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LSU Historical Dissertations and Theses Graduate School

1994

Maurice Hinson's Pedagogical Collections for Intermediate-Level

Piano Students.
Jonathan A. Brown
Louisiana State University and Agricultural & Mechanical College

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Brown, Jonathan A., "Maurice Hinson's Pedagogical Collections for Intermediate-Level Piano Students."
(1994). LSU Historical Dissertations and Theses. 5780.
https://digitalcommons.lsu.edu/gradschool_disstheses/5780

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M aurice H in son ’s ped agogical collections for in term ed iate-level

piano students

Brown, Jonathan A., D.M.A.

The Louisiana State University and Agricultural and Mechanical Col., 1994

C opyright © 1 9 9 4 by B row n , J o n a th a n A . A ll righ ts reserved.

300 N. ZeebRd.
Ann Arbor, MI 48106
 MAURICE HINSON'S PEDAGOGICAL COLLECTIONS
F OR I N T E R M E D I A T E - L E V E L P I A N O S T U D E N T S

A Monograph

S u b m i t t e d to the G r a d u a t e F a c u l t y
of L o u i s i a n a S t a t e U n i v e r s i t y and
A g r i c u l t u r a l an d M e c h a n i c a l C o l l e g e
in p a r t i a l f u l f i l l m e n t of the
r e q u i r e m e n t s for the d e g r e e of
D o c t o r of M u s i c a l A r ts

in

The School of M u s i c

by
J o n a t h a n A. B r o w n
B.M., S a m f o r d U n i v e r s i t y , 1977
M . M . , S o u t h e r n I l l i n o i s U n i v e r s i t y - E d w a r d s v i 1 1 e , 1983
A u g u s t 19 94
C o p y r i g h t 1994
J o n a t h a n A. B r o w n
All r i g h t s r e s e r v e d
 ACKNOWLEDGMENTS

I am d e e p l y indebted to Dr. Kathleen Rountree for her

patience, expert guidance, and encouragement throughout this

p ro j e c t . I w ould also l i k e to t h a n k A l u m n i Professor Jack

Guerry a nd A s s o c i a t e D e a n W a l l a c e M c K e n z i e for their

valuable suggestions in p r e p a r i n g the final manuscript. To

Alumni Professor Guerry I w i s h to e x p r e s s m y h e a r t f e l t

gratitude for hi s inspiration and e x p e r t g u i d a n c e d u r i n g my

piano studies at L S U . I a m g r a t e f u l also to Dr. Griffin

Campbell, Dr. Herndon Spillman, a n d Dr. Kevin Mulcahy for

their service on my c o m m i t t e e .

Four people outside the LSU S ch ool of M u s i c h a v e my

s pe c i a l gratitude. F irs t, Dr. Ma ur i ce Hinson, w ho

contributed many hours of his v a l u a b l e time, and without

whose cooperation this m o n o g r a p h c o u l d not have been

w ri t t e n . S ec on d, Celia Conaway an d D a v i d E l l i s at E l l is

Pianos in B i r m i n g h a m , w h o k e pt me informed of recent

publications an d a l l o w e d m e to u s e the s t o r e as a r e s o u r c e

library. Finally, I wish to t h a n k my w i f e N a o m i for her

technical assistance in p r e p a r i n g the final manuscript and

for h e r c o n s t a n t encouragement d u r i n g my d o c t o r a l s tu di es .
All musical examples have been reproduced with permission c

the p u b l i s h e r s :

A l f r e d P u b l i s h i n g Co., Inc.
C o p y r i g h t s 1978, 1986, 1991, 1992
by A l f r e d P u b l i s h i n g Co., Inc.
U s e d w i t h P e r m i s s i o n of t he P u b l i s h e r

Barenreiter Verlag
N e u e B a c h A u s q a b e , V o l . V, S e r i e s V
C o p y r i g h t 1962
r e p r i n t e d by p e r m i s s i o n of B a r e n r e i t e r V e r l a g , K as se l

C P P Belwi n.
C o p y r i g h t 1946 ( r e n e w e d 1974) by M u s i c o r d Publications, NY
International Copyright Secured
All r i g h t s r es e rv e d.
U s e d w i t h P e r m i s s i o n of t he P u b l i s h e r

G. H e n l e V e r l a g
B e e t h o v e n K l a v i e r s o n a t e n , Vol. I
C o p y r i g h t 1970
U s e d w i t h P e r m i s s i o n of the P u b l i s h e r

O xford Univ er si t y Press

C o p y r i g h t 1964
R e p r o d u c e d by P e r m i s s i o n of O x f o r d U n i v e r s i t y Press

O xford U niversity Press

C o p y r i g h t 1975
R e p r o d u c e d by P e r m i s s i o n of O x f o r d U n i v e r s i t y Press

G. S c h i r m e r , Inc.
R e p r i n t e d w i t h P e r m i s s i o n of G. S c h i r m e r , I n c . ( A S C A P )
I n t e r n a t i o n a l C o p y r i g h t S ec ur e d. All r i g h t s r e s e r ve d .

W i l l i s M u s i c Co.
C o p y r i g h t 1964
Used with Permission of th e P u b l i s h e r
 PREFACE

The purpose of t h i s study is to e x a m i n e t he editorial

output of Dr. Ma ur ic e Hinson, noted authority on p i a n o

literature and pr esenter of w o r k s h o p s , master cl as s es , and

1e c t u r e - r e c i t a l s throughout t he U n i t e d States a nd in m a n y

foreign countries. Hinson is the a u t h o r of five extensive

books that catalogue and annotate the repertoire for piano,

including Guide to t he P i a n i s t ’s R e p e r t o i r e (1973, rev.

1987), The Piano in C h a m b e r Ensemble (1978), Music for P i a n o

and Orchestra (1981), Music for M o r e than One Piano (1983),

a nd T r a n s c r i p t i o n s , Paraphrases, and A r r a n g e m e n t s (1990),

all p u b l i s h e d by t he Indiana Univ er si ty Pr es s. In a dd it ion ,

he has written two p i a n o m u s i c reference guides a nd over

forty articles for v a r i o u s m u s i c j o ur na ls . Hinson is c o ­

a u t h o r w i t h W i l e y M. Hitchcock of the a r t i c l e ," P i a n o M u s i c , "

for t he N e w G r o v e D i c t i o n a r y of A m e r i c a n M u s i c (1986,

Macmillan P r e s s Ltd.). He has also wr i tt en "Pedaling the

Piano Works of C h o p i n , " a chapter in J o s e p h B a n o w e t z ' s book,

The Pianist's Guide to P e d a l i n g (1985, Indiana University

P re ss ). Hinson's activities as e d i t o r of n u m e r o u s s in g l e

pieces and collections for A lf r ed , Hinshaw, Belwin Mills,and

other music publishers ar e a n a t u r a l extension of his

v
career. In a d d i t i o n to carefully edited scores, these

editions i n c l u d e b i o g r a p h i c a l , h i s t o r i c a l , p e d a g o g i c a l , a nd

bibliographic information. This combination of caref ul

e d i t i n g a nd v a l u a b l e t ex t u a l information makes Hinson's

editions invaluable to b o t h t e a c h e r s and students.

