國立中山大學學位論文典藏

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4 A Study of Nineteenth Century Concert Étude. Chi Chung Pei-Wen Lee, Mei-Wen concert etude virtuoso Paganini Chopin Schumann Liszt

5 Abstract During the Nineteenth century, with the population of the public concert, many performers have started devoting themselves to the development of technique, expecting that could appeal to more audience. Under the influence of Paganini, virtuoso not only gets to the top, but also let the pianists devote themselves to develop technique on the keyboard, expecting that they can win brilliant results in the concert. Under such situation, studies have been published in a great amount. Gradually, composers and pianists try not to only make the music with virtuositic spirit but also with lyricalism within them. In addition to the introductions and conclusions, the research could be divided into three chapters. The first chapter, discussion of the musical background, includes the music environment during the nineteenth century, the mechanism improvement of the pianos, and the development of the concert etude. Chapter two is the analyses of the concert etude technique and characters. Famous composers, such as Chopin, Schumann and Liszt, their concert etudes will be discussed. Chapter three investigates the concert etudes of the other composers in terms of their nationalities-germany, France, Russian, American, and Poland. Concert etudes that developed in the nineteenth century would be no longer the simple etudes for finger exercise, but the masterpieces with the inner intension. To pianists in late twenty century, these concert etudes should be not only methods for teaching but also essential in concert programs.

6 John Sugden Paganini 1 Nicolo Paganini, Princess Elisa Baciocchi Jean Mongrédien 2 French Music from the Enlightenment to Romanticism 1 John Sugden, Paganini (LondonL: Omnibus Press, 1986). 2 Jean Mongrédien, French Music from the Enlightenment to Romanticism, (Oregon:Amadeus Press,1996).

7 Franz Liszt, Peter Felix Ganz 4 The Development of thr Étude for Pianoforte School Étude Virtuoso Étude Johann Baptist Cramer, Carl Czerny, Muzio Clementi, Frederic Chopin, Robert Schumann, John Love Norman 3 Mongrédien, P.E.Ganz, The Development of the Étude for Pianoforte (diss., Northwestern U., 1960).

8 5 A Historical study of the charges in attitudes toward the teaching of Piano technique from 1800 to the present time Sang Hie Lee 6 A Psychophysiological approach to the technical problems found in the piano études of chopin and Liszt and a compendium of the solutions Harold C. Schonberg 7 The Lives of Great Composers Hector Berlioz, Martin Gellrich Richard 5 John Love Norman, A Historical Study of the Charges in Attitudes Toward the Teaching of Piano Technique from 1800 to the Present time (East Lansing: Michigan State University, 1969). 6 Sang Hie Lee, A Psychophysiological approach to the technical problems found in the piano études of chopin and Liszt and a compendium of the solutions (Ph.D. Thesis, University of Georgia, 1977). 1993). 7 Harold C. Schonberg, The Lives of Great Composers (New York: Norton & Company,

9 Parncutt 8 Piano Technique and Fingering in the Eighteenth and Nineteenth Centuries: Bringing a Forgotten Method Back to Life creative art reproductive art Theodor Kullak, Johannes Brahms, Felix Mendelssohn, Ignaz Moscheles, Sigismund Thalberg, Charles Henri Valentin Alkan, Cecile Chaminade, Anton Arensky, Camille Saint-Saëns, Anton Rubinstein, Louis Moreau Gottshalk, Edward MacDowell, Leopold Godewsky, Martin Gellrich and Richard Parncutt, Piano Technique and Fingering in the Eighteenth and Nineteenth Centuries: Bringing a Forgotten Method Back to Life. British Journal of Music Education 15-1 (1998), 5-23.

10 9 9 Stewart Gordon, A History of Keyboard Literature: Music for the Piano and its Forerunners (New York: Schirmer Books, 1996).

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12 10 10 Larrry R. Todd, Nineteenth-Century Piano Music (New York:Schirmer Books, 1990), 9.

13 A. Backers Bartolomeo Cristofori John Broadwood, Knee lever Graf una coda sustain pedal J.L. Dussek, Pleyel Holland. 11 The New Grove Dictionary of Music and Musicians. (1980) S.v. Pianoforte by Frank W. 12 Howard Mayer Brown and Stanley Sadie ed. Performance Practice: Music after 1600 ( New York: Norton. 1990), Harold C. Schoenberg, The Great Pianists New York: Simon&Schuster, 1987, 65.

