed media, chamber, vocal, electronic. Direction Music for a Pianist (Japan Fed 1991/ILL) 20', 10p. Avant-garde, aleatoric, dramatic. 32 phrases with accompanying directions/poems; to be copied, cut out, and attached to cardboard. After playing each phrase, the pianist throws it away as directed; may use compass, map or assistant (score notes). Looks like great theatrical fun. Early Adv. Direction Music (1965). Event piece (not the above work): “ten performers pull strings attached to a pianist’s fingers” (Sadie and Samuel 1995, 422). [Cohen, Japan Federation, musicfromjapan, NG, S&S] SHLONSKY [Chlonsky], Verdina (1905-1990) Ukraine/Israel Concert pianist, teacher, Israel’s first woman composer; st. Boulanger, Varèse, Deutsch, Milhaud; prizes, awards. Works: orchestra, chamber, vocal, piano. Style: traditional, modal elements, evident French influence; later, modernist trends (including 12-tone system) shaped structure, style, and expression. Eleven Musical Postcards (IMI 1955/ILL) 13p. Attractive, colorful, rhythmic, with small inserted sketches. Sunshine; Shepherd; Hike; Rain; Duet; Swing; Lullaby; Cobbler; Watchman; Camels; Dance. Early Int. Five Sketches (IMI 1986) 16p. Con spirito: 4/4, rhythmic. Lentamente: changing meters, wistful. Lento con melancholia: 2/2, a sad march. Molto tranquillo (transparent)-Allegretto capriccioso: bitonal, rippling 16ths. Allegro con grotesque: 4/4, accents, 2-note slurs, staccatos. Adv. Introduction and Scherzo (IMI 1969) 6p. Atonal. Adagio Introduction, jocular Scherzo. Introduction incl. in “Frauen Komponieren” anthology, ed. Rieger (Schott 1985). Early Adv. Mosaik, in “Neue Israelische Klaviermusik,” Heft 2, ed. Gradenwitz (Gerig 1976/Breitkopf/ILL) 5p. Atonal, proportional rhythms, contrasting thematic fragments joined together. Adv. Pages from the Diary (IMI 1986) 13', 18p. 9 character pieces, composed in 1949. Dream: molto moderato. Vision: moderato. Grotesque: vivace giocoso. Song: andante semplice. Meditation: adagio con fantasia. Good Humor: tempo di marcia. Twilight: andantino con suavita. Remembrance: lento. Merry-Go-Round: con moto. Early Adv. Reflections (IMI 1969) 6', 6p. Wide ranges, pointillistic, dissonant, unmetered rhythms, sudden dynamic contrasts. Early Adv. Youth Suite (Mills 1965/ILL) 9p. 7 rhythmic and musical sketches, modal, 2voice textures, moderate ranges. A Story; Pastorale; Lullaby; Dance; Complaint; Desert; Youth. Early Int/Int. See also: Toccata Ballades Nos.1-3; Chaconne Fantaisie; Fantasie in 12 Sätzen; Marsch; Nature Morte (IMI); South Suite (Corona); Still Life (IMI 1977); Suite für Klavier; 13 Miniatures (OR-TAV 1969). [Boenke, Butler 1, Cohen, FRK, FrMKassel, Hinson (collections), K800, KOM, NG, Pendle, SCB, S&S]

214 Shore SHORE, Clare (1954- ) USA Teacher, composer; st. Annette LeSiege (q.v.) at Wake Forest U., U. Colorado, Juilliard, where she also taught; awards, fellowships. Works: orchestra, chamber, piano, vocal, electronic. Passacaglia for Piano (E.C. Schirmer 1977) 5p. 12-tone writing, contrapuntal, dissonant, angular melody with tritones, 7ths, quintal-quartal chords, 8vas, repeated tones in alternating hands. Adv. Prelude and Variations (E.C. Schirmer 1989) 12p. Atonal but not strictly serial; quintal passages. Prelude: andante tranquillo; 11 brief, enigmatic variations widely varying in length, touch, textures. Early Adv. [Boenke, Cohen, Heinrich] SHRUDE, Marilyn (1946- ) USA Pianist, professor, composer; st. Alverno Coll., Northwestern U.; grants, awards, prizes. Works: orchestra, chamber, piano, multimedia. Style: linear, layered construction, timbral contrasts, intervallic transformations in tonal/atonal contexts (Grove Online, 4 February 2004). Solidarność: Meditation for Piano (ACA 1982/ILL) 9p. A stirring call for unity among the Polish people, inspired by a Wyzbicki poem. Contemporary notation and harmony; aleatoric tempi, durations, and pitches; clusters. Short sections include a bell-like introduction, portions of a Chopin nocturne, an elegant waltz, trumpet calls, a quasi cadenza, and a triumphant polonaise. Early Adv. Also: Six Pieces (ACA 1972). [Cohen, Heinrich, NG, SAI] SILSBEE, Ann Loomis (1930- ) USA Pianist, teacher, composer; st. Radcliffe, Syracuse, Cornell universities; fellowships, grants. Works: orchestra, chamber, piano, vocal, opera, electronic. Style: continued exploration of pianistic sonorities in the manner of Crumb. Bagatelle (ACA 1963) 4'. Int/Late Int. Doors (ACA 1976) 12'. 2nd prize, 1978 Burge-Eastman Competition. Extended techniques, delicate tone clusters in extreme treble, ‘parlando’ motifs, silent bass tones captured by sostenuto pedal. “One of the most enchanting piano pieces of recent years . . . There is a genuine sense of adventure about this unique work” (Burge 1990, 254-55). Adv. See also: Corrai (1980) prep. pf; In and Out the Window (1984); Letter From a Field Biologist (1979). [Boenke, Burge, Cohen, Hinson, Kirby, Zaimont]

Silverman 215 SILVA, Adelaide Pereira da (1928- ) Brazil Pianist, teacher, researcher, composer; st. de Souza, de Carvalho, Lacerda, Guarnieri; lecturer in composition, literature, Brazilian music in São Paulo; prizes, honors. Works: chamber, piano, vocal, choral. Suite 1 (Ricordi Br. 1966) 6'. A dance suite: Arrasta-pé; Modinha; Polka; Valsa; Cataretê (Hinson 1979, 310). Suite No. 2 (Vitale 1967/ILL) 8p. Attractive set of four dances in simple textures, characteristic Brazilian forms, rhythms. Dobrado: vivo, 4/4, a military march in c minor. Ciranda: moderado-com allegria, 2/4, ternary, lyric, a/C. Chorinho: gracioso, 2/4, c minor, lively 16ths, syncopations. Baião: ritmado, 2/4, C mixolydian. Int. Suite Caleidoscópio 1973 (Fermata) 5'. De rosa e azul; Vitraes; Um punhado de cores. Valsas Chôros Nos.1-2 (Ricordi 1962-3). 1. Viennese. 2. Slower, more languid. Early Adv. See also: Cantiga Ingênua 1970 (Vitale); Ponteios 1-5 (Ricordi 1962-66); Sonatina (1975). [Cohen (as Pereira da Silva), FrMKassel, HinSup, KOM, NG, S&S] SILVER, Sheila Jane (1946- ) USA Pianist, professor, painter, composer; st. U. California, Brandeis U., in Germany with Ligeti; prizes, fellowships. Works: orchestra, chamber, vocal, opera, film. Style: melodically rich; eclectic influences include Western textures, classical mythology, jazz, Jewish and Buddhist chant (Sadie and Samuel 1995, 424). Fantasy Quasi Theme and Variation (ACA 1980/ILL) 6:30', 8p. Copland’s Variations transformed: his bold, dissonant 4-note motive becomes contemplative, expansive; final variation is rhapsodic, even romantic (Solomon 1998, 3). Adv. Six Préludes pour Piano (MMB Music 1991) 20', 31p. After Baudelaire poems; descriptive, neo-impressionist, Messiaen-like. Abridged notes from score: The Sea at Cassis: water music, gentle/stormy. The Pendulum Clock: dream of a marble city changes to dismal wakening. Descent into Hell: jeering goblins, final judgment. In the Half-Burned Forest: wandering desert tribe. There All Is Perfection and Beauty: dream of exotic escape. Towards the Paradise of My Dreams: invitation to lose sorrows in wine. Adv. Also listed, AMC: Oh Thou Beautiful One (1989) 5'; adaptation of an aria. [AMC, Cohen, NG, Solomon, S&S] SILVERMAN, Faye-Ellen (1947- ) USA Pianist, teacher, composer; st. Barnard, Harvard, Columbia U.; fellowships. Works: orchestra, chamber, vocal, opera, electronic. Email: [email protected]. Descriptions are by the composer.

216 Simons Gliffs (Seesaw 1984) 15'. 10 interrelated movements of 3 types: chordal (I, IV, VII, IX); slower, more melodic (III, V, IX); textural with melodic insertions; final movement longer, more virtuosic. Structure occurs through repetitions of motives, tempos (composer). Adv. Settings (Seesaw 1978) 9:30'. One movement in 4 large sections plus intro, coda. Chordal intro; faster 1st section; lyrical 2nd section; scherzo-like third part, slow, lyrical 4th section; coda reprises opening (composer). Adv. Two/Three (Seesaw 1996) 3'. Rhythm accelerates internally by progressively smaller subdivisions, decelerates at end (composer). Late Int. See also: Candlelight (Seesaw). [AMC, Cohen, composer, SAI, Seesaw] SIMON, Anne (Louise) Marie: see ARRIEU, Claude (pseud) SIMONS, Netty (1913-1994) USA Pianist, teacher, composer; st. Juilliard, NYU with Marion Bauer (q.v. Vol.I), Grainger, Wolpe. Works: orchestra, band, chamber, piano, vocal, opera, dance, multimedia. Style: economy of means, imaginative color; more recent graphic scores popular with audiences, performers (Zaimont and Famera 1981, 112). Gate of the Hundred Sorrows [Time Groups I] (ACA/Merion 1978) 45', 49p. Dance suite, opt. dancer. 84 contemporary dance vignettes which can be performed in various groupings. Atonal, proportional rhythms, extreme ranges, with contrasts in tempo, mood, texture, movement, color; some unusual notation. Adv. Night Sounds (Merion 1975/ILL) 6p. Four short evocative sketches, atonal, serial, sensitive. Evening Haze: lovely, atmospheric. Thinking of Past Things: a sort of waltz. Stars on the Pond: static work in 2/2, with 2note fragments as mottoes. The Rain Beats on the Rain: in 4/4 (Agay 1981, 2: 408). Late Int. Piano Work 1952 (Presser 1964) 10:40, 22p. Sonata-like in 3 movements, contemporary harmonies. Allegro: 4/4. Poco adagio-Presto staccatissimo, unmetered. Allegro molto rhythmico. Adv. Silver Thaw (1969) (Merion 1973/ILL) var. time, min. 6', 2 huge pages. For 1-8 players, not necessarily on piano. Aleatoric, with circular contemporary notation, glissandi, trills, repetitions, varying attacks, speeds, dynamics. Windfall: Piano Work No.4 (ACA/Merion 1985) 8'. Oversized facs. score, 3p. For 1-2 pianos. Aleatoric, indeterminate pitch combinations, rhythms, contrasting tempi, dynamics, articulations. Adv. See also: Four Little Pieces (ACA 1953). [Agay, Bauer, Boenke, Cohen, Hinson, Kirby, Meggett, NG, S&S, Zaimont]

Skouen 217 SINGER, Jeanne (1924-2000) USA Concert pianist, teacher, composer; st. Barnard Coll., Columbia U.; founder of chamber groups; grants, honors; awards for performance, composition. Works: chamber, piano, vocal. Piano pieces, mainly self-published (Zaimont 1981, 205): Four Pieces. 10'. Prize-winner, National League of Pen Women. Toccatina; Baroque Frolic; Petite Etude; Remembrance. Int/Late Int. Introduction and Caprice (1972) 3:30. Prize-winner. Int/Late Int. Ricky’s Rondo (1972). 4:30. Prize-winner. Int/Late Int. Suite in Harpsichord Style (H. Branch). 6'. Int/Late Int. Sweet Stacy Suite. 5'. Int/Late Int. Also: American Short Subjects (1962), 2pf duet. See Anne Gray: “In Memoriam,” IAWM Journal 6/3 (2000): 38. [Boenke, Cohen, Heinrich, IAWM, Zaimont] SKARECKY, Jana (1957- ) Czechoslovakia/Canada Pianist, singer, teacher, composer; st. Wilfrid Laurier U. in Waterloo, RCMToronto, U. Sydney (Australia); teacher, RCM-Toronto; commissions. Works: orchestra, chamber, vocal. Style: polymodal, expressive, lyric; infl. Gregorian chant, English modal tradition, Czech folksong. Scores available from Canadian Music Centre: Suite for Harpsichord (1982) 6'; Tekarra (1988) 6', pf. [CMC, Heinrich] SKELTON, Violet (pseud): see DUNLOP, Isobel SKORIK, Irène (20th c.) France Musiques d’lrène Skorik: Pour la Leçon de Danse, 2 vols. (Billaudot 1979, 1984/ILL). Original pieces to accompany ballet exercises at the barre, milieu (in center), pointes (on toe). Romantic style, regular phrases, strongly marked rhythms/characters, standard patterns. Skorik was evidently a dancer herself. Perfectly usable as piano solos. Int-Late Int. [Cohen, Presser] SKOUEN, Synne (1950- ) Norway Critic, editor, radio executive, composer; st. Vienna, Norwegian State Academy. Works: orchestra, piano, theatre, ballet, film. Style: dramatic, tonal-atonal blend. Hils Domitila! [Greet Domitila!] (Norsk 1987/ILL) 5', 6p. Tribute to Bolivian political heroine. Contemporary: plucked strings, proportional rhythms, dissonance, variable trills, mainly in treble register. Early Adv.

218 Sleeman P.S. Pianissimo, in “Norwegian Pianorama” (Norsk 1981/ILL) 2p. 12-tone row, free form; visual and aural contrasts between strict and free ideas are designed to stimulate interest in new sounds (composer, score notes). Early Int. [Cohen, FrMKassel, Hinson (collections), MICNorway, S&S] SLEEMAN, Anita (1930- ) USA/Canada Conductor, French horn player, composer; st. U. British Columbia, USC-Los Angeles; conductor, Ambleside Orch., West Vancouver. Works: orchestra, multimedia, chamber (esp. woodwinds). Style: eclectic influences include Spanish-Russian ethnic background, 20th c. composers, jazz. Prelude (CMC 1979) 3'. Prem. March 1980, Hancock Auditorium, Los Angeles. [CMC] SMELTZER, (Mary) Susan (Snyder) (1941- ) USA Clarinetist, pianist, teacher, composer; st. Oklahoma City U., UCLA, Vienna; taught and received awards in Oklahoma, California, Texas, Colorado. Works: band, chamber, piano, vocal, theatre. Reverie (AMC 1962/ILL) 3', 2p. Andante cantabile, 6/8. Barcarolle-nocturne, neo-romantic, Chopinesque. Int. Twelve Mood Pictures (AMC 1975/ILL) 25', 75p. Variations on Yankee Doodle and the interval sets 1-9-7-6/1-7-7-6; composed for USA bicentennial, ded. to Horowitz. Fanfare (1976: 1776). Yankee Doodle: March of the Feathered Hats. 10 variations: Agitation; The Capricious Roadrunner; Anticipation; Triumphal March at Yorktown; Waltz; Dance of the Fireflies; Lament; Chimes at Noon; Chimes in the Evening; Alleluia (A Jazz Toccata). Adv. See also: Bach’s Nightmare; Dialogue; Fanfare; Folk Dance; Furious Wind (1950); Kaleidoscope (1962-68); Lazy Practice Room at Noon on the Moon; Little Song; El Matador; Piece (1961); Rat-Race Toccata; A Russian Theme and Variations (1961); Train Whistle. [AMC, Axford, Cohen, Heinrich, LePage2, Zaimont] SMITH, Gail (1943- ) USA Pianist, teacher, lecturer, editor-compiler, arranger, composer; st. Florida Atlantic U.; music chairman, National League of American Pen Women. Works: piano, vocal, choral. Opus Four (Creative Keyboard-Mel Bay 1994) 33p. 14 contrasting teaching works, composed for particular students. Early Int-Int. Opus Five (Creative Keyboard-Mel Bay 1994) 31p. 10 mood sketches; the last is a palindrome (can be played backward or forward). Int-Late Int.

Smith, Julia 219 See also these anthologies, pub. Mel Bay: Great Women Composers; The Life and Music of Amy Beach; The Life and Music of Edward MacDowell; Life and Music of Teresa Carreño (forthcoming); numerous arrangements of hymns, folksongs. [IAWM, melbay.com, scores] SMITH, Irene Britton (1907-1999) USA African-American pianist, composer, educator; st. American Cons., Juilliard, De Paul U.; teacher, Chicago schools, 40 years. Works: orchestra, chamber, piano, vocal. Style: modernist, neo-classical; harmonies tonal to sharply dissonant; imaginative (bio, descriptions: Walker-Hill 2002, 200-211). Works for Solo Piano, ed. Walker-Hill (Vivace 2001) 31p. Mildly contemporary, pianistic. Early Adv. Passacaglia and Fugue in C-sharp Minor. 8p. Expressive, meditative ctpt. over ground bass; masterful transformation of baroque techniques. Two Short Preludes for Piano (1953) 3p/6p. Mixed modes, bitonality, dissonance, quartal harmonies. Variations on a Theme by MacDowell. 14p. Virtuoso exploration of lateromantic harmonic language. Early Adv. [Patti, score, Walker] SMITH [née Vielehr], Julia Frances (1911-1989) USA Pianist, author, professor, composer; st. North Texas State, Juilliard, NYU with Marion Bauer (q.v., Vol.I), V. Thomson; wrote biographies of Copland, Friedberg; founder, Hartt College music education dept.; editor, 1st Directory of American Women Composers (1970); honors, awards; named one of ten leading women composers, U.S. National Council of Women. Works: orchestra, band, chamber, piano, opera, vocal. Style: appealing directness, tonal, often dissonant; elements of jazz, folk, 20th c. French harmony (Sadie and Samuel 1995, 428). Blue Nocturne; Comanche War Dance; Dancing School; Little Sputnik March, in “New Scribner Music Library,” ed. Montgomery (Scribner’s Sons 1972) 4p. Brief character pieces for teaching. Elem-Int. Characteristic Suite (Mowbray 1967) 10', 15p. Classical forms in 20th c. dress, serial, pianistic. Canon: 4/4, moderato. Waltz: tempo di valse, 3/4. Passacaglia: quasi campanelle, 2/2; 5 variations, closing allegro coda. March: alla Marcia, 4/4. Toccata: vivace, 2/4 quartal, dissonant. Early Adv. Episodic Suite (1935) (Mowbray 1966/ILL) 7:10, 11p. Pianistic; 19th c. forms, sharply contemporary intervals, chords. Yellow and Blue: 2/2, allegro. Nocturne: 4/4, molto lento. Waltz: 3/4, tempo di valse. March: 4/4, moderato. Toccata: 2/4, allegro vivace. Late Int. Prelude (Recital Piece) (Oliver Ditson 1955) 1:15, 3p. A charming waltzcaprice with “wrong-note” harmonies, staccatos. Late Int.

220 Smith, Linda Sonatine in C (Mowbray 1966/ILL) 10', 14p. Lively, colorful, rhythmic; tonal, 20th c. harmonies, parallel major triads. Allegro: 4/8, staccatos, alt. hands. Sarabande: 3/4, andante sostenuto. Allegro marcato: 6/8. Early Adv. Variations Humoresque (1949) (Mowbray/ILL) 8:40, 10p. Variations on the popular song “Dime” [Tell Me]. A pianistic romp of characteristic styles, including song without words, blues, tarantella, boogie woogie, concert waltz, and an overblown finale; great fun. Early Adv. Also, for 2pf: American Dance Suite (1968) 7:24. One Morning in May; Negro Lullaby; Chicken Reel. [Agay, Bauer, Boenke, Cohen, Fuller, Heinrich, Hinson, LePage, Magrath, Meggett, NG, Pendle, S&S, Zaimont] SMITH, Linda Catlin (1957- ) USA/Canada Pianist, harpsichordist, teacher, composer; st. U. Victoria in British Columbia, SUNY-Stonybrook; private and university teacher; grants, awards, commissions. Works: orchestra, chamber, piano. Style: sensuous sonorities, expansive sense of time. Music for John Cage (CMC 1990) 2', 1p. Based on notes C-A-G-E (and sharps). See also, Canadian Music Centre: Bloom (1996); Consolation (1993); Iceberg (1991); A Nocturne (1995); Poire (1994); The Underfolding (2001); The View From Here (1992); Zart (1989). [CMC, Cohen, Heinrich, S&S] SMITH, Selma Moidel (1919- ) USA Violinist, lawyer, composer; st. Hollywood Conservatory, UCLA, U. Southern California, Pacific Coast U. Works: many characteristic piano pieces, including nocturnes, tangos, and waltzes. Espressivo: Four Piano Pieces (Mitchell 1977/ILL) 6p. Four characteristic dance pieces infused with Latin American rhythms and colors; lyric, romantic, and very pleasant. Waltz in B-flat minor No.2; Tango in C minor Op.20; Beguine in F minor; Tango in D minor No.4., Op.4. Int. See Cohen for many more titles. [Cohen] SMORGONSKAYA, Dina (20th c.) Israel Works: orchestra, chamber, piano, vocal. For brief biography, see Israeli Music Center: http:/go.to/israelcomposers. Pictures and Memories (IMC-732 1993) 10', 11p. Ms. Six Haiku (CGI/IMC-1784 1975) 10', 10p. Two Visions (IMC-2329 1999) 3', 5. Ms. Also: Childhood Memories (IMC-1781 1998) 10', 29p. Pf 4-hands. Ms. [IMC]

Sohet-Boulnois 221 SNÍŽKOVÁ (-ŠKRHOVÁ), Jitka (1924-1989) Czechoslovakia Pianist, professor, musicologist, composer; st. Conservatory of Prague, teacher, Prague Cons. and Charles U.; numerous articles on early Czech music. Works (vast output): orchestra, chamber, piano, organ, vocal-choral, theatre. Letiště [Der Flughafen; The Airport] (Supraphon 1983) l1p. 6 descriptive children’s pieces with whimsical drawings; tonal/modal, freely chromatic, quartal harmonies, Bartokian. The Helicopter; Pilot’s Message; Motors and Jets; Radars; Signal Lights; The Navigator. Late Elem/Early Int. See also: Concertino (1962); Megi, piano fairy tale (1943); Port (Bärenreiter); Sonata (1959); quarter-tone works. [Boenke, Cohen, FRK, Heinrich, K800, Meggett, S&S] SÖDERBERG, Gerda (-) Sweden Marsch and Vals, in “Pianolyrik” (Swedish Piano Album), ed. Kjellberg (Nordiska 1949/ILL) 2p. 2 little character pieces for teaching. March: walking bass in continual triplets; good first study in 2x3 rhythms. Waltz: a minor, pensive, sweet. Early Int. [Cohen (as Soederg), FRK, Hinson (collections), KOM] SOENSTEVOLD, Maj: see SÖNSTEVOLD, Maj SOHET-BOULNOIS, Suzanne (20th c.) France Composer, compiler-editor of educational piano music from the 20th c. Au Clair de la Lune, in “Musique des Jours Heureux,” ed. Gabus (Lemoine 1981). Andantino, 2/4, mildly contemporary, using whole tone scale. Ostinato LH plays “like a distant bell” under the well-known folk tune. Elem. Le Monde Merveilleux de la Musique, 6 vols. comp/ed. Sohet-Boulnois (Lemoine). Teaching anthology, progressive difficulty. Elem-Int. Petite Suite Espagnole (Lemoine 1976/ILL) 9p. 6 appealing Spanish scenes, neo-classical, modal, clean textures: Matines au Campanile; Danseuse en Mantille; A Dos de Mulet; Chapelle sous les Cyprès; Entrée du Toréador; Danse au Tambourin. Early Int. Le Poulailler, in anthology “Printemps Musical” (Lemoine). Int. Musique pour Bibiche (Lemoine). 10 progressive pieces. Elem-Int. Pour les Enfants Sages (Lemoine). 12 easy pieces. Elem. Trois Petits Histoires (Lemoine). De pompiers; En forme de legende; Pour s’endormir. Int. [HinSup (collections)]

222 Sohlström SOHLSTRÖM, Edith (20th c.) Finland Elegi (Fazer Music 1928/Warner-Chappell) 2p. Conservative harmonies, pedestrian melody, reminiscent of 19th-c. “Maiden’s Prayer.” Int. [KOM] SOKOLOVIC, Ana (1968- ) Yugoslavia/Canada Composer; st. universities of Novi Sad, Belgrade, and Montreal; commissions, prizes. Works: orchestra, chamber, piano, theatre. Scores available from Canadian Music Centre: Fuite (1998); Suite (1986); Trois Études (1997). [CMC] SOLLIMA, Donatella (1959- ) Italy Composer. Works: chamber, piano. Died Pezzi Facili (Bèrben 1977). 10p. 10 little character pieces; tuneful, 2voice, neo-classical, tonal-modal. Canzoncina; Piccolo Cruccio; C’era una Volta; Piccolo Valzer; Studietto I, II; Quasi un Minuetto; Marcetta; Novelletta; Il Maestro Ammonisce. Late Elem-Early Int. [Berben, Cohen] SOLOMON, Elide M. (1938- ) Switzerland/USA Pianist, author, publisher, teacher, composer; st. Milan Conservatory, American College of Musicians; founding director, Purchase music ensemble and school for composers. Works: orchestra, chamber, piano, vocal. Hommage à Picasso (Rydet 198l/ILL) 12p. 3 sketches, perhaps inspired by specific paintings; tonal, with 20th c. chromatic dissonance. Collage: lento come una fantasia, 4/4, dark, gloomy. Harlequin: adagio rubato, 3/4-4/4, a playful caprice with leaps, dotted rhythms. Corrida: very fastmajestic, 4/4-3/4, ternary; the excitement of the bullfight, with matador’s entrance in center section. Late Int/Early Adv. Also: Rhapsody (1976). [Cohen] SOLOMON, Joyce Elaine (1946- ) USA African-American professor, composer; st. Vassar, Rutgers, Sarah Lawrence, Columbia U.; grants. Works: orchestra, chamber, piano, vocal, electronic. Style: “sensitive, cerebral, 12-tone constructions” (Walker-Hill 2002, 39). A Summer Afternoon in South Carolina 1983. 15', 15p. 3-mvt programmatic sonata, 12-tone writing. Adagio; Moderato; Allegro Moderato (Axford 1997, 181). Third mvt av. in anthology, “Black Women Composers,” ed. Walker-Hill (Hildegard 1992). Adv.

Sønstevold 223 A Young Black Woman’s Impressions of New York City 1976 (CPE) 8', 11p. Programmatic 6-mvt suite, blues and jazz influences. The Streets of New York; My Complaining Neighbors; After Dusk in the Upper West 90’s; Lincoln Center at Performance Time; The African Diplomatic Parties; A Serial Disco (Axford 1997, 181). Late Int/Early Adv. See also: Suite/Piano Suite (1974); Variations on a Theme (1971). [Axford, Cohen, KOM, Walker] SOLOMON HILL, Mirrie: see HILL, Mirrie Irma, Supplement SONNTAG, Brunhilde (1934/36- ) Germany Harpsichordist, organist, musicologist, professor, composer; st. Vienna, U. Marburg. Works: orchestra, chamber, keyboard, vocal, electronic. Style: subtle chamber music style, an extension of the Second Viennese School (Sadie and Samuel 1995, 434). Vier Klavierstücke für H. (Furore 110 1978) 25p. From score notes (in German): “The cycle originated over a 6-year period. Each piece characterizes a musical principle and its associated organization.” Contemporary techniques include theme fragmentation, tone color collages, clusters, and improvisatory effects. Adv. See also: Klavierstück Nr.4 (1984); Klavierstücke 5 & 6 für H (1994); Spiegelungen (with text) (1987); Tefila (1987) 3p; Farbenkugel (1988), organ duet. [Cohen, FRK, FrMKassel, Heinrich, K800, KOM, SCB, S&S] SØNSTEVOLD, Maj [Sönstevold, May] (1917-1996) Sweden/Norway Pianist, teacher, composer; st. Stockholm, London (jazz), Vienna; lecturer, Oslo U.; formed music institute. Works: orchestra, chamber, vocal, film, TV, radio, theatre, electronic, jazz manuals. Style: from 12-tone to jazz techniques. Per Aspera ad Astra (Reflections on South America) (Norsk 1989/ILL) 14p. Dramatic, rhythmic, colorful rhapsody/toccata. Modal, sectional, with syncopations, additive rhythms, mixed meters, hemiolas. Also av. in “A Selection of Norwegian Contemporary Works for the Piano” (MusikkHusets 1988), competition pieces. Early Adv. Sweet and Swing (Musikk-Husets 1947) 10p. 3 traditional jazz solos, pleasant and pianistic. Two People: moderato, 2/2. Going South: tempo di rumba, 4/4. Sweet and Swing: rubato-moderato, 4/4. Late Int/Early Adv. Var Det en Vals? [Was that a waltz?] in “Norwegian Pianorama” (Norsk 1981/ILL) 2p. Based on 12-tone row, variants; ternary. First section: ostinato around middle C under evolving melodies; center section: jocular scherzando with changing accents (notes from score). Early Int.