This study will concentrate on H i n s o n ' s collections of

intermediate-level piano l i te r a t u r e . Hinson presents

repertoire of a h i g h q u a l i t y t ha t is a c c e s s i b l e to the

intermediate-level piano s t u d en t , a nd is especially suited

to t e a c h i n g b a s i c p r i n c i p l e s of t e c h n i q u e and musicianship.

In a d d i t i o n , an i m p o r t a n t orientation to a v a r i e t y of s t y l e s

a n d m us i c a l genres is p r o v i d e d . Besides their excellent

pedagogical f e a t ur e s, Hinson's collections provide a broad

perspective of k e y b o a r d mu si c, including early compositions

of m a j o r composers, music of e i g h t e e n t h - a nd n i n e t e e n t h -

century America, music of female composers, an d m u s i c of the

t w e n t i e t h ce nt ur y.

vi
 T A B L E OF C O N T E N T S

ACKNOWLEDGMENTS ............................................... iii

PREFACE ........................................................... v

L I S T O F E X A M P L E S ................................................viii

A B S T R A C T ..........................................................xiii

CHAPTER
1. B I O G R A P H Y ................................................... 1

2. AN OVER VI EW OF PEDAGOGICAL
E D I T I O N S 1 8 9 3 - 1 9 7 4 .................................. 13

3. T H E E D I T O R I A L W O R K OF M A U R I C E
H I N S O N ................................................ 26

4. A C OMPARISON OF RE PR E SE NT AT I VE
S C O R E S .....................................................48

5. HINSON'S CHOPIN COLLECTIONS ....................... 79

6. S U M M A R Y ................................................... 97

SELECTED BIBLIOGRAPHY ....................................... 102

APPENDIX
I. M U S I C E D I T E D BY M A U R I C E H I N S O N -
L I S T E D B Y P U B L I S H E R ................................... 109

II. R E P R E S E N T A T I V E L I S T OF H I N S O N ' S
P R O F E S S I O N A L A C T I V I T I E S ........................... 114

V I T A .............................................................. 117

vii
 LIST OF EXAMPLES

S o n a t a S a m p l e r , Vol. II, (Anson, 1964),

P r e f a c e , p. 2 ............ .. ...................... 19

S t y l e a n d I n t e r p r e t a t i o n . Vol. IV, R o m a n t i c
P i a n o M u s i c , ( F er gu s on , 1964), P r e f a c e , p. 6 . 21

J. S. Bach: I n v e n t i o n s an d S i n f o n i a s ,
( P al me r) , P r e f a c e , p. 2 ......................... 23

At the P i a n o w i t h M o z a r t , ( H i n s o n ) ,
P r e fa c e, p . 10 . . . .............................. 31

M a s t e r s of I m p r e s s i o n i s m , ( H i n s o n ) ,
P r e f a c e , p. 7 ..................................... 34

M a s t e r s of I m p r e s s i o n i s m , ( H i n s o n ) ,
P r e f a c e , p. 9 ..................................... 35

P a c h e l b e l G ig u e , mm. 1-4. M a s t e r s of P o l y p h o n i c
P i a n o M u s i c , (H in so n) ........................... 36

W. F. Bach, F u g a in D ma j or , mm. 1-3. M a s t e r s of

P o l y p h o n i c P i a n o M u s i c , (Hinson) ............... 36

B e e t h o v e n Fu ga, mm. 1-6. M a s t e r s of

P o l y p h o n i c P i a n o M u s i c , (Hinson) ............... 36

D a n c e s of B r a h m s , (Hi ns on ), P re fa c e,
p. 1 4 .......................................... 39

D a n c e s of D e b u s s y , ( Hinson), P re fa ce ,
P • 5 ........................................... 40

B a c h P r e l u d e in F m aj o r, B WV 927, m. 4.
N e u e B a c h A u s q a b e ........................... 52

B a c h P r e l u d e in F m aj o r, B WV 927, m. 4.
L a n n i n g e d i t i o n ............................. 52

B a c h P r e l u d e in F m aj o r, B W V 927, mm. 14-15.

N e u e B a c h A u s q a b e ........................... 52

viii
10b. B a c h P r e l u d e in F m aj or , B W V 927, mm. 14-15.
L a n n i n g e d i t i o n ........................... 53

10c. B a c h P r e l u d e in F ma jo r, B W V 927, mm. 14-15.

P a l m e r e d i t i o n ..................................... 53

11a. B a c h P r e l u d e in F ma jo r, B W V 927, mm. 1-2.

L a n n i n g e d i t i o n ................................... 55

lib. B a c h P r e l u d e in F ma jor , B W V 927, mm. 1-2.

P a l m e r e d i t i o n ..................................... 55

11c. B a c h P r e l u d e in F ma jor , B W V 927, mm. 1-2.

H i n s o n e d i t i o n ..................................... 55

12a. B a c h P r e l u d e in F ma jo r , B W V 927, mm. 5-6.

L a n n i n g e d i t i o n ................................... 56

12b. B a c h P r e l u d e in F ma jor , B W V 927, mm. 5-6.

P a l m e r e d i t i o n ..................................... 56

12c. B a c h P r e l u d e in F ma jor , B W V 927, mm. 5-6.

H i n s o n e d i t i o n ..................................... 56

13a. B a c h P r e l u d e in F ma jo r, B W V 927, mm. 5-8.

L a n n i n g e d i t i o n ................................... 58

13b. B a c h P r e l u d e in F ma jo r, B W V 927, mm. 5-8.

P a l m e r e d i t i o n ..................................... 58

13c. B a c h P r e l u d e in F m aj o r, B W V 927, mm. 5-8.

H i n s o n e d i t i o n ..................................... 59

14a. B a c h P r e l u d e in F ma jo r, B W V 927, mm. 14-15.

L a n n i n g e d i t i o n ................................... 60

14b. B a c h P r e l u d e in F ma jo r, B W V 927, mm. 14-15.