14 Sébastien Erard, Grand Piano double escapement Holland. 15 The New Grove Dictionary of Music and Musicians. (1980) S.v. Pianoforte by Frank W. 16 Todd, People attend the concert less to hear than to be seen. What they are looking for are a beautifully lit hall and women exhibiting the most dazzling and luxurious dresses. Mongrédien, 207.

15 18 Bryce Morrison, Liszt (London: Omnibus Press, 1995).

16 Étude studium studere tundere studium studere tundere Étude : : 19 Hugo Leichtentritt, : 20 Howard Ferguson,1908- Grove Dictionary 21 : Étude study : Stravinsky's Four Études for Orchestra, A piece designed to aid the student of an instrument in the development of his mechanical and technical ability. An étude is usually devoted entirely to one of the special problems of instrumental technique, such as scales, arpeggios, octaves, double stops, trills, etc. Will Apel, Harvard Dictionary of Music (Cambridge, Mass.: Harvard University Press, 1955), The étude is a short, instrumental piece devoted to the practice of some technical formula. Its purpose is to offer the player a certain technical problem its various aspects and in a musically coherent form. Ganz, The French equivalent of Study, widely adopted for fairly short whose principal aim is the development or exploitation of a particular aspect of performing technique, like Chopin s Études op.25.the term has also been used as a title by 20th-century composers, usually to indicate a piece exploring a specific aspect of the poser s craft (e.g. Stravinsky s Four Études for Orchestra, 1929)

17 Variations Toccata Prelude Handstück Methods 22 étude 23 Francois Couperin, L Art de toucher le Clavecin, 1716 C. P. E. Bach, Versuch uber die wahre Art das Clavier zu spielen Türk, Daniel Gottlob, Clavierschüle, 1789 technical exercise 24 Ludwig Beethoven, P. E. Ganz, The Development of the Étude for Pianoforte (diss., Northwestern U., 1960). Ferguson. 23 The New Grove Dictionary of Music and Musicians. (1980) S.v. study by Howard 24 Gellrich, 8.

18 Schumann Marie 25 Gradus ad Parnassum, op.44 The Well-Tempered Clavier B Gellrich, Orga, 74.

19 27 : 28 Oscar Bie Once a new figure had been invented,other pianists immediately tried to master it.the Publication of books of exercises made this process easier. For this reason, boos of technical exercises increased considerably in size and number during the first decades of the nineteenth century. Gellrich, Why was the old methold of invented and improvised exercises replaced by the new method of reproducing exercises from printed scores? One reason was the invention of the lithograph and the high speed printing machine. In about 1830, it became possible to print scores cheaply and in large quantities. Another reason was that the musical and technical vocabulary of pianists expanded immensely during the nineteenth century- so much so that it became difficult for individual pianists to remember it all. The oral tradition was broken, and the only way of keeping systematic records of all the new technical divices was to publish them in the form of piano methods. Gellrich, :It was at this time that a form sprang into existence which, born from technical necessities,. This form is the Étude. Oscar Bie, A History of the pianoforte and Pianoforte Players,Trans,and Revised by E.E.Kellett and E.W. Naylor (New York: Da Capo Press, 1966), 202.

20 étude exercise 30 Theoretical and Practical Pianoforte School Op Daniel Steibelt, Ganze, 179.

21 31 Méthode Études Johann Nepomuk Hummel, Friedrich Kalkbrenner, Henri Herz, Grosse praktische Pianoforte Schule instructional pieces exercises 32 Franz Joseph Haydn, Antonio Salieri, Johann Georg Albrechtsberger, John Gillespie, Five Centuries Of jeyboard Music: An Historical Survey of Music For Harpsichord And Piano New York: Dover Publications, 1972,

22 Klavierschule, 1828 exercises études Methode Pour Apprendre le Pianoforte, Op.108 Methode Complete de Piano, Op.100

23 Ganz, Sugden, 40.

24 ponticello Caprices for Unaccompanied Violin,c Sugden,

25 Neue Zetischrift für Musik 37 Twenty-four Étude Op.70 Characterische Studien Op.95 François Joseph Fétis, Methpde des Methodes, 2 studies publish as op.98, 1840 Trois nouvelleo études Morceau de salon F F Minor study Lieder ohne Worte, Studies, op.104b, 1835 F Ganz, Herbert Westerby, History of Pianoforte Music. New York: Da Capo Press, 1971.,

26 Étuden fur Pianoforte, op.26 trancendental execution The New Grove Dictionary of Music and Musicians.(1980) S.v. Sigismond Thalberg by Robert Wangermee. 40 A familiar characteristic in much of his music presenys the illusion of three hands at thekeyboard. John Gillespie, Five Centuries of Keyboard Music : An Historical Survey of Music For Harpsichord And Piano New York : Dover Publications, 1972, F.E. Kirby, Music for Piano: A Short HistoryOregon: Amadeus Press,1995, The New Grove Dictionary of Music and Musicians. (1980) S.v. Friédérich Kalkbrenner by Paul Dekeyser.