224 Sorel Scores av. MIC Norway: Den Glade Kryddergartner [The Merry Herbal Gardener], 6 bagatelles from “Kom hjärtans fröjd” (1992); 11 Polytonale Blues for Composition Study (1978); Prelude and Fugue (1963); Sonata Op.3 (1964), 25p; Suite Op.1 (1962); Theme with 4 Variations Op.2 (1963); Tre Kvinner: Liten Suite i Romantisk Stil (1994), 3 ballades. See also: A-B-C Jazz (Lyche 1954); Klavierstück im Schubert-Stil (1970); Langt Borte (1980). [Cohen (as Soenstevold), FrMKassel, Hinson (collections), MICNorway, FRK, K800, KOM, NG, S&S] SOREL, Claudette (1934-1999) France/USA Pianist, musicologist, professor, compiler, editor; st. Samaroff, Serkin, Horszowski at Juilliard, Curtis Institute, Columbia U.; awards and citations; teacher, Kansas, Ohio, New York universities; New York State University Scholar/Artist. Works: educational piano. Compendium of Piano Technique, comp. Sorel (E.B. Marks 1969/Hal Leonard ). Anthology of classical etudes for technical studies in finger independence, repeated notes, thumb agility, diatonic/chromatic scales; brief composer bios are included. Includes three short original works by Sorel: Etude: finger independence; Exercise: thumb agility; Study: scale playing. Early Adv. Fifteen Smorgasbord Piano Solos (E. B. Marks 1974). “Music plus recipes! Pieces are MC (mildly contemporary) and introduce varied rhythmic and melodic ideas. The Hungarian recipes sound delicious!” (Hinson 2000, 745). Seventeen Little Piano Studies (Marks). Supplemental teaching materials. The 24 Magic Keys (E.B. Marks 1973). Anthology of etudes, character pieces by old masters in all the diatonic keys, for practicing scales, arpeggios, octaves. Includes two brief original etudes by Sorel, in g# minor and F# major. Early Adv. [Axford, Hinson, Patti] SOTO VISO, Margarita (1957- ) Spain Musicologist, pianist, ballet accompanist, teacher, composer; st. La Coruña Conservatoire; founded VISO Publishing in 1996 to publish music by historical Gallician composers. Works: vocal, chamber, piano. En Re-Do: Estudi per a la ma Esquerra (Clivis S004 1999) 7p. Clever etude on major 2nds: alternating hands, repeated tones, shifting meters/tonalities, chromatic, 8vas. Early Adv. [Clivis, KOM, score]

Spagnolo 225 SOUTHAM, Ann (1937- ) Canada Pianist, professor, composer; st. RCM and U. Toronto; grants, commissions; with Diana McIntosh (q.v.) co-founded Music InterAlia; 1st president, Association of Canadian Women Composers. Works: orchestra, chamber, piano, dance, electronic. Style: best known for electroacoustic dance pieces; lyricism of early atonal works continues in later music (Sadie and Samuel 1995, 437). Four Bagatelles (Berandol 1974/ILL) 9p. “Well-crafted short pieces featuring quartal harmonies and mild dissonance. A large stretch is required for both hands” (Agay 1981, 408). Allegro; Cantabile, rubato; Allegrettoscherzando; Allegro con moto, a perpetual motion piece. On San Diego Music Teachers Intermediate Repertoire list. Late Int. Five Shades of Blue (Berandol 1981/ILL) 11p. 5-mvt blues suite, modal, in shifting meters. Allegro; Very slowly; Allegro, 5/8; Andantino; Allegro. Late Int/Early Adv. Sea-Flea (BMI 1963/ILL) 2p. Cheerful caprice in two voice texture; continual hops from position to position, chromatic modulations, hints of bitonality, contrasting articulations, contrary motion. Early Int. Three in Blue: Jazz Preludes (BMI 1966/ILL) 9p. Allegretto; Andantino; Allegro ma non troppo. “Remarkably spontaneous and attractive jazz preludes in fast tempos” (Butler 1973, 1: 141). First one incl. in “Contemporary Music and the Pianist,” ed. Canady (Alfred 1997). Int. Quodlibet (BMI 1967) 2p. Irregular treble rhythms in nimble RH phrases over near-ostinato bass, polychords between hands (Butler 1973, 1: 141). See also: Altitude Lake (CMC 1963); Configurations (pf and tape); Cool Blue, Red Hot (1980); Counterparts (1966); Fifteen (1977); 5 Pieces in a Jazz Manner (1970); Glass Houses No.5 (CMC 1981); In a Measure of Time (1988); Integruities (narr, pf, tape); Patterns of Nine (1977); Rivers, 3 Sets (1979, 1981); Sonata in 1 mvt (1966); Soundings for a New Pf (1986); Soundstill (10 sections); Spatial View of Pond (1986); Suite (1960); Toccata (1966). [Agay, Axford, Bauer, Boenke, Brisson, Butler1, Canaday, CMC, Cohen, Heinrich, Hodges, IAWM, ISMTA, Meggett, NG, Pendle, sdiego, S&S, Stern] SPAGNOLO, Aurelia (20th c.) Italy 12 Studietti (Ed. Curci 1973) 31 p. Tonal, with some bitonal/modal colors, straightforward explorations of basic keyboard textures and techniques, 2-voice writing. Int. [Cohen, HinSup]

226 Speech SPEECH, Bernadette (1948- ) USA Pianist, composer, arts administrator, teacher; st. College of Albany (NY), Columbia U., SUNY-Buffalo; fundraiser, presenter, educator with many organizations, NY area; awards, fellowships. Works: orchestra, chamber, vocal. When It Rains (Kallisti 1995) 6'. Written for and premiered by Anthony de Mare; recording available by Mode Records. [Kallisti Music web site] SPECHT, Judy Larise (1943- ) Canada Pianist, teacher, composer; st. U. British Columbia. Works: chamber, vocal. Style: melodic, contrapuntal, lighthearted, influenced by Bach, opera, folk music, musicals. Scores available from Canadian Music Centre: Bachianas (1980); Two Pieces for Karin (1984). [CMC, Cohen, Heinrich] SPIEGEL, Laurie (1945- ) USA Composer, teacher, computer consultant; st. Shimer Coll., Juilliard, Brooklyn Coll., CUNY; teacher, NYU; grants, awards. Works: chamber, electronic, computer music. Style: romantic emotional intensity, interest in folk music. Scores listed with American Music Center: After Clementi (1981); After the Mountains (1988); Album Leaf (rev. 1990); Contraries (1979); Counterpoint (1985); Fantasy (1982); Fughetta (rev. 1990); History of Music in One Movement (1980); Isorhythmic Canon (1979); Modal Retrograde (1982); Paraphrase (1981); Prelude (rev. 1996); A La Recherché du Temps Perdu (rev. 1990); Returning East (1988); Short Canon (1978); Three Chromatic Retrogrades (rev. 1984); Three Movements on Descending Scales (1982); Twelve Tone Blues (1982); Two Short Cyclic Scores (1982); Winter Energy (1981). [AMC, NG, Pendle, S&S] STANDRING, Helen (1934-1991) Australia Teacher, composer; st. composition with Raymond Hanson; interested in early childhood education and development (bio, description: Carrigan 2002, 222). The Dancers (AusMC 1984) 12', 9p. Contemporary effects: clusters, silently depressed notes, plucked strings, complex rhythms, textures, unusual notation; influenced by serialism. Dynamic contrasts, some fast brilliant sections. Adv. [AusMC, Carrigan]

Steffen 227 STANLEY, Jane (1976- ) Australia Lecturer, composer; st. U. Sydney with Anne Boyd (q.v.); prizes, grants. Works: orchestra, chamber, mandolin, voice, dance. Fas/Nefas (AusMC 2001) 15', 26p. Dance piece in 3 sections: Fas; Nefas; Nefarious Dance. Atonal, pointillistic, jagged lines, complex rhythms, large leaps, bass registers much used (Carrigan 2002, 223). Adv. [AusMC, Carrigan] STEFANOVIĆ, Ivana (1948- ) Serbia-Yugoslavia Violinist, music director, composer; st. Belgrade Academy, IRCAM-Paris, also with Gilbert Amy; prizes. Works: chamber, voice, radio, TV, electroacoustic, theatre. Style: variety of techniques; high inner tension, condensed musical expression (Yugoslav MIC). Piano Music 1967-1993: Theatre Pieces Op.30 (Yugoslav MIC 1993) 28p. Cycle of 8 descriptive character pieces, tonal but freely chromatic. Looking from the Window, January: allegretto, 3/4. Satirical Dance: allegro, 4/4. Prelude, Looking Back: adagio, 3/4. Yesenin Dancing Waltz: andantino, 3/4. For the Left Hand: rubato, senza misura. Chorale, with Echo: largo, 2/4. Toccata, with Echo: 4/4, 16th-notes in alt. hands. March Music: andante, 4/4. Early Adv. See also: Dedication Op.20 (1986) 10:30; Fragment of a Possible Order Op.15 (1979) 12', for 6 kybds; Suite (1966). [Cohen, NG, S&S, YugoslavMIC] STEFFEN, Sister Cecil (1919- ) USA Sinsinawa Dominican Sister, pianist, teacher, chapel musician, composer; st. UC-Berkeley, Peabody Cons.; taught in Catholic schools, Rosary College, Illinois. Works: piano, vocal. Heard Across the Hall (Alliance 1995) 3p. Ivesian mélange of Czerny exercises; bitonality, wrong-note chords. Int. Polka for Two (Alliance 1995) 5p. Duet, pf 4-hands. A wrong-note duet inspired by Stravinsky. Early Int. Suite for Piano (Alliance 1999) 17p. Old forms permeated with 20th c. dissonance. Prelude: Hindemith harmony, Bachian counterpoint. Sarabande: solemn, using the rhythm of Handel’s “Largo.” Bourée: gavotte rhythms. Waltz: graceful, moderately fast. Gigue: continuous baroque texture, quick but not aggressive. Late Int. [AlliancePub, scores]

228 Steiner

STEINER, Gitta Hana (1932-1990) Czechoslovakia/USA/Israel Concert pianist, poet, professor, composer; st. Carter, Persichetti at Juilliard, Schuller at Tanglewood; taught at Brooklyn Cons.; awards. Works: orchestra, chamber, piano, vocal, percussion. Style: innovative timbres, jazz influence, long lines (Grove Online, 4 February 2004). Fantasy Piece 1966 (Seesaw 1969/ILL) 9p. “An essay in variegated splashes of sound, clusters, expressionistic. Highly exciting” (Hinson 2000, 749). Extended techniques: clusters, tremolos, pedal effects, atonal, asymmetrical leaps over wide range, chromatic, sudden dynamic contrasts. Early Adv. Sonata (Seesaw 1964). One continuous movement, tightly knit, twelve-tone technique, changing tempi, rich harmonic palette (Hinson 2000, 749). Adv. See also: 9 Melodious Pieces (Seesaw 1959/1969); 3 Pieces for Piano (Seesaw 1963); Music for Piano (1985); 2 Sonatas (1963, 1964). [Boenke, Cohen, Finell, Hinson, Meggett, NG, S&S, Stern] STOCKWELL, Philura ( - ) USA Purely Modal (ReSa Publications 1978/ILL) 37p. Two studies (one easy, one harder) in each of 6 modes, all with C as tonal center; designed to teach modal melodic, harmonic relationships. Includes exercise pages, teacher’s key. Extremely helpful and musical (Fazzio 1982, 136-141). Int-Late Int. [Fazzio] STREET, Arlene Anderson [A. Andersen] (1933- ) Canada Tantrum Tarantelle and Tidy Toccatina, in “Canadian Festival Album,” Vol.2 (BMI 1964/ILL) 5p. Two brisk, light pieces in d minor; characteristic rhythms and textures, good movement. Int. See also: Drowsy Dilemma (BMI Canada). [Cohen, H&H, BMI] STUART-COOLIDGE [Coolidge; Stuart], Peggy (1913-1981) USA Pianist, conductor, composer; st. New England Cons.; awards, honors; 1st American with concert of works presented by USSR Composers Union, 1970. Works: orchestra, chamber, vocal, ballet, multimedia. Style: skillfully orchestrated, accessible, distinctive style reminiscent of Gershwin, Copland (Sadie and Samuel 1995, 443). 4 P.M. Preludes (G. Schirmer). Contemporary style. Adv. [Cohen (as Coolidge), Newman, NG, S&S]

Sung 229 SUCCARI, Dia (1938- ) Syria La Nuit de Destin (Jobert 1978) 18p. French Impressionist textures and washes of color, middle-Eastern modes; full of contrasts, improvisatory effects, geometric Syrian rhythms; some contemporary notation. Adv. Suite Syrienne (Jobert 1976/ILL) 28p. Intriguing, colorful Syrian tunes, complex rhythms, recurring motif, brilliant climax; may perform singly or as a suite (Hinson 2000, 760-61). Nida: lointain et mystérieux, 3/4. Samah: modéré, avec élégance, 10/8. Dabké: allegro moderato, 8/8. Adv. [Cohen, Hinson] SUESSE, Dana (Nadine) (1909-1987) USA Organist, pianist, arranger, playwright, composer; st. privately with Siloti, Goldmark, Boulanger; invited composer-pianist, General Motors Concert Series national radio broadcasts; wrote the music for Billy Rose revues; best known for popular songs, esp. “You Oughta Be in Pictures.” Works: orchestra, piano, vocal, theatre. Style: jazz influences, unusual melodic contours, highly individual, memorable. Afternoon of a Black Faun (Robbins 1938/ILL) 9p. Gershwin rhythms and harmonies colorfully meet with Debussy’s prelude. Early Adv. The Cocktail Suite (Schirmer 1942/ILL) 21p. Entertaining, skillful character pieces to match drinks: Old-Fashioned (polka); Champagne (Viennese waltz); Bacardi (rumba); Manhattan (jazzy blues). Early Adv. Jazz Nocturne (Famous 1931/ILL) 4p. Colorful, sectional fun. Early Adv. See also, pub. D.S. Music: At the Fountain (1926); Balalaika Waltz (1930); Berceuse (1932); Midnight in Gramercy Square (1933); Night Sky (1947); Rondeau (1947); Serenade to a Skyscraper (1940); Swamp Bird (1926); Whirligig (1937); 110th St. Rumba (1941). Also: American Nocturne; Rockette (Robbins 1939); Blue Moonlight; Syncopated Love Song (Harms 1935). [Cohen, NG] SUNG, Stella (1959- ) USA Pianist, teacher, composer; st. U. Michigan, U. Florida, UT-Austin, Paris; taught at U. Central Florida; prizes in performance and composition, commissions. Works: piano. Toccata (Presser 1989/ILL) 3:30, 10p. Perpetual-motion tour-de-force: continuous staccato 16ths, shifting meters and accents, double octave sections. National Federation Solo, Mus. Adv. Class II. Adv. [AMT, FrMKassel, KOM, Presser, score]

230 Sussman SUSSMANN, Ethel (1926- ) Poland/Israel Singer, violinist, teacher, composer; st. Tel Aviv, France; world tours as singer of opera, lieder; taught voice in Tel Aviv from 1969. Works: orchestra, piano, vocal. Impromptu les Hirondelles (Israeli Music 1966). Also: Three Israeli Dances (1962). [Cohen, FrMKassel, Heinrich, IMI, FRK] SUTHERLAND, Margaret Ada: see Supplement SVANIDZE, Natela Damianovna (1926- ) Soviet Russia/Georgian Republic Professor, composer; st. Tbilisi, Moscow conservatories. Works: orchestra, vocal, chamber, stage. Style: rooted in Georgian Romantic school, later assimilated polytonality, contemporary techniques, folk polyphony (Sadie and Samuel 1995, 446). Pub. Sovietski Kompozitor: Krugovorot [Rotation] (1972); Skazka [Fairy-Tale] (1960); Theme with Variations (1948); Tsre [Circle] (1972), prep. pf; Zgapari [Tale] (1960), theme and 8 variations. The Georgian Music Information Center ([email protected]) offered to send score facsimiles, for a fee. They would not, however, release any information about their composers. [Cohen, NG, S&S] SVETOVA, Irina (20th c.) Israel Works: chamber, piano. For brief biography, see Israeli Music Center: http:/go.to/israelcomposers. Fly (IMC-340 1993) 11', 11p. Ms. When I Hear the Voice of an Alarm Siren (IMC-341 1992) 13', 33p. 2pf duet. Ms. [IMC] SWAIN, Freda Mary (1902-1985) England Flutist, pianist, violinist, professor, administrator, composer; st. RCM-London; toured South Africa during WWII; founder-director, British Music Movement, NEMO Music Centre. Works: orchestra, chamber, piano, vocal, ballet, opera. Style: early 20th c. English school. Autumn Landscape (Facs. score 1953/ILL) 3p. Poco lento-molto tranquillo, 4/4. Impressionist, modal in d, borrowed chords, shifting keys. Int. Two South African Impressions (Mills Music-J. Williams 1950/ILL) 5', 7p. Romantic sketches, conservative harmonies. Mimosa: allegretto ed amabile, 12/8, sweet and flowing. Lonely Dove: andante mesto, 3/4, ostinato 3-note bird call in RH. Late Int/Early Adv.

Szegy 231 See Cohen for more titles. [BBC, Boenke, CGGB, Cohen, Grove5, Heinrich, K800, Meggett, NG, S&S, Stern] SWISHER, Gloria Agnes Wilson (1935- ) USA Pianist, professor, composer; st. U. Washington, Mills Coll., Eastman School; prizes, awards. Works: orchestra, band, chamber, piano, vocal, opera, theater. Variations on an Original Theme (AMC 1963) 5'. Adv. Also: J-O-E-L, Variations (1984); Siciliana; Transcending; Canon (1972), pf 4hands. [Cohen, Heinrich, SAI, Zaimont] SYMONDS, Josephine (1945- ) New Zealand/Australia Pianist, teacher, composer; resident in Perth (bio, description: Carrigan 2002, 224). Scenes from Gorillahood (Hovea Music 1995) 1' each. 7 short teaching pieces depicting the life of a baby gorilla. Ambling Along; Bopping; Comforting; Dreaming; Eccentric Mood; Finale: March; Gone Bananas (Encore). Bitonality, glissandi, precise articulations. “Ambling Along” is av. in “Australian Anthology,” Pre-4th grades (Allans 2003). Elem. [AusMC, Carrigan] SZAJNA-LEWANDOWSKA, Jadwiga Helena (1912-1994) Poland Pianist, teacher, composer; st. State Music College, Wroclaw; played in Wroclaw theatres; prizes, awards. Works: orchestra, chamber, piano, vocal, ballet, opera, theatre. Style: accessible, contemporary. Sonatina Giocosa (PWM 1960) 9p. Charming, cheerful, neo-classic work; tonal/modal, freely chromatic. Allegretto: 2/4, leggiero, toccata-like. Arietta: andantino con moto, 2/4. Gawot: allegretto, 4/4. Rondino: allegro moderato, 6/8. Late Int/Early Adv. Funerailles (PWM 1970/ILL) 15p. 2pf duo. Late Int/Early Adv. See also: Three Legerezze (1965). [Boenke, Cohen, FRK, K800, NG, S&S] SZEGY [Szeghyová], Iris (1956- ) Slovakia Pianist, composer; st. Kosice Cons., Bratislava Academy, electronic music in Stuttgart, Amsterdam, UC-San Diego; residencies, festivals. Works: orchestra, chamber, vocal, choral. Style: emphasis on sonority, structures; some use of avant garde techniques (aleatorism, clusters); extended tonality, expressivity. Let Us Go to the Zoo (Slovak Music Fund 1984). Children’s suite. Perpetuum Mobile (1993) 5p. Manuscript listed with Frau Musik Archiv-Kassel. [FrMKassel, K800, NG]

232 Szeto SZETO, Caroline (1956- ) Australia Pianist, lecturer, composer; st. Trinity Coll.-London, U. Sydney, where she taught; awards, commissions. Works: piano, orchestra, chamber, voice, theatre. Style: infl. by her Chinese background (descriptions: Carrigan 2002, 224). Moon on Night’s Water, in “Australian Piano Music” (Currency Press 1990) 3:58. Calm, reflective, many 2nds; melodic lines doubled in close harmony; extreme ranges, octave chords, 2x3 rhythms. Also found in “First Light,” Vol.1 (Keys Press 1998). Int. Yunny’s Treat, in “Australian Piano Miniatures” (Red House 1998) 38". Bright, rhythmic miniature; ostinato, quartal harmony, accents. Early Int. See also: Piece for Piano (1983). [AusMC, Carrigan, K800, score, Zaimont muswom] SZNYI, Erzsébet [Szoenyi, Elizabeth] (1924- ) Hungary Pianist, conductor, music educator, composer; st. J. Viski, Budapest Academy; Boulanger, Aubin, Messiaen, Paris; worked closely with Kodály, introduced his educational theories to the world; director, Budapest Academy school music faculty; supervisor of music conservatories from 1951; awards, prizes. Works: orchestra, chamber, organ, piano, vocal, ballet, opera, theatre. Cinque Preludi (Ed. Musica Budapest 1966/ILL) 7', 13p. 5 well-constructed pieces in a mixture of 20th c. styles, including 12-tone, contemporary, and impressionist. Ostinato: 5/8. Maestoso: 3/4-2/4. Variazioni: 2/43/4. Grazioso: 4/4-3/4. Dotted 8th=165: 12/16-9/16. Early Adv. Toccatina (Ed. Musica Budapest 1968/ILL) 4p. Modal, freely chromatic, continuous 16ths in alternate hands. Late Int. Das Widerspenstige Prinzesschen [The Stubborn Princess] (Ed. Musica Budapest) l0p. A suite, from “Musical Tales” series. Courtly Dance: allegretto, 3/4. The Stubborn Princess: risoluto, 4/4-3/4. The Shepherd Boy and His Dog: rubato, giusto, 4/4-2/4. “And this is Shepherds’ Land:” andantino, 3/2-2/2. Folkdance: allegro giusto, 2/4. Int. See also: Farben [Colors], suite (1946); Fantasy and Fugue (1948); Sonate (1953); Two Sonatinas (1944, 1946). [Bakers92, Butler, Cohen, FRK, FrMKassel, Heinrich, Hinson, K800, KOM, NG, SCB, S&S SZYMANSKA, Iwonka Bogumila (1943- ) Poland Pianist, composer; st. Gdansk, Warsaw; created the “Sonnet,” a new musical form. Works: orchestra, band, chamber, piano, vocal. Variazioni per bambini (PWM 1974/ILL) 7p. 5 themes with variations for children. Bartokian: shifting meters, modal 2-vc. writing, quasi-folk tunes, articulation contrasts. Late Elem/Early Int. See also: Esej (1969), pf & perc; Miniatury (1964); Three Sonatas (1969-1972); Arabeski (1971), 2pf. [Boenke, Cohen, FRK, SCB]

Talma 233

T TAL, Marjo (1915- ) Netherlands Concert pianist, teacher, composer; st. Amsterdam Cons., London; toured Europe, Israel; taught theory, piano, Amsterdam; many works lost during WWII. Works: chamber, vocal. Miniaturen voor piano, 3 vols. (Donemus 1983/ILL) 25', 40p. 23 brief neoclassical pieces, modal, simple textures, characteristic patterns: Gavotte, Barcarolle, Canon, Musette, Passepied, Passacaglia, etc. Elem-Early Int. [Cohen, Heinrich, KOM] TALMA, Louise (1906-1996) France/USA Organist, pianist, professor, composer; st. NYU, Columbia U.; awards, prizes; Works: orchestra, chamber, piano, vocal, opera. Style: early works tonal, neoclassical; later incorporated 12-tone technique in a tonal context. Alleluia in Form of Toccata (C. Fischer 1952/ILL) 5', 12p. Tonal, neo-classic, jazz rhythms; highly original. Declamatory opening octaves lead to joyous allegro vivace in 2 voices; boogie-woogie bass in staccato 8thnotes, detached motifs on Al-le-lu-i-a rhythms. Sustained cantabile middle, exciting climax with a superimposed jazz beat (Faurot 1974, 305). Adv. Pastoral Prelude (C. Fischer 1952/ILL) 4:15, 3p. Tranquillo: 3/4, neo-classical, ternary, quiet, to be played before the Alleluia, above. Late Int. Piano Sonata No.1 (Carl Fischer 1948/ILL) 27p. Serious, large-scale work, winner of 1947 North American Prize. Largo-Allegro molto vivace: short declamatory introduction, propulsive, rhythmic, staccato, 2-voice texture, ostinati, sharp accents. Larghetto: quiet, quartal harmony, chamber-piece quality. Presto: a toccata with ostinati, repeated tones, irregular rhythms, staccato, climactic ending (Friskin and Freundlich 1973, 292). Adv. Piano Sonata No.2 (C. Fischer 1972/ILL) 16p. Neoclassical, effective, large scale, bravura work. Allegro; Tranquillo; Allegro molto vivace. Adv. Six Etudes (Schirmer 1953-54) 26p. Chopin-inspired, contemporary tonality; 6 virtuoso studies. Allegro: rapid pp repetitions. Prestissimo: velocity. Allegro: 5/4, sostenuto pedal study. Allegro: 2/4, a scherzo, accuracy in wide leaps. Allegretto grazioso: 5/8, conjunct legato 16ths vs. leaping staccato 8ths. Molto adagio: 3/4, sempre molto legato, additive rhythms. All require endurance, control. Adv. Soundshots (Hinshaw/Hildegard 2000 reprint) 35p. 20 charming teaching miniatures, Talma’s “scenes from childhood.” Tone painting, 20th c. devices and harmonies. Late Elem-Int.