P a l m e r e d i t i o n ..................................... 61

14c. B a c h P r e l u d e in F ma jo r , B W V 927, mm. 14-15.

H i n s o n e d i t i o n ..................................... 61

15a. C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d a nt e ,

mm. 1-3. P a l m e r (1803 v e r s i o n ) .....................65

15b. C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d a n t e ,

mm. 1-3. H i n s o n (1820 v e r s i o n ) .....................65

16a. C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d a n t e ,

mm. 11-12. 1803 v e r s i o n ............................ 66

ix
16b. C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d a nt e,
mm. 11-12. 1820 v e r s i o n ........................... 66

17a. C l e m e n t i S o n a t i n a Op. 36, No. 1. A ll eg ro ,

mm. 6-7. 1 803 v e r s i o n .............................. 66

17b. C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l eg r o,

mm. 6-7. 18 20 v e r s i o n .............................. 67

18a. C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d an t e,

mm. 25-26. 18 03 v e r s i o n ........................ 67

18b. C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d a n t e ,

mm. 25-28. 18 20 v e r s i o n ........................... 67

19a. C l e m e n t i S o n a t i n a Op. 36, No. 1, V i va ce ,

mm. 1-4. G. S c h i r m e r e d i t i o n ..................... 68

19b. C l e m e n t i S o n a t i n a Op. 36, No. 1, V iv ac e,

mm. 9-10. G. S c h i r m e r e d i t i o n ........... 68

20a. C l e m e n t i S o n a t i n a Op. 36, No. 1, V iv a ce ,

mm. 1-4. P a l m e r e d i t i o n ........................... 70

20b. C l e m e n t i S o n a t i n a Op. 36, No. 1, V i va ce ,

mm. 1-4. H i n s o n e d i t i o n ............................ 70

21a. C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e gr o ,

m. 30. P a l m e r e d i t i o n .............................. 70

21b. C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e gr o ,

m. 30. H i n s o n e d i t i o n .............................. 71

22a. C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e gr o,

mm. 1-4. G. S c h i r m e r e d i t i o n ..................... 72

22b. C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e gr o,

mm. 1-4. P a l m e r e d i t i o n .......................... 72

22c. C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e g r o ,

mm. 1-4. H i n s o n e d i t i o n ............................73

22d. C l e m e n t i S o n a ti n a, Op. 36, No. 1,

A l l e g r o , mm. 1-4. ( o f t e n - p l a y e d s t u d e n t
a r t i c u l a t i o n ) ..................................... 73

23a. C l e m e n t i S o n a t i n a Op. 36, No. 1, V i v ac e ,

mm. 66-70. P a l m e r (1803 v e r s i o n ) ............... 74

23b. C l e m e n t i S o n a t i n a Op. 36, No. 1, V i v ac e ,

mm. 66-70. H i n s o n (1820 v e r s i o n ) ............... 75

x
24. C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d a nt e,
mm. 19-22. H i n s o n (1820 v e r s i o n ) ............... 76

25a. C l e m e n t i S o n a t i n a Op. 36, No. 1, V iv a ce ,

mm. 9-12. P a l m e r (1803 v e r s i o n ) ............... 77

25b. C l e m e n t i S o n a t i n a Op. 36, No. 1, V i va ce,

mm. 9-12. H i n s o n (1820 v e r s i o n ) ............... 78

26. B e e t h o v e n S o n a t a in F m inor, Op. 2, No. 1,

P r e s t i s s i m o , mm. 1 1 1 - 1 1 3 (1795).
H e n l e e d i t i o n ........................................ 78

27a. C h o p i n P r e l u d e in C m in or , Op. 28, No. 20,

m. 3. G. S c h i r m e r ( J osef fy ) e d i t i o n ............. 81

27b. C h o p i n P r e l u d e in C mi nor, Op. 28, No. 20,

m. 3. P a l m e r e d i t i o n ............................... 81

27c. C h o p i n P r e l u d e in C mi nor, Op. 28, No. 20,

m. 3. H i n s o n e d i t i o n .............................. 82

28a. C h o p i n P r e l u d e in C minor, Op. 28, No. 20,

mm. 12-13. G. S c h i r m e r (Jos ef fy ) e d i t i o n . . 83

28b. C h o p i n P r e l u d e in C m in or , Op. 28, No. 20,

mm. 12-13. P a l m e r e d i t i o n ...................... 83

28c. C h o p i n P r e l u d e in C minor, Op. 28, No. 20,

mm. 12-13. H i n s o n e d i t i o n ...................... 83

29. D i r e c t i o n s for p e r f o r m i n g o r n a m e n t a l f i gu r es
in C h o p i n ' s n o c t u r n e s , a p p e a r i n g in F e r g u s o n ' s
K e y b o a r d I n t e r p r e t a t i o n ......................... 88

30a. C h o p i n N o c t u r n e in C - s h a r p minor, BI 49
(KK IV a/1 6) , mm. 5-6. H i n s o n e d i t i o n ............89

30b. C h o p i n N o c t u r n e in C - s h a r p mi nor, BI 49
(KK IV a/ 16 ), m. 11. H i n s o n e d i t i o n .......... 89

30c. C h o p i n N o c t u r n e in C - s h a r p minor, BI 49,

(KK IV a/ 1 6) , m. 51. H i n s o n e d i t i o n .......... 90

30d. C h o p i n N o c t u r n e in C - s h a r p minor, BI 49,

(KK IV a/ 16 ), m. 56. H i n s o n e d i t i o n .......... 90

31. Chopin P r e l u d e in A m ajor, Op. 28, No. 7,

mm. 15-16. H i n s o n e d i t i o n ...................... 91

32. C h o p i n P r e l u d e in D - f l a t major, Op. 28,

No. 15, m. 9. H i n s o n e d i t i o n .................... 92

xi
33. C h o p i n P r e l u d e in A m ajor, Op. 28, No. 7,
mm. 1-4. H i n s o n e d i t i o n ............... 93

34. C h o p i n B o le r o, Op. 19, mm. 167-169.

H i n s o n e d i t i o n ..................................... 94

35. Chopin Prelude in B - f l a t m in or , Op. 28,

No. 16, mm. 1-4. P a l m e r e d i t i o n .................. 95

xii
 ABSTRACT

Maurice Hinson is internationally recognized as one of

the foremost authorities on p i a n o literature. H e has

presented 1e c t u r e - r e c i t a l s , w o r k s h o p s , and ma sterclasses

throughout the U n i t e d States and in m a n y foreign countries,

including England, Japan, and Australia. Hinson has w r i t t e n

f i ve b o o k s t ha t catalogue and a n n o t a t e the repertoire for

p ia n o, including Guide to t he P i a n i s t ' s Repertoire (1973,

rev. 1987), The Piano in C h a m b e r Ensemble (1978, Music for

Piano and O r chestra (1981), Music for M o r e T h a n O n e P i a n o

(1983), and Transcriptions, Paraphrases, and Arrangements

(1990), all p u b l i s h e d by the Indiana U ni v e r s i t y Press. In

addition, H i n s o n has w r i t t e n two p i a n o m u s i c reference

g u ide s; many articles for m u s i c jo ur n al s; a chapter entitled

"Pedaling the P i a n o W o r k s of C h o p i n , " for Joseph Banowetz's

book, The Pianist's Guide to P e d a l i n g (1985, Indiana

University Press ); and he is c o - a u t h o r w i t h W i l e y M.

