Contents Bolero Moritz Moszkowski En Bateau Claude Debussy Pavane Maurice Ravel Petit Mari, Petite Ferme Georges Bizet Presto from Sonata in Bb Wolfgang Amadeus Mozart Slavonic Dance Op. 72 No. 2 Antonin Dvotik Waltz in G minor Johannes Brahms Hot is nist toegestaan vingerzeianen, frase- ringsid erdere sarieiter ices in it muzisiwerk te schrijven. ALAN RiDOUT (b. 1934), who selected and edited the music in this book, is one of England’s most prolific composers, producing a steady stream of works in most forms: symphonies, operas, ballet music, chamber music, song cycles and church music. He studied with Gordon Jacob and Herbert Howells at the Roya! College of Music and later with Peter Racine Fricker, Michael Tippere, and the Dutch composer Henk Badings. He has caught at four universities, including Oxford and Cambridge, and for over twenty years was also a Professor at the Royal College of Music. 36 26 46 2 34SLAVONIC DANCE Op. 72 No. 2 Antonin Dvorak (1841-1904) Allegretto graziosoSLAVONIC DANCE Op. 72 No. 2 Antonin Dvoiék (1841-1904) Allegretto grazioso ‘molto espressivo © Copyrighe 1992 by Kevin Mayhew Led. eis illegal to photocopy music, 5TrPstaccatoEs P f |—|r =| = = —— SS 3 I~, _ = ae) ~ E 5 S53 3 =? —=1—_ sf a —— Pp — i PEED » |. [em ts gecgee > - “—— f— == ° a T — oo _— Se ; Sf SS P 5 BA; om t aim, PPRESTO from Sonata in Bb Wolfgang Amadeus Mozart (1756-1791) Molto presto © Copyright 1992 by Kevin Mayhew Led. 11s illegal to photocopy music.PRESTO from Sonata in B> Wolfgang Amadeus Mozart (1756-1791) Molto presto © Copyright 1992 by Kevin Mayhew Led. Ie iilegal to photocopy music 13BEE r + r oe 1 SBSe Pe cx oa fa = eaaa. ser wl Ad Aid | 7 ry att * Hl il) Ltt Hh 4 = i | Na Y hl it) {inte 7 20on ot ¥ ¥ $= ra Es ee a+ eo ss Pace ££ te £2 a Pe 54 =P B ¥ = roataee £PETIT MARI, PETITE FEMME Georges Bizet (1838-1875) Andantino ( 4 = 76) molto express © Copyright 1992 by Kevin Mayhew Led Ie iilogal to photocopy muse: 2PETIT MARI, PETITE FEMME Georges Bizet (1838-1875) Andantino (4 = 76) molto espress.vit. a tempo $F bg animato allargondo @ tempo PP subito met. a tempo _— notte ral, \calando 24Peer | tf =3595 pf agccphens SSAndantino EN BATEAU Claude Debussy (1862-1918) © Copyright 1992 by Kevin Mayhew Led ei illegal to photocopy music 26EN BATEAU Claude Debussy (1862-1918) ‘Andantino © Copyright 1992 by Kevin Mayhew Led. Ie is ilegalt0 photocopy music. 728F risoluto 29riten atempo 30|. poco a poco rit. - eee 33,WALTZ IN G MINOR Johannes Brahms (1833-1897) Tempo guisto es — e ee t= > SS SS eee poi cheesteiapet te aS SSE © Copyrighe 1992 by Kevin eis illegal wo photocopy 34WALTZ IN G MINOR Johannes Brahms (1833-1897) © Copyright 1992 by Kevin Mayhew Led Ie ilegal to photocopy music: 35BOLERO Moritz Moszkowski (1854-1925) Con spirito ise sempre staccato’ © Copyright 1992 by Kevin Mayhew Ltd Iris illegal to photocopy music aeBOLERO Moritz Moszkowski (1854-1925) Con spirito 3 © Copyright 1992 by Kevin Mayhew Led, Ie illegal wo phorocopy muse. ; " |Sf Piuito* * Te FP eS S| empre staccato F 3843| o 'PAVANE Maurice Ravel (1875-1937) Lent (4 = 58) ral aS = 4 —— S— SSS eS ez — = = = z z = + = > Fa & © Copyright 1992 by Kevin Mayhew Led. Leis ilegal to photocopy music. aPAVANE Maurice Ravel (1875-1937) Lent (4 = 58) © Copyright 1992 by Kevin Mayhew Led. eis ilegal 0 photocpy music: aEditorial Notes If the repertory for the Piano Duet ~ four hands at one piano — is small compared with that for solo piano, i also exceptionally distinguished. Almost everything composed for the medium is worth playing; and there is an. unusually high proportion of masterpieces Amongst classical composers who wrote keyboard duets the works of Mozart