234 Tanaka Textures (Hinshaw 1977). Three Bagatelles (1955). No.3: Allegro ma non troppo. 2p. A sort of “Fire Dance,” with repeated thirds, staccatos, ostinato bass. In “100 Pieces for Piano,” ed. Stone (Scribner 1955); also in “The New Scribner Music Library,” Vol.4, ed. Montgomery (Scribner’s Sons). Early Adv. See Eunice Wonderly Stackhouse: “A Survey of the Solo Piano Compositions of Louis Talma, Composed from 1943-1984,” DMA diss. (UMI #954022, 1995). See also her article: “Childhood Scenes and Memories in Louise Talma’s Soundshots” Clavier 41/9 (November 2002). [Agay, Ammer, Baker, Bauer, Brisson, Butler, Clavier, Cohen, Faurot, Friskin, FrMKassel, Fuller, Gillespie, Gordon, Goss, Finell, HAMW, Heinrich, Hinson, K800, Kirby, LePage, Magrath, Meggett, NG, Pendle, sdiegomtac, S&S, Zaimont muswom] TANAKA, Karen (1961- ) Japan/France Pianist, composer; st. Toho Gakuen School of Music, IRCAM in Florence with Berio, Murail in Paris; prizes, awards, commissions. Works: orchestra, chamber, piano, electronic. Children of Light (Ed. Kawai 1999) 40'. Piano book for children. Crystalline (Chester 1999) 7', 8p. In 7 short sections. “A glassy, solid sound is required: like a cold, crystal sound sculpture”—composer. Adv. Crystalline II (Chester 1995-1996) 6:30. Comm. Yokohama City. Crystalline III (Chester 2000) 7'. Comm. Northern Encounters, Canada. Jardin des Herbes (Chester 1989) 8'. Hpd. Rosemary; Sweet Violet; Lavender. Lavender Field, in “Spectrum 3,” comp. Meyers (Chester/Novello 1988/ABRSM 2001) 1:30, 2p. 20th c. pastorale, 6/8-9/8; treble clef, shifting tonalities, undulating 8th notes over espressive LH melody. Int. Techno Etudes (Chester 2000) 9'. Comm. Tomoko Mukaiyama. A Zoo in the Sky (Kawai 1996) 29'. Piano book for children. [ABRSM, Chester, FrMKassel, Japan Fed, musicfromjapan, NG, score] TANN, Hilary (Presslaff) (1947- ) Wales/USA Professor, composer; st. U. Wales, Southampton U., Princeton; grants, fellowships; editor, ILWC journal. Works: piano, orchestra, chamber, vocal, electronic. Style: lyrical, sensitive timbres, spare textures, occasionally vehement (Sadie and Samuel 1995, 455). Doppelgänger (OUP 1992/ILL) 5:30, 13p. Contemporary exploration of the contrast and reconciliation between bravura and lyrical styles. Adv. Water’s Edge (OUP 1994/ILL) 9'. Duet, pf 4-hands. Comm. New York MTA, 1993. 3 interlinked mvts; may be performed singly. Dawn Light; From the Riverbed; Toward Dusk. “The ‘edge’ of the title refers to the upper surface of the water as it reflects or refracts light”—score. Early Adv. See also: Aftermath (1973). [AMC, AMT, Boenke, Cohen, Fuller, Hinson, NG, OUP, S&S, WelshMIC]

Taubo 235 TANNER, Hilda (1903- ) USA Works: chamber, piano, vocal. Piano Suite (Facs. copy 1977/ILL) 6p. Neo-classical, modal/tonal, “wrong-note” harmonies. Waltz; Chorale; Lullaby; Scherzo. Int/Late Int. Finnish Love Song (Willis). Late Elem/Early Int. One Can Tango (Myklas). For LH only. Int. Three Plus Three Plus Two (Facs. copy 1977/ILL). Duet, pf 4-hands. [Axford, Boenke, Cohen] TANTILLA, Pat (20th c.) USA Intermediate Rags for Piano, Bk.2 (Boulder: Giraffe Music 1982) 13p. [FrMKassel] TARGONSKA, Izabella ( - ) Poland Polnische Tänze für Klavier (PWM/Moeck) [SCB, PWM] TATE, Phyllis (Margaret Duncan) (1911-1987) England Pianist, timpanist, composer; st. Royal Academy, London; Fellow, 1964. Works: orchestra, band, chamber, piano, vocal, opera, operetta, commercial music. Style: wide variety of forms and harmonic languages; elegant, expressive, clear and accessible (Sadie and Samuel 1995, 456). Dido’s Lament (OUP 1937/ILL) 3p. Straightforward chordal arrangement of the famous aria. Int. Explorations Around a Troubador Song (OUP 1976/ILL) 20', 47p. 5 continuous variations on 12th-c. song: Intrada; Antiphon; Impromptu; Canzonetta; Epitome. Pianist also plays small drum. Comprehensive score notes explain compositional techniques. Late Int/Early Adv. Lyric Suite for Piano Duet (OUP 1975/ILL) 18'. Pf 4-hands, comm. 1974 Cardiff Festival. 5 continuous sections: Aubade; Lullaby; Arabesque; Ländler; Dirge. Informative notes. Early Adv. See also: Pf Sonata No. 2 (1959); teaching pieces, duets. [Bakers, Boenke, Cohen, Fuller, Heinrich, Hinson, K800, Meggett, NG, S&S] TAUBO, Lillian Gulowna (1915-2002) Norway Copies av. Music Information Centre-Norway: Intermezzo: Elevstudie; 3 Klaverstykker: Mazurka, Capriccio, Norsk Fantasi; Markblomster for Piano: Hestehov, Bleveis, Hvitveis, Maria nøklebånd, Blåklokke, Prestekrave; Stemningsbilder (1988); Taubo-Suite i Gammel Stil (1987). [MICNorway]

236

Tavares

TAVARES, Sylvia (20th c.) Brazil Trenzinho (Ed. Musicais Guanabara 1979) 2p. [FrMKassel] TAYLOR, Avril Coleridge: see Coleridge-Taylor, Avril Gwendolen TAYLOR, Joye (20th c.) New Zealand The Day-Time Suite (Sounz, n.d.). Four pieces: Dawn; Post Meridian; Leise; Nocturne. Adv. [SOUNZ] TCHEBOTARIAN, Gayaneh Movsessovna: see Č‘EBOTARYAN, Gayane TCHEMBERDJI, Katia [Tschemberdji, Ekaterina] (1960- ) Russia/Germany Pianist, teacher, composer; st. Moscow Cons.; commissions. Works: orchestra, chamber, piano, opera. Style: clarity of line, clever structuring; frequently inspired by graphic design, geometrical figures, and the work of artists Escher and Bosch (Sperber 1996, 104-104). Sechs Haiku; Trauermarsch; Tag und Nacht (Sikorski 1996, Exempla Nova series/ILL) 32p. Collection of three works: 6 Haiku; Funeral March; Day and Night, Hommage a M.C. Escher. Contemporary techniques, including clusters, aleatoric rhythms; pointillistic; contrasting registers, textures, dynamics, timbres, and layers of sound. See also: Haiku II (1989) 5p; Sieben Praeludien (Sikorski facsimile). [FrMKassel, KOM, Sperber] TELFER [née Lindsey], Nancy Ellen (1950- ) Canada Horn player, pianist, choral conductor, singer, teacher, composer; st. U. Western Ontario, London Teachers’ Coll.; commissions, workshops; “a major new voice in educational piano literature” (1985 preface to “Dancing Shoes,” below). Works: orchestra, band, chamber, organ, piano, vocal, multimedia. Style: imaginative, insp. by nature; traditional forms, modal harmonies. Listed with Frau Musik Archiv-Kassel: Dreams (1983) 11p; Three Faces of Time (1984) 14p. I’m Not Scared (Frederick Harris 1994) 17p. 10 pieces “about things that children love to be scared about”—score. Performance directions and descriptions given for each. Early Int. Old Tales in a New Guise (Frederick Harris). 11 arrangements of Canadian folk tunes. Early Int.

Thieme 237 Put On Your Dancing Shoes (New School 1985/ILL) 9p. Nine unique, imaginative dances; irregular rhythms, colorful harmonies, lyric melodies, occasional surprises. Late Elem. Many other teaching pieces av. in collections, anthologies (Frederick Harris). [Albergo, Axford, CMC, Cohen, FrMKassel, Heinrich, NG, score, S&S] TERZIAN, Alicia (1934- ) Argentina Pianist, conductor, professor, musicologist, composer of Armenian descent; st. Ginastera; st. early Armenian music in Venice; prizes, awards, commissions. Works: orchestra, band, chamber, piano, vocal, ballet, theatre, electronic. Style: bold imaginative drive, solid inner logic, often using tone color as a formal element (Sadie and Samuel 1995, 459). Atmosferas (Ricordi 1972/ILL) 21p. 2pf duet. No.2 of “Imagenes Cosmicas.” 14 brief, evocative sketches. Late Int/Early Adv. Danza Criolla Op.1 (Barry y Cía 1956/ILL) 3p. Composer’s first work. Distinctly Spanish-American rhythms, harmonies. Allegro, 3/4, ternary, chords with added 6ths. Int. Juegos para Diana (Ricordi 1970/ILL) 5p. Rondo with folk-like main theme, repeated with different treatments to create various moods. Bitonal, playful, very like Pinto’s Scenas Infantis. Late Int. Toccata Op.4 (Ricordi 1955/ILL) 10p. Another early composition; brilliant, virtuosic. Allegro molto, 2/4, ABA with prestissimo coda. Tonal/modal in F, quintal passages, alternating double notes; sparkling, showy and colorful. Adv. [Cohen, Heinrich, Meggett, NG, S&S] TESKE, Gundi (1956- ) Germany Pianist, teacher, composer; st. Dilsseldorf, Cologne, Hamburg; piano instructor, Bonn. Works: piano. Spiel-figuren (P.J.Tonger 1993) 22pp (incl. graphics). 10 little “play-figures” within a wide sound range, intended to help students master the whole keyboard. Attention given to relaxed shoulders, arms, wrist rotation. Bold geometric drawings reflect spirit, movement. Late Elem-Early Int. [KOM, score] THIEME, Kerstin [nee Karl] (1909- ) Germany Pianist, organist, teacher, composer; prisoner of war, WWII; became Kerstin in 1975; teacher, Nuremberg University; prizes, awards. Works: orchestra, chamber, keyboards, voice. Tre Capriccetti Amorosi (Astoria 1972). Also: Variationen (1932); Divertimento II (1988), 2 pf duets. [Cohen, Heinrich, K800, Sperber]

238 Thomas, Augusta THOMAS, Augusta Read (1964- ) USA Composer, professor; st. Northwestern U., Yale, RAM-London; fellowships, prizes, grants; composer-in-residence, Chicago S.O. Works: orchestra, band, chamber, chorus, opera, piano. Around Midnight Variation (Schirmer 2001). Two Etudes (Schirmer 1997/AMC) 5'. Orbital Beacons: homage to Berio. Fire Waltz: a perpetual motion-Bartok boogie-woogie, to be played as quickly as possible. Two New Etudes (Schirmer 2003/AMC) 6'. Cathedral Waterfall: homage to Messiaen. On Twilight: homage to Boulez. Identical musical materials (chords, register, strata) produce drastically different effects. Whites: for Solo Piano (Presser 1991) 8', 7p. Gentle; constructed from melodic/harmonic variations of two six-note aggregates; sonic exploration into the infinite variety of the color white (composer). Changing meters, extreme range, atonal. Early Adv. [AMC, NG, Presser, SAI] THOMAS, Janet Owen (1961- ) Great Britain Composer; commissions. Works: orchestra, chamber, vocal, music theatre, piano, organ. Web page: www.janetowenthomas.com. Preludes: Set One (Maecenas Music 2000) 1-2' each, 15p. Four neoimpressionistic sketches; evocative, modal, dissonant intervals, shifting meters, pedal effects. Echoes in a Shallow Bay: andante con moto. Memory Gongs: innocent and tender, bell-like. Four Elements: section contrasts in color, texture. Delicate and very light (air); with fierce vigor (fire); like the first section, but twice as forceful (water); warmer, yielding (earth). Alien: toccata, bold, menacing, frenzied, relentless; written entirely in single staves in the bass clef. Early Adv. Fantaisie-Sonata (1984, rev. 1987) 7'. Commissioned by Robert Keeley. [Cohen, Masters catalog, web page] THOME, Diane (1942- ) USA Pianist, professor, composer; st. Eastman School, U. Pennsylvania, Princeton, where she was the first woman to receive Ph.D. (1973) and to write computersynthesized music; fellowships, awards, commissions. Works: orchestra, chamber, piano, vocal, electronic, multimedia, film. Style: exploration of connections, boundaries between live performance and computer-synthesized sounds. Email: dthome@ u.washington.edu. Pianismus (ACA 1982/ILL) 21p. From composer: Simple, lyric theme in f, 10 variations, finale. Nostalgic look at piano variation tradition from Haydn, Schumann, and Brahms to Debussy, Carter, and Copland. Follows classical traditions, conventional performance techniques. Early Adv.

Thomsen, Geraldine 239 Ringing, Stillness, Pearl Light (ACA 1987/ILL) 33p. Pf & synthesized tape. From composer: Variety of timbral associations between the instruments; taped portion conceived orchestrally. Title grew out of musical delineations of sound, time, and acoustic space, with alternations of those images determining form. Adv. See also: Sonatine (1959). [AMC, Boenke, Cohen, composer, Heinrich, SAI, S&S] THOMPSON, Lesleigh Karen (1966- ) South Africa/Australia Composer; st. U. Melbourne; research in Australian film music; awards. Works: piano, orchestra, chamber (bio, descriptions: Carrigan 2002, 225-226). Scores av. through Australian Music Centre: Exuviae (1993) 13'. Sombre, intense, sectional; demanding LH, many chordal passages. Early Adv. Five Little Aussies (1991) 7'. 5 short pieces of varying styles. Elem-Early Int. Mad Men, Mad Times (1991) 21'. Sonata in 3 mvts: Allegro; Largo liberamente con passione; Toccata-Presto. Early Adv. Shepherd of the Seventh Valley (1989) 4'. Int. Sphygmus (AusMC 1992) 7:50, 14p. Toccata-like single movement, energetic, rhythmic, passionate. Adv. Suite for Children (1983) 6'. 8 pieces of varying styles. Elem. Toccata (1989) 4'. Late Int/Early Adv. Twilight (1985) 2'. Elem. [AusMC, Carrigan] THOMPSON, Shirley Joy (1958- ) England British composer and violinist of Jamaican descent; st. U. Liverpool, U. London; music advisor, London Arts Board; 1987-199t5, trained at National Film and Television School; researcher and director-producer for BBC, London Weekend Television. Works: band, solo instrumental, chamber, piano, vocal. Style: eclectic use of minimalism, modernism, both abstract and pictorial. Meditation 1988 (London: Indigo Music) 9:28. Suspected 1979 (London: Indigo Music) 12:48. [NG, Walker] THOMSEN, [Mucha, Muchová-Thomsenová], Geraldine (1917- ) Scotland/ Czechoslovakia Composer; st. RAM-London; m. Czech writer Jiri Mucha (Mucha’s first wife: V. Kaprálová, q.v.). Works: orchestra, chamber, piano, vocal, ballet. Style: lyric, rhythmic, spontaneous, infl. by folk music of British Isles and central Europe. For piano: Children’s pieces; Miniatures (1962); Parting and Teasing (1942); 16 Variations on a Scottish Song (1957). [Cohen, S&S (as Mucha)]

240 Thomson, Bronwen THOMSON, Bronwen (20th c.) New Zealand Osmosion (Waiteata Press 1995/Sounz) 4'. One movement. Adv. [SOUNZ] THOMSON, Geraldine (20th c.) Great Britain This may be the same composer as Geraldine Thomsen, above. Stately Dance (OUP 1941/ILL) 4p. Grazioso, 3/4: a neo-classical sarabande, ternary. From The Oxford Home Music Series, launched during WWII, commissioned from living British composers and consisting of lively music for amateurs. Int. [Cohen] THORESON, Janice Pearl (Milevic) (1926- ) Canada Pianist, teacher, composer; st. Royal Schools of Music, universities of Western Ontario and Calgary; taught piano privately many years. Works: piano. Sunday Afternoon (Caveat-Kerby 1982/ILL) 13p. 5 Bartokian studies. Tonalmodal, freely chromatic, simple tunes, detailed suggestions for each. Waltzing, 3/4, in A. Quiet Time, 5/4, in C. Perpetual Motion, 2/2, in C. Floating, unmetered meter, in D. Marching, 6/8, in C. Int. See also: Fog; Little Donkey; Little Waltz; Parallels; Running. [Cohen] THORKELSDOTTIR, Mist Barbara (1960- ) USA /Iceland Pianist, teacher, composer; st. Hamline University (St. Paul, MN), and with Feldman and Hiller at SUNY-Buffalo. Works: chamber, vocal, sacred. Grand Music for Asthildur (1983). See Iceland MIC. [Cohen] THWAITES, Penelope (20th c.) Australia Concert pianist, composer; st. Melbourne U., London; Wigmore Hall debut, 1974; specialist in music of Percy Grainger; recording artist. Works: songs, instrumental works, musical theatre. Dancing Pieces (Bardic Edition 1990) 6', 9p. Three tonal-modal character pieces, composed for 3 siblings. Spanish Dance: 6/8, a minor, staccatos; Late Int. Dreamy Waltz: 3/4, d minor, LH melody; Late Elem. Hop: 4/4, E major, eastern European effect. Late Int. [AusMC]

Tolkowsky 241 TIERNAN, Stephany Taylor (20th c.) USA Pianist, composer, teacher, Berklee College, Boston. Works: large and small ensembles, piano. Style: aims for motion, fluidity, comfort, expressivity; infl. ancient Celtic calendar, beliefs. Email: [email protected]. Listed with American Music Center, av. from composer (see web site for descriptions): Book of Shadows, I-IV (1995); Dryadic Harmony (1996); Hauntings: Scream-of-Consciousness (1995); Knocknarea (1989); Ostara (1996); Reel (1995); Threnody I, II, III (1994). [AMC] TIUTIUNNIK, Katia (20th c.) Australia Composer; st. Sydney Cons., Australian Nat’l U.; L’Accademia Nazionale di Santa Cecilia, Rome; awards, prizes. Works: orchestra, chamber, solo instruments (descriptions: Carrigan 2002, 228). Aggressi sunt mare tenebrarum quid in eo esset exploraturi (AusMC 1996) 15', 12p. Symbolic expression of journeying through darkness to illumination. Atonal, complex; harmony, formal structures derived from various pitch groups; rhythmically, technically demanding. Adv. Bhairawa (AusMC 1995) 12', facs. 12p. Atonal, complex, dramatic dynamics, written on 3 staves; difficult rhythms, large hand required. Adv. [AusMC, Carrigan] TOBIN, Sister Clare (1931- ) Australia Works: piano, vocal, sacred. Chaque Fleur S’Évapore Ainsi qu’un Ensensoir Op.4 (1971). Reflection Op.6 (1972) [AusMC, Cohen] TOLKOWSKY, Denise (1918-1991) Belgium Pianist, composer; st. Royal Flemish Conservatory; after death of her pianisthusband, founded the Alex de Vries Foundation to help young musicians with their careers. Works: orchestra, chamber, piano, vocal, ballet. Style: early works impressionist, later ones more expressionist. Sonatine voor Klavier (Maurer 1957/ILL) 12p. Neo-classical, very pleasant; modal with shifting tonalities, French influence. Allegretto grazioso: 4/4, Alberti bass. Adagietto: 4/4, cradle song on a Serbian theme. Allegro energico: 2/4, fluttering 16ths in both hands. Late Int. See also: Five Chants Hébraïques; Two Études; Metamorphoses; Six Préludes; Rhythmic; Variaties op een Russisch Thema (1961); North-American Impressions (2pf suite); Piano Concerto (1958). [Boenke, Cohen, S&S]

242 Torikai TORIKAI, Ushio (20th c.) Japan Composer; st. Keio U. and privately; fellowships, commissions. Works: orchestra, chamber, vocal, traditional Japanese instruments, electronic. Gathered/Scatter (1994) 11'. [musicfromjapan.org] TOWER, Joan (1938- ) USA Pianist, teacher, composer; st. Bennington Coll., Columbia U.; organized chamber group, Da Capo Players; grants, awards, fellowships, residencies. Works: orchestra, chamber, piano. Style: evocative, rhythmic, colorful, skillful; wide variety of contemporary techniques, from serial to lyrical neoimpressionist. Circles (1964) (ACA 1970/ILL) 6:30, 9p. Contemporary, atonal, extreme ranges, pointillistic; layers of tied tones contrast with rapid flurries, motion vs. stillness; extended techniques include forearm clusters, glissandi inside the piano. Adv. Fantasia (ACA 1970/ILL) 8:30, 14p. Atonal, pointillistic, contrasts in registers, continually changing meters, wide stretches; contemporary effects include plucked strings, hands striking keys. Adv. Holding a Daisy . Commissioned in 2002 by Sarah Cahill. Or Like a...an engine, in “American Contemporary Masters” (Associated /Schirmer 1995) 10p. Perpetual-motion toccata, with repetitive 16thnote figures chugging along like little pistons; hands sometimes at parallel dissonant intervals, sometimes in alternating duplets, sometimes in contrary motion. A dynamo of a piece. Adv. Red Garnet Waltz, in “Waltzes: by 25 Contemporary Composers” (C.F. Peters 1978/ILL) 3'. Graceful, attractive; shifting meters, dissonant intervals, essentially static melody, playful contrasts in register, figuration, dynamics, and articulation. Early Adv. Stepping Stones (Associated-Hal Leonard 1995/ILL) 20', 55p. 2pf arrangement of the ballet, orig. scored for orchestra. Adv. [Boenke, CAMW, Cahill, Cohen, FrMKassel, Fuller, Greenberg, Hinson, K800, Kirby, KOM, LePage3, Meggett, NG, Pendle, SCB, sdiegomtac, S&S] TRAVERS, Cathie (1959- ) Australia Rock musician, accordionist, multi-keyboardist, composer; st. U. Western Australia. Works: orchestra, electronic, chamber, multimedia. Style: experimental, “diverse, contemporary, passionate, groundbreaking, weird” (composer autobiography, AusMC web page, amcoz.au). Alyx-er (Magnetic Pig 1999) 7', 12p. For vocalizing pianist and sampler; techniques include strumming on strings, vocalizing the sound of a high hat cymbal, and operating the sampler with the left foot. Challenges: rhythms, coordination, large chords, wide leaps (descriptions: Carrigan 2002, 229). Adv.

Tucker 243 Patient Zero: Lament (Magnetic Pig 2000) 3:36, 3p. 2nd mvt of three-movement guitar ensemble work, rewritten for pf; titled for 1st documented case of HIV. Written in 3 layers on 3 staves, with sustained bass, ostinato in middle, slow, expressive melody on top. Early Adv. TVC-1 (AusMC 1996) 8', 11p. In 3 mvts; contemporary techniques include muted strings, flutter pedaling; repeated notes, large leaps, grace note figures, wide dynamic range; demanding and complex. Adv. [AusMC, Carrigan] TRENT-JOHNS, Altona: see JOHNS, Altona Trent TRIMBLE, Joan (1915-2000) Ireland Concert pianist, professor, composer; st. Dublin U., Royal Irish Academy (Dublin), RCM-London; concertized with sister in piano duo; prizes. Works: orchestra, band, chamber, vocal, opera, film, duet arrangements of Irish airs. Style: informed by Irish idiom, making it rhythmic, rhapsodic; also conveys some of the clarity and color of French music (Grove Online, 4 February 2004). The Green Bough (Boosey & Hawkes 1941/ILL) 9p. Duet, 2pf. Neo-classical, pleasantly modal, quasi-renaissance troubadour style; ternary, with folk-like themes reminiscent of Vaughan Williams. Late Int. See also, pub. Boosey & Hawkes: The Cows Are A-Milking (1945). Duets, 2 pf: The Bard of Lisgoole; Buttermilk Point (1939); The Carton [Garten] Mother’s Lullaby; Heather Glen; The Humours of Carrick (1938); Pastorale (1943); Puck Fair (1951); Sonatina (1941). Int-Early Adv. [Agay, Cohen, Meggett, NG, S&S]

TSCHEBOTARJAN, Gajenah: see Č‘EBOTARYAN, Gayane TSCHEMBERDJI, Ekaterina: see TCHEMBERDJI, Katia TUCKER, Tui St. George (1924- ) USA Recorder player, conductor, composer; st. Occidental Coll., Los Angeles. Works: orchestra, chamber, recorder, piano, organ, vocal. Style: strongly melodic, eclectic, tonal, folk elements, musical quotations; later explored microtonality, harmonics (Sadie and Samuel 1995, 464). Principal publisher: Anfor Music. Ave Verum (1992). “An evening-length piano work, written for a conventionally tuned instrument” (Sadie and Samuel 1995, 464).

244 Tuma See also: Little Pieces, for quarter-tone pf (1972); My Melancholy Baby, fantasy, quarter-tone pf (1984); Notes from the Blue Mountains; Pine Mountain, toccata; Sonata No.1; Sonata No.2 ‘The Peyote’ (1956); Tantum Ergo (1970). [Cohen, NG, S&S] TUMA, Terezinha (1938- ) Brazil Baiaozinho (n.p., n.d.). O Cavaleiro (Vitale 1976) 2p. Dança das Estrelas (Vitale 1979) 9p. [FrMKassel]

U ULEHLA [Ulehlova], Ludmila (1923- ) USA Pianist, professor, editor-compiler, composer, of Czech descent; st. Manhattan School, where she later became chair of composition; awards, commissions. Works: orchestra, chamber, piano, vocal, electronic. Style: contemporary, tonal. Five over Twelve (1976) (General Music 1968/Novello). 5 preludes on a 12-tone rows; composer explains 12-tone writing and use of it in the pieces. Int. Songs Without Words (General Music/Novello). Variations on a Theme by Bach (1970) (General Music/Novello). Var. No. 5 appears in “Contemporary Harmony,” comp. by Ulehla . Also: Diversions (1971) solo or duet; Harlequinade (1971); Inspirations from Nature (1985); Slovak Phantasy; Sonata Nr.1 (1951); Sonata Nr.2 (1956); children’s pieces. [Boenke, Canaday, Cohen, FRK, FrMKassel, Heinrich, K800, Meggett, NG, S&S, Stern] UMANSKY, Tatiana (20th c.) Israel Works: piano. For brief biography, see Israeli Music Center: http:/go.to/ israelcomposers. Memories, Two Pieces for Young Pianists (CGI/IMC-644 1983-96) 5', 15p. Toccata (CGI/IMC-726 1996)4', 13p. Two Pieces for Children (CGI/IMC-643 1983) 2:30, 6p. [IMC]

Ustvol’skaya 245 URTEAGA, Irma Graciela (1929- ) Argentina Pianist, teacher, composer; st. National Cons., Buenos Aires, Institute del Teatro Colón; opera studio director-repetiteur, Teatro Colón, Ecuador Opera. Works: orchestra, vocal, chamber, piano, opera. Style: neo-romantic with occasional use of avant-garde techniques. Escalonicas (Ed. Argentina de Compositores-Moeck). See also: Two Preludes (1967); Sonata (1969); Variations and Toccata (1968). [NG, S&S] USHER, Julia (1945- ) England Pianist, flutist, music therapist, composer; st. Cambridge, York U.; established Primavera Music Publishing with Enid Luff (q.v.). Works: orchestra, chamber, vocal, theatre, multi-media. Style: dramatic, technically demanding, wellstructured. Pentimento (Facs. score, 1979/ILL) 10', 5 double pages. Contemporary writing, many tempo changes, through-composed. The title refers to the visual effect of seeing through old paint to the original lines. Adv. Marak I-IV (Primavera 1989/ILL) 14p. Four contemporary studies, with changing meters, angular melodies, dissonance, pedal effects. I. Precise but delicate, sensitive; chords accumulate from tied notes. II. Precise, glittering, rhythmic, elegant; shimmering 32nd-note flourishes. III. Light, fast; pointillistic alternating 16th-notes, widely separated. IV. Crystalline, dreamy; sonorous, floating, glassy. Adv. [Boenke, Cohen, Fuller, S&S] USTVOL’SKAYA [Ustwolskaja], Galina Ivanovna (1919- ) Soviet Russia Lecturer, composer; st. Shostakovitch, Rimsky-Korsakov, Leningrad Cons.. Works: orchestra, chamber, piano, vocal, film. Style: early works infl. Shostakovich, neo-classicism; mature works are powerful and ascetic, with abrupt changes in mood, from meditative to raging, effected through extreme shifts in dynamics and texture (Sadie and Samuel 1995, 469). Klavierwerke I: Sonaten 1-3 (Sikorski 1996). Nr.1: 7', 9p. Nr.2: 12', 8p. Nr.3: 18', 15p. Adv. Klavierwerke II: Sonaten 4-6 (Sikorski 1996). Nr.4: 12', 10p. Nr.5: 11', 14p. Nr.6:7', 10p. Adv. Klavierwerke III: 12 Praeludien (Sikorski 1996) 18', 27p. Unmetered, many monodic lines. Late Int-Early Adv. Twenty Preludes (Sovietskïy Kompozitor). [Baker6, Brisson, Boenke, Cohen, FrMKassel, KOM, Meggett, NG, Pendle, SCB, S&S]

246 Uyttenhove UYTTENHOVE, Yolande (1925-2000) Belgium Concert pianist, lecturer, composer; st. Brussels Royal Cons.; licentiate diploma, RAM-London; international awards, piano and composition. Works: orchestra, chamber, piano, voice. Style: post-Fauré medieval-inspired; non-serial; modern harmonies (Sadie and Samuel 1995, 470). Arsinoe Op.178 (CeBeDeM 1995) 2p. 2/4, modal; folk-like tune of 4ths and repeated tones, accompanied by close thirds. Early Int. Berceuse Op.2 (1955) (CeBeDeM) 3p. Cradle song in 4/4; plaintively descending tune accompanied by rocking chords. Late Int. Dîner à Cajarc Op.30 (Maurer 1968/CeBeDeM) 15p. Charming 10-course musical meal: Onion Soup; Provençale Tomatoes; English Peas; Chicken; Potatoes; Salad; Country Wine (valse musette); Cheese; White Lady; “Le Retour, avec Bacchus pour guide.” Early Adv. Le Jardin des Papillons (CeBeDeM) 4p. Descriptive sketch: hands alternate in fluttering white/black 2nds, 3rds, swiftly rising and falling arpeggios; after a 4-bar waltz, returns to the fluttering figures. Early Adv. Also av. CeBeDeM: Arion Op.176 (1995); Bouton de Rose Op.165 (1992); Chiron Op.218 (1999); Dans la Forêt Muette Op.164 (1992); Feuillets d’Album Op.136 (1988); Feux Follets Op.12 (1960); Interlude Op.24 (1967); Le Tombeau de Francesca Caccini Op.180 (1996); Si Peau d’Âne m’Etait Conté Op.134 (1988); Sonata en Fa Op.149 (1989); Sonatine Op.16 (Maurer 1962). Also: Chiffres et Poèsie (1961); Fables de la Fontaine (1970); Le Jardin de Beau-Minet (Maurer 1974); Petite Maman de Bonheur (1959); Petite Toccata [Toccata Miniature] (1959/1967); Le Sire du Lusigny (Maurer 1967). See commemorative essays, Journal of the IAWM 6/3 (2000): 38-40. [Boenke, Cohen, Heinrich, IAWM, S&S]

V VAN APPLEDORN, Mary Jeanne (1927- ) USA Pianist, professor, composer; st. Eastman School with Rogers, Hovhaness; awards, prizes. Works: orchestra, band, chamber, piano, vocal. Style: intense, introspective; jazz elements, striking timbral effects often incorporated into strict forms (Sadie and Samuel 1995, 471). Contrasts (Arsis 1997) 4:45, 8p. Early work (1947); tonally centered but highly dissonant, joyous, effervescent. Presto: 4/4, tarantella-like triplets, contrary motion, bitonal/quintal. Lento: 2/4, legatissimo, a lyric arietta accompanied by calm LH octaves. Allegretto, 2/4, bitonal root position triads. Late Int/Early Adv.