Hitchcock of the a r t i c l e "Piano M usic" in T h e N e w G r o v e

Dictionary of A m e r i c a n M u s i c , (1986, Macmillan Pr es s, Ltd.).

Hinson's pedagogical editions of p i a n o m u s i c for

Alfred, Hinshaw, Belwin Mills, an d o t h er publishing

xiii
companies are a m o n g th e m o s t useful and reliable editions of

their kind available to day, particularly in the a r e a of

i n t e r m e d i a t e - 1evel piano literature. They have been prepared

from ma nuscripts or first editions and contain much helpful

t e x tu a l information on the c o m p o s e r s a nd m u s i c a l sty les .

Besides their pedagogical a sp e c t s , Hinson's editions o f f er a

broad selection of p i a n o literature, including the e a rl y

compositions of m a j o r composers, music of e i g h t e e n t h - a nd

n i n e t e e n t h - c e n t u r y America, music of female composers, and

music of the twentieth c en tu ry .

This study examines Hinson's pedagogical collections

for i n t e r m e d i a t e - 1evel piano students. Chapter 1 discusses

Hinson's musical background, highlighting important

experiences that h e l p e d to s h a p e his career as a p i a n i s t ,

t ea c h e r , an d m u s i c e d ito r. A brief historical overview of

pedagogical collections is g i v e n in C h a p t e r 2, f o l l o w e d by

an summary of H i n s o n ' s editorial output in C h a p t e r 3. A

comparison of representative scores is included in C h a p t e r

4, a nd H i n s o n ' s Chopin collections a re d i s c u s s e d in

Chapter 5.

xiv
 CHAPTER 1

BIOGRAPHY

Maurice Hinson's early background an d m u s i c a l

experiences figured prominently in his d e v e l o p m e n t as an

ou tstanding pedagogue, author of b o o k s on p i a n o literature,

and music edit or . His background includes formal musical

training that m a y be d i v i d e d into three main periods: study

at the J u i l l i a r d S c ho ol, 1947-1948; undergraduate work at

the U n i v e r s i t y of F l o r i d a , (B.A., 1952); and g r a d u a t e study

at the U n i v e r s i t y of M i c h i g a n - A n n A rb o r, (M.M., 1955; DMA,

1957). However, even prior to th is time, events occurred

th at s h a p e d his m u s i c a l career.

H i n s o n was b o r n D e c e m b e r 4, 1930, in G a i n e s v i l l e ,

F lo r i d a , to B a r t l e t t a n d B e a t r i c e H in s on . Hi s f a m i l y w as a

musical one, a nd he r e c e i v e d his first piano lessons f ro m

hi s older s i s t e r Ruth, w h o w as a piano t e a c he r ; she taught

him to p l a y m a n y p o p u l a r tunes a n d h y m n s . 1 At a ge eleven he

r e c e i v e d his f ir s t "official" piano lessons with Claude

Murphree, professor of o r g a n a nd k e y b o a r d at th e U n i v e r s i t y

of F l o r i d a . Murphree assigned Hinson a thorough r e g i m e n in

■^Maurice H i n s o n , i n t e r v i e w by a u tho r, 30 M a y
1989, L o u i s v i l l e , K e n t u c k y , t a pe r e co r di ng .
Note: B i o g r a p h i c a l i n f o r m a t i o n in this c h a pt e r, u n l e s s
o t h e r w i s e no t ed , h as b e e n t a k e n f r om this i n t e r v i e w .
s c al es , arpeggios, a n d the t e c h n i c a l exercises of C z e r n y and

H a no n , in a d d i t i o n to the s t a n d a r d i n t e r m e d i a t e - 1evel piano

repertoire.

At a ge t h i r t e e n the y o u n g s t u d e n t enrolled in the

correspondence course of C h i c a g o ' s Sherwood Music Scho ol . In

t his way, Hinson s t r e n g t h e n e d h is b a c k g r o u n d in theo ry ,

which e n a b l e d h i m to a d v a n c e m o r e rapidly d u r i n g his

subsequent music s t u d ie s . Students enrolled in the-

correspondence course were allowed to t a k e lessons in

Chicago during t he s u m m e r s , so H i n s o n b e g a n s t u d y i n g p i a n o

each summer w i t h Leo P o d o l s k y . Hinson describes Podolsky as

a traditional, w e l 1-schooled Russian pianist who spoke with

a t h i c k acc en t. Each fall, Hinson would return to s t u d i e s

w i t h his regular teacher in G a i n e s v i l l e , having benefited

enormously from Podolsky's thorough and systematic

instruction.

T he Juilliard School, 1947

A c r uc ia l p o i nt in H i n s o n ' s m u s i c a l development

occurred in 1947, when, as a h i g h - s c h o o l junior, he

auditioned at the J u i l l i a r d School a nd w as a c c e p t e d by O l g a

Samaroff, A l t h o u g h he was to r e m a i n at the sc h oo l for only

one year, his s t u d y w i t h t he n o t e d p i a n i s t left an i n d e l i b l e

impression. D u r i n g his w o r k s h o p s a nd m a s t e r c l a s s e s , Hinson

often relates details of his v e r y f ir s t lesson with Samaroff

because of the i m p o r t a n t effect that it h a d on h is career:

After playing a Bach prelude an d fugue, he was a s k e d by

Samaroff to d e f i n e f u g u e . Unable to do so s a t i s f a c t o r i l y ,

H i n s o n was instructed to r e a d t he b o o k F u g u e , by t he E n g l i s h

author James Higgs, an d to be p r e p a r e d to d i s c u s s the

structure of a f u g u e at his next lesson. This i n it ia l

emphasis on m u s i c a l f o r m was a helpful addition to the k i n d

of i n s t r u c t i o n he h a d received in the past, and later proved

to h a v e a decided influence on H i n s o n ' s teaching, a nd his

edi t i n g .