27 44 44 Gellrich, 10.

28 Ignaze Josef Pleyel, Schoenberg, Stewart Gordon, A History of Keyboard Literature:music for the piano and its forerunners New York:Schimer Books, 1996

29 47 48 Schelesinger Douze Grandes Études pour le pianoforte composées et dédiées à son ami F.Liszt par Fréd Chopin 49 Dresdon Butterfly B (Allegro con fuoco étude in B minor) 1 Hans von Bülow Asiatic Wilderness without knowing what my pen is scribbling because at this moment Liszt is playing my étude and transporting me outside my respectable thoughts Ishould like to steal from him the way to play my own études., Orga, Orga,

30 . F Allegro C ABA Allegro A ABA 51 When the study was ended you feel as you do after a blissful vision, seen in a dream,which,already half-awake,you would fain recall and then he played the second,in Fminor so charming, greamy and soft, just as if a childf were singing in its sleep. Orga, 80.

31 Lento ma non troppo E ABA Presto C ABA + Vivace G ABA + Andante E ABA + Vivace C ABA +

32 Allegro C ABA + Allegro F ABA + molto agitato Assai Vivace A ABA Allegro E ABA arpeggiated Allegro con fuoco C ABA

33 2 Allegro Sostenuto A ABA Aeolian harp Presto f ABA Allegro F ABA trill 10 Agitato a ABA

34 Vivace e ABA Allegro g ABA Lento c ABA Vivace D ABA Assai allegro G ABA

35 Allegro con b ABA fuoco Lento,Alle gro con brio aaba 7-8 Molto allegro con fuoco c ABA 3 3

36 Vivace 2 ff C 3

37 Aeolian harp Let one imagine that an Aeolian harp had all the scales and that an artist s hand had mingled them together in all kinds of fantastic decorations, but in such a way that you could always hear a deeper fundamental tone and a softly singing melody. Orga, 80.

38 ff Cantus Firmus 6

39 6 1-2 Gutmann

40 4 Andantino f Allegretto A ABA Allegretto D Stewart Gordon, endurance

41 Gordon,

42 Friedrich Wieck, Six studies after caprices by Paganini op.3, 1832 Six studies after caprices of Paganini op.10,1833 Symphonische Étuden, op.13 (Exercises Beethoven- Etüden, 1833)

43 aa be c C dc a b c

44 d d 7-2 a b c d a b c

45 d Heinrich Dorn : Chissell, JSchumann Piano Music London: Omnibus Press, 1979, 73.

46 Carolyn Maxwell A ABA E ABACA C B ABA E ABA G 8 58 Schumann s Studien nach Capricen von Paganini consist of literal transcriptions of the original Caprices by Paganini with enriched harmonic and pianistic figuration and idioms. Schumann worked diligently on these compositions, and considered of his compositional technique. The Studien are representative of the brilliant and virtuosic aspects of the composer s earlier works. Carolyn Maxwell, Schumann Solo Piano LiteratureColorando:Maxwell Musiv Evaluation Book, 1984, 13.

47 8 2-7 ABACA A E B

48 Da Capo A B A 1-16 B Lento A 5-26 B ; G G

49 Chissell,

50 A A B A B ABA G AA A E AA E E AA A ABA 13 A 1-24 B Gordon, 275.

51 a G Picardie G 15-b a1-2 b51-52 a b 62 Chissell, 25.

52 Articulation 63 Chissell, 23.

53 64 Arpeggiated E E Ernestine von Fricken Baron von Fricken Thema quasi marica funebre Étuden in Orchester - Charaktek Von Florestan und Eusebius 12 Études Symphoniques Sterndale Bennett, Études en forme de Variations Schuberth Dousze Études Symphoniques pour piano par R.Schumann,op.13, 3 eme Edit. 64 Todd, 278.

54 : Heinrich Marchner Der Templer und die Jüdin Du stolzes England freue dich 65 Ausgewahlt vo R. Munnich, R. Schumann Briefen und SchriftenWeimar, Gustav Kiepenheuer Verlag, 1956quoted by Chissell, 43.