Van de Vate 247 Eight Pieces, in “The New Scribner Music Library,” Vol.1, ed. Montgomery (Scribner 1972). (3 from Scenes from Pecos Country). Apache Echoes; Boots ’n’ Saddles; Café José; Daybreak; Fort Davis Salute; Indian Trail; Night on Balmorhea; Sun Devils; Wagon Train. Late Elem. A Liszt Fantasie (Arsis 1992) 5', 12p. Bravura pastiche, the most difficult of her solo works; Liszt quotes woven into modernistic setting. Early Adv. Parquet Musique pour Clavecin (Arsis 1999) 3'. Hpd/pf; ded. to Barbara Harbach (q.v.). Exciting, robust harmony, strong motives, ostinatos, jazz progressions, ragtime figures, palindromes. Early Adv. Scenes from Pecos Country (C. Fischer) 3p. Western sketches: Apache Echoes; Night on Balmorhea; Daybreak. Late Elem. Set of Five (OUP 1978). Effective contemporary group; rhythmic, attractive, contrasting, freely tonal, pianistic. Ostinato; Blues; Improvisation; Elegy; Toccata. Nos.3, 5 av. separately. Late Int/Early Adv. Uptown Blue (av. composer 1999). 2nd in Set of Five, above. Popular work reflecting NYC influence. Early Adv. Also, listed with American Music Center: Elegy for Pepe (1982); Set of Seven (1988) pf score of ballet suite. [AMC, Arsis, Axford (as Appledora), Boenke, Cohen, Heinrich (as Appledorn), Hinson, Magrath, Meggett, NG, sdiego, S&S] VAN DE VATE [née Hayes], Nancy (1930- ) USA/Austria Pianist, professor, composer; st. Wellesley Coll., U. Mississippi, Florida State U.; 1975 founder, Int’l League of Women Composers; Vienna resident since 1985; with her husband, founded the record company, Vienna Modern Masters (1990). Works: orchestra, chamber, piano, vocal. Style: infl. Indonesian sounds, Penderecki, Lutosawski; “clusters, aleatory passages, lyric solos and background ostinatos within a carefully devised formal structure” (Sadie and Samuel 1995, 472). Nine Preludes for Piano (AMC 1978-North/South Consonance) 13:30. Adv. Sonata (Arsis 1982/AMC) 14', 15p. Late romantic, rich sonorities, poignant melodies, bravura, appassionato. Very slowly: free fantasy built on increasingly subdivided beats ends frenetically. Slow: rounded binary; 2nd section has long melody in Brahmsian 6ths and 3rds, over a relentless 2-note ostinato. Fast: ternary, motoric bass, lyric center section. Adv. See also: Encore (1981); Sonata No. 2 (1983); 12 Pieces on 1-12 Notes (1986); Twilight (1962). Teaching pieces pub. under pseuds. Helen/William Huntley: Bicycle Ride; Mississippi; Syncopated Soldier; Topsy Turvy (Montgomery Music); Hoe Down (Willis). [Arsis, Bakers92, Boenke, CAMW, Cohen, FRK, FrMKassel, Fuller, Heinrich, Hinson, LePage, Meggett, NG, Pendle, SAI, S&S, Zaimont]

248 Van Haute VAN HAUTE, Anna-Maria (Mieke) (1948- ) Belgium Concert pianist, conductor, lecturer, composer; st. Royal Conservatory in Brussels, Amiens, Paris, Quebec. Works: orchestra, chamber, organ, piano, vocal. Piano works: Empreintes Op.9 (Andel); Il Mattachione Op.1 (Maurer); Meneut Op.1 (Maurer); Preludes Op.1 (Maurer); Sonatine Op.1 (Maurer). [Cohen (Belgian MIC), Heinrich] VAN NESTE [Neste], Rosane Micheline Lucie Charlotte (1911- ) Belgium Concert pianist, teacher, composer; st. Royal Conservatory in Brussels; prizes. Works: orchestra, chamber, organ, piano, vocal. Sonatine Op.23 (Metropolis 1983/ILL) 12p. Neo-classical, tonal, freely chromatic, quintal-quartal, rather Bartokian; three mvts. Burleske: allegro, 2/2, c minor, playful. Wiegelied: andante cantabile, 5/4, a cradle song, E-flat. Scherzo: staccato, 3/4, c minor. Late Int. See also: Arlequin Op.6 (1930); Concertstudie Op.3 (1930); Cortège Chinois Op.7 (1930); Fox-Trot Op.4 (1930); Pictures for Guino Op.22 (Metropolis 1980); Preludes Op.18; Preludes Op.19; Valse-caprice Op.5 (1930). [Cohen, Heinrich] VANIER, Jeannine (1929- ) Canada Organist, lecturer, composer; st. Nazareth Inst. for the Blind, Montreal U.; longtime church organist; taught at Nazareth Inst. and Montreal U. Works: chamber, sacred. Five Pieces for Children (Waterloo 1960) 5p. Gently contemporary. Varied techniques, mainly homophonic textures with some mirror writing, double ctpt, effective contrasts in articulations (Butler 1973, 1: 54). Early Int. [Butler 1, Cohen] VAUBOURGOIN, Jeanine (20th c.) France Aria: pour Jacqueline (Billaudot 1981) 2p. A sort of neo-classical berceuse; modal, ternary, open-fifths ostinato, added-tone triads. Elem. 1. ABA/2. Rondino (Billaudot 1982)2p. [Cohen, FrMKassel, KOM] VEJVODOVÁ, Hana (1963-1994) Czechoslovakia Pianist, composer; st. Prague Conservatory. Works: orchestra, piano, chamber, songs, teaching pieces. Style: dramatic, expressionistic. Principal publisher: Czech Music Fund.

Verhaalen 249 Vodomalbičky [Water Pictures] (Supraphon 1988) 7p. Seven evocative sketches of water: Stalactites; Drops of Rain; Well; Forest Lake; Sleigh Riding; Early Dew; Waterfall. East European flavor, folk-like tunes, metric, modal, occasional whole tone/added-tone harmonies. Late Elem. See also: 5 Pieces (1982); Etude (1982); Sonatinas Nos. 1, 2, 3 (1983, 1986); 10 Variations on a Theme by Beethoven (1983); Sonata No. 1 in C (1984); 4 Sonatas; 8 Bagatelles (1993); Short Stories (1994), 10 pieces. [Baerenreiter, NG, score] VERCOE, Elizabeth Walton (1941- ) USA Professor, composer; st. Wellesley, U. Michigan, Boston U.; grants, fellowships. Works: orchestra, chamber, piano, vocal, electronic. Style: technical command, sensitivity to sound materials; highly contrasting works, from powerful and disturbing, to spare and suggestive, to satirical and elegant (Sadie and Samuel 1995, 473). Fantasy (Arsis 1978) 10', 14p. 6 contrasting sections; very free, contemporary, colorful, imaginative, intense. Slow introduction is characterized by rhetorical gestures, special timbral effects inside the piano. Next three sections are invention-like, in 2-vc ctpt. Section 5 is full of arpeggios, trills, impressionistic effects. Section 6: agitated, abandoned in effect. Adv. Three Studies (Arsis 1978/ILL) 3', 6p. Neat compositional exercises to be played as a set or singly (first 2 are shorter, easier than 3rd). Mirrors: allegro, 3/8. Inverted-interval motifs “mock” each other, with the lead changing hands several times. Daydream: 4/4, 12 bars of languid open 5ths, legato, bitonal. Fugue: prestissimo, 2/2. Motoric subject opens with repeated staccato 8th notes. Int-Late Int. See also: Persona (1980); Six Gratitudes (1978); Sonaria for Piano (1980). [Bauer, Boenke, Cohen, FRK, FrMKassel, Hinson, NG, S&S, Zaimont] VERHAALEN, Sister Marion (1930- ) USA Pianist, editor, music educator, professor, composer; st. Catholic U., Columbia U., as teaching assistant to Robert Pace; workshops, grants. Works: chamber, piano teaching materials, vocal, dance, theatre. City Set (Lee Roberts 1968). 4 pieces. Elem. Fantasy Suite (Hal Leonard 1983) 8p. Fanfare; Chorale; Aria; Toccata. Free and dramatic sections guide improvisation on black key pentatonic scale, Phrygian mode. Mildly contemporary, effective (Hinson 2002, 793). Late Int. Phrygian Toccata (Summy-Birchard 1966). Int. See also: Johnny Has Gone for a Soldier (Hal Leonard 1983); Modes in Miniature (1975); Solo Adventures, 2 sets (Lee Roberts). [Albergo, Cohen, Heinrich, Hinson, Hodges, Patti]

250 Vestini Foglia VESTINI FOGLIA, Giovanna (1935- ) Italy Three Little Sketches For Beginners (Bèrben 1981), each 2p. La Farfallina [Little Butterfly]; La Marcia dei Soldatini [March of the Little Soldiers]; La Zanzara [The Mosquito]. Elem. [Berben, Presser] VICTOR, Janine ( - ) France Delphine au Piano (Aug. Zurfluh 1991 -Presser) 4p. 3 attractive character pieces for beginners. Polka des souris [Mouse Polka]: fresh, sharp, binary in 2/4 and 3/4. Creole: ternary, with cakewalk sections flanking an habañera. Delphine Blues: languid melody over the standard progression I-vi-ii-V-I, simplified stride bass. Late Elem-Early Int. [Albergo] VIDAR, Jórunn (1918- ) Iceland Pianist, teacher, composer; st. Reykjavík Coll. of Music, Berlin Hochschule für Musik, Juilliard, Vienna. Works: orchestra, chamber, piano, vocal, theatre, film. Style: best known for her songs, influenced by the modal language and metric schemes of Icelandic folksong. Five Meditations on Icelandic Themes (Icelandic MIC). [Cohen (Icelandic MIC), NG, S&S] VIKTOR, Denise (1933- ) France Burla: Pièce pour Piano (Combre 1984/ILL) 2p. In 2/4, B and E majors. Playful, attractive, tonal, in rounded binary; some added-tone chords, shifting tonalities. A cakewalk with crisp staccato chords and a syncopated tune is on either side of a lyric Habanera. Int. [Cohen] VILLIN, Marcelle Henriette Marie (1927- ) France Organist, pianist, composer; st. Nat’l Cons., Lille; concertized in France, USA; organist, Sacre-Coeur Church, Antibes. Works: chamber, piano, vocal, theatre. L'Espiègle Jongleur [The Mischievous Juggler] (Billaudot 1975/Presser) 2p. Clever study in staccato-legato variants of a four-measure theme. Int. See Cohen for many more titles. [Cohen, FrMKassel, Heinrich, KOM]

Vito-Delvaux 251 VIRGILIO, Nicoletta (1929- ) Italy Cinque Brevi Impressioni (Bèrben 1972) 6p. Five Bartokian studies in the treble clef; modal, 2-vc writing, frequently dissonant, all in 2/4 meter except the first. I. Grazioso, 3/8. II. Comodo. III. Gioioso brilliante, imitative. IV. Mesto, cantabile. V. Vivo. Late Elem/Early Int. [Berben, HinSup] VISO, Margarita Soto: see SOTO VISO, Margarita VITO-DELVAUX, Berthe di (1915- ) Belgium Pianist, lecturer, composer; st. Royal Conservatories in Liège, Brussels; awards, honors, incl. Prix de Rome. Works: orchestra, chamber, piano, vocal, ballet, opera, theatre. Style: late-romantic tonality; use of folklore, dance, neo-classical techniques, Poulenc-style wit and humor. Airs à Danser (sur une vielle chanson flamande: Reuzegom) Op.49 (CeBeDeM 1951) 11p. Int. Burlesque Op.18 (CeBeDeM/Bayard-Nizet 2001) 8:30, 9p. Early Adv. Caricatures Op. 148 (CeBeDeM 1983) 11p. 7 musical cartoons: Le Ridicule; L’Offusque; Le Nonchalant; Le Rapporteur; Le Pretentieux; Le Blasé; Le Rigolo. Late Int. Entrata e Rondo Op.64 (CeBeDeM 1954). 13p. Late Int. Esquisses Mythologiques Op.114 (CeBeDeM 1966) 46p. Dance suite in 5 large sections. Introduction, the 3 Graces and Apollo. Variations et Final. Entrance, Dance of Cupidon. Entrance of the Bacchantes, Bacchus, Faune. Apotheosis: finale, reprise of themes. Early Adv. Et les Cancans Op.113 (CeBeDeM 1966). 4p. Reduction of (possibly) stage music. Int. Festa dei Bimbi Op. 129/2. (CeBeDeM) 13p. 10 descriptive sketches for children. Elem-Early Int. Le Prisonnier Op.71 (CeBeDeM 1955) 20p. 1-act ballet, 2 tableaux. Early Adv. Sonatine No.3 Op.110 (CeBeDeM 1974/ILL) 5', facs. ms., 8p. Theme and variations; Andantino. Int. Also av. CeBeDeM: Festa Dei Bimbi Op.119 (1968); Pezzo Concertato Op.161 (1986); Polichinelle Melodie Op.104 (1965); Pourquoi? Op.85 (1960); Solfege À Deux Clés Op.118 (1968); Sonatas Opp.7, 60 (1939, 1953); Sonatines Nos.1, 2, 3 Opp. 102/108/110 (1965-66); Sous Le Chapiteau Op.83 (1959); Suite Op.63 (1954); Toccatina Op.129/1 (1971); Trois Pieces Op.17: En Voyage, Pochade, Tambour (1941); Variations Sur La Chanson Populaire “Te Hasselt Langs De Baan” Op.66 (1954); Variations Sur Un Vieux Cramignon Op. 122 (1969); Variazioni Di Maniera Classica Op.96 (1965). [Boenke, CeBeDeM, Cohen, Heinrich, HinSup, Meggett, S&S]

252 Vivado VIVADO (ORSINI), Ida (1908/1916-1989) Chile Pianist, lecturer, composer; st. Chile National Cons., Italy; author of teaching manuals. Works: orchestra, piano, vocal. Style: contemporary, some serial works. Estudios, in “El Pianista Chileno,” 2 vols., ed. Botto (Chile Nacional Cons. 1963/ILL). 15 contemporary teaching studies; 11 are by Vivado. Vol.1 (Late Elem-Early Int): El Do y El Re; Las 7 Blancas; Juego; Las 5 Negras y 5 Blancas; Chilenita; Los “12 Sonidos.” Vol.2 (Late Int): Ligado; Octavas; Rubato; Acentos. See also: Anoranza; Dos Momentos: Con Expression Doliente; Con Gracia (1976); 8 Trozos (1974); 6 Pieces for Children (1964); 6 Studies (1967); Suite (1955); 3 Preludios y Tema con Variaciones (1952). [Cohen, score, S&S] VORONINA, Tatiana Aleksandrovna (1933- ) Soviet Russia Concert pianist, lecturer, composer; st. Leningrad Cons.; performed both classical and contemporary repertoire. Works: orchestra, chamber, piano, vocal. Style: infl. by Russian folk music, 20th c. styles; detailed, intense, lyric, thick textures. Concert Fantasy (Sovietski Kompozitor 1962/ILL) 23p. Sectional fantasy on themes from Prokofiev’s opera, War and Peace. Brahmsian textures, strong writing. Adv. Sonata (Sovietski Kompozitor 1976/ILL) 53p. Prokofievian, with spare textures, dissonant intervals, wide stretches, strong emphasis on persistent, even motoric rhythmic motifs. Four continuous movements, marked by changes in tempo, texture, themes: Allegro; Andante; Andante molto tranquillo; Allegro. Adv. See also, pub. Sovietski Kompozitor: Aria and humoresque (1965); Concert Scherzo (1962); Preludii (1952); Six Pieces (1976); Skazki (1964); Vesennyaya muzyka (1968). [Cohen, FrMKassel (as Woronina), Heinrich, S&S]

W WALKER, Gwyneth Van Anden (1947- ) USA Composer, professor; st. Brown U., U. Hartford; awards, commissions. Works: orchestra, chamber, organ, piano, vocal, dance, opera. Style: accessible; writes for amateurs and professionals, often linking compositions to specific places and events in non-traditional sites; pandiatonic, quartal harmonies.

Wallach 253 April, Rag and Fantasy (E.C. Schirmer) 5:30, 9p. April: lyrical, fresh, like a spring morning. Rag: a spoof combining traits of Joplin, Chopin, and others; metrical irregularity contributes to humorous effect. Fantasy: delicate, sparse texture; interior section becomes more complex but resolves into a simple final cadence (composer’s note). Int. Cantos for the End of Summer (E.C. Schirmer 1993) 15', 17p. Three short character studies, particularly effective played as a set. Prelude: Italian melodic flourish. Caper: rhythmic fun, humor, ragtime. Evensong: sketch of a village green in August, with church bells ringing for evening service (Solomon 1994, 5). Late Int/Early Adv. Rhythms from the North Country (E.C. Schirmer 1997) 4p. Relaxed tempo, a minor, gently rocking rhythmic ostinato; extended techniques include clusters, direct-string playing, tapping on piano case. Late Int. Three Sketches from Pendle Hill (E.C. Schirmer 1988) Facs. ms., 4p. Attractive, brief, pianistic. Spirited: 2/2, like a brass fanfare. Dolce: rubato, unmetered, prelude-like 8th-note texture. Dolce: changing meters; nocturne-like. Int. See also: Complete Piano Works (1976); 5 Pieces for the Piano (1972); 4 Light and Lively Pieces (1979); Preludes (1974); Sonatas 1-3 (1979-82-83); Suite for Piano (1969). [Arsis, Axford, Boenke, Cohen, Heinrich, Hinson, Patti, Solomon, S&S, Zaimont] WALLACH [Crane], Joelle (1946) USA Pianist, singer, lecturer, composer; st. Sarah Lawrence Coll., Columbia U., awarded 1st composition doctorate, Manhattan School; .pre-concert lecturer NY Philharmonic; awards. Works: orchestra, chamber, piano, vocal, electronic. Style: post-Wagnerian tonal idiom, eclectic influences, include Hebrew chant, North African dance (Sadie and Samuel 1995, 484). Web page: www.joelle. wallach.com. Descriptions below by the composer. Voices of the Iron Harp (AMC 1986) 12'. A love song, almost a farewell to the piano, using open-ended variation form, 19th-20th c. heroic gestures, to explore moods and sounds of the instrument (composer). Wisps (AMC 1980) 9'. 11 fragmentary phrases; focus on exploration of unusual pianistic colors at different volumes, densities (composer). See also: Andante Cantabile (1982); Piano Study in Open-Ended Form (AMC 1965); Three Piano Pieces (AMC 1967). [Boenke, Cohen, composer, Heinrich, SAI, S&S, Zaimont]

254 Wallen WALLEN, Errollyn (20th c.) Great Britain Pianist, singer; commissions, awards. Works: ballet, opera, chamber, vocal, piano, film. Principal publisher: Peters Edition. E-mail: errolynwallen.com. Piano works listed with British MIC: Three Piano Pieces (1980); Lines (1982); Favourite Things (1990); Prelude (1996); Louis’ Loops (1999), toy piano; Greenwich Variations (2000). Duets: Big Business (1988), 2 pf; The Girl in My Alphabet (1990), 2 pf; Earth Stood Hard As Iron (1992), 2 pf; My Lord, What a Morning (1998) pf duet. [BMIC] WANG, An-Ming (1926- ) China/USA Pianist, author, composer; st. Central China U., Wesleyan Cons., Juilliard, Columbia U.; works widely performed; adjudicator, young composer contests. Works: orchestra, chamber, piano, vocal, opera. Dance Chinoise (Freeland 1998/ILL) 5p. Required composition, 1993 International Young Artist Competition. Bitonal and pentatonic, mainly in treble clef; ostinato open 5ths, rippling 16ths; ternary, with center section in 8ths, quartal. Early Adv. See also: Arabesque (1978); The Mahjong Suite: The flowers, The words, The winds (1977); Petite Valse (1978); Toccata (1979) Works available from composer (Boenke 1988, 197). [Boenke, Cohen, Heinrich, SAI] WARREN, Elinor Remick (1900-1991) USA Concert pianist, accompanist, composer; private study with LaForge, Gallico, Dickinson, Boulanger; accompanied famous singers; performed her works with orchestras; awards, prizes, commissions; over 200 published works. Works: orchestra, chamber, piano, vocal. Style: neo-romantic, inspired by nature. Frolic of the Elves (Masters M2577) 6p. Delightful, whimsical, one of Warrenx’s most enduring compositions, written at age 23. Good encore. Late Int. If Thou Art Near (Masters 1997) 3p. Transcription of Bach’s “Bist du bei mir.” Warren, who described the tender melody as “an impassioned memento of his eternal devotion for his Anna Magdalena,” played it daily after the death of her own husband (notes from score). Late Int. Three Melodies (Masters 1996) 13p. Charming concert transcriptions of Stephen Foster melodies: Jeannie With the Light Brown Hair; Beautiful Dreamer; De Camptown Races. True to the original conceptions; lyric, romantic, and pianistic. Early Adv. Two Pieces: The Fountain and The Lake at Evening (Masters 1996). Superb examples of Warren’s neo-Romantic style; 1st pub. of these works composed nearly 60 years apart. The Fountain: impressionistic sketch inspired by a Teasdale poem; Ravellian textures. The Lake at Evening: brief, atmospheric, calm and expressive. Early Adv.

Wedgwood 255 See also: Dark Hills (1946); Poem (Fischer 1946); Scherzo; Sea Rhapsody (1946). [Cohen, Fuller, Heinrich, LePage, Meggett, NG, S&S] WATSON-HENDERSON [Henderson], Ruth Louise (1932- ) Canada Pianist, organist, choir director, composer; st. Toronto conservatory, Mannes College; accompanist to Festival Singers, Toronto Children’s Chorus. Works: orchestra, chamber, choral, children’s drama, piano, organ. Childrenx’s Suite (1980) Six Miniatures for Piano (Frederick Harris). Int. Suite (1978). In memory of Alberto Guerrero. [Albergo, Cohen, S&S] WEAVER, Carol Ann (1948-) USA/Canada Pianist, professor, composer; st. Indiana U.; commissions. Works: orchestra, chamber, vocal, electroacoustic, multimedia. Style: fusion of avant garde, jazz, lyric, theatrical idioms. Scores listed with Canadian Music Centre: Before Jehovah’s Awful throne: A Commentary (1972); Summer Suite (1966); Three Moments in Time: Late of the Day; Between a Dream; Ice Dawn (1971). [CMC, Cohen, Heinrich] WEBB, Orianna (20th c.) USA Pianist, bassoonist, teacher, composer; st. Yale, Cleveland Inst., U. Chicago; prizes. Works: orchestra, chamber, guitar, piano. Style: “abounds in urgent and mysterious detail”—Cleveland Plain Dealer. Web site: oriannawebb.net Apparitions (AMC/composer 2001) 3:30, 5p. 3 brief mvts in memory of the 911 terrorist victims. I. Somber. Tolling bass chord, to which different chords always lead back. II. Gracefulness, wit, anxiety. Outer sections: single line skates acrobatically over the keys; center, a simple song accompanied by descending figures. III. Chorale and Scriabinesque melody alternate, interrupt each other, climax separately (composer). Late Int/Early Adv. Also listed with AMC: For Jack (2000) 1:40; Though (2002) 2:40. [AMC, composer] WEDGWOOD, Pamela (20th c.) Great Britain Sounds Green: 10 Jazzy Pieces with Eco-Themes (London: Faber 1991) 21p. [FrMKassel]

256 Wegener WEGENER [Frensel-Wegener], Emmy Heil Frensel (1901-1973) Netherlands Pianist, violinist, poet, composer; daughter of composer Berta Frensel WegenerKoopman; st. Amsterdam Cons., later with Sem Dresden; after developing M.S. in early 1930s, she wrote poetry set to music by R. Wertheim and A. Mesritz van Velthuysen (q.v.). Works: orchestra, chamber, piano, vocal. Style: dissonant, linearly, neo-classical. Twee Stukken voor Piano Solo (Donemus 1948) 13p. Two brisk pieces composed in 1929. Dissonant, chromatic, some quartal chords, rhythmic with changing meters. Dans: tempo giusto e laconicamenta, sempre staccato. Toccata: tempo giusto, continuous 16th-note figures in both hands. Early Adv. [Boenke (as Frensel-Wegener), Cohen, NG] WEIR, Judith (1954- ) England Professor, composer; st. John Tavener, MIT, Cambridge, Messiaen at Tanglewood; chair of composition, U. Glasgow; awards, commissions. Works: orchestra, chamber, vocal, opera. Style: eclectic influences, mixing of the exotic and familiar, satirization of musical convention. An Mein Klavier (Novello 1980/ILL) 8', 12p. Continual ornamental trill figures in both hands; repeated alternating chords, dissonance. Adv. The Art of Touching the Keyboard (Novello 1987/ILL) 10', 20p. The satirical title is an over-literal translation of Couperin’s famous harpsichord method from 1716; the pianist is asked to display virtuoso tactile dexterity to absurd lengths. Adv. Roll Off the Ragged Rocks of Sin (Chester 1998/ILL) 3', 5p. From composer’s notes: a free transcription of the Bach aria, “Wer Bist Du? Frage dein Gewesen.” It is suggested that (for the moral improvement of the audience) the original text of the aria be read aloud in a fierce voice before, or even during, the performance. Early Adv. [Boenke, Bowling, CAMW, Cohen, Fuller, NG, Pendle, sdiego, S&S] WEISS, Arleta (1959/1965- ) Country unknown Works: chamber. Fleur Fantastique (Moeck 1881/ILL) 18p. Contemporary notation with incomplete staves, difficult proportional durations; wide range, chromatic, many dramatic contrasts in dynamics, articulation. Adv. Semprecis (Moeck #4502). Children’s miniatures. [Cohen, KOM, SCB] WEN-YING HSU: see HSU, Wen-Ying

Whitehead 257 WESTERKAMP, Hildegard (1946- ) Germany/Canada Composer, teacher, soundscape researcher; emigrated in 1968; st. U. British Columbia, Simon Fraser U., where she taught from 1982. Works: divided into compositions, sound documents, and composed environments; majority are for tape, or tape & manipulated acoustic sounds. Listed with the Canadian Music Centre: Back to... Like A Memory (2002). For pf & 2 digital soundtracks. Comm. Jamie Syer and Valhalla Summer School; grant, Vancouver Foundation; 2002 prem. Silverton, B.C. [CMC, NG] WHITAKER, Judith (20th c.) New Zealand For Piano (Sounz 1986) 3'. Student solo. Int. [SOUNZ] WHITE, Dolores (20th c.) USA African-American teacher, composer; st. Oberlin Cons., Cleveland Inst., Ohio State U.; Works: orchestra, chamber, piano, vocal, instrumental arrangements of spirituals, pieces in jazz idiom. Jamaican Dances I & II [Jamaican Duets] (Boston 1991/ILL) 8p. Duet, pf 4hands. I. Spirited, 9/8, bouncy. II. Moderate, 2/2, syncopated, ternary. Int. See also, av. composer (Walker-Hill 1995, 18-19): Ritmo for Claves, 2pf & drums (1999); Short Stylistic Impressions (1980) Int.; Six Contemporary Piano Pieces (1985-1990) Int-Adv; Soft Shoe Rag (1986); Sonatina (1986) Int; Sound Extensions (1984) Adv; Theme and Variations in the Jazz Idiom (1982) Adv; Three Ragtime Pieces (19821986) Adv; Toccata (1992) Adv. [Horne, Walker] WHITE, Frances (20th c.) USA See American Music Center for program notes. Scores listed with American Music Center: Still Life With Piano (1989), pf & tape; Trees; Winter Aconites. [AMC] WHITEHEAD, Gillian (1941- ) New Zealand-Australia One of the most important Australasian composers; st. in Auckland, Wellington, Sydney, Adelaide; in UK with Maxwell Davies; grants, prizes, fellowships, commissions; professor, head of composition, Sydney Cons. Works: orchestra, chamber, opera, vocal (Descriptions: Carrigan 2002, 244-245, except for Cadenza, Fantasia, and Voices).

