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Masterwork Classics Duets, Level 7: Piano Duet (1 Piano, 4 Hands) Book

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Masterwork Classics Duets, Level 7 Cover Image
Masterwork Classics Duets, Level 7: Piano Duet (1 Piano, 4 Hands) Book

Masterwork Classics Duets, Level 7: Piano Duet (1 Piano, 4 Hands) Book

A Graded Collection of Piano Duets by Master Composers

Ed. Gayle Kowalchyk, E. L. Lancaster, and Jane Magrath

Level: Late Intermediate

Item: 00-41277
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Masterwork Classics Duets, Level 7: A Graded Collection of Piano Duets by Master Composers: Piano Duets & Four Hands

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Description
These graded collections of piano duets by master composers are among the best literature available at respective levels. Each duet, written by composers who lived in the 18th, 19th, and 20th century, has been carefully edited and fingered for performance ease. Titles: Sonatina in G Major, Op. 156, No. 3 (Czerny) * Four Ländler, D. 814, Nos. 1--4 (Schubert) * Waltz in B Major, Op. 39, No. 1 (Brahms) * Waltz in E Major, Op. 39, No. 2 (Brahms) * Waltz in A Minor, Op. 39, No. 14 (Brahms) * Waltz in A Major, Op. 39, No. 15 (Brahms) * Puppet's Dance, Op. 74, No. 8 (from 10 pièces pour cinq touches) (Cui) * Waltz in E-flat Major, Op. 25, No. 11 (Fuchs) * The Swing (Foote) * Graceful Dance (Foote) * Spanish Dance, Op. 12, No. 1 (Moszkowski) * Gavotte, Op. 66, No. 2 (Arensky) * Menuetto, Op. 66, No. 4 (Arensky) * Andalusierin (Poldini). "Waltz in E-flat Major, Op. 25, No. 11" is a Federation Festivals 2016-2020 selection. A Federation Festivals 2020-2024 selection.

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Additional Details
Series: Masterwork Classics Duets
Publisher: Alfred Music
Page Count: 72
ISBN10: 0-7390-9718-0
ISBN13: 978-0-7390-9718-2
UPC: 038081461649
SKU: 00-41277

More about this title

Why we love this

This collection spans three centuries of masterwork literature without sacrificing coherence or playability. The editorial care shows in every fingering decision, and the range of dance forms and character pieces means students encounter genuine compositional variety rather than variations on a single theme. Programming becomes natural when you have Schubert's Ländler sitting alongside Brahms waltzes and Foote's character pieces.

What to expect

A salon evening frozen in time: waltzes that lift and sway, dances that skip with humor, and sonatina movements that recall the elegance of earlier keyboard music. The collection feels both accessible and substantial, never talking down to the players.

Who it's for

Intermediate pianists ready to share the bench with a partner and expand beyond single-staff repertoire. Duet programs, festival preparation, and studio recitals all benefit from the range of styles and lengths here.

How to get the most out of it

  • Balance the primo and secondo lines carefully in works where the melody switches between hands. Fuchs's Waltz and the Brahms selections reward attention to which voice carries the musical idea.
  • Take the Czerny Sonatina's form as your roadmap. Working through its exposition, development, and recapitulation builds confidence before tackling the more intricate textures in pieces like Arensky's Menuetto.
  • Approach the Spanish Dance and Puppet's Dance with rhythmic precision first, then layer in the character. Moszkowski and Cui demand clean articulation to let the personality emerge.
  • The Federation Festivals selection (Waltz in E-flat Major, Op. 25, No. 11) invites partners to listen for phrase shapes rather than locking solely on tempo. The waltz's natural rubato works best when both players breathe together.

How to use it

Build a student recital around the shorter pieces (Foote, Cui, Arensky) as palate cleansers between larger works, or use the Brahms waltzes as a thematic set that showcases progression in a single program. The Czerny Sonatina works as an opening statement of technical accomplishment for festival or competition play.

Skills your students will build

  • Ensemble balance between primo and secondo voices
  • Reading and interpreting fingering editorial suggestions
  • Waltz rhythm and dance form conventions (Ländler, waltz, gavotte, menuetto)
  • Coordination and phrase synchronization with a partner
  • Pedal management in character pieces with varying textures
  • Recognition of 18th, 19th, and 20th-century compositional idioms through direct comparison

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