and Schubert are outstanding, In addition ro the éacomparably high quatity of their inspiration, each of them had an extraordinary and personal ear for distinctive layout and texture. Neither composer wrote what might be described as augmented piano solos fe.g. the two hands ‘of one player in octaves for what could otherwise be the tight-handed cune of a piano solo, the two hands of the other pianist being used for what might easily in a piano solo be a left-handed accompaniment). When doublings occur — as they do quite often ~ then it always a cteative sensitivity to the texture. Amongst twentieth century composers none, surely, has surpassed Ravel’s wonderful understanding of the sedium. Apparently simple, it is yet so formidably subtle that it would not be possible to separate the magic of Ravel’s inspiration from his supreme technical mastery. (It is all che more impressive chat he was able, Jeter, co make such a superb orchestral transcription of ‘Ma Mere LOye as well.) The number of professional piano-duet partnerships has, like the repertory, also been smatl, Perhaps the most distinguished in recent times in the British Isles her been that of Howard Ferguson (b. 1908) and Denis Mathews (1920-88); their achievement in bringing some marvellous music ro light has not been approached by others. The following guide-lines for players of piano duets is the fruit of @ number of discussions with Howard Ferguson over many years friendship; 1 am indebted to him. 1 Te would be wise, before entering into a regular partnership, for the players ro agree thac, whether playing ac the upper or lower end of the pieces, they do not swap over. The functions of the upper (or first, oF ‘primo’ or treble) player are very different from those of the lower (or second, or ‘seconds, ‘or bass) and should be freed to develop differently. 2. Lower players should always control the pedals since they will naturally understand the nature of the role of changes of harmony, When the lower part is silent che player of it should nevertheless coacinue 10 pedal for the upper part, and here it may be helpful to pencil in whatever is necessary. Position at the keyboard: to avoid the irrication of hands or forearms clashing the players should sit on separate chairs at an angle facing slightly towards each other, the wider space at the back. The forearms are thus comfortably accommodated, In order to avoid collision between the hands, stretches of music where the hands are in close proximity should be fingered in such a way chac the 3rd, 4ch and 5th Fingers are used in preference to the Ist, 2nd and 3rd Balance and texture: it may come as something of a surprise chat itis the left hand of both players which is central to a satisfactory overall sound, 2) The right hand of the upper player, ifallowed 10 become over soloistic, may unbalance a texture and become harsh in tone. Rather than the part becoming too loud in projecting a melody, the other parts should be reduced in dynamic b) The left hand of the lower player should be distinct since it is normally the part thar carties che weight of the harmonies. The aim, as with all chamber music, should be to expose the melodic, harmonic, and thematic aspects. To co this end both pianists should decide ‘mutually, which are the primary and which are the secondary elements in a piece. Playing duets can be so enjoyable (solo pianists are used to working in solitary fashion) that the necessity of individual practise is forgotten, Yer the returns are instantly noticeable if parts are practised separately. Security of technique releases the players to concentrate on the musical aspects of performance. ALAN RipOUT