258 Whittle Five Bagatelles (AusMC/SOUNZ 1986) 7', 11p. Contemporary, virtuosic, repeated chords, brilliant passages, large leaps, thick textures, complex rhythms. Adv. Four Short Pieces, in “Bicentennial Piano Album” (Allans 1988/ILL) 6'. Explorations of various compositional styles, using single cells; changing meters/accents; large leaps. I. (untitled) II. Sensitively. III. With Energy. IV. Fiercely. Late Int/Early Adv. La Cadenza Sia Corta (Price Milburn 1977/ILL) 12', 12p. “Let the cadenza be short,” Beethoven’s instruction, end of 4th concerto. Commissioned work. Adv. Lullaby for Matthew (AusMC/SOUNZ 1981) 4:06, 2p. “A haunting gem for a modern baby”—Sydney Morning Herald. Simple arch structure of 8bar phrases, variations; LH leaps, RH intricate triplet pattern, repeated notes. Late Int. Fantasia on Three Notes (Waiteata 1969/ILL) 10', 14p. Composed for the Australian Society for Keyboard Music. Adv. Tamatea Tutahi (AusMC, SOUNZ 1980) 12', 10p. Large-scale, virtuosic; large leaps, brilliant passages, double octaves, repeated notes, cadenzas; texturally and rhythmically complex. Adv. Voices of Tane (Price Milburn 1977/ILL) 8', 8p. Seven epigrammatic pieces for children, packed with striking pianistic ideas; contemporary techniques include melodic leaps, free dissonance, pedal vibration, semiimprovisation. Int-Late Int. [AusMC, Axford, Boenke, CAMW, Carrigan, Cohen, Heinrich, Hinson, LePage, NG, Pendle, S&S] WHITTLE, Chris Mary-Francine (1927- ) Belgium Concert pianist, harpsichordist, teacher, composer; st. Royal Cons., Antwerp, with Cortot in Paris; European concert tours for 20 years. Works: orchestra, chamber, piano, vocal. Impromptu Op.27 (Schott-Freres 1967/ILL) 4p. Allegro moderato ma appassionato, 3/4, ternary; neo-romantic. Chromatic dotted-note melody, wide LH stretches; acc. by RH arpeggiated chords. Early Adv. See also: Ballade Op. 15 (1949); Berceuse Op.4 (1947); Diurne Op.22 (1965); Ondine Op.12 (1952); Scottish Dances Op.16 (Schott-Freres 1951); Sonata Op.4 (1947); Sonata Op.9 (1948); Sonatine Op.30 (SchottFreres 1967); 24 Preludes Op. 14 (Schott-Freres 1952); Two Nocturnes Op.6 (1967-1968); Two Suites Op. 1 (1943). [Boenke, Cohen, Heinrich] WILKINS, Caroline (1953- ) England/Australia/Germany Singer, dancer, actor, lecturer, composer; st. RCM-London; guest lecturer, Sydney Cons.; in Germany since 1987; grants, awards, residencies. Works: chamber, electro-acoustic, vocal, experimental music theatre. Style: calm,

Williams, Carol 259 unpretentious, serious, juxtaposing different influences. “I am mainly concerned with the play of time, with the dialogue between past and present”(composer, as cited in Sperber 1996, 94). Piece for Player Piano & Piano Player (Hug 1993/ILL) 9:20, 19p. Avant-garde. Requires acoustic piano, mechanical piano, and operator. Also titled “PPPP for Player Piano and Piano Player.” Adv. Piece for 17 tones 1990 (Thurmchen 1992) 3:34. For 2pf, specially tuned. [AusMC, FrMKassel, KOM, Sperber] WILKINS, Margaret Lucy (1939- ) England Harpist, conductor, lecturer, composer; st. UNottingham; Sr. Lecturer, Huddersfield Polytechnic; perf. with Scottish Early Music Consort; director, contemporary music group Polyphonia. Works: orchestra, chamber, vocal, electronic, teaching pieces. Style: attention to texture, sense of drama. Three Studies in Black and White (Hildegard 1998) 23p. No.1: As fast as possible. A toccata using full range of keyboard. Fast-moving, polymodal “contrapuntal scalic lines which shoot from one end of the pitch range to the other, disappearing off the ends of the keyboard” (composer). Additive rhythms, dramatic, fiery. No.2: Extreme ranges, embedded pentatonic scales, metric modulation. No.3: Three simultaneous bell-like chords, each moving at different speeds concurrently throughout. Adv. Also: Exploring Sound Op.6 (1968); Instrumental Interludes Op.2 (1973). See also Caroline Askew’s interview with the composer, Journal of the IAWM 6/3 (2000): 10-14. [CGGB, Cohen, Fuller, Heinrich, IAWM, S&S, score] WILLERT-ORFF, Gertrud (20th c.) Germany Kleine Klavierstücke Hefte I-IV (Schott’s Söhne 1954/ILL). 4 slim volumes of short, graduated pieces. From the series Der Reihe: Querbüchlein für Klavier. Mildly contemporary harmonies. Late Elem-Late Int. [FRK, KOM, SCB] WILLIAMS, Carol (1939- ) USA Pianist, composer; st. American Conservatory with Robert Kelly and Stella Roberts. Works: piano. Bells (1969 MTNA) 5p. MTNA commission, 1969. Quartal/quintal harmonies, parallelism, ABA form, big climax. Requires legato control, balance of line, unusual pedal effects (Hinson 1973, 681). Late Int/Early Adv. See also: Sonata; teaching pieces. [Cohen, Hinson 1]

260 Williams, Felicity WILLIAMS, Felicity (20th c.) New Zealand A Child’s Dream (1975) 8'. A piano suite for children. Int. [SOUNZ] WILLIAMS, Grace Mary (1906-1977) Wales Scriptwriter, teacher, composer; st. U. Wales, RCM-London (Vaughan Williams), Vienna with Wellesz; wrote educational scripts for BBC-Wales; awards. Works: orchestra, chamber, piano, vocal, opera. Style: infl. Vaughan Williams, Elgar, R. Strauss, folksong elements; individual, inventive (Sadie and Samuel 1995, 498). Polish Polka (Oxford 1950/ILL). 2pf duet based on the tune “Husia Susia.” Saraband for Eiluned, ed. Evans (Welsh MIC 1991) 4p. For LH alone, comp. 1958 for Eiluned Davies (q.v.). Lute-like rolled chords, filigree melody. Early Adv. The Silent Pool, ed. Evans (Welsh MIC 1991) 4p. Comp. 1932. Andante, 4/4: impressionistic sketch, spare textures, gentle movement. Late Int/Early Adv. Spanish Sailing Song (Welsh MIC) 6:10, 14p. 2pf duet based on traditional tune from Asturias. Adv. See also: Three Nocturnes: Serenade, Passacaglia, Masque (1953) 2pf duet. [Cohen, Fuller, Heinrich, Meggett, MGG, NG, S&S, WelshMIC] WILLIAMS, Mary Lou [née Scruggs, Mary Elfrieda] (1910-1981) USA African-American jazz pianist, arranger, composer; arr. for Goodman, Armstrong, Ellington, Crosby, Dorsey, Gillespie; awards, honorary doctorates; first woman instrumentalist in Down Beat Hall of Fame; the first really important woman instrumentalist in jazz; later focused on religious expression; from 1977, taught at Duke U. Works: over 350 compositions for jazz ensembles, piano, chorus. Style: evolved from swing through bebop to avant-garde, but remained rooted in blues and boogie-woogie. Five Piano Solos (Leeds 1941/ILL) each 4p. All in major keys, cut time. A Mellow Bit of Rhythm: medium swing; stride bass, syncopated RH melody, jazz 7ths. Toadie Toddle: moderato, stride bass in 10ths, dotted 8th rhythms; RH melody in 3rds. Scratchin’ in the Gravel: medium swing, elaborate figuration in melody. Mary Lou Williams Blues: medium blues, walking 10ths accompaniment, chordal-octave melody. Walkin’ and Swingin’: bright tempo, rambling melody, many key changes (Walker-Hill 1992, 106-108). Late Int/Early Adv. 6 Original Boogie Woogie Piano Solos (Robbins 1944/ILL) 26 p. (4 appear in Genius anthology, below). Special Freight: boogie acc. in double notes and broken octaves; terse, fragmented melody in 3rds and single tones; train toots, blue notes. Deuces Wild: slow, open 10th chords, rambling, elaborate melody. Twinklin’: medium tempo, stride acc. Bobo and Doodles: walking boogie bass, humorous grace-note repeated motif.

Woll 261 The Duke and the Count: broken-octave boogie ostinato, terse, repeated motive melody. Chili Sauce: stride acc. changing to boogie octaves; chains of repeated motives in melody, with shifting accents (WalkerHill 1992, 106-108). Late Int/Early Adv. Nitelife, in “Black Women Composers,” ed. Walker-Hill (Hildegard 1992) 7p. Bright, jazzy, stride bass, octaves. Early Adv. Little Joe from Chicago, in “The Genius of the Jazz Giants” (CPP/Belwin 1983/ILL). The anthology also contains Nos.2, 3, 5, and 6 from 6 Original Boogie Woogie Piano Solos, above, plus arrangements by Williams of these jazz standards: I Never Knew (I Could Love Anybody), Lullaby in Rhythm, The Moon is Low, Runnin’ Wild. [Axford, CAMW, Cohen, FRK, FrMKassel, NG, Pendle, S&S, Walker] WILLIAMSON, Esther: see BALLOU, Esther Williamson WOLFE, Julia (1958- ) USA Composer, playwright, director; st. U. Michigan, Yale, Princeton, with Breswick, Andriessen; grants, fellowships, commissions; co-founder, Ann Arbor theatre; co-director, NY “Bang on a Can” festival. Works: orchestra, chamber, voice, theatre, opera. Style: eclectic influences; folk, rock, and classical music. Compassion (Red Poppy 2001/Boosey). Comm. by pianist Sarah Cahill. Earring, in “Spectrum 3,” comp. Myers (ABRSM 2001) 3p. Chiming notes high in the treble register, repeated hypnotically over sustained LH chords “floating in a dream.” Pandiatonic, entirely on white notes. Int. See also: My Lips From Speaking, 6 pf (1993) [ABRSM, Cahill, S&S] WOLL, Erna (1917- ) Germany Professor, church organist, cantor, composer; st. Heidelberg, Munich, Cologne; taught at universities in Speyer, Weissenhorn, Munich, Augsburg; prizes, awards; widely published in Germany. Works: orchestra, vocal, many sacred works. Spurensuche: Skizzen für Klavier (Tonger 1992) 10p. For pf, hpd, or organ. Seven brief sketches; chordal, 20th c. dissonance, rhythmic, shifting meters. Late Int. [Cohen, Heinrich, KOM, Sperber, S&S] WORONINA, Tatiana: see VORONINA, Tatiana

262 Wylie WYLIE, Ruth Shaw (1916-1989) USA Flutist, pianist, professor, composer; st. Wayne State U., Eastman School, Berkshire with Rogers, Hanson, Honegger, Barber, Copland; fellowships, grants, awards. Works: orchestra, chamber, piano, vocal, ballet. Style: “ranged from conservative to experimental, but it always had a creative honesty and aesthetic communicativeness” (Hinson 2000, 820). Five Easy Pieces for Piano Op.4 (Camara/E. C. Schirmer). “Nicely flowing music, much of it based on rhythmically independent scale patterns in each hand” (Agay 1981 2: 400). Especially noteworthy: Dance for a Sunny Morning; Prayer; Dance for Saturday. Early Int-Int. Five Preludes for Piano Op. 12 (Camara 1962/ILL) 12', 11p. Prize-winner. I. Vigorously. II. Quietly moving. III. Cantabile. IV. Grave. V. Fiercely. Early Adv. Psychogram (Galaxy/Columbia 1995) 16p. Prize-winner. Atonal, serial, and aleatory elements, fist and forearm clusters, climax concentrates on extremes of pitch, volume, textural density. “Free meter, thin textures develop into thick dissonances, fluid alternation of hands required, rhythmic complexities, rhapsodic, pppp ending” (Hinson 2000, 821). Adv. Six Little Preludes Op. 19/2 (Camara 1961/ILL) 9p. Nice little modal character pieces. Allegro (Gaily); Andante (Sadly); Allegretto; Allegro moderato; Andante (Thoughtfully); Vivace. Late Elem/Early Int. The White Raven Op.37/2 (Henmar/Peters 1983/ILL) 9:30, 8p. Aleatory elements, with figures to be played by “alternate hands at will throughout” (score). Textural contrasts: single chromatic lines, chords and dramatic flourishes; colorful sonorities. Early Adv. See also: Mandala Op.33/2; Soliloquy for LH Op.23 (H. Branch 1966); Sonatas Nos. 1, 2 Op.7, Op.16/1 (1945, 1953); Sonatinas Op.7/1, Op.10; teaching pieces. [Agay, Bauer, Boenke, Cohen, FrMKassel, Heinrich, Hinson, Kirby, KOM, SCB, S&S, Zaimont]

X-Y XIAO, Shuxian [Hsiao, Shu-sien] (1905-1991) China Composer, educator; st. Brussels Cons.; m. conductor Hermann Scherchen; mother of composer Tona Scherchen (q.v.); teacher, Beijing Central Cons. from 1950 until her death. Works: orchestra, chamber, piano, vocal. Style: “combines Chinese folk materials with Western techniques, a concept later developed in her teaching of polyphony” (Sadie and Samuel 1995, 505).

Yamashita 263 All of her many piano pieces appear in 2 collections, [A] and [B], undated: Collected Compositions (Beijing 1992). Published in a special edition of the Journal of the Central Conservatory of Music [A]. Collected Polyphonic Works (Beijing 1992) [B]. Single titles: Shan Ge (Mountain Song); Jiangxi trad. [A]; Xu Qu (Prelude); Yunnan trad. [A, B]; Kanong Xiao Qu (Little Canon); Hebei trad. [A]; Guang Deng (Walking Among the Lanterns); Shandong trad. [A, B]; Gangqin Xiaozoumingqu (Sonatina) [A]; Xu Qu [A, B]; Shan Ge [B]; Song Lang (Seeing Off a Sweetheart); Xiao Chuang Yi Qu (Little Invention) [B]; Er sheng bu Fuge (2-Part Fugue [B]. [Cohen (as Hsiao), NG, S&S] YAGLING, Victoria (1946- ) Russia/Finland Cellist, professor, composer; st. Moscow Cons.; performance prizes and awards. Works: chamber, piano. 6 Piano Pieces for Children (1983) 18'. Visit to Schumann; Mischievous Gnome; Quiet Snow; Strange Mazurka; Games; My Song. 5 Miniatures for Piano (Fennica Gehrman 2002) 10'. Moderato; In tempo di Walzer; Andante; Allegro non troppo; Allegro con brio. [Finland MIC] YAMASHITA, Toyoko (1942- ) Japan/Germany Pianist, composer; st. Japan, Germany; concertizes in Europe with various duo partners; director, Japan Music Association and international guitar festivals in Berlin. Works: orchestra, chamber, piano, vocal, guitar. Style: often based on fairy tales, themes from folksongs. Piano no Tameni (1979); Zyklus: Le Paradis des Enfants (1983); Les Jeux (1989); 6 Kleine Lieder (1989); Aus dem Märchenbuch “Mondhase” I, II (1989-90); Aus dem Kindermärchen “Bibi” (1992); An Harumi (1994); 12 Tierkreiszeichen (1994); 5 Kleine Klavierstücke (1995); many duets. [Cohen, FRK, FrMkassel, K800, Sperber] YI, Chen: see CHEN YI

264 Zaimont

Z ZAIMONT, Judith Lang (1945- ) USA Pianist, musicologist, professor, composer; st. Queens Coll.; Columbia U. with Weisgall, Beeson, Luening, Jolivet; commissions; editor in chief, The Musical Woman; on century lists, Chamber Music America, Piano & Keyboard. Works: orchestra, chamber, piano, vocal, opera. Calendar Collection (Alfred 1976/Vivace 1996) 26', 32p. [Alt. titles: A Calendar Set: 12 Virtuosic Preludes; Annual Album: 12 PreludeStudies for the Developing Pianist]. “Sensitive, Romantic temperament with a mixture of dissonance and humor” (Hinson 2000, 826). Highly chromatic, basically tonal portrait-etudes of each month, addressing different technical problems. Multimetric writing, polytonality, polyrhythms, clusters, proportional notation, extreme ranges; finger dexterity, hand independence stressed. January: Fanfare for the Year; February: The Ice Melts Slowly, Slowly; March: The Winds Depart. April: Recitative—The First Bird Song. May: The May-Fly. June: A Walking’Round Song. July: Holiday. August: Anthem. September: The Winds Arise. October: Autumn Thoughts. November: Secret Thunder. December: Sleighride. 2 preparatory exercises included. Late Int/Early Adv. ‘Hesitation’ Rag (Vivace 1998) 8p. Off-balance, changing meters provide the hesitation; tonal, freely chromatic. Sections: Not fast; Rag tempo; Thoughtful; Slower yet grand; Moving; Rag time. Late Int/Early Adv. Impronta Digitale [Fingerprint] 8:30, 52p. Winner, first American Composers Invitational, Van Cliburn 2000. 3rd mvt of Sonata, below. “An eightminute tangle of notes, a vibrant, exciting piece, almost a moto perpetuo, with occasional tonal leanings amid its blazes of color and dynamism”—Clavier. Adv. Jupiter’s Moons (Vivace 2000) 15', 39p. Contemporary. Six mythological movements: The Moon Swims in Orbit; Europa; Leda; Io; Ganymede; Callisto. Extensive program notes in score. Adv. Nocturne: La Fin du Siècle (Galaxy/Schirmer 1984) 7', 8p. A contemporary evocation of the romantic era, distinguished and effective. Early Adv. Solitary Pipes, in “The Joy of Modern Piano Pieces,” ed. Agay (Yorktown 1977). For young people. Snazzy Sonata for Piano Four-Hands (Vivace 1998) 68p. “An Entertainment:” Moderate Two-Step (20pp); Lazy Beguine(10pp); Be-Bop Scherzo(8pp); Grand Valse Brilliante (15pp). Early Adv. Sonata (Sounds Alive! 1999). Vibrant, exciting; 1999 emblem work, Piano & Keyboard Century List. Ricerca; Canto; Impronta Digitale. Stone (AMC 1981/ILL) 16', facs. 23p. Contemporary; unusual notation, clusters, direct-string playing of various kinds. Adv.

Zallman 265 Suite Impressions (Vivace 1996) 9', 16p. Contrasting moods and styles. Folk Song: 3/4, slowly and freely, lyrical, tonal. Jazz Waltz: 3/4, relaxed, triplets, added-tone chords. In Pop Style: 4/4, easily, syncopations, strong bass patterns. Late Int. Two Piano Rags (Vivace 1998) 8:30, 10p. Elegiac rags. Reflective Rag: A, 4/8. Judy’s Rag: A-flat, 2/4, dreamily Brahmsy Neapolitans. Late Int. See also: Black Velvet Waltz (AMC 1983); Deceit (1979); For Solo Piano; Fountains (1980); Keyboard Cousins; Pentatone; Piano Variations (1965 prize winner); Portrait of a City, suite in 5 mvts. (1961 prize winner); Scherzo (1969); Solitary Pipes; Suite for Young Pianists; Sweet Daniel (AMC 1979); Toccata (1968); White-Key Waltz (1966). [Agay, AMC, Axford, Boenke, CAMW, Cohen, FRK, FrMKassel, Heinrich, Hinson, IAWM, Jezic, K800, LePage, Meggett, NewGrAm, NG, SAI, S&S, Zaimont] ZALLMAN, Arlene (1934- ) USA Professor, composer; st. Juilliard, U. Pennsylvania, with Persichetti, Dallapiccola; grants, awards. Works: orchestra, chamber, piano, vocal. Style: explores range of historical idioms; developed individual, often atonal, harmonic and formal language (Sadie and Samuel 1995, 508). APNM-Subito Music: www.subitomusic.com/APNM. Racconto (APNM-Subito Music 1968/ILL) 8', 7p. Dissonant intervals, sparse textures, difficult rhythms, frequent alternate hand playing. Adv. Toccata (APNM-Subito Music 1978/ILL) 11', 17p. Prestissimo. Atonal, angular, continuous 8th note rhythm, slender textures. Adv. Variations: on the Villanella Alma che fai? by Luca Marenzio (C.F. Peters 1996). 15p. 15th century song is used for contrasting variations; contemporary, continuous. Text appears at beginning. Early Adv. A Whimsical Offering (APNM 1994/ILL). 7'. Seven brief contemporary sketches: The River Flows; An Oblique Ray Of Sunlight; The Cat Stretches; In Hot Pursuit; Lullabye; Poem-Bird; On Second Thought. “Originally written for a non-practicing pianist [myself], they have been variously useful as recital and teaching pieces for young and adult students and have appeared on numberous professional concert programs as well” (composer, APNM 2002). Late Int. See also: Preludes (1978); Temples at Paestum (1962). [APNM, Boenke, Cohen, Hinson, NG, S&S]

266 Zavalishna ZAVALISHNA, Marie Semyonovna (1903- ) Soviet Russia Lecturer, composer; st. Glinka, Leningrad Coll.; Odessa Cons.; teacheradministrator, Siberia, Odessa, Sovetsk, Kirov, Moldavia. Works: orchestra, chamber, piano, vocal, opera, operetta, plays, films. A Song, in “Listen to Yourself,” Vol.1, comp/ed. Miromitch (Leeds 1957) 1p. Andante, 4/4, d minor. For the development of singing tone. Legato, resonant RH contrasted with LH staccato “plucked string” sound. Elem. See also: Children’s album (1952); Pro Zaiku, 6 pieces (1964); Suite (1937); 10 Children’s Pieces (1961); Toys (children’s suite). [Cohen, Hinson (collections)] ŽEBELJAN, Isadora (1967- ) Yugoslavia Composer, pianist, teacher; grad. Belgrade Academy of Music, 1992; awards, prizes; professor, Belgrade Academy. Works: orchestra, chamber, piano, voice. Scores below are listed by the Yugoslav MIC. Copies may be available in the library of the Association of Composers of Serbia: Il Circo (1993). Prepared piano. A miniature. Suite for Piano (1985). Umbra (1987). A miniature. [YugoslavMIC] ZECHLIN, Ruth (1926- ) Germany Harpsichordist, organist, pianist, conductor, professor, composer; st. Leipzig Cons.; prizes. Works: orchestra, chamber, organ, piano, vocal, opera. Style: personalized, strongly influenced by Bach; freely tonal, balanced forms. Kleine Klaviermusik (1959) (Breitkopf 4009) 4p. I. Moderate. II. Allegretto grazioso, 3/4. III. Tranquillo espressivo, 4/8. Allegro, 4/4. Kontrapunkte (VEB Deutscher Verlag 1971/ILL) 7p. For pf or hpd. Prelude, 4 inventions, postlude; 2-vc. 20th c. counterpoint, influenced by Hindemith. Early Adv. Stücke für Palucca (Neue Musik 2000); also in “Berliner Klavierbuch” (Verlag Neue Musik 1987). See also: Fantasie, Interludium und Fugue (spinet) (1986); 4 Inventionen (1968); Sonatine (Peters 5221); Suite (Peters 5161); Variations on Eisler’s “Einheitsfrontlied” (1960); Hommage à Bettina von Arnim (Neue Musik 1986), for hpd. [Bakers, Bauer, Boenke, Cohen, FRK, FrMKassel, Heinrich, Hinson, KOM, NG, Pendle, rieserler.de, SCB, Sperber, S&S]

Zwilich 267 ZHUBINSKAYA, Valtina Yanovna (1926- ) Soviet Russia Pianist, concertmistress, lecturer, composer; st. Kharkov conservatory. Works: orchestra, chamber, piano, vocal. On a Picnic [Le pique-nique], in “From Russia For Youth—Contemporary Piano Music By Russian Composers,” ed. Berlin (Harris 1971/ILL). See also: Childrens’ album, 12 pieces (1946); Collection of children’s pieces (1960); 8 Pieces (1960); 15 pieces (1969); 4 etudes (1946); Lullaby and Humoresque (1946); Russian Variations (1963); Sonata (1948); Song and Waltz (1946); Three improvisations (1963); Waltz (1948). [Cohen, Hinson (collections)] ZIFFRIN, Marilyn Jane (1926- ) USA Professor, musicologist, composer; st. U. Wisconsin, Columbia U., U. Chicago; grants, fellowships, residencies; authority on Carl Ruggles. Works: orchestra, band, chamber, piano, vocal, opera. Style: dissonant, with vigorous, complex rhythms, elegant, eloquent melodies (Sadie and Samuel 1995, 512). Scores listed with American Music Center: Recurrences (1998) 8'; Suite for Piano (1955) 8'; Theme and Variations (1949) 5'; Three Songs of the Trobairitz (1991) 10'. [AMC, Cohen, Heinrich, IAWM, NG, SAI, S&S, Zaimont] ZIMMERMAN, Margrit (1927- ) Switzerland Composer, teacher; st. Berne, Lausanne, Paris, Milan; commissions, prizes. Works: orchestra, chamber, piano, vocal, ballet. Bianchi-Neri: 6 Etuden Op.36 (Edition SFM Vol.I) 22p. Bianchi-Neri Bk.2 Op.65 (1993). Cloccachorda Op.40 (Edition SFM Vol.II) 14p. Konzertetuden (Edition Bianchi-Neri). Quadriga Op.51 (Edition SFM Vol.IV 1987) 22p. Sonata. Sonata Op.27. Toccata aus Piano Time Op.46 (Edition SFM, Vol.III) 6p. [Cohen, FrMKassel, SCB, S&S] ZUBELDIA, Emiliana de: see Supplement ZWILICH, Ellen Taaffe (1939- ) USA Professional violinist, professor, composer; st. Florida State U., Juilliard (1st woman DMA-composition); honors, awards include 1983 Pulitzer Prize for Music (1st woman), 1999 Musical America Composer of the Year; first occupant, Carnegie Hall Composer’s Chair. Works: orchestra, band, chamber, vocal. Style: early works atonal, jagged melodies, complex structures; later became simpler, more accessible, tonal, with traditional motivic materials,

268 Zwilich ostinatos, pedal points, thematic recurrences. “One of America’s most frequently played and genuinely popular living composers” (Sadie and Samuel 1995 516). Lament, in “The Carnegie Hall Millennium Piano Book” (Boosey 2000) 7:05, 4p. CD included. Elegy for Judith Arron, longtime executive director of Carnegie Hall. Tonal, forceful, with contrasting themes, RH octaves. Musical challenges include projection of the line, expressive rubato, shaping phrases, achieving variety of color. Early Adv. Lullaby for Linus (Merion/Presser 1997) 2', 2p. Solo arr. of No.2 from Peanuts Gallery, below. Wistful, wandering melody, simple textures, shifting tonalities. Late Int. Snoopy Does the Samba (Merion/Presser) 3', 3p. Solo arr., No.3 from Peanuts Gallery (below). Sassy samba rhythms, repeated chords. Early Adv. Fantasy (Mobart 1984) 6:30, 11p. For harpsichord. Images. 2pf & orch. A latter-day “Pictures at an Exhibition.” Virtuosic, dazzling display of pianistic colors, dramatic, beautifully crafted. Adv. Peanuts Gallery (Merion 1997/Presser) 13'. Duet: Pf & orch. reduction (orig. for pf & orch). Delightful 6-mvt romp: Schroeder’s Beethoven Fantasy; Lullaby for Linus; Snoopy Does the Samba; Charlie Brown’s Lament; Lucy Freaks Out; Peppermint Patty & Marcie Lead the Parade. Adv. Millennium Fantasy (Presser 2000) 20'. Pf & orchestra. [AMT, Cohen, Fuller, HAMW, Heinrich, Jezic, LePage2, MEJ, NG, Pendle, Presser, SAI, S&S]

Supplement to Volume I The following entries include additional music by composers in Volume I, printed after its submission; entries for composers with available music in print who were unintentionally overlooked; and a number of composers whose inaccurately recorded birth dates caused them to be omitted from the first book. BACKER- GRØNDAHL, Agathe (1847-1907) Norway (See Volume I) Fantasistykker Opus 36, 2 vols. (Recital Publications Reprint 2000). BEACH, Amy (Mrs. H.H.A.) (1867-1944) USA (See Volume I) Two Compositions Op.54 (Masters Music 2001). Scottish Legend, Gavotte Fantastique. BEZDEK, Sister John Joseph [Derleth, Julia; pseud: Jan Bezdek] (1896-) USA Pianist, lecturer, music therapist, writer, composer; b. St. Louis; St. Fontbonne Coll., Chicago Music Coll., Eastman School of Music (research fellowship). Works: vocal, sacred, 12 teaching pieces for piano. In “New Scribner Music Library, Vol.I, Easy Piano Music by American Composers,” ed. Montgomery (Scribner/ILL). As Derleth: A Bird is Singing; The Fiddler’s Tune; Waltz in G Minor. As Bezdek: Bells; Holding On!; The Little Bird; Marching. [Cohen, H&H]

270 Supplement to Volume I BRITAIN, Radie (1899-1994) USA Organist, pianist, teacher, writer, composer; st. American Conservatory, Chicago, and privately in Europe; awards, honors. Works: orchestra, band, chamber, piano (many colorful character pieces), vocal, ballet, opera. Style: romantic, colorful, often programmatic; tonal, with melody playing most important role. U.C.L.A. has the complete collection of her compositions in its music library. Epiphyllum (1966 Heroico Music/ILL) 6p. A neo-romantic tonal sketch of the tropical cacti with beautifully colored blooms. Late Int. A Western Suite Op. 5 (Otto Halbreiter 1926/ILL) 15p. 5 mvts: On the Plains; The Covered Wagon; Mirage; Camp-Fire; Stampede. Rhapsodic vignettes of Western life; tonal, late Romantic. Late Int/Early Adv. Wings of Silver (Willis Music 1953/ILL) 2p. Ternary sketch; neoclassical, with melody notes floating over downward-rippling pentachord arpeggios. Early Int. See also: Le Petit Concerto: For the Young Pianist (Heroico Music 1964). 2 pf arrangement. Int. See Britain’s autobiography: Ridin’ Herd to Writing Symphonies (Lanham, MD, 1996). [Axford, Boenke, Cohen, Goss, FrMKassel, Fuller, K800, LePage, Meggett, NG, Pendle, S&S, Zaimont] CHAMINADE, Cecile (1857-1944) France (See Volume I) Two Pieces: Pastel Op. 128 and Menuet Gallant Op. 129 (Masters Music). Two Pieces: The Fountain; Lake at Evening (Masters Music). Novelette Op. 110 (Masters Music). Piece dans le style ancien Op.74 (Masters Music). Orientale Op.22 and Minuetto Op.23 (Masters Music). Pieces: Passacaille Op. 130 and Marche Americaine Op. 131 (Masters Music). DALE [née Richards], Kathleen (1895-1984) England Pianist, musicologist, professor, composer; st. University Coll.-London; teacher, Tobias Matthay School; executor for Dame Ethel Smyth; prizes, awards; author, Nineteenth-Century Piano Music (OUP 1984) and Brahms: A Biography (1970). Works: chamber, piano, violin, vocal. Allegretto Pastorale, in “Musical Christmas Cards,” coll. Kathleen Cooper (Hinrichsen/Peters 1954/ILL). A sweet prelude. Early Int. [Cohen, NG, S&S (as Richards)] DAVIS, Katherine Kennicott (1892-1981) USA Pianist, teacher, composer; st. Wellesley; honors, awards; composer of Little Drummer Boy. Works: orchestra, piano, vocal (over 1000 choral works and arrangements), opera.