In a d d i t i o n to s t u d y i n g m u s i c a l form, Hinson learned

about t he a d v a n t a g e s of using a c c u r a t e scor es . Prior to this

t i m e he h a d m a i n l y u s e d w h a t e v e r editions were available

(usually the t h e n - s t a n d a r d G. Schirmer publications), and,

like m a n y students, believed that everything " h ad y e l l o w

covers on i t . " 2 S a m a r o f f quickly required him to p u r c h a s e

n e w s c or e s, a nd he g r a d u a l l y b e c a m e firmly convinced of the

importance of a c c u r a t e phrasing, dynamic markings, and

practical suggestions f or f in g er in g .

Hinson's introduction to m u s i c a l s t y l e w as also quite

memorable. While studying the M o z a r t Sonata in B - f l a t , K.

570, he a t t e n d e d exhibits of e i g h t e e n t h - c e n t u r y furniture

a nd clothing at the M e t r o p o l i t a n M u s e u m of Art. Later in the

semester, he a nd o t h e r Samaroff students attended a

performance of T h e M a r r i a g e of F i g a r o at the M e t r o p o l i t a n

Opera, the fir st time t ha t he h a d s e e n a Mozart opera. These

experiences g a ve h i m n e w insights i n to an era that, for him,

2M a u r i c e H i n s o n , i n t e r v i e w by aut ho r.
 4

had previ o us ly existed o n ly on p aper. Hinson's later

inclusion of p e r t i n e n t historical information in m a n y of his

pedagogical editions m a y well be a d i r e c t r es u l t of

experiences of t hi s type.

Technical problems were a primary f oc u s during

Hinson's study with Samaroff. As a remedy for h i s double­

jointed fingers, Samaroff assigned Pischna exercises a nd

u r g e d h i m to c o n c e n t r a t e d u r i n g p r a c t i c e on a v o i d i n g any

collapse of the fingers at t he f i r s t joint. She a l so

encouraged a flexible wrist to m a i n t a i n the p r o p e r sonority

in c h o r d p l a y i n g and to p r o d u c e a s o u n d that w as n e v e r

percussive. Hinson's discussion of correct voicing in his

Debussy collection illustrates the importance of th is early

training.

T he u s e of recordings to facilitate mastery of s t y l e

and technical e x c e l l e n c e wa s a l s o an i m p o r t a n t aspect of

Hinson's study with Samaroff. While l e a r n i n g the L is z t

concert et ud e, "Un s o s p i r o , " he was encouraged to l i s t e n to

t wo or t h r e e recordings by various artists in o r d e r to h e a r

a nd u n d e r s t a n d the o v e r a l l m us i ca l e f fe c t of the piece. This

experience led f ir s t to an i n t e r e s t in d e v e l o p i n g his own

library of recordings, and late r encouraged him to s u p p o r t a

sizeable expansion of resources in t he m u s i c library at the

Southern Baptist Theological Seminary in L o u i s v i l l e ,

Kentucky.
 5

Hinson's skill for d e s c r i b i n g aspects of m u s i c a l style

also began to d e v e l o p d u r i n g hi s s t u d y w i t h S a m a r of f . Th is

was largely due to the fact th at Samaroff rarely played for

h i m d u r i n g h is lessons because of an i n j u r y to her right

hand. According to H i ns on ,

S he w a s g e t t i n g r e a d y to go on a tour, a n d she t r i p p e d
ov er a s u i t c a s e , i n j u r i n g h er r ig ht hand. F r o m that
p o i n t on, s he d i d n ' t p l a y [very] m u c h . 3

I n s t e a d of d e m o n s t r a t i n g at t he p ia no , Samaroff communicated

musical i d e as through th e u s e of ve rb a l descriptions, an d

e n c o u r a g e d h er students to e x a m i n e t he m u s i c a l score aw ay

f r o m t he p i a n o in o r d e r to s o l v e i n t e r p r e t a t i v e as well as

technical problems. This emphasis on m e n t a l practice

continued in H i n s o n ' s l at e r t e a c h i n g an d p e r f o r m i n g , a nd is

shown in s e v e r a l of h is editions, in w h i c h he e n c o u r a g e s

mental review of the s c o r e as an a id to m a s t e r i n g p h r a s i n g

and rhythm.

H inson perfo rm e d with other students in r e c i t a l s that

Samaroff called musicales. There were no w ritten critiques

of the p e r f o r m a n c e s , bu t influential members of N e w Y o r k

society were often i n v it e d, a n d the a t m o s p h e r e was quite

formal. These occasions e n a b l e d H i n s o n b o t h to receive

patronage for his studies a n d to be i n t r o d u c e d to c r i t i c s

and agents prior to hi s official p e r f o r m a n c e debut. At the

musicales, Hinson f i rs t h e a r d s o m e of S a m a r o f f ' s most

accomplished students, including Wi ll ia m Kapell, Rosalyn

3M a u r i c e H i n s o n , i n t e r v i e w by author.
Tureck, Sidney W e i s s e n b e r g ( Al e x i s W e i s s e n b e r g ) , and

Claudette S o r e l . He later came to k n o w each of t h e s e

musicians personally and to a p p r e c i a t e t he important impact

of Samaroff's instruction on t h e i r c ar ee rs .

Hinson's year of study w ith Samaroff came to an a b r u p t

e n d on M a y 17, 1948, when s he d i e d suddenly of a s t ro ke ,

less than a month before Hinson's J u n e 11 d e b u t at N e w

York's T o w n H all. Determined to go a h e a d w i t h the

performance, Hinson took fo ur or f iv e lessons from Edwin

Hughes, a former associate of T h e o d o r L e s c h e t i t s k y . Th e

debut t oo k p l a c e on s c h e d u l e , and Hinson received favorable

reviews in s e v e r a l newspapers, including the N e w Y o r k Sun.

University of F l o r i d a , 1948-1952

Hinson's career was now at a n i m p o r t a n t crossroads. He

had th e c h o i c e of remaining in N e w Y o r k and c o n t i n u i n g his

piano study or r e t u r n i n g to G a i n e s v i l l e , Florida, so t h at he

could complete his final year of h i g h sc ho ol an d m o v e on to

c o l le g e. It w as the latter that his parents favored and that

Hinson chose. Hinson was fortunate to h a v e attended a

progressive laboratory s ch oo l in G a i n e s v i l l e p r i o r to his

studies w i t h S a m a r of f . T h e s ch o ol a c c e p t e d h is y e ar of s t u d y

at the J u i l l i a r d S ch o ol , a l l o w i n g h i m to g r a d u a t e w i t h his

class. He b e g a n w o r k on his undergraduate degree in m u s i c at

t he U n i v e r s i t y of F l o r i d a in G a i n e s v i l l e in the fall of

1948. At the t i me H i n s o n was u p s e t ov er h a v i n g to e nd his

 7

s t u d y at th e Juilliard S ch oo l, but h e l a t er realized this

w as a wise course.