55 7 Andante 4/4 C 16 AB un poco 4/4 C 16 AB più vivo marcato it canto 4/4 C 16 AB Vivace 2/4 C 20 AB

56 4/4 C 16 AB Vivacissimo 12/8 C 16 AB Agitato 2/4 C 16 AB Allegro molto 2/4 E 30 AB

57 Andante 4/4 C 18 AB Presto 3/16 C 79 AB possible E Allegro 4/4 C 16 AB Andante 4/4 G 20 ABA 3

58 Allegro brillante 4/4 D 195 ABAC ABA C D Alberti Bass Norman, Schoenberg, 87.

59 69 recitative-cadenza Symphony Fantastique 69 Morrison, Kirby, , 30

60 Searle. 72 The New Grove Dictionary of Music and Musicians.(1980) S.v. Franze Liszt by Humphrey Kirby, Bie, Liszt did more develop piano technique than any of his predecessors or contemporaries, with the possible exception of his teacher Karl Czerny. Liszt s compositions abound in the more obvious technical devices, such as octave passages. Sometimes his devices are used to reinforce a melodic line, sometimes as accompaniment figures, and sometimes simply to ass bravura. Chromatic progressions by octaves (occasionally tenths!) and massive chords figure prominently along with trills, double trills, and all kinds of ornamentation. John Gillespie, Five Centuries of Keyboard Music: A Historical Survey of Music For Harpsichord And Piano. (New York: Dover Publications, 1972), 238.

61 77 78 Master classes 79 Études d une Execution Transcendante Grandes Études de Paganini Zwei Konzert- Etüden Schoenberg, Morrison, 94.

62 Drei Konzert- Etüden Morceau de Salon 80 C The new version provides a criterion for the artist s present more intense way of thumkung and felling; indeed it affords us a glimpse into his secret intellectual life. Todd, 385. Searle. 81 The New Grove Dictionary of Music and Musicians. (1980) S.v. Franz Liszt by Humphrey 82 Morrison, 10.

63 8 Preludio Presto C Molto vivace A A capriccio Paysage poco Adagio F Mazeppa Allegro D 7

64 Feux follet Allegretto B Vision Lento G G Eroica Allegro E Wild Jagd Presto furioso C La Andantino A Ricordanza Allegro agitato F molto

65 Harmonies du Andantino Soir D Chasse-neige Andante con moto B Grandes Études de Paganini 9 9 G ABA 28 28

66 E ABA 31 La campanella G 5-6 E AA La E ABACA Chasse A Andante4/4 ABA

67 Andante4/4 ABA Allegretto ABA B A B Violin Concerto No.2 in B-minor, op.7 19 B G Vivo2/4 E 2/4 ABACA

68 Quasi presto2/4 22 A

69 Dionys Pruckner, / /8 10 Vivace Waldesrauschen A B A C A D Presto Gnomen-Reigen scherzando F A B A B C A B C A , 12

70 Études de concert Eduard Liszt, Caprices Poétiques 4/4 A capriccio 3/4 4/ Il Lamento A Allegro cantabile La Leggierezza D Quasi Allegreto 84 Franz Liszt, Klavierwerke: Étuden II, Edited by Z. Gardonyi and SzelenyiBudapest: Editio Musica Budapest,1971, IX.

71 Un Sospiro D Allegro affettuoso Morceau de Salon Ab Irato: Grande Étude de perfectionnement Morrison, 52.

72

73 Fanny Mendelssohn, Carl Friedrich Zelter, F 11 F Presto agitato 11 b B Presto sempre

74 F Allegro con moto A Allegro Vivace 9-10 Eduard Marxsen, Variations on a Theme by Paganini,Op.35 study for piano Witch variations Todd, 330.

75 A Exercises /4 A 24 AE 2/4 A 24 A E 87 Gillespie, 262.

76 2/4 A 24 6/8 A /8 A 24 tr /4 A 24 6/8 A 24

77 6/8 A 24 2/4 A 24 AE 2/4 A 24 2/4 A 24 2/4 A 24 2/4 A 24

78 2/4 A 24 2/4 A /4 A 24 2/4 A 24 2/4 A 24 2/4 A 24 AE

79 3/8 A 24 3/8 A 24 3/8 A 20 2/4 A 24 6/8 A 24

80 2/4 A 24 6/8 A 24 2/4 A 24 non legato 6/8 A 24 2/4 A 24

81 2/8 A Antomio Salieri, Royal Academy of Music Henry Charles Litolff, Three Études, Op The New Grove Dictionary of Music and Musicians.(1980) S.v. Iganz Moscheles, by Jerome Roche. 89