Supplement to Volume I 271 In Silent Night (E.C. Schirmer 1928/Archive Reprint) 4p. Sweet, simple Swabian folk tune, charmingly arranged with murmuring inner-voice accompaniment; a lovely prelude. Int. Indian Drum (Schirmer), in “60 Piano Pieces You Like to Play” (Schirmer). Also: six collections for pf. [Axford, Cohen, Heinrich] DERLETH, Julia: see BEZDEK, Sister John Joseph DE ROGATIS, Teresa: see ROGATIS, Teresa De FARRENC, Louise (1804-1875) France (See Volume I) Etudes of Louise Farrenc, ed. Sarah Moglewer (Creative Keyboard /Mel Bay, 2002). Twelve Etudes of Dexterity Op. 41, ed. Gena Raps (Hildegard 2001). GIURANNA, (Elena) Barbara (1899-1998) Italy Harpist, pianist, teacher; st. Savasta, Ghedini, Naples; teacher, St. Cecilia Cons., 1937-1976; many prizes and honors. Works: orchestra, chamber, vocal, theatre, ballet. Style: Romantic-Impressionist; later, more eclectic modernism. Improvviso (1942), in “Antologia Pianistica di Autori Italiani Contemporanei,” Vol. I (Zerboni 1944) 2p. Impressionistic fantasy; Ravel-like textures, figures, and harmonies. Late Int. Toccata per pianoforte (Ricordi 1937/ILL) 12p. Neoclassical. Exhilarating, showy perpetuo moto. Alternating hands in 16tns, repeated tones, duplets and short arpeggios up and down the keyboard; bass octaves; sectional; exciting buildup ends with sustained organ-like rolled chords, à la Debussy’s Sunken Cathedral. Early Adv. See also: Sonatina (Ricordi Milan 1932). [Boenke, Cohen, FrMKassel, K800, KOM, NG, SCB, S&S] GYRING, Elizabeth (1886/1906-1970) Austria/USA Composer; st. Vienna. Works: orchestra, chamber, organ, piano, vocal, opera. Style: tonal, dissonant, well-constructed. Manuscripts are at Washington State University and the American Music Center. Rondo (CFE 1958/ILL) 6p. Vivace, 4/4. Playful, scherzolike, with 2-note slurs and staccatos; tonally centered, 20th c. chromaticism. Early Adv. See also: Concert Piece; Little Serenade; Sonatas Nos. 1, 2 (1957); Two Pieces (ACA 1946). [Boenke, Cohen, Finell, Meggett, S&S]

272 Supplement to Volume I HALL, Pauline (Margrete) (1890-1969) Norway Pianist, critic, translator, composer; st. Norway, Paris, Dresden; awards. Works: orchestra, chamber, vocal, ballet, theatre, film. Style: neoclassical, impressionist. Fire Klaverstykker Op.1 (Norsk Musikforlag) 9p. Sonate fur Klavier (Frau Musik Archiv-Kassel: ms). 30p. [Cohen, FrMKassel, NG, Pendle, S&S] HENSEL, Fanny Mendelssohn (1805-1847) Germany (See Volume I) At the Piano with Felix and Fanny Mendelssohn, ed. M. Hinson (Alfred, 1988). Out of print, but copies can occasionally be found. 5 Klavierstucke (1843) (Robert Lienau 40390). 5 pieces from the collection “Zwölf Klavierstucke von Fanny Hensel geb. Mendeslssohn Bartholdy. Für Felix 1843.” First edition Hellwig-Unruh, pub. Robert Lienau. Prelude for Piano (Furore 136). Sonata in G minor (Furore 146). Three Pieces for Four Hands, ed. Gabler (Furore120), pf 4-hands. HILL, Mildred J. (1859-1916) USA Organist, pianist, professor of education, composer; st. Bellewood Seminary, privately with A. Wedig. With her sister, Patty, a professional pianist, she composed “Good Morning to You” for a children’s song collection; it became the birthday song, now sung in hundreds of languages all over the world. Works: piano, vocal. Happy Birthday, in “Singing Keys: Omnibus” (Summy-Birchard 1974). Elem. [Cohen, Grattan] HILL, Mirrie Irma, O.B.E. (1892-1986) England/Australia Pianist, examiner, composer; st. Sydney Cons., where she became a teacher; m. her teacher, Alfred Hill, 1921; awards, honors. Works: orchestra, chamber, vocal, film, numerous piano teaching works. Style: traditional; sometimes used folk themes, including traditional Jewish melodies and aboriginal tunes. Advertisements (Southern Music 1949). 4 tuneful pieces for young fingers. Elem. Child Fancies (Allans 1978). 9 short descriptive teaching pieces. Elem. The Merry Imp (J. Albert 1976) 2'. Fast, broken octave figures, acciacaturas, changing characters, dynamic contrast. Early Int. Endnote: Carrigan, Australian Solo Piano Music, 128. See Australian Music Centre for many, many other teaching titles. [AusMC, Boenke, Carrigan, Cohen (as Solomon), McCredie, S&S]

Supplement to Volume I 273 HOFER, Maria (1894-1977) Austria Organist, pianist, composer; st. Academy of Music in Vienna. Works: orchestra, organ, sacred, theatre. Organist, pianist, composer; st. Vienna. Works: orchestra, organ, vocal, theatre. Toccata “Die Maschine” (Universal Edition 1947) 14p. [Cohen, FrMKassel, Heinrich] HOLT, Nora Douglas (Nora Lena James) (1885-1974) USA Entertainer, teacher, journalist, publisher; st. Western U., Chicago Musical Coll.; co-founder, NANM. Works: concert music, orchestra (Walker-Hill 2002, 369). Negro Dance, ed. Walker-Hill (Vivace #6501). [Axford, Walker] HOWE, Mary (1882-1964) USA (See Volume I) Prelude, in “The New Scribner Music Library,” Vol.4, ed. Montgomery (Scribner’s Sons/ILL) 4p. Allegro energico, 4/4, B major; lyric, passionate, sweeping arpeggios; ternary. Adv. HURTADO Y TORRES, Maria Del Carmen Ensayos Musicos para Pianoforte (Ars Femina 1995). Terrible edition, using an outdated computer program. [Ars Femina Editions catalog] KERN, Frieda (nee Seitz) (1891-1988) Austria Professor, composer; st. Vienna, where she taught in the University; prizes. Works: orchestra, chamber, piano, vocal. Style: neoclassical. 5 Bagatellen fur Klavier Op.53 (Europäischer Verlag) 9p. Copy housed in the Frau Musik Archiv-Kassel. Introduction und Tokkata Op.66; Capriccio Op.70 (Europäischer Verlag). Tierbilder: 5 Stucke Op.54 (Österreicher Bundesverlag 1951) 9p. Vier Humoresken Op.18, in Klavierwerke Oberösterreichischer Komponisten 1 (Österreicher Bundesverlag) 11p. See Cohen for many more titles. [Cohen, FrMKassel, NG] JAËLL (-Trautmann), Marie (1846-1925) Germany (See Volume I) Valses a Quatre Mains, ed. Lea Schmitt-Rogers (Hildegard).

274 Supplement to Volume I KETTERER, Ella (1889-?) USA Writer, composer; st. privately with Constantin von Stemberg; director of New Jersey Branches of Sternberg School of Music. Works: two educational books, over 100 pieces, mainly for children. Book of Piano Pieces (Presser). Spanish Dance (Presser). [Cohen] KLECHNIOWSKA, Anna Maria (1888-1973) Poland Composer, teacher; st. Warsaw, Leipzig, Krakow, Vienna, and with Nadia Boulanger in Paris; taught in Warsaw and a popular educational composer, she also wrote for orchestra and ballet. Her 1916 manual for beginners at the piano is still used today. Frolics/Igraszki (PWM 1993) 20p. Also known as 12 Miniatures for Piano (Marks Music). Highly descriptive sketches of animals, with drawings included. Dissonant and chromatic, with many contrasts in dynamics and articulation. Early Int-Int. Also: Four Preludes; Fugues; Lyrical Pieces; Preludes; Sailor’s Vision. [Boenke, Canaday, Cohen, S&S] LACHOWSKA, Stefania (1898-1966) Poland Pianist, editor, teacher, composer; st. Lvov Cons., Warsaw State Music Cons., privately with Szymanowski. Works: orchestra, chamber, piano, vocal. 6 Preludes (PWM 1962). See also: Short Pieces for Children (1946); Sonatinas 1-3 (1953, ’56, ’61); Toccata (1957); Triptique (1952); Variations (1957); Polonaises; 6 Etudes (PWM 1960). [Boenke, Cohen, FrMKassel] LELEU, Jeanne (1898-1980) France (See Volume I) Listed with Frau Musik Archiv, Kassel: En Italie Nr.2, 3, 6, 7, 8, 9, 10 (Leduc 1928). Pochades (Leduc 1929) Transparencies Nr.2 “Miroir d’Eau” for Orchestra (Ledu 1934). Pf reduction. [FrMKassel]

Supplement to Volume I 275 MANZIARLY, Marcelle de (1899-1989) Russia/France/USA Conductor, pianist, teacher, composer; st. Boulanger from age 12, with Weingartner in Basle. Works: orchestra, chamber, voice, piano, opera. Style: infl. Indian music, Stravinsky. Polytonality, serialism, and atonality extend boundaries of tonality (Bakers 1992, 1132). Impressions de Mer (Maurice Senart 1922/ILL) 14p. Three contrasting sketches about the seaside. La Grève [The strand]: assez lent, 3/4. Par une Journée Grise [About a gray journey]: tranquille sans hâte, 2/4. Par une Journée Claire [About a bright journey]: rapide, gai, 4/4. Adv. Six Études (Heugel 1950/Presser 1970/ILL) 14 p. Hommage à Scarlatti: allegro, 4/4, hand-crossing. Berceuse: lent, 4/4, simultaneity in chord playing. Dialogue: allant, 4/4, hand independence, staccato-legato touches. Les Petits Heures: modéré, 3/4, pedal sonorities. Nocturne: lent, 12/8, voicing with different touches. Parade: vif, 4/4, agility. Adv. Stances (Heugel 1970/ILL) 7', 13p. Contemporary notation, with separate motivic phrases to be played freely; repeated tones; no bar lines; wide range, careful pedal markings. Adv. Trois Atmospheres Slaves (Durand 1934/ILL) 15p. Grave: shifting quarter-note meters, somber. Vivant-rapide: 4/4, accompaniment of fluttering 16ths. Lourd: pesante, 2/2, accented widely spaced chords, marching heavily; lyric center section. Also: Arabesque (1937); Bagatelle (1940); Mouvement (1935); Toccata (1939); Sonata for 2 Pianos (1946). [Bakers, Boenke, Cohen, Heinrich, Macmillan, Meggett, NG, S&S] PRICE, Florence (1887-1953) (See Volume I) Were You There When They Crucified My Lord and Cotton Dance, in “Oxford Piano Course,” 5th Book (Oxford 1942). Int. PRIETO (y Fernandez de la Liana), María Teresa (1896/1908-1982) Spain/Mexico Pianist, composer; st. Oviedo, Madrid, in Mexico with Ponce and Chávez, with Milhaud (California). Works: orchestra, chamber, piano, voice. Style influences: traditional Asturian music, modes, Bachian counterpoint; later, modulating harmony, harsh dissonances, expressionism, serial technique. 24 Variaciones Tonales (Ed. Mexicanas de Música 1964) 30p. 12 tonal variations (in 12 different keys) and 12 serial variations, ending with a rousing fugue. Early Adv. See also: Añada; Doce variaciones seriales (1961); Escena de ninos (1939); Esquema dodecafonico fugado (1939); Marcha de los soldaditos; Preludio y fuga en do major (1938); Tema y 3 variaciones (1939); Tema variado y fuga (1968). [Cohen, Hinson, Meggett, Pendle, S&S]

276 Supplement to Volume I RICHARDS, Kathleen: see DALE, Kathleen (1895-1984) USA ROGATIS, Teresa De (Feninger) (1893-1979) Italy Guitarist, pianist, lecturer, composer; child prodigy; st. Cons. Naples; concertized; helped to found national conservatory, Cairo; her son is pianist Mario Feninger. Works: guitar, piano, vocal, sacred. Feuille d’Album [Album Leaf] (Berben 1993) 3 pp. A graceful late-Romantic waltz, tonal with chromatic color; ternary in form. Late Int. Octave Etudes 1, 2 (Berben) 8 pp, 7 pp. 2 vols, sold separately. 1: Continuous 16th note figures, octaves in RH, chords in LH; contrasting “calmo” gives brief respite. 2: LH has octave workout in this one. Early Adv. Prelude and Toccata (Berben 1993) 13 pp. Neo-Romantic, freely tonal. Lyric prelude, rippling 16th note figures in toccata. Late Int/Early Adv. See Cohen for lengthy list of works. [Berben, Cohen] RUDISSIL, Bess (20th c.) USA The Eight O’Clock Rush: Ragtime for Piano, in “Ragtimes für Klavier,” ed. Kaluza (Furore 1994). [FrMKassel] SCHUMANN, Clara (1819-1896) Germany (See Volume I) Romance Variée Op.3 (Masters Music) 3 Kleine Klavierstucke, ed. Marciano (Doblinger). Sonate für Klavier, g –moll, ed. Gerd Nauhaus (Breitkopf & Härtel 1991) Quatre Pièces Caractéristiques Op.5 ( Masters Music) Soirées Musicales Op.6 (Masters Music) Scherzo Op. 10 (Masters Music) Romances Op. 11 (Masters Music) Variations on a Theme by Robert Schumann Op.20 (Masters Music) SOLOMON, Mirrie Irma: see HILL, Mirrie Irma SUTHERLAND, Margaret Ada O.B.E. (1897-1984) Australia Pianist, teacher, untiring champion/pioneer of 20th c. Australian music, prolific composer; st. Marshall Hall Cons., University Cons.; London, Vienna; taught privately and at Melbourne Cons.; awards include honorary doctorate, UMelbourne; O.B.E., 1970. Works: orchestra, chamber, piano, vocal, ballet, opera, theatre. Style: “cogent and sinewy strength of argument happily merged with a rich and humane emotionalism” (Australian Music Centre web page).

Supplement to Volume I 277 The Piano Works of Margaret Sutherland, ed. David Lockett (Allans 2000) 96p. Two Chorale Preludes on Bach Chorales (Albert 1935). First Suite: The Adventurer; The Dreamer; The Bustler; The Humorist (c.1937). Second Suite: The Quest; Chorale Prelude; Mirage; Lavender Girl (c.1937). Miniature Sonata (c. 1939). Six Profiles (1946). Sonatina (Albert 1956/58). Valse Descant (1968). Chiaroscuros I, II (1967). Extension (1967). Voices I, II (1968). See also: Bagatelle; Dithyramb-Miniature Ballet Suite (Albert 1937); Holiday Tunes (Palings 1937); Miniature Ballet Suite (Allan 1937); Mischief in the Air (Allans Music 1937); Nocturne in A-flat; Nocturne in B-flat; Sonata (1966, Albert); Variations on a Clockwork Instrument; Waltz in C; teaching pieces. [AusMC, Carrigan, Cohen, Heinrich, K800, LePage3, McCredie, Murdoch, NG, Pendle, S&S] VELLÈRE, Lucie (1896-1966) (See Volume I) Av. CeBeDeM, Brussels: Capriccio (1959); Danse au Clair de Lune (Maurer 1949); Deux Danses pour Akarova (1930); Divertissement (1953); L’Eau Profonde (Maurer 1949); Figurines, 4 pieces (1920); L’Heure Tranquille (Maurer 1949); L’Île en Feu (Maurer 1949); La Maison Abandonée (Maurer 1949); Petales sur le Cendre (Maurer 1959); Promenade Au Bord du Lac (Maurer 1950); Sonatines Nos. 1, 2 (Maurer 1960, 68); Trois Tanagras (L’Art Belge 1918). Collections: Feuillets Épars (Maurer 1966): Reverie au Crepuscule, L’Approche des Oiseaux, Solitude, Feux Follets, La Terre s’est Endormie, Divergiencies. Preludes pour la Jeunesse (1950): Bucolique; Ombres Chinoises; A Tire d’Ailes; Nostalgie; Masques; L’Histoire Inachevée; Les Routiers; Voici L’Automne; Danse Villageoise; Parfums d’Orient; Enfantine-La Caverne Mysterieuse. [CeBeDeM, Cohen, K800, Zaimont, K800] ZUBELDIA (-INDA), Emiliana de [pseud: Bydwealth, Emily] (1888-1987) Spain/ Mexico Concert pianist, conductor, professor, composer; st. Spain, with d’Indy in Paris, and with Mexican acoustician/theoretician A. Novaro, who invented a keyboard with changeable tone color. Works: orchestra, chamber, piano (31 works), vocal.

278 Supplement to Volume I Once Tientos (Record 1963/ILL) 20p. Eleven “touches” composed according to Novaro’s acoustical theory, which is explained in a lengthy preface (in Spanish). Tonal/modal, rhythmic, attractive etude-toccatas. Late Int. See also: Bitonal Danza de Titeres; Cinco Estudios (Sophie Cheiner); La Petite Fleur Solitaire (1928); 8 Danzas Vascas, 2pf (1933); Sonata in 3 mvts (1932); Sonata (1933) 2pf; Ritmo Vasco, 2pf; Three Pieces: Souvenir de Biarritz, Dans La Terasse, Le Printemps Retourne (n.d., pub. under pseud. Emily Bydwealth). [Cohen, NG, Pendle, S&S]

References Agay, Denes, ed. 1981. Teaching piano: A comprehensive guide and reference book for the instructor. 2 vols. New York: Yorktown Music Press, Inc. Albergo, Cathy and Reid Alexander. 2000. Intermediate piano repertoire: A guide for teaching. 4th ed. Oakville, Ontario: Frederick Harris Music. Appleby, David P. 1983. The Music of Brazil. Austin: The University of Texas Press. Arzruni, Şahan. 1979. An anthology of Armenian piano music, Vol. II: Composers in the diaspora. Recording liner notes. Tinton Falls, NJ: Musical Heritage Society. Axford, Elizabeth C. 1997. Traditional world music influences in contemporary solo piano literature: A selected bibliographic survey and review. Lanham, Md.: Scarecrow Press. Bastien, James. 1995. How to teach piano successfully. 3rd ed. San Diego: Neil A. Kjos Music. Bauer, Carolyn Sue Gaede. 1994. A bibliography of intermediate level twentieth-century solo piano literature. M.M. thesis, James Madison University. Block, Adrienne Friede, and Carol Neuls-Bates, eds. 1979. Women in American music: A bibliography of music and literature. Westport, Conn.: Greenwood Press. Boenke, Heidi M. 1988. Flute music by women composers: An annotated catalog. New York: Greenwood Press. Bowling, Irene R. 1989. British piano music since 1945: A selected survey. D.M.A. dissertation, University of Washington. Briscoe, James R., ed. 1987. Historical anthology of music by women. Bloomington and Indianapolis: Indiana University Press. , ed. 1997. Contemporary anthology of music by women. Bloomington and Indianapolis: Indiana University Press.

280 References Britain, Radie. 1996. Ridin’ herd to writing symphonies: An autobiography. Landham, MD: Scarecrow Press. Brown, Ernest James. 1976. An annotated bibliography of selected solo music written for the piano by black composers. D.M.A. dissertation, University of Maryland. Burge, David. 1990. Twentieth-century piano music. New York: Schirmer/MacMillan. Burns, Kristine H., ed. 2002. Women and music in America since 1900: An encyclopedia. 2 vols. Westport, Conn.: Greenwood Press. Butler, Stanley. 1973. Guide to the best in contemporary piano music: An annotated list of graded solo piano published since 1950. 2 vols. Metuchen, N.J.: Scarecrow Press. Canaday, Alice. 1974. Contemporary music & the pianist: A guidebook of resources and materials. Los Angeles: Alfred Publishing. Carlson, Effie B. 1970. A bio-bibliographical dictionary of twelve-tone and serial composers. Metuchen, N.J.: Scarecrow Press. Carrigan, Jeanell. 2002. Australian solo piano works of the last twenty-five years. 2nd ed. Sydney: Australian Music Centre Ltd. Cohen, Aaron. 1987. International encyclopedia of women composers. 2nd ed., 2 vols. New York: Books & Music (U.S.A.) Inc. Composers’ Guild of Great Britain. 1974. Keyboard solos and duos by living British composers. London: British Information Centre. Dees, Pamela Youngdahl. 2002. A guide to piano music by women composers. Vol. I: composers born before 1900. Music Reference Collection, Number 84. Westport, Conn.: Greenwood Press. Dubai, David. 1995. The art of the piano: Its performers, literature, and recordings. 2nd ed. San Diego: Harcourt Brace. Eastman, Sheila, and Timothy J. McGee. 1983. Barbara Pentland. Toronto: University of Toronto Press. Epstein, Susan. 2001. By a Canadian lady: Piano music 1841-1997. CD review. Journal of the IAWM 7 (Nos. 1/2): 49. Faurot, Albert. 1974. Concert piano repertoire: A manual of solo literature for artists and performers. Metuchen, N.J.: Scarecrow Press. Fazzio, Candace. 1982. Intermediate level piano music by American composers: An annotated bibliography. M.A. thesis, San Jose State University. Finell, Judith Greenberg, comp. 1973. 20th century piano music by American composers: A selected list. Hackensack, N.J.: J. Boonin.

References 281 Floyd Jr., Samuel A. International dictionary of black composers. 1999. 2 vols. The Center for Black Music Research, Columbia College. Chicago: Fitzroy Dearborn Publishers. Frau und Musik: International Arbeitskreis e. V. (n.d.). Attn: Renate Brosch, Naumberger Str.40 D-34127, Kassel D-34127 Germany. Friskin, James, and Irwin Freundlich. 1973. Music for the piano: A handbook of concert and teaching material from 1580 to 1952. New York: Dover Publications. Ganz, Rudolph. 1968. Rudolph Ganz evaluates modern piano music: A guide for amateur and student. Evanston: The Instrumentalist Co. Fuller, Sopie. 1994. The Pandora guide to women composers: Britain and the United States 1629-present. London: HarperCollins Publishers. Gillespie, John. 1965. Five centuries of keyboard music: An historical survey of music for the harpsichord and piano. New York: Dover Publications. Gordon, Stewart. 1996. A history of keyboard literature: Music for the piano and its forerunners. London: Schirmer Books. Goss, Madeleine. 1970. Modern music-makers: Contemporary American composers. Westport, Conn.: Greenwood Press. Glickman, Sylvia, ed. 1990. American keyboard music 1866 through 1910. Vol. 4 of Three centuries of American music: A collection of American sacred and secular music, gen. eds. Martha Furman Schleifer and Sam Dennison. Boston: G. K. Hall. Glickman, Sylvia, and Martha Furman Schleifer, eds. 1996-200-. Women composers: Music through the ages. 12 vols., in progress. New York: G. K. Hall. Grattan, Virginia L. 1993. American women songwriters: A biographical dictionary. Westport, Conn.: Greenwood Press. Gray, Anne. 2000. Pen women in music. Journal of the IAWM 6/3 (2000): 54. Green, Mildred Denby. 1983. Black women composers: A genesis. Boston: G. K. Hall. 1975. A study of the lives and works of five black women composers in America. D.M. dissertation, University of Oklahoma. Hartig, Linda. 1991. Violet Archer: A bio-bibliography. New York: Greenwood Press. Hartog, Howard, ed. 1967. European music in the twentieth century. New York: Praeger. Hayes, Deborah. 1990. Peggy Glanville-Hicks: A bio-bibliography. New York: Greenwood Press.

282 References Heinrich, Adel. 1991. Organ and harpsichord music by women composers: An annotated catalog. New York: Greenwood Press. Heintze, James R. 1987. Esther Williamson Ballou: A bio-bibliography. New York: Greenwood Press. Hitchcock, H. Wiley, and Stanley Sadie, eds. 1986. The new Grove dictionary of American music. 4 vols. London: Macmillan Press. Illinois State Music Teachers Association. 1990. Piano syllabus. 6th printing. Champaign, IL: ISMTA Student Foundation. Lorenz, Ricardo, with Luis Hernández and Gerardo Dirié, ed. 1995. Scores and recordings at the Indiana University Latin American music center. Bloomington and Indianapolis: Indiana University Press. Hinson, Maurice. 1973. Guide to the pianist’s repertoire. Bloomington: Indiana University Press. 1979. Guide to the pianist’s repertoire: Supplement. Bloomington: Indiana University Press. 1987. Guide to the pianist’s repertoire. 2nd ed. Bloomington: Indiana University Press. 2000. Guide to the pianist’s repertoire. 3rd ed. Bloomington: Indiana University Press. Hisama, Ellie M. 1998. Rediscovering Miriam Gideon. Institute for studies in American music newsletter XXVII/2 (Spring). Hodges, Sister Mabelle L. 1970. A catalogue of representative teaching materials for piano since 1900. Chicago: De Paul University Press. Horne, Aaron. 1992. Keyboard music of black composers: A bibliography. Music Reference Collection, Number 37. Westport Conn.: Greenwood Press. Hostetter, Elizabeth Ann. 1990. Jeanne Behrend: Pioneer performer of American music, pianist, teacher, musicologist, composer. D.M.A. dissertation, Arizona State University. Illinois State Music Teachers Association. 1990. Piano Syllabus. ISMTA Student Foundation. Iitti, Sanna. 2001. Kaija Saariaho: Stylistic development and artistic principles. Journal of the IAWM 7/3 (2001): 17-20. Jezic, Diane Peacock, 1994. Women composers: The lost tradition found. 2nd ed. New York: The Feminist Press at The City University of New York.