Hinson f ir st began teaching piano privately while

p u r s u i n g h is u n d e r g r a d u a t e degree at the U n i v e r s i t y of

Florida. D u r i n g his first y e ar of t e a c h i n g , Hinson g a ve

lessons in the s t u d e n t s ' h om es , u s i n g h is bicycle as

transportation; his n u m b e r of s t u d e n t s grew to a b o u t twenty-

five. L a t e r h e was a b l e to w o r k in one l o c a t io n. He

developed a keen interest in t e a c h i n g b e c a u s e of his desire

to " s e e a s t u d e n t grasp a n idea, to s ee t he i d ea grow, a nd

to h e l p cultivate that i d e a . " 4 By k e e p i n g a card file on the

pieces he taught, Hinson recorded those that were

p a r t i c u l a r l y us e fu l in t e a c h i n g certain concepts, as well as

t he o ne s that his students e n j o y e d most. Over t he years,

t hi s f il e g r e w to m o r e than 400 cards a nd s e r v e d as a

foundation for his b o o k s on p i a n o literature a n d e d i t i on s.

Upon graduation from the U n i v e r s i t y of F l o r i d a in

1952, Hinson entered the army under t he R . O . T . C . p r o g r a m a nd

served a two-year period during the K o r e a n War. One of t h e s e

two y e a r s w as s p e nt in Na nc y, F r an ce , where he was able to

continue h is piano study at t he C o n s e r v a t o i r e N a t i o n a l e w i t h

a f i ne t e a ch e r, G a s t o n B ol len , w ho h a d p r e v i o u s l y taught at

t he P a r i s Conservatory for a n u m b e r of years.

4M a u r i c e H in s o n , i n t e r v i e w by aut ho r.
 8

University of M i c h i g a n , 1954-1957

After his term of m i l i t a r y s e r v i c e was completed,

Hinson began work on a m a s t e r ' s degree in p e r f o r m a n c e and

c o m p o s i t i o n at the U n i v e r s i t y of M i c h i g a n , w h e r e he s t u d i e d

piano with Joseph Brinkman. Hinson's fir st book, Guide to

the P i a n i s t ' s Repertoire (1973, Indiana University Pr e ss ) is

dedicated to b o t h B r i n k m a n a n d S a m a r o f f because Hinson

attests that these two individuals were the ones m os t

responsible for s h a p i n g his career as a p i a n i s t and te ac he r.

While studying composition at the U n i v e r s i t y of

M i c h i g a n under Ross Le e F i n n e y a n d L e s l i e B as se t t, Hinson

learned to a n a l y z e an d think as a c o m p os e r, an d n o w

recommends that his p i a n o students study c om p os i t i o n .

Upon completion of his m a s t e r s degree at M i c h i g a n ,

H i n s o n was offered teaching positions at t h r ee d i f f e r e n t

s c ho o ls : the U n i v e r s i t y of M i n n e s o t a , Wichita S t a te

University, a nd S o u t h e r n B a p t i s t Theological S em i na ry . He

d e c i d e d not to a c c e p t a ny of t h e s e p o s i t i o n s , a nd remained

at the U n i v e r s i t y of M i c h i g a n until he ha d c o m p l e t e d his

Doctor of M u s i c a l Arts degree. In 1957, he b e c a m e one of the

f i rs t pianists at the u n i v e r s i t y to c o m p l e t e that degree.

Seventeen faculty members a t t e n d e d his oral exams, which

carried a g r e at deal of importance since a lengthy research

paper was not r eq u ir e d. After completing the DMA, Hinson

accepted a position teaching piano at Southern Baptist

Theological Seminary in L o u i s v i l l e , Kentucky, where he has

remained to the p r e s e n t .

S o u t h e r n B a p t i s t T h e o l o g i c a l S e m i na r y,
Louisville, Kentucky. 1957-present

Hinson's duties at Southern Baptist Theological

Seminary included t eaching private piano and courses in

piano literature a nd p i a n o p e d a g o g y . H e was no t yet involved

in the k i n d of r e s e a r c h that led to his books on p i a n o

literature, but he c o n t i n u e d to u p d a t e th e repertoire card

f i l e that he h a d b e g u n w h i l e teaching piano in G a i n e s v i l l e ,

FIorida.

In 1963, Hinson received a telephone call from Irwin

Freundlich, w ho h a d b e e n his piano literature teacher at the

Juilliard Sch oo l. F r eu n d l i c h asked Hinson to h e l p h i m update

his book, Music for P i a n o (1954) b e c a u s e his f or m er

collaborator, James Friskin, at t he a d v a n c e d age of 77

years, was unable to u n d e r t a k e s u c h an a m b i t i o u s task.

Freundlich proposed t h at he and H i n s o n d i v i d e t he w o r k

between them, rather than collaborate on the entire book.

Formerly, Freu nd li ch had researched music f r om th e p re -

Baroque period an d the twentieth c e nt u ry , a nd F r i s k i n had

studied music of the B a r o q u e , Classic, and Romantic eras.

This time, Freundlich wished to r e v e r s e the a s s i g n m e n t s ,

preferring to u p d a t e Friskin's r e s e a r c h h im s e l f , while

Freundlich's earlier work w o u l d be r e v i s e d by H in s on . After

receiving a sabbatical from Southern Baptist Theological

 10

Seminary, Hinson began researching pr e-Bach and twentieth-

century keyboard music at t he L i b r a r y of C o n g r e s s in

Washington, D.C., periodically sending sections of t he w o r k

to F r e u n d l i c h for rev ie w.