82 17 La Forza E Allegro con brio La Leggerezza G Allegro molto quasi presto Il Capriccio C Allegro con fuoco

83 piano virtuosos Ferruccio Busoni, (12 études in major keys op. 35) (12 études in minor keys op. 39 ) Allegro Barbaro 3 Grandes études op. 76 Le preux, étude de Concert,op.17, 1844 (Le chemin de fer, étude,1844, Lámitié, étude, op.27, 1845) 90 Hinson, The New Grove Dictionary of Music and Musicians.(1980) S.v. Valentin Alkan by Hugh MacDonald Macdonald. 94 The New Grove Dictionary of Music and Musicians.(1980) S.v. Valentin Alkan by Hugh

84 14 symphony concerto miscellaneous pieces Allegretto A Allegro D Andantino G Presto C

85 Allegro F Barbaro B Allegrament Adagio E A Lento-Appasionato Amplement C 28

86 Adagio G Posément B Andante E 15 Comme le vent A Rhythme molossique D 6/4

87 Scherzo diabolico G Allegro moderato C F Symphonie: Marche Funèbre B 5 Symphonie: Menuet E Symphonie: Final

88 G Concerto: Allegro assai C Concerto: Adagio F Concerto: Allegro alla Barbaresca Ouverture B Le Festin D Espoe E

89 95 Fantasia - - Introduction, Variation, Final Mouvement semblable et perpeual Fantasie A largamente - D Introduction,Variat largamente ion,final C Mouvement semblable et perpetual presto C 95 Hinson, 12.

90 prélude C Édouard Marlois a W. pour l independence des doigts Krüger 96 Hinson, Saint-saens,a strong opponent of Liszt and Wagner, nevertheless reveals a Germanic orientation, tempered by Chopin. Kirby, 253.

91 f prélude et fugue Antoine Rubinstein 5-6 Étude A de Rythme Constance Pontet E A prélude et fugue Nicolas Rubinstein

92 D en forme de valse Marie Jaëll Concert Études Op.35 Étude Symphonique Op.28 Autumn 98 The New Grove Dictionary of Music and Musicians.(1980) S.v. Cecile Chaminde by Gustave Ferrari and Jean Mongédien. 99

93 Columbia University 100 Woodlan Sketches,op.51, 1896 Suite Indian, 1897D Pianoforte Concerto no.2,in Dminor, 1890 Étude de concert, op.36, Études op.39, virtuoso studies op.46, 1894 F Allegro con fuoco Schoenberg, 86.

94 For the development of technique and style 19 character pieces 19 Jagdlied F Allegretto C Alla Tarantella Prestissimo Romanze D -G Andantino - D B Arabeske Allegro Scherzando

95 Waldfahrt F Allegro con moto Dance C of the Gnomes Prestissimo con fuoco ppp ff Idylle A Allegretto F Schattentanze Allegrissimo Intermezzo D Allegretto

96 Melodie A Andantino B Scherzino Allegro A Hungarian Presto con fuoco 6-8 Louis Moreau Gottschalk New Orleans O Schoenberg,

97 Rimsky-korsakov 4 Studies op études op Abram Chasuns, The New Grove Dictionary of Music and Musicians.(1980) S.v. Anton Rubinstein by Garden,Edward The New Grove Dictionary of Music and Musicians.(1980) S.v. Anton Arensky by Brown, David. 107 The New Grove Dictionary of Music and Musicians.(1980) S.v. Leopold Godowsky by Robin H. Legge and Northrop Moore.

98 108 Studien über die Étuden von F.Chopin op.10 & op No musician was more capable of constantly gathering around him creative companions in so many fields of artistic work, Hinson,

99 Sergey Vassilievich Rachmaninoff, Ivan Jirko,

100 Ignaz Friedman,

101 Claude Debussy, Douze études, 1915 Études tableaux,op.33,39 Pyotr Il yich Tchaikovsky, Etudies op.40, Alexander Glazunov, Concert studies, op.31, 1899 Alexander Scriabin, Douze études, op.8,1894 Moritz Moszkowski, Concert Studies op.24 Enrique Granados, Estudios Espressivos Karol Szymanowski, Études op.4, Études op.33, Anatol Liadoff, Étude op.37, 1895 Étude op.40, 1897 Étude Op.12, 1886