References 283 Johnson, Rose-Marie, comp. 1989. Violin Music by women composers: A biobibliographical guide. Music Reference Collection, Number 22. Westport, Conn.: Greenwood Press. Jones, Leslie. 1994. The solo piano music of Vivian Fine. D.M.A. dissertaion, University of Cincinnati. Kemmerling, Sarah Ellen Moore. 1980. Selected piano compositions written since 1960 for the intermediate piano student. D.M.A. dissertation, University of Texas at Austin. Kirby. F. E. 1995. Music for the piano: A short history. Portland, Ore.: Amadeus Press. LePage, Jane Weiner. 1980, 1983, 1988. 3 vols. Women composers, conductors, and musicians of the twentieth century. Metuchen, N.J.: Scarecrow Press, Luper, Albert T. 1944. The music of Brazil. Washington, D.C.: Pan American Union. MacAuslan, Janna, and Kristan Aspen. 1997. Guitar music by women composers: An annotated catalog. Music Reference Collection, Number 61.Westport, Conn.: Greenwood Press. Macy, L., ed. 2001. Grove Music Online, http://www.grovemusic.com. Magrath, Jane. 1995. The pianist’s guide to standard teaching and performance literature. Van Nuys, Calif: Alfred Publishing. Mayer, Clara, ed. 1996. KOM: Komponistinnen im musikverlag: Katalog lieferbaren musikalien. Kassel: Furore Edition. McCredie, Andrew D. 1969. Catalogue of 46 Australian composers: And selected works. Canberra: Advisory Board, Commonwealth Assistance to Australian Composers. Meggett, Joan M. 1981. Keyboard music by women composers: A catalog and bibliography. Westport, Conn.: Greenwood Press. Miller, Marguerite. 1973. Mosaics. Sonos Musicianship Series, Book 1. Orem, Utah: Sonos Music Resources Inc. Morton, Brian and Pamela Collins. 1992. Contemporary composers. Chicago: St. James Press. Murdoch, James. 1972. Australia’s contemporary composers. Melbourne and Sydney: Macmillan Company of Australia. Murdoch, James. 2002. Peggy Glanville-Hicks: A transposed life. Lives in Music Series No. 5. Hillsdale, New York: Pendragon Press. Die Musik in Geschichte und Gegenwart. 1949-1968. Kassel: Barenreiter.

284 References Newman, William S. 1965/1967. A selected list of music and books recommended for piano students. With 2nd supplement. Chapel Hill, NC: University of North Carolina Extension Division. Nies, Christel. 1992. Komponistinnen und ihr werk: Eine dokumentation. Köln: HeinrichBöll-Stiftung e. V. Olivier, Antje. 1988. Komponistinnen von A-Z. Düsseldorf: Tokkata-Verlag für Frauenforschung. Olivier, Antje, and Sevgi Braun. 1996. Komponistinnen aus 800 Jahren. SequentiaVerlag. Olivier, Antje, and Karin Weingartz, eds. 1987. Frauen als komponistinnen: Eine bestandsaufnahme. 2nd ed. Düsseldorf: Internationaler Arbeitskreis Frau und Musik e.V. Gesellschaft und Archiv. Olsen, Dale A. and Daniel E. Sheey, eds. 2000. The Garland handbook of Latin American music. New York and London: Garland Publishing. Pendle, Karin, ed. 2001. Women & music. 2nd ed. Bloomington and Indianapolis: Indiana University Press. Philipp, Beate, Susanne Elgeti, Martina Schläger, and Ulrike Schwandt. 1993. Komponistinnen der neuen musik. Kassel: Furore Verlag. Rosemary Platt. 1980. Music By Women Composers, Vol.1. LP recording. Liner notes. (Columbus: Coronet 3105). Rieger, Eva, Martina Oster and Siegrun Schmidt, eds. 1989. Sopran contra bass: Die komponistin im musikverlag. Nachschlagewerk aller lieferbaren noten. Kassel: Furore Verlag. The Royal Conservatory of Music. 1994. Piano syllabus: Official examination syllabus. Ottawa: Frederick Harris Music. Sadie, Julie Anne, and Rhian Samuel, eds. 1995. The Norton/Grove dictionary of women composers. New York: W. W. Norton. Sadie, Stanley, ed., and John Tyrrell, exec. ed. 2001. The new Grove dictionary of music and musicians. 3rd ed. 20 vols. London: Macmilian Publishers. 68 compositors Catalans. 1980. Barcelona: Departamenta de Cultura, Associació Catalana de Compositors. Slonimsky, Nicholas, editor emeritus, and Laura Kuhn, Baker’s Series advisory editor. 2001. Baker’s biographical dictionary of musicians. Centennial Edition. New York: Schirmer Books.

References 285 Solomon, Nanette. 1994. Character sketches: Solo piano works by 7 American women. Liner notes. New York: Leonarda Productions LE334. CD. 1998. Sunbursts: Solo piano works by 7 American women. Liner notes. New York: Leonarda Productions LE345. CD. Southern, Eileen. 1982. Biographical dictionary of Afro-American and African musicians. Westport, Conn.: Greenwood Press. Sperber, Roswitha, ed. 1996. Women composers in Germany. Bonn: Inter Nationes. Stackhouse, Eunice Stackhouse. 2002. Childhood scenes and memories in Louise Talma’s “Soundshots.” Clavier (November) 41/9: 34. Stern, Susan. 1978. Women composers: A handbook. Metuchen, N.J. and London: Scarecrow Press. Stewart-Green, Miriam. 1980. Women composers: A checklist of works for the solo voice. Boston: G.K. Hall & Co. Tick, Judith. 1997. Ruth Crawford Seeger: A composer’s search for American music. New York and Oxford: Oxford University Press. University of Illinois Music Extension. (n.d.). Bulletin no. 26: A list of piano music for use with students in the intermediate and junior grades. Urbana, Illinois: Division of University Extension. Uszler, Marienne, Stewart Gordon, and Elyse Mach. The well-tempered keyboard teacher. New York: Schirmer Books, 1991. Vodarsky-Shiraeff, Alexandria, comp. 1940/1969. Russian composers and musicians: A biographical dictionary. New York: H.W. Wilson, repr. Da Capo. Von Gunden, Heidi. 1999. The music of Vivian Fine. Lanham, Md: Scarecrow Press. Walker-Hill, Helen. 1992. Piano music by black women composers: A catalog of solo and ensemble works. New York: Greenwood Press. 1995. Kaleidoscope: music by African-American women. Liner notes. Leonarda Productions LE 339. CD. 1995. Music by black women composers: A bibliography of available scores. Chicago: Center for Black Music Research, Columbia College. 2002. From spirituals to symphonies: African-American women composers and their music. Westport: Greenwood. Wier, Albert E., comp./ed. 1938. Macmillan encyclopedia of music and musicians in one volume. New York: Macmillan Company.

286 References Young, Mary Ellen. 1990. Tashi Gomang. Pauline Oliveros: A biography and descriptive catalog of compositions. Ph.D. dissertation, University of Minnesota. Zaimont, Judith Lang, editor-in-chief, and Jane Gottlieb, Joanne Polk, and Michael Rogan, associate editors. 1991. The musical woman: An international perspective. New York: Greenwood. Zaimont, Judith Lang, and Karen Famera. 1981. Contemporary concert music by women: A directory of the composers and their works. Westport, Conn.: Greenwood Press.

Composer Index Aarne, El’s (1917- ) Ukraine-Estonia Abe, Kyoko (1950- ) Tokyo Abejo, Sister M. Rosalina (1922-1991) Philippines/USA Aberdam, Eliane (1964- ) France/USA Adam, Margie (20th c.) USA Aeschlimann-Roth, Esther (1953- ) Switzerland Alberga, Eleanor (1949- ) Jamaica/England Alexander (Pollack), Leni (1924- ) Germany/Chile Ali-Sade, Frangis [Ali-Zadeh, Franghis] (1947- ) Azerbaijan, Russia Allen, Judith Shatin: see Shatin, Judith Allik, Kristi (Anne) (1952- ) Canada Alotin, Yardena (1930-1994) Israel Alston, Lettie Marie Beckon (1953- ) USA Alt, Hansi (1911- ) Austria/USA Anacleto, Carmela (20th c.) Brazil Anderson, Avril (1953- ) England Anderson, Beth (Barbara Elizabeth) (1950- ) USA Anderson, Olive Jennie Paxton (1917-1995) England/Australia Anderson, Ruth Monier (1928- ) USA Anderson-Wuensch, Jean Mary (1939- ) England/Canada Andersson, Margit E. ( - ) Sweden Ansink, Caroline (1959- ) The Netherlands Applebaum, Allyson Brown (20th c.) USA Appledorn, Mary Jeanne Van: see Van Appledorn, Mary Jeanne Archer, Violet Balestreri (1913-2000) Canada Aretz (de Ramón y Rivera), Isabel (1913- ) Argentina/Venezuela Arima, Reiko (1933- ) Japan Armer, Elinor Florence (1939- ) USA Arrieu, Claude (1903-1990) France Auber, Chantal (1931- ) France Auster, Lydia [Lidiia] Martinovna (1912- ) Soviet Estonia Austin [Scheidel-Austin], Elizabeth R. Scheidel (1938- ) USA

288 Composer Index Baader-Nobs, Heidi (1940- ) Switzerland Baas, D. (20th c.) Belgium Bacewicz, Grazyna (1909-1969) Poland Backes, Lotte (1901-1989/1990) Germany Badian, Maya (1945- ) Romania/Canada Bailey, Judy (1935- ) New Zealand Bailey, Mable (1939- ) USA Bailie, Joanna (1973- ) England/Belgium Bainbridge, Beryl (1919- ) Australia Baiocchi, Regina A. Harris (1956- ) USA Baity, Judith M. (1944- ) USA Baker, Amanda (1962- ) Australia Bakke, Ruth (1947- ) Norway Bal y Gay [née Garcia Ascot], Rosa [Rosita] (1908- ) Spain/Mexico Ballou, Esther Williamson (1915-1973) USA Bamberger, Regina ( - ) Germany Bancer, Teresa Barbara (1935- ) Poland Barber, Lesley (1962- ) Canada Barden [Bardon], Amelia (20th c.) Australia Barkin, Elaine Radoff (1932- ) USA Barraine, (Jacqueline) Elsa (1910- ) France Barrell [née Gedye], Joyce Howard (1917-1989) England Barrière, Françoise (1944- ) France Barry, Emilie de ( - ) Italy Bassi, Giulia ( - ) Italy Batschinskaja, Nina (1906- ) Russia Bauckholt, Carola (1959- ) Germany Bauld, Alison Margaret (1944- ) Australia Beath, Betty [Elizabeth] Mary (1932- ) Australia Beckon, Lettie Marie: see Alston, Lettie Beckon Beeson, Elizabeth Ruth (20th c.) USA Beglarian, Eve (1960- ) USA Behrend, Jeanne (1911-1988) USA Beilharz, Kirsty (1971- ) Australia Bell, Elizabeth (1928- ) USA Bender, Joanne (20th c.) Canada Benedicenti, Vera (1913- ) Italy Berberian, Cathy (1925-1983) USA Bernofsky, Lauren (1967- ) USA Berry, Rhonda (1936- ) Australia Besedina, Valeria ( - ) Russia Besson, Maria ( - ) Country unknown Bezdek, Sister John Joseph (1896-?) USA: see Supplement Bibby, Gillian Margaret (1945- ) New Zealand Bienvenu, Lily (1920- ) France Bilhar, Branca (1936- ) Brazil Bingham, Judith (1952- ) England Birnstein, Renate Maria (1946- ) Germany Bisley, Brigid Ursula (1961- ) New Zealand Blackwell, Anna Gee (1928- ) USA

Composer Index 289 Blanck, Olga De: see De Blanck Martín, Olga Blaustein, Susan Morton (1953- ) USA Bliss, Marilyn S. (1954- ) USA Blood, Esta Damesek (1933- ) USA Bodenstein-Hoyme, Ruth (1924- ) Germany Bodorová, Sylvie (1954- ) Czech Republic Bofill (i Levi), Anna (1944- ) Spain Bohun, Lyle de (pseud): see Boone, Clara Lyle Bolz, Harriet (1909-1995) USA Bond, Victoria Ellen (1945- ) USA Bonds, Margaret Allison (1913-1972) Boone, Clara Lyle (1927- ) USA Bor, Modesta (1926-1998) Venezuela Borisova-Ollas, Victoria (1969- ) Russia/Sweden Borràs (i Fornell), Teresa (1923- ) Spain Botet (Dubois), María Emma (1903- ) Cuba Bouchard, Linda L. (1957- ) Canada Bowater, Helen (1952- ) New Zealand Boyd, Ann Kirsten Carr: see Carr-Boyd, Ann Kirsten Boyd, Anne Elizabeth (1946- ) Australia Boykin, A. Helen (1904- ) USA Bradshaw, Susan (1913- ) Great Britain Brandman, Margaret Susan (1951- ) Australia Brandon, Phyllis (20th c.) British Bray, Jillian (20th c.) New Zealand Bremer, Carolyn (20th c.) USA Brill, Elissa (20th c.) USA Brink-Pothuis, Annie van den (1906-1956) Amsterdam Britain, Radie (1899-1994) USA: see Supplement Britton Smith, Irene: see Smith, Irene Britton Brockman, Jane E. (1949- ) USA Brouwer, Margaret (20th c.) USA Brown, Elizabeth (1953- ) USA Brown, Rosemary (1917- ) Great Britain Brusa, Elisabetta (1954- ) Italy Brush, Ruth J. (Damaris) (1910- ) USA Brussels, Iris (1900- ) USA Bruzdowicz (-Tittel), Joanna (1943- ) Poland/Belgium Buchanan, Dorothy Quita (1945- ) New Zealand Buczek [Buczkówna], Barbara Kazimiera (1940-1993) Poland Burke, Brigid (1960- ) Australia Burrell, Dianne [Diana] (1948- ) England Buscemi Montalto, Margherita (20th c.) Italy Butler, Jean (20th c.) USA Calame, Geneviève (1946-1993) Switzerland Calandra, Matilde T. de (20th c.) Argentina Calcagno, Elsa (1910- ) Argentina Callaway, Ann (1949- ) USA

290 Composer Index Caloïanu, Luiza (1963- ) Romania/France Cameron, Allison (1963- ) Canada Campos, Lina Pires de (1918- ) Brazil Capdevila (i Gaya), Mercè (1946- ) Spain Capers, Valerie Gail (1935- ) USA Capuis, Matilde (Margherita Mary) (1913- ) Italy Carignan, Nicole (20th c.) Canada Carlson, Rosalind (20th c.) Australia Caron-Legris, Albertine (20th c.) Canada Carr-Boyd, Ann Kirsten (1938- ) Australia Carvalho (-Murici), Dinorá Gontijo de (1904-1980) Brazil Casella, Jane (1960- ) USA Caskie, Helen (1930- ) New Zealand Cassian, Nina (1924/1930- ) Rumania Castro-Robinson, Eve de: see De Castro-Robinson, Eve Catalanotto, Marisa (20th c.) Italy Č‘ebotaryan, Gayane (Movses) (1918-1998) Armenia Cecchi, Gabriella (1944-) Italy Cecconi-Bates, Augusta (1933- ) USA Cecconi-Botella, Monic (1936- ) France) Ceff, Linda (20th c.) Australia Chambard, Nicole (20th c.) France Chen Yi (1953- ) China/USA Chlonsky, Verdina: see Shlonsky, Verdina Cimaglia de Espinosa, Lia (1906- ) Argentina Cintolesi, Liliana (1910- ) Italy Clark, June (1933- ) England Clearfield, Andrea (20th c.) USA Clement, Sheree (1955- ) USA Clerck, Albertine de: see Colin, Jeanne Cleve,Cissi (1911-1993) Norway Coates, Gloria Kannenberg (1934/38- ) USA/Germany Codina, Maria Assumpta (1943- ) Spain Cody, Judith (1943-) USA Cole, (Frances) Ulric (1905-1992) USA Coleridge-Taylor, Avril (Gwendolen) (1903- ) Great Britain Colin (-De Clerck), Jeanne (Albertine) (1924- ) Belgium Colley, Constance (1954- ) England/Australia Connors, Carolyn (20th c.) Australia Cooney, Cheryl Lee (1953- ) Canada Cory, Eleanor (1943- ) USA Coulombe Saint-Marcoux, Micheline: see Saint-Marcoux, Micheline Coulombe Coulpied-Sevestre, Germaine (20th c.) France Coulthard, Jean (1908-2000) Canada Cowles, Darleen: see Mitchell, Darleen Cowles Cox, Cindy (1961- ) USA Craig, Kathy (20th c.) USA Crane, Joelle Wallach: see Wallach, Joelle Crawford Seeger, Ruth Porter (1901-1953) USA Cruz, Zulema de La: see La Cruz, Zulema de Curubeto Godoy, María Isabel (1904- ) Argentina

Composer Index 291 Dalbert [Roth-Dalbert], Anny (1900- ) Switzerland Dale, Kathleen (1895-1984) England: see Supplement Danforth, Frances Louise Adams (1903- ) USA Davidson, Tina (1952-) USA Davies, Eiluned (Doris) (1913-) England/Wales Davis, Katherine Kennicott (1892-1981) USA: see Supplement Davis, Sharon (1937- ) USA De Blanck Martín, Olga (1916- ) Cuba De Bohun, Lyle (pseud): see Boone, Clara Lyle De Clerck, Albertine: see Colin-De Clerck, Jeanne De Castro-Robinson, Eve (1956- ) England/New Zealand De Jong, Sarah (1952- ) New Zealand/Australia De Kenessey, Stefania Maria (1952- ) Hungary/USA Del Carretto, Cristina (20th C) Italy Della-Bosca, Roxanne (1977-) Australia Demarest, Anne Shannon (1919- ) USA Dembo, Royce (1933- ) USA Derleth, Julia: see Bezdek, Sister John Joseph, Supplement De Rogatis, Teresa: see Rogatis, Teresa de, Supplement Deschênes [née Price], Marcelle (1939- ) Canada Desportes, Yvonne Berthe Melitta (1907-1993) France Deussen, Nancy Bloomer (1939-) USA Dianda, Hilda (1925- ) Argentina Diemer, Emma Lou (1927-) USA Di Lotti, Silvana (1942- ) Italy Dinescu (-Lucaci), Violeta (1953- ) Romania Dlugoszewski, Lucia (1925/31-2000) USA Dobson, Elaine (1945- ) England/Australia Dodd, Dorothy (1926- ) Australia Dong, Kui (20th c.) China/USA Doolittle, Emily (20th c.) Canada Dowling, Bernadette (1979- ) Australia Dring, Madeleine (Winefride Isabelle) (1923-1977) England Duchesne, Genevieve (1943-1985) France Duncan, Eve (1956- ) Australia Dunlop, Isobel [pseud: Skelton, Violet] (1901-1975) Scotland Dvorkin, Judith (1930- ) USA Dzielska, Jadwiga (20th c.) Poland Dziewulska, Maria Amelia (1909-) Poland Eagles, Moneta M. (1924- ) Australia Eames, Juanita [pseud: Masters, Juan] (20th c.) USA Eastman, Donna Kelly (20th c.) USA Edginton, Joyce (20th c.) England Eggleston, Anne (1934-1994) Canada Eiríksdóttir, Karólína (1951- ) Iceland Elkoshi, Rivka (1949-) Romania/Israel Elwyn-Edwards, Dilys (20th c.) Wales Erding (-Swiridoff), Susanne (1955- ) Germany Ernst (-Meister), Siegrid (Adelheid) (1929-) Germany

292 Composer Index Escot, (Olga) Pozzi (1933-) Peru/USA Escribano, María Sortilegio (1954-) Spain Estrella de Méscoli, Blanca (1915- ) Venezuela Ethridge, Jean (1943- ) Canada Eubanks, Rachel Amelia (1922- ) USA

Fábregas, Elisenda (1955- ) Spain/USA Falcinelli, Rolande (1920- ) France Feigin, Sarah (1928- ) Latvia/Israel Feldman, Barbara Monk (20th c.) Canada Fennell, Tracy (1961- ) USA Fenstock, Belle (1939- ) USA Fereyra, Beatriz (1937- ) Argentina/France Fernandes, Maria Helena Rosas (1933-) Brazil Ferreira, Irma Maria José Climaço (1920-) Brazil Filonenko, Alexandra (20th c.) Russia Fine, Vivian (1913-2000) USA Finsterer, Mary (1962- ) Australia Finzi, Graciane (1945- ) Morocco/France Firnkees, Gertrud (1925- ) Germany Firsova [Firssowa], Elena [Yelena] (Olegovna) (1950-) Russia Fisher, Gladys Washburn (1900- ) USA Fisher, Helen (Wynfreda) (1942-) New Zealand Fishman, Marian [Marion] (1941- ) USA Fitch, Jane (1953- ) Australia Fleischer (-Dolgopolsky), Tsipporah (Tsippi) (1946- ) Israel Fleites, Virginia (1916- ) Cuba Foglia, Giovanna Vestini: see Vestini Foglia, Giovanna Fontyn [Fontjn; Schmit-Fontyn], Jacqueline (1930- ) Belgium Fowler, Jennifer Joan (1939- ) Australia/Great Britain França, Lourdes (Monteiro) (1912- ) Brazil Franchi, Dorothea Anne (1920-) New Zealand Franco, Clare (C.1945- ) USA Frasier, Jane (1951- ) USA Freed [née Doorly], Dorothy Whitson (1919-2000) New Zealand Frensel-Wegener, Emmy: see Wegener, Emmy Heil-Frensel Frias, Irvany Bedaque Ferreira (1931- ) Brazil Frykberg, Susan (1954- ) New Zealand/Canada Fujie, Keiko (1963- ) Japan Fuller-Hall, Sarah Margaret (1959-) USA Fung, Vivian (1975- ) Canada Furgeri, Biancamaria (1935- ) Italy

Gabus, Monique (1924- ) France Gaigerova, Varvara Adrianovna (1903-1944) Soviet Russia Galbraith, Nancy Riddle (1951- ) USA Garcia, Janina: see Garścia, Janina Garcia Robson, Magda (Magdalena) (1916-) Argentina

Composer Index 293 Gardiner, Mary Elizabeth (1932- ) Canada Gardner, Kay (1941- ) USA Gárscia (-Gressel), Janina (1920 -) Poland Gartenlaub, Odette (1922- ) France Garvia (i Serrano), Maria Isabel (1959- ) Spain Garztecka (-Jarzebska), Irena (1913-1963) Poland Gazarossian, Koharik (1907/8-1967) Turkey/Armenia Geertens, Gerda (1955- ) Netherlands Gentile, Ada (1947-) Italy Ghandar, Ann (1943- ) Australia Ghosn, Rita ( - ) France Gibert, M. Teresa ( - ) Spain Gideon, Miriam (1906-1996) USA Gifford, Helen Margaret (1935-) Australia Giner, Consuelo (20th c.) Spain Gipps, Ruth M.B.E. (1921-1999) England Giuranna, (Elena) Barbara (1899/1902- ) Italy: see Supplement Glanville-Hicks, Peggy (1912-1990) Australia/USA Glickman, Sylvia (20th c.) USA Goldschmidt, Hadas (20th c.) Israel Goolkasian-Rahbee, Dianne Zabelle (1938- ) USA Gould, Elizabeth Davies [Mrs. Hochman] (1904- ) USA Grant, Alicia (1978-) Australia Greenwell, Andrée (1964-) Australia Gregori, Nininha (1925- ) Brazil Grenfell, Maria (1969- ) Malaysia/New Zealand Gubaidulina, Sofia Asgatovna (1931- ) Russia/Germany Guerrant, Mary Thorington (1925- ) USA Guraieb Kuri, Rosa (1931- ) Mexico Guymer, Sheila Learmonth: see Learmonth, Sheila Gyring, Elizabeth (1886/1906-1970) Austria/USA: see Supplement Haban, Sister Teresine M. (Teri) (1914- ) USA Hairston, Jacqueline Butler (1938- ) USA Hall, Pauline (Margrete) (1890-1969) Norway: see Supplement Handel, Amanda (1958- ) Australia Hannikainen, Ann-Elise (1946-) Finland/Spain Hara, Kazuko (1935- ) Japan Harbach, Barbara ( - ) USA Harberts-Hilger, J. ( - ) Holland Harper, Marjorie (1902- ) USA Harrhy, Edith (20th c.) Australia Harris, Ethel Hermina Ramos (1908-2003) USA Harris (-Schofield), Margaret Rosezarian (1943-2000) USA Harris, Shirley (1941- ) Australia Harrison, Pamela (1915-1990) England Harrison, Sadie (1965-) Australia Hasse, Jean (1958- ) USA/London Hatch, Mabel Lee (20th c.) USA Hayakawa, Kazuko (20th c.) Japan

294 Composer Index Hays, Sorrel (Doris Ernestine) (1941- ) USA Hébert-Tremblay, Suzanne (1960-) Canada Hedstrøm, Åse (1950- ) Norway Heidel, Ida Hetene (1958-) Norway Heinrich, Adel Verna (1926- ) USA Heller (-Reichenbach), Barbara (1936- ) Germany Henderson, Moya Patricia (1941-) Australia Henderson, Ruth (Louise) Watson (1932- ) Canada Hernández-Gonzalo, Gisela (1910/1912-1971) Cuba Hess, Alice ( - ) England Hesse, Marjorie Anne, M.B.E. (1911-1986) Australia Hicks, Marjorie Kisbey (1905- ) London/Canada Hill, Mildred J. (1859-1916) USA: see Supplement Hill, Mirrie Solomon (1892-1986) England/Australia: see Supplement Hindman, Dorothy (1966- ) USA Hisada, Noriko (20th c.) Japan Hiscocks, Wendy (1963- ) Australia Hishinuma, Naoko (20th c.) Japan Hitomi, Kaneko: see Kaneko, Hitomi Ho, Alice Ping Yee (20th c.) Hong Kong/Canada Hoelszky, Adriana: see Hölszky, Adriana Hofer, Maria (1894-1977) Austria: see Supplement Hoffman, Laurie (Laura) (c.1948- ) USA/Canada Holland, Dulcie Sybil (1913-2000) Australia Holm, Kristin (1965- ) Norway Holmes, Leonie (1962- ) New Zealand Hoist, Imogen Clare (1907-1984) England Hölszky, Adriana (1953- ) Romania/Germany/Austria Holt, Nora Douglas (1885-1974) USA: see Supplement Holt, Patricia Blomfield (1910- ) Canada Hoover, Katherine (1937- ) USA Horak, Hilda (1914- ) Slovenia Howlett [née Bird], May (1931- ) Australia Hsiao, Shu-Sien: see Xiao, Shuxian Hsu, Wen-Ying (1909- ) China/USA Hubler, Evelyne (20th c.) France Hulford, Denise Lovona (1944- ) New Zealand Hurtado y Torres, Maria del Carmen: see Supplement Hyde, Miriam Beatrice, O.B.E. (1913- ) Australia Irman (-Allemann), Regina (1957- ) Switzerland Ivey, Jean Eichelberger (1923- ) USA Jabôr (Maia de Carvalho), Najla [Nadia] (1915-) Brazil Jacobsen, Sonia (20th c.) Australia Jacques-René, Sister M. (1918- ) Canada Jager Bickel. Johanna ( - ) Netherlands Jagger, Bryony [Phillips, Maglona Patricia Bryony] (1948- ) England/New Zealand Jama, Agnes (1921-1993) Netherlands