About a year later, Hinson received another call from

Freundlich, who complained t ha t he d id n ot have sufficient

t i m e to w r i t e b e c a u s e m a n y of his students were entering

important international competitions, thus requiring him to

spend much more time coaching and traveling. He w a r n e d

Hinson, "I h a v e a feeling that y o u a re g o i n g to h a v e to

write th is book, a nd if you want me to be i n v o l v e d , maybe

you'd like m e to edit it."5

When asked of h is reaction on r e c e i v i n g this news,

Hinson r e s p o nd e d:

We ll , I just a b o u t f l i p p e d my lid. I a s k e d him, "Do y o u

r e a l l y t h i n k that I c an do it?" A n d [ F r e u n d l i c h ] said,
"Yes, I am c o n v i n c e d f r o m w h a t I h a v e s e e n this p a st
y e a r that y o u c an d o the w h o l e b o o k . " 6

From t ha t time forward the b o o k b e c a m e H i n s o n ' s o wn p r o j e c t ,

a nd ten y e a r s later, in 1973, Guide to the P i a n i s t ' s

Repertoire was p u b l i s h e d by Indiana University Press,

quickly becoming a standard reference source for p i a n o

literature. A supplement f o l l o w e d s ho rt l y, then the P i a n o

Teacher's S o u r c e B o o k . (1974, Belwin Mills) a nd The

Pianist's Reference Guide (Alfred, 1987), f o l l o w e d by the

5M a u r i c e H i n s o n , i n t e r v i e w by author.

6I b i d .
 11

second edition of the G u i d e to the P i a n i s t ' s Repertoire

(1987, Indiana Un i ve r s i t y Pr e ss ) were published. Hinson's

f i r st book was so s u c c e s s f u l that h e was e ncouraged by the

Indiana Press to w r i t e four m o r e bo ok s: The Piano in C h a m b e r

Ensemble (1978), Music for P i a n o and Orchestra (1981), Music

for M o r e T h a n O n e P i a n o (1983), an d T r a n s c r i p t i o n s ,

Paraphrases, a nd A r r a n g e m e n t s (1990). In a d d i t i o n , Hinson

h as w r i t t e n "Pedaling the Piano Works of C h o p i n , " a chapter

in J o s e p h B a n o w e t z ' s book The Pianist's Guide to P e d a l i n g

(1985, Indiana U ni ve r si ty Pr es s) and c o -authored with Wiley

M. Hitchcock the a r t i c l e , "Piano Music," for t he N e w G r o v e

Dictionary of A m e r i c a n M u s i c (1986, M a c m il l an Press Ltd.).

Hinson's many journal articles an d y e a rs of successful

teaching at Southern Baptist Theological Seminary have led

to the l at e st important s t ep in his career, music ed it in g.

His current a nd future projects include editions of p i a n o

music for A l f r e d a nd other publishing companies, as well as

sch e du le d updates of h i s books. (The t h i r d e d i t i o n of the

Guide for the P i a n i s t ' s Repertoire is s c h e d u l e d to be

released in 1 997.) H i n s o n has also completed work on two

videotapes a bo ut k eyboard music of the c l a s s i c a l a nd

r o m a n t i c p er i o d s , w h i c h will be released in t h e fall of

1994. H e is e x t r e m e l y active an d in h i g h d e m a n d as a

clinician (see A p p e n d i x II, pages 114-116 for a

representative list of H i n s o n ' s activities). It is not

surprising that reviewers and p i a n i s t s , including Robert

W e i r i c h a n d B r a d f o r d Go w en , have dubbed him, "T he

Indefatigable Maurice H in s o n . " 7

7R o b e r t W e i r i c h , r e v i e w of M a s t e r s of the P i a n o
F a n t a s y , e d . by M a u r i c e H i n s o n , A m e r i c a n M u s i c T e a c h e r
(D e c e m b e r / J a n u a r y , 1 9 9 0 / 9 1 ) : 60; a n d B r a d f o r d G ow en, r e v i e w
of S c h u m a n n F a n t a s i e s t i i c k e , Op. 12, S i n f o n i s c h e E t u d e n ,
Op. 13, a n d F a n t a s y in C major, Op. 15, ed. by M a u r i c e
H i n s o n , P i a n o a n d K e y b o a r d ( S e p t e m b e r / O c t o b e r , 1993), 58.
 CHAPTER 2

A N O V E R V I E W OF PEDAGOGICAL EDITIONS 1893-1974

Maurice Hinson's editions of p e d a g o g i c a l literature

ca n b e s t be examined when compared to e d i t i o n s published

previously. These include t w o G. Schirmer collections, the

International Library of M u s i c (1956, University S oc ie ty ,

Inc.), J oh n T h o m p s o n ' s M o d e r n Piano Course (1943, Willis),

a n d D e n e s A g a y 's M u s i c for M i l l i o n s series (1959,

Consolidated Music Publishers), as well as collections a nd

editions by G e o r g e A n s o n , Howard Ferguson, W i l l a r d Pal mer ,

a nd J a ne a nd James Bastien.

T he catalog of t he G. Schirmer p ublishing house

primarily includes collections of m u s i c by a s i n g l e

c o m p os e r, appropriate f or serious study by c o l l e g e students

an d p r o f e s s i o n a l performers. However, a few e a r l y v o l u m e s

include repertoire for s t u d y by i n t e r m e d i a t e - 1evel piano

s t u d e nt s . Two of these collections are Selected Sonatinas.

Books I-III (18 93), and Selected Piano Solos by R o m a n t i c

C o m p o s e r s , Books I-III (1943). Each collection includes

pedagogical features t ha t have been i n c o r p o r a t e d and

expanded in m o r e recently-published collections. Selected

S o n a t i n a s . Book III contains practice suggestions

13
 14

appropriate, in p a r t i c u l a r , to the s t u d y of s o n a t i n a s

(including hints for d e t e r m i n i n g the f o r m of e a c h p ie c e ) and

a discussion of s o n a t a - a l 1 e g r o form. In a dd i t i o n ,

information about t he f o r m s of s ev er a l pieces is s u p p l i e d in

t he s c or es, using initials, s u c h as M.T. (main theme).

Suggested realizations for the o r n a m e n t s a re p r o v i d e d in

footnotes.

In 1920, an important s e r i e s wa s p u b l i s h e d in the

U ni t ed States th at was m u c h m o r e comprehensive t h an the

Schirmer collections. Entitled the U n i v e r s i t y C o u r s e of

Music Study - Piano Series (1920, University Society), this

s ix-volume series represented a c o n c e r t e d e f f o r t by leading

pedagogues, i n c l u d i n g R u d o l p h G a nz a nd E d w i n H u g h e s , to

provide a means of g r a n t i n g s chool c re d i t for m u s i c study.