102

103 Allanbrook, Wye J. ed. Convention In Eighteenth and Nineteenth Century Music. New York: Pendragon Press, Apel, Will. Harvard Dictionary of Music. Cambridge, Mass.: Harvard University Press, 1955, 249. Bie, Oscar. A History of the Pianoforte and Pianoforte Players. Trans, and Revised by E. E. Kellett and E. W. Naylor. New York: Da Capo Press, Brown, Howard Mayer and Sadie, Stanley ed. Performance Practice: Music after New York: Norton, Chopin, Fréderic. Chopin's Letters. collected by Henryk Opienski, trans. by E.L. Voynich. New York: Dover, Daverio, John. Nineteenth-Century Music and The German Romantic Ideology. New York: Maxwell Macmillan International, Dowley, Tim. Schumann. London: Omnibus Press, Ellis, Katharine. Music Criticism in Nineteenth-Century France. New York: Cambridge University Press, Ganz, P. E. The Development of the Étude for Pianoforte. diss., Northwestern U., Gellrich, Martin and Richard Parncutt. Piano Technique and Fingering in the Eighteenth and Nineteenth Centuries: Bringing a Forgotten Method Back to Life. British Journal of Music Education, Vol.15, no.1 (March 1998.): Gillespie, John. Five Centuries of Keyboard Music: A Historical Survey of Music For Harpsichord and Piano. New York: Dover Publications, Gordon, Stewart. A History of Keyboard Literature: Music for the Piano and its Forerunners. New York: Schirmer Books, Hinson, Maurice. Guide to The Pianist's Repertoire. Bloomington: Indiana University Press, c1987. Hinz, Robert. Teaching Students How to Find Comfortable Fingering. Piano Quarterly, Vol.35, no.10 (Dec ): 15-18, 22. Hoffman, Josef. Piano Playing, With Piano Questions Answered. New York: Dover Publications, Huang, Hao and Harold Lee. How Piano Technique Changed Over 300 Years. Piano Quarterly, Vol.36, no.2 (Feb ): Huneker, James. Chopin: The Man and His Music. New York: Dover, J., Chissell. Schumann Piano Music. London: Omnibus Press, 1979, 73.

104 Jerger, Wilhelm ed. The Piano Master Classes of Franz Liszt, Trans. by Richard Louis Zimdars. Bloomington: Indiana University Press, Kennedy Michael. The Oxford Dictionary of Music. New York: Oxford University Press, Kim, Kyunghee. The Relationship Between Teaching Style and Personality Characteristic of Group Piano Teacher. Boston, Mass.: Boston University, Kirby, F. E. Music for Piano: A Short History. Oregon: Amadeus Press, Lang, Paul Henry. Music in The Western Civilization. New York: Norton, Lee, Sang Hie. A Psychophysiological Approach to the Technical Problems Found in The Piano Études of Chopin and Liszt and a Compendium of The Solutions. Thesis (Ph.D.), University of Georgia, Letnanova, Elena. Eyewitness Accounts of Liszt s Teaching. Piano Quarterly, (July/Aug, 1995): Liszt, Franz. Klavierwerke: Etüden. Edited by Z. Gárdonyi and I. Szelényi. Budapest: Editio Musica Budapest, Machnek, Elsie Jane. The Pedagogy of Franz Liszt. Thesis (Ph.D.), University of Northwestern University, Magrath, D. Jane (Dorothy Jane). The Pianist's Guide to Standard Teaching and Performance Literature. Van Nuys, Calif.: Alfred Publishing Co., Maxwell, Carolyn and William Devan, ed. Schumann Solo Piano Literature. Colorado: Mawell Music Evaluation Book, Meyer, Leonard B. Style and Music: Theory, History, and Ideology. Philadelphia: University of Pennsylvania Press, Mongrédien, Jean. French Music From the Enlightenment to Romanticism, Oregon: Amadeus Press, Morrison, Bryce. Liszt. London: Omnibus Press, Musgrave, Michale. The Music of Brahms. New York: Oxford University Press, Norman, John Love. A Historical Study of the Changes in Attitudes Toward The Teaching of Piano Technique From 1800 to The Present Time. East Lansing, Mich.: Michigan State University, Orga, Ates. Chopin. London; New York: Omnibus Press, Philipp, Lillie H. Piano Technique: Tone, Touch, Phrasing and Dynamics. New York: Dover, Plantinga, Leon. Romantic Music. New York: Norton & Company, Randel. Don Michael. The New Harvard Dictionary of Music. Cambridge, Mass.:

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106 Harold C. Schonberg Danis Matthews Brahms Piano Music J. Chissel Schumann Piano Music