Composer Index 295 Jambor, Agi (1909-1997) Hungary/USA James, Dorothy E. (1901-1982) USA James, Vera (20th c.) Country unknown Jameson, Fritha (20th c.) New Zealand Viera (1941/1944- ) Czechoslovakia/Germany Jastrzebska Anna (1950- ) Norway Jerea, Hilda (1916-) Romania Jochsberger, Tzipora H. (1920- ) Germany/Israel/USA Johns, Altona Trent (1904-1977) USA Johnson, Harriet (1908–1987) USA Johnston-Reid, Sarah Ruth: see Reid, Sally Johnston Jolas [Illouz], Betsy (1926- ) France Jones, Carol (20th c.) New Zealand Jones, Susan Lloyd (20th c.) Wales Jouvenel, Germaine de (20th c.) France Jugend, Nurit (20th c.) Israel Kabe, Mariko (1950- ) Japan Kanai, Kikuko (1911-1986) Japan Kaneko, Hitomi (c. 1968- ) Japan Kankaanpää, Tuulikki (20th c.) Finland Känzig, Eva (1962- ) Switzerland Kaprálová, Vítêzlava (Vita) (1915-1940) Czechoslovakia/France Karamanuk, Sirvart (1912/1916- ) Turkey/Armenia Karnitskaya, Nina Andreyevna (1906- ) Soviet Russia Karveno, Wally (1914- ) Country unknown Kasilag, Lucrecia Roces (1915/1918- ) Philippines Kato, Yukiko (20th c.) Japan Kats-Chernin, Elena (1957-) Uzbekistan/Germany/Australia Kawamoto, Hideko (20th c.) Japan/USA Kawanaka, Akiko (20th c.) Japan Kayden, Mildred (1922- ) USA Kazandjian-Pearson, Sirvart H. (1944- ) Armenia/Switzerland Kazhaeva, Tatiana Ibragimovna (1950- ) U.S.S.R. Keam, Glenda (20th c.) New Zealand Keating, Sr. Marie Thomas, O.P. [née Margaret Ann] (1906-1983) USA Keefer, Euphrosyne (1919- ) England/Canada Keller, Ginette (1925- ) France Kenessey, Stefania M. de: see De Kenessey Kern, Frieda (1891-1988) Austria: see Supplement Kessler, Minuetta Schumiatcher (1914- ) Russia/Canada/USA Ketterer, Ella (1889-?) USA: see Supplement Kettering, Eunice Lea (1906- ) USA Kim, Cecilia Heejeong (20th c.) Korea Kimper, Paula (20th c.) USA King, Betty Jackson (1928- ) USA King, Rebecca Clift (20th c.) England/South Africa Kinoshita, Makiko (20th c.) Japan Kirkwood, Antoinette (1930- ) England Kitazume, Yayoi (1945- ) Japan

296 Composer Index Klechniowska, Anna Maria (1888-1973) Poland: see Supplement Klotzman, Dorothy Ann Hill (1937- ) USA Knerr, Katrina (20th c.) USA Koblenz, Babette (1956- ) Germany Kodály, Emma (20th c.) Hungary Koh, Joyce Bee Tuan (1968- ) Singapore/France Kohan (De Scher), Celina (1931- ) Argentina Kolb, Barbara (1939- ) USA Kolodub, Zhanna Efimovna (1930- ) Ukraine Kondoh, Harue (20th c.) Japan) Konishi, Nagako (1945- ) Japan Konshina, Elena [Yelena] Sergeyevna (1950- ) Russia Koptagel, Yüksel (1931- ) Turkey Krause, Lucie-Marie ( - ) Germany Kubo, Mayako (1947- ) Japan/Germany Kukuck [née Cohnheim], Felicitas (1914- ) Germany Kulenty, Hanna (1961- ) Poland/Netherlands Kunkel, Renata (1954- ) Poland Kupelian, Louise (1928- ) USA Kurimoto, (1951- ) Japan Kuzmenko, Larysa (1956- ) Canada Kyriakou, Rena (1918- ) Country unknown Lachowska, Stefania (1898-1966) Poland: see Supplement Lackman, Susan Cohn (1948- ) USA Lacroix, Nicole ( - ) France La Cruz, Zulema de (1958- ) Spain Lam Bun-Ching (1954- ) China Lambert, Cecily (1915- ) USA/England Lambertini, Marta (1937- ) Argentina Lang Zaimont, Judith: see Zaimont, Judith Lang Lang (-Beck), Ivana (1912-1983) Croatia Lann, Vanessa (1968- ) USA/Netherlands Lapeyre, Thérèse Larsen, Libby (Elizabeth) Brown (1950- ) USA Lassimone, Denise ( - ) Great Britain Latz, Inge (1929-1994) Germany Lauber, Anne Marianne (1943- ) Switzerland/Canada Lauder, Kathryn (20th c.) New Zealand Lauer, Elizabeth (1932- ) USA Laurin, Rachel (1961- ) Canada Lavin, Sister Marie Duchesne (1930- ) USA/Australia Leach, Mary Jane (20th c.) USA Leahy, Mary Weldon (1926- ) USA Learmonth [Guymer], Sheila ( - ) Australia Lebenbom, Elaine F. (1933- ) USA Lee, Consuela (1926- ) USA Lee, Hope Anne Keng-Wai (1953- ) China/Canada Lee, Young-Ja (1931/1936- ) Korea Lefanu, Nicola Frances (1947- ) Great Britain

Composer Index 297 Lefevre, Armande (20th c.) France Legge-Wilkinson, Margaret (1958- ) Australia Leite (Dias Batista), Clarisse (1917- ) Brazil Leiviskä, Helvi Lemmikki (1902-1982) Finland Lejet, Edith (1941- ) France León, Tania Justina (1944-1994) Cuba/USA Le Siege, Annette (c. 1945- ) USA Lewandowska, Jadwiga Szajna: see Szajna-Lewandowska, Jadwiga Lipschutz, Lita (-) USA Lipuma, Nelly (1971- ) Italy Liu, Zhuang (1932- ) China Lizee, Nicole (1973- ) Canada Llewellyn, Becky (20th c.) Australia Lockwood, Annea Ferguson (1939- ) New Zealand/USA Lomon, Ruth Margaret (1930- ) Canada/USA López Artiga, Angeles (20th c.) Spain Louie, Alexina Diane (1949- ) Canada Lucas, Marie-Luce (1935- ) France Ludvig-Pečar, Nada (1929- ) Yugoslavia Luff, Enid (1935- ) Wales Lutyens, Dame (Agnes) Elisabeth (1906-1983) Great Britain Lyle De Bohun: see Boone, Clara Lyle

Macarowa, Nina: see Makarova, Nina Macedo, Maria Apparecida da Cortes (1937- ) Brazil Mackenzie, Kirsten (20th c.) New Zealand Maconchy, Elizabeth (1907-1994) Great Britain Mageau, Mary Magdalen (1934- ) USA/Australia Mägi, Ester (1922- ) Estonia Mahler, Hellgart (20th c.) Australia Maixandeau, Marie-Vera (1929- ) France Makarova, Nina Vladimirovna (1908-1976) Russia Malmlöf-Forssling, Carin (1916- ) Sweden Mamlok, Ursula Lewis (1928- ) Germany/USA Manziarly, Marcelle de (1899-1989) Russia/France/USA: see Supplement Marbé, Myriam Lucia (1931- ) Rumania Marchi, Giuliana (1925- ) Italy Marcus, Ada Belle Gross (1929- ) USA Marcus, Bunita (1952- ) USA Maree, Joanne (1939- ) England/Australia Marez Oyens, Tera de (1932- ) Holland Mari, Pierrette (Anne Valerie) (1929- ) France Ljubica (1909- ) Serbia-Jugoslavia Markiewiczówna, Wladyslawa (1900- ) Poland Martin, Delores J. Edwards (1943- ) USA Martins, Maria de Lourdes (Clara Da Silva) (1926- ) Portugal Masumoto [Massumoto], Kikuko (1937-) Japan Matuszczak, Bernadetta(1937- ) Poland Maurice, Paule (1910-1967) France Mayne, Kathleen (20th c.) USA

298 Composer Index Mays, Sally ( - ) Australia/England McAuliffe, Kass (20th c.) New Zealand McCombe, Christine (1967- ) Australia McIntosh, Diana (1937- ) Canada McLean [née Taylor], Priscilla Anne (1942- ) USA McLeod, Jennifer Helen (1941- ) New Zealand McLin, Lena Johnson (1929- ) USA McPartland, (Margaret) Marian Turner (ca. 1920- ) Great Britain/USA Mefano, Jacqueline (20th c.) France Meier, Margaret Shelton (20th c.) USA Mekeel, Joyce (1931-1997) USA Metin-Rémy, Marguerite (20th c.) France Menkin, Lyana (20th c.) Israel Meridan, Lissa (1972- ) New Zealand Metallidi, Zhanna [Zhanneta] Lazarevna (1934- ) Russia Michielsen, Alie (20th c.) Holland Migranyan, Emma (1940- ) Russia Milà (i Romeu), Leonora (1942- ) Spain Milanković, Vera (1953- ) Yugoslavia Miller, Elma (1954- ) Canada Miller Stott, Rosemary (20th c.) New Zealand Mills, Joan Geilfuss (20th c.) USA Milne, Elissa (1967- ) New Zealand/Australia Milne, Lorraine (1946- ) Australia Mineo, Antoinette (1926- ) USA Minsmer, Jeanne (20th c.) France Mitchell, Darleen Cowles (Hoover) (1942- ) USA Miyake, Haruna [pseud: Shibata, Haruna] (1942- ) Japan Monk Feldman, Barbara: see Feldman, Barbara Monk Monkovich, Rita (20th c.) Israel Monroe, Deborah Jean (-) USA Moon, Chloe Elizabeth (1952- ) New Zealand Moore, Dorothy Rudd (1940- ) USA Moore, Undine Smith (1904-1989) USA Moretto, Nelly (1925-1978) Argentina Mori, Junko (Yanai) (1948- ) Japan Morley [née Morgan], Nina Diane (1929- ) USA/Canada Morrissey, Wendy (20th c.) Australia Moszumańska-Nazar, Krystyna (1924- ) Poland Moyseowicz, Gabriela (1944- ) Poland/Germany Mucha, Geraldine: see Thomsen, Geraldine Mulsant, Florentine (1962- ) France Munn, Zae (1953- ) USA Murao, Sachie (1945- ) Japan Murphy, Kelly-Marie (20th c.) Canada Musgrave, Thea (1928- ) Scotland/USA

Na Hyo-Shin (20th c.) Korea/USA Nabeshima, Kaori (20th c.) Japan

Composer Index 299 Nagatomi, Masayuki (20th c.) Japan Naito, Akemi (1956- ) Japan/USA Nakamura, Yoko (20th c.) Japan Natsuda, Shoko (20th c.) Japan Nazarova, Tatiana Borisovna (1928- ) Soviet Russia Nečasová, Jindra (1960- ) Czech Republic Nemteanu-Rotaru, Doina: see Rotaru, Doina Nenčić, Ivanka (20th c.) Yugoslavia Neste, Rosane van: see Van Neste, Rosane Nettheim, Dawn (20th c.) Australia Newlin, Dika (1923- ) USA Nguyen Van Ty, Louise (1915- ) Viet Nam Niewiadomska, Barbara (1938- ) Poland Nikolajeva, Tatiana Petrovna (1924-1993) Russia Nordenfelt, Dagmar (1908- ) Sweden Norman, Ruth (1927- ) USA Norre, Dorkas [Dorcas] (1911-) Sweden Nozawa, Keiko (20th c.) Japan Nozawa, Mica (20th c.) Japan Nunlist, Juli (1916- ) USA Irina (1937- ) Romania Ogilvie, Signe (20th c.) Denmark Okamoto, Kanako (20th c.) Japan O’leary, Jane Strong (1946- ) USA/Ireland Olive, Vivienne (1950- ) England/Germany/Australia Olivero, Betty (1954- ) Israel Oliveros, Pauline (1932-) USA O’Malley, Eileen (20th c.) Country unknown Ørbeck [Oerbeck, Orbeck], Anne-Marie (1911-1996) Norway Orff, Gertrud: see Willert-Orff, Gertrud Orefice, Olga ( - ) Country unknown Orleans, Reine (20th C.) France Osawa, Kazuko (1926-) Japan Osiander (Oisander Vogel). Irene (1903-1980) Russia/Denmark Osterman, Eurydice V. (1950- ) USA Overman [Russcher-Overman], Meta (20th c.) Holland/Australia Owens, Terry Winter (1935- ) USA Oyens, Tera De Marez: see Marez Oyens, Tera de Packhäuser, Ursula (20th c.) Country unknown Page, Rosalind (20th c.) Australia Painta, Priti (1960- ) India Pakhmutova, Alexandra Nikolayevna (1929- ) Russia Palmer, Juliet (20th c.) New Zealand/Canada Panetti, Joan (1940/1941- ) USA Panneton, Isabelle (c. 1960- ) Canada Parker, Katharine (20th c.) Australia

300 Composer Index Patterson, Andra (1964- ) New Zealand Paull, Barberi (1946- ) USA Payne, Maggi (1945- ) USA Paulsen, Anniken (1955- ) Norway Pearl-Mann [Perelmann], Dora Deborah (1905- ) Russia/ USA Pelegrí (i Marimón), Maria Teresa (1907- ) Spain Pellitteri, Mariarita (1966- ) Italy Peluso, Rachel (1909- ) Brazil Pentland, Barbara Lally (1912-2000) Canada Pereira da Silva, Adelaide: see Silva, Adelaide Pereira da Perkin, Helen (1909- ) England Perry, Anita [A. D.] (1960- ) Canada Perry, Julia Amanda (1924-1979) USA Perry, Zenobia Powell (1914- ) USA Pesce, Lina (1923- ) Brazil Peterson-Serafinowitsch, Märta (1912- ) Country unknown Petra-Basacopol, Carmen (1926- ) Romania Pfeiffer, Irena (1912- ) Poland Philiba, Nicole (1937- ) France Phillips, Maglona Patricia Bryony: see Jagger, Bryony Phillips, Linda, O.B.E. [Mrs. Kauffmann] (20th c.) Australia Pierce, Alexandra (1934- ) USA Pietiläinen, Aino (20th c.) Finland Piper, Deirdre (20th c.) United Kingdom/Canada Pires De Campos, Lina: see Campos, Lina Pires De Pistono d’Angelo, Piera (1937/1938- ) Italy Pizer, Elizabeth Faw Hayden (1954- ) USA Plowman, Lynne (20th c.) Wales Pócs, Katalin (1963- ) Hungary Polden, Angela (1960- ) Australia Polin, Claire C. J. [Mrs. Merle S. Schaff] (1926-1995) USA Pollock [Pollack], Muriel (Molly Davidson) (1904-? ) USA Poston, Elizabeth (1905-1987) England Prezament. Wendy (1955- ) Canada Price, Deon Nielsen (1934- ) USA Prieto, Maria Teresa (1896-1982) Spain/Mexico: see Supplement Priolli, María Luisa de Matos (1915- ) Brazil Procaccini, Teresa (1934- ) Italy Pstrokońska-Nawratil, Hanna (1947- ) Poland Marta (1943- ) Poland/USA Puig-Roget, Henriette: see Roget, Henriette

Raber de Reinders, Esther (1940- ) Holland/South Africa. Radford, Laurie (1958- ) Canada Rahbee, Dianne Goolkasian: see Goolkasian-Rahbee, Dianne Rainier, (Ivy) Priaulx (1903-1986) South Africa/Great Britain Ran, Shulamit (1947/49- ) Israel

Composer Index 301 Raum, Elizabeth (1945-) USA/Canada Rees, Leanne (20th c.) USA Rehnqvist, Karin Birgitta (1957- ) Sweden Reid, Sally (Sarah) Johnston (1948- ) USA Reiser, Violet (1905/1915- ) USA Rhené-Jaque: see Jacques-René, Sister M. Ribas (i Monné), Maria Rosa (1944- ) Spain Richards, Kathleen: see Dale, Kathleen, Supplement Richer, Jeannine [Janine] (1924- ) France Richter, Elsa (20th c.) Country unknown Richter, Marga (1926- ) USA Rickard, Sylvia (1937- ) Canada Rippas-Lüthy, Susi (1936- ) Switzerland Robert (–Diessel), Lucie (1936- ) France Roberts, Gertrud Hermine Kuenzel (1906- ) USA Rocherolle [née Ricau], Eugénie Katherine (1936- ) USA Rodgers, Sarah (20th c.) Great Britain Rodrigue, Nicole (c. 1945- ) Canada Rofe, Esther Freda (1904-2000) Australia Rogatis, Teresa de (Feninger) (1893-1979) Italy: see Supplement Roger, Denise (1924- ) France Roget [Puig-Roget], Henriette (1910- ) France Roi, Micheline (1963- ) Canada Roo-Vierdag, Corry de (1925-) The Netherlands Rosas-Fernandes, Maria Helena (1933- ) Brazil Rosato, Clorinda (1913- ) Brazil Rosco, B. Jeanie [B. J., Mrs. Bumpus; née Groh] (1932-) USA Rossi, Wynn-Anne ( - ) USA Rotaru [Nemteanu-Rotaru], Doina Marilena (1951- ) Romania Roth, Esther: see Aeschlimann-Roth, Esther Rowlin, Caitlin (1973- ) Australia Rubin, Anna Ita (1946- ) USA Rudissil, Bess (20th c.) USA: see Supplement Rudow, Vivian Adelburg (1936- ) USA Rueff, Jeanine (1922- ) France Ruff-Stöhr, Herta Maria Klara (1904-1991) Germany Saariaho, Kaija (1952- ) Finland/France Saint-Marcoux, Micheline Coulombe (1938-1985) Canada Saiz-Salazar, Marina (1930- ) Panama Salles, Annita (1920- ) Brazil Salutrinskaya, Tatiana (20th c.) Russia Salvador, Matilde (1918- ) Spain Samter, Alice (1908- ) Germany Samuel, Rhian (1944- ) Wales Samuel, Virginia (20th c.) USA Sandifur, Ann Elizabeth (1949- ) Sandresky, Margaret Vardell (1921-) USA Sangüesa, Iris (193?- ) Chile

302 Composer Index Sastok, Helve (1958- ) Canada Sato [Satoh], Kimi (1949- ) Japan Sauter, Maya (1910/1915- ) Switzerland Scheidel, Elizabeth: see Austin, Elizabeth R. Scheidel Scherchen (-Hsiao), Tona (1938- ) France/China Schieffer, Eva ( - ) Country unknown Schmidt, Heather (20th c.) Canada/USA Schmitz-Gore, Else (1901-1987) Germany Schonthal, Ruth E. (1924- ) Germany/USA Schorr (-Weiler), Eva (1927- ) Germany Schubanowa, Gasisa (1927- ) Russia Schubinskaja, Valentina (1926- ) Russia Schuyler, Philippa Duke (1931-1967) USA Schwendinger, Laura (20th c.) USA Scliar (Cabral), Esther [Ester] (1926-1978) Brazil Scott, Hazel Dorothy (1920-1981) Trinidad/USA Scurria, Amy (1973- ) USA Sebastiani, Pia (1925- ) Argentina Seeger, Ruth Crawford: see Crawford Seeger, Ruth Sehrig, Maria ( - ) Germany Selleck, Johanna (20th c.) Australia Semegen, Daria (1946- ) Germany/USA Serafin, Ewa (1955- ) Norway Setti (De Castro Lima), Kilza (1932- ) Brazil Shapiro, Alex (1962- ) USA Shatin [Allen; Shatin Allen], Judith Allen (1949- ) USA Shibata, Haruna (pseud.): see Miyake, Haruna Shiomi, Mieko [Chieko] (1938- ) Japan Shlonsky [Chlonsky], Verdina (1905-1990) Ukraine/Israel Shore, Clare (1954- ) USA Shrude, Marilyn (1946- ) USA Silsbee, Ann Loomis (1930- ) USA Silva, Adelaide Pereira da (1928/1938- ) Brazil Silver, Sheila Jane (1946- ) USA Silverman, Faye-Ellen (1947- ) USA Simon, Anne (Louise) Marie: see Arrieu, Claude (pseud) Simons, Netty (1913-1994) USA Singer, Jeanne (1924-2000) USA Skarecky, Jana (1957- ) Czechoslovakia/Canada Skelton, Violet (pseud): see Dunlop, Isobel Skorik, Irène (20th c.) France Skouen, Synne (1950- ) Norway Sleeman, Anita (1930- ) USA/Canada Smeltzer, (Mary) Susan (Snyder) (1941- ) USA Smith, Gail (1943- ) USA Smith, Irene Britton (1907-1999) USA Smith, Julia Frances (1911-1989) USA Smith, Linda Catlin (1957- ) USA/Canada Smith, Selma Moidel (1919- ) USA Smorgonskaya, Dina (20th c.) Israel Snížková (-Škrhová), Jitka (1924-1989) Czechoslovakia

Composer Index 303 Söderberg, Gerda ( - ) Sweden Sohet-Boulnois, Suzanne (20th c.) France Sohlström, Edith (20th c.) Finland Sokolovic, Ana (1968- ) Yugoslavia/Canada Sollima, Donatella (1959- ) Italy Solomon, Elide M. (1938- ) Switzerland/USA Solomon, Joyce Elaine (1946- ) USA Solomon Hill, Mirrie: see Hill, Mirrie Irma, Supplement Sonntag, Brunhilde (1934/36- ) Germany Sönstevold, Maj [Sönstevold, May] (1917-1996) Sweden/Norway Sorel, Claudette (1934-1999) France/USA Soto Viso, Margarita (1957- ) Spain Southam, Ann (1937- ) Canada Spagnolo, Aurelia (20th c.) Italy Speech, Bernadette (1948- ) USA Specht, Judy Larise (1943- ) Canada Spiegel, Laurie (1945- ) USA Standring, Helen (1934-1991) Australia Stanley, Jane (1976- ) Australia Ivana (1948- ) Serbia-Yugoslavia Steffen, Sister Cecil (1919- ) USA Steiner, Gitta Hana (1932-1990) Czechoslovakia/USA/Israel Stockwell, Philura ( - ) USA Street, Arlene Anderson [Street, A. Andersen] (1933- ) Canada Stuart-Coolidge, Peggy (1913-1981) USA Succari, Dia (1938- ) Syria Suesse, Dana (Nadine) (1911-1987) USA Sung, Stella (1959- ) USA Sussmann, Ethel (1926- ) Poland/Israel Sutherland, Margaret Ada (1897-1984) Australia: see Supplement Svanidze, Nateta Damianovna (1926- ) Soviet Russia/Georgian Republic Svetova, Irina (20th c.) Israel Swain, Freda Mary (1902-1985) England Swisher, Gloria Agnes Wilson (1935- ) USA Szajna-Lewandowska, Jadwiga Helena (1912-1994) Poland Szegy, Iris (1956- ) Slovakia Szeto, Caroline (1956- ) Australia Erzsébet [Szoenyi, Elizabeth] (1924- ) Hungary Szymanska, Iwonka Bogumila (1943- ) Poland Tal, Marjo (1915- ) Netherlands Talma, Louise (1906-1996) France/USA Tanaka, Karen (1961- ) Japan/France Tann, Hilary (Presslaff) (1947- ) Wales/USA Tanner, Hilda (1903- ) USA Tantilla, Pat (20th c.) USA Targonska, Izabella ( - ) Poland Tate, Phyllis (Margaret Duncan) (1911-1987) England Taubo, Lillian Gulowna (1915-2002) Norway Tavares, Sylvia (20th c.) Brazil

304 Composer Index Taylor, Avril Coleridge: see Coleridge-Taylor, Avril Taylor, Joye (20th c.) New Zealand Tchebotarian, Gayaneh: see Č ‘ebotaryan, Gayane Tchemberdji, Katia Telfer, Nancy Ellen (1950- ) Canada Terzian, Alicia (1934- ) Argentina Teske, Gundi (1956- ) Germany Thieme, Kerstin [Née Karl] (1909- ) Germany Thomas, Augusta Read (1964- ) USA Thomas, Janet Owen (1961- ) Great Britain Thome, Diane (1942- ) USA Thompson, Lesleigh Karen (1966- ) South Africa/Australia Thompson, Shirley Joy (1958- ) England Thomsen, Geraldine (1917- ) Scotland/Czechoslovakia Thomson, Bronwen (20th c.) New Zealand Thomson, Geraldine (20th c.) Great Britain Thoreson, Janice Pearl (Milevic) (1926- ) Canada Thorkelsdottir, Mist Barbara (1960- ) USA /Iceland Thwaites, Penelope (20th c.) Australia Tiernan, Stephany Taylor (20th c.) USA Tiutiunnik, Katia (20th c.) Australia Tobin, Sister Clare (1931- ) Australia Tolkowsky, Denise (1918-1991) Belgium Torikai, Ushio (20th c.) Japan Tower, Joan (1938- ) USA Travers, Cathie (1959- ) Australia Trent-Johns, Altona: see Johns, Altona Trent Trimble, Joan (1915-2000) Ireland Tschebotarjan, Gajenah: see Č‘ebotaryan, Gayane Tschemberdji, Ekaterina: see Tchemberdji, Katia Tucker, Tui St. George (1924- ) USA Tuma, Terezinha (1938- ) Brazil

Ulehla [Ulehlova], Ludmila (1923- ) USA Umansky, Tatiana (20th c.) Israel Urteaga, Irma (1929- ) Argentina Usher, Julia (1945- ) England Ustvol’skaya, Galina Ivanovna (1919- ) Russia Uyttenhove, Yolande (1925-2000) Belgium

Van Appledorn, Mary Jeanne (1927- ) USA Van de Vate [née Hayes], Nancy (1930- ) USA/Austria Van Haute, Anna-Maria (Mieke) (1948- ) Belgium Van Neste, Rosane (1911- ) Belgium Vanier, Jeannine (1929- ) Canada Vaubourgoin, Jeanine (20th c.) France Vejvodová, Hana (1963-1994) Czechoslovakia Vercoe, Elizabeth Walton (1941- ) USA Verhaalen, Sister Marion (1930- ) USA

Composer Index 305 Vestini Foglia, Giovanna (1935- ) Italy Victor, Janine ( - ) France Vidar, Jórunn (1918- ) Iceland Viktor, Denise (1933- ) France Villin, Marcelle Henriette Marie (1927- ) France Virgilio, Nicoletta (1929- ) Italy Viso, Margarita Soto: see Soto Viso, Margarita Vito-Delvaux, Berthe di (1915- ) Belgium Vivado (Orsini), Ida (1908/1916-1989) Chile Voronina, Tatiana Aleksandrovna (1933- ) Soviet Russia Walker, Gwyneth Van Anden (1947- ) USA Wallach [Crane], Joelle (1946) USA Wallen, Errollyn (20th C.) Great Britain Wang, An-Ming (1926- ) China/USA Warren, Elinor Remick (1900-1991) USA Watson-Henderson, Ruth Louise (1932- ) Canada Weaver, Carol Ann (1948- ) USA/Canada Webb, Orianna (20th c.) USA Wedgwood, Pamela (20th c.) Great Britain Wegener, Emmy Heil Frensel (1901-1973) Netherlands Weir, Judith (1954- ) England Weiss, Arleta (1959/1965- ) Country unknown Wen-Ying Hsu: see Hsu, Wen-Ying Westerkamp, Hildegard (1946- ) Germany/Canada Whitaker, Judith (20th c.) New Zealand White, Dolores (20th c.) USA White, Frances (20th c.) USA Whitehead, Gillian (1941- ) New Zealand-Australia Whittle, Chris Mary-Francine (1927- ) Belgium Wilkins, Caroline (1953- ) England/Australia/Germany Wilkins, Margaret Lucy (1939- ) England Willert-Orff, Gertrud (20th c.) Germany Williams, Carol (1939- ) USA Williams, Felicity (20th c.) New Zealand Williams, Grace Mary (1906-1977) Wales Williams, Mary Lou [née Scruggs, Mary Elfrida] (1910-1981) USA Williamson, Esther: see Ballou, Esther Williamson Wolfe, Julia (1958- ) USA Woll, Erna (1917- ) Germany Woronina, Tatiana: see Voronina, Tatiana Wylie, Ruth Shaw (1916-1989) USA Xiao, Shuxian [Hsiao, Shu-Sien] (1905-1991) China Yagling, Victoria (1946- ) Russia/Finland Yamashita, Toyoko (1942- ) Japan/Germany Yi, Chen: see Chen Yi

306 Composer Index Zaimont, Judith Lang (1945- ) USA Zallman, Arlene (1934- ) USA Zavalishna, Marie Semyonovna (1903- ) Soviet Russia Žebeljan, Isadora (1967- ) Yugoslavia Zechlin, Ruth (1926- ) Germany Zhubinskaya, Valtina Yanovna (1926- ) Soviet Russia Ziffrin, Marilyn Jane (1926- ) USA Zimmerman, Margrit (1927- ) Switzerland Zubeldia (-Inda), Emiliana de (1888-1987) Spain/Mexico: see Supplement Zwilich, Ellen Taaffe (1939- ) USA

ABOUT THE AUTHOR PAMELA YOUNGDAHL DEES is Associate Professor of Music in the Department of Fine and Performing Arts at Saint Louis University, where she teaches studio piano, music theory, class voice, opera history, and the history of women composers. She also serves as a vocal coach and musical director for university theater productions.