Each volume of the s e r i e s covered a different grade level:

(1) I n t r o d u c t o r y D i v i s i o n
(2) I n t e r m e d i a t e D i v i s i o n
(3) J u n i o r G r a d u a t e D i v i s i o n
(4) S e n i o r G r a d u a t e D i v i s i o n
(5) P o st G r a d u a t e D i v i s i o n
(6) A r t i s t D i v i s i o n

Th e v o l u m e s a re a c t u a l l y folders that contain repertoire of

i ncreasing difficulty, organized in c h a p t e r s of three to

fo ur p i e c e s each. Each of the f o l d e r s contains about thirty

c h a p t er s . In the lower grad es , technical exercises precede

the m us i c, a nd a s h o r t written e x a m on the m a t e r i a l

concludes the ch apter. In a d d i t io n, s h o rt biographies of

various composers appear on the b a c k cover of e a c h ch ap te r.

 15

In the m o r e a d v a n c e d g r a d e s a limited amount of t ex t ua l

material is i n c l u d e d in e a ch c hapter.

The U n i ve rs it y C ourse gradually evolved into a series

th at w a s designed to f u n c t i o n as a h o m e m u s i c li br a ry . T he

revamped series retained its graded organization, b ut in the

new International Library of M u s i c (1956, University

Society) the r e p e r t o i r e was d i v i d e d i n to e ig ht voluzmes,

containing thirty to o n e - h u n d r e d compositions each. An

important difference between the International Library of

Music a nd its p r e d e c e s s o r is that in t h e n e w serie s, the

repertoire a nd technical exercises appear in s e p a r a t e

additional volumes ( b r i n g i n g the total number of v o l u m e s to

f if t e e n ) , rather than being sy stematically coordinated as

b ef o r e . In k e e p i n g w i t h its e n c y c l o p e d i c n a tu r e, t he t e x t u a l

information in t he International Library of M u s i c is not

limited to p i a n o mu si c. A history of opera, a music

dictionary, a nd s h o r t essays on s u c h s u b j e c t s as "Negro Folk

Song and the N e g r o C o m p o s e r " an d "Women in M u s i c " a re a l s o

included in t he s er i es . ( I ro n i c a l l y , repertoire selections

in t h e s e two a r e as ar e v e r y l i m i te d .) Other areas are

sparsely represented: American music is limited to a small

number of compositions by E d w a r d M a c D o w e l l a n d s o me

traditional folksong literature, and t w e n t i e t h - c e n t u r y

repertoire is limited to f r e q u e n t l y p e r f o r m e d p i e c e s by s u c h

composers as D e b us s y, Shostakovich, and Prokofieff.

 16

John Thompson's Mo d er n Course for the P i a n o (193 6-

1944, Willis) was one of the m os t widely-used piano courses

in A m e r i c a until the p e d a g o g i c a l materials of Jane and Ja me s

Bastien were p ublished in the 1960s. The series includes

f i ve d i f f e r e n t l ev e l s of repertoire and s u p p l e m e n t a r y

technical exercises. Unlike the U n i v e r s i t y Course a n d the

International Library of M u s i c , the M o d e r n Course includes

method materials for b e g i n n i n g p i a n o s t u d e n t s (volumes 1-

3). In t he t e c h n i q u e bo ok s, Thompson included original

compositions, simpler etudes by s u c h c o m p o s e r s as G u r l i t t

and Streabbog, a nd s i m p l i f i e d v e r s i o n s of a d v a n c e d

literature, s u c h as L i s z t ' s H u n g a r i a n R h a p s o d y No. 6 and

Mussorgsky's "Hopak." In the h i g h e r levels, he a ls o

attempted to i n t r o d u c e a d v a n c e d - 1evel s t u d ie s , s u c h as

Chopin etude s, by including one-page excerpts of this

literature. On the f i rs t p a g e of m a n y s c or es , limited

t e xt u al material is found. For ex am pl e, the following

information is i n c l u d e d w i t h the B r a h m s W a l t z in A - f l a t

m aj or , Op. 39, No. 15:

T h e w a l t z e s of B ra h m s , like t h o s e of B e e t h o v e n , h a v e for
t h e i r i n s p i r a t i o n the old G e r m a n 'Landler' or p e a s a n t
d a n c e a n d s h o u l d be p l a y e d in f o r t h r i g h t f a s h i o n , at
o n c e s i mp le , d ir e ct , an d si nc er e . A v o i d s e d u l o u s l y any
a t t e m p t to i m p a r t s u b t l e t y or s o p h i s t i c a t i o n to t h e s e
m e a s u r e s . S av e s u c h e f f e c t s for the v a l s e s of C h op in ,
for e x a m p l e . 8

8J o hn T h o m p s o n , M o d e r n P i a n o C o u r s e . Vol. V,
( F lo r en ce , K Y : W i l l i s , 1944), 38.
 17

When examined from a presen t- da y editorial

perspective, th e T h o m p s o n series exhibits s ev e r a l

weaknesses, including omission of c a t a l o g n u m b e r s a n d the

inclusion of e x t e n s i v e editorial markings that do n o t adhere

to m o d e r n p e r f o r m a n c e practices. Further, Thompson's heavy

use of t r a n s c r i p t i o n s and simp li fi ed versions, while in

vogue at the time, is n o longer considered a c c e p t a b l e by

modern pedagogues.

Denes Agay's M u s ic for M i l l i o n s ( 19 5 9- 1 9 7 6 ,

Consolidated Music Publishers), is a s i x - v o l u m e graded

series containing early to l at e i n t e r m e d i a t e - 1evel

repertoire in a v a r i e t y of m u s i c a l styl es . The volumes are:

V o l . 17 E a s y C l a s s i c s to M o d e r n s
V o l . 27 M o r e E a s y C l a s s i c s to M o d e r n s
V o l . 37 C l a s s i c s to M o d e r n s in the
I ntermediate Grades
V o l . 47 Early Advanced Classics
to M o d e r n s
V o l . 67 C l a s s i c s to M o d e r n s -
S o n a t a s a nd S o n a t i n a s
V o l . 77 C l a s s i c s to M o d e r n s -
Themes and Variations

Essentially o n l y an a n t h o l o g y , t ex tu al information is

extremely limited. Typical of editions of the p e ri o d,

editorial markings are extensive, overly-romantic in eff ec t,

an d indistinguishable from the o r i gi n al markings. Op us

numbers and other pertinent information vary in t h e i r

accuracy and c o m p l e t e n e s s . T h e w i d e v a r i e t y of repertoire

from each period is t he s e ri es' greatest strength. In

addition to s h o rt pieces by Bach, compositions by S c a r l a t t i ,

Rameau, and T e l e m a n n a r e o f f e re d . Character pieces by

 18

Schumann an d T c h a i k o v s k y , as well as c o n t e m p o r a r y works by

Debussy, Kabalevsky, Bartok, a nd D o h n a n y i are also included.

George Anson's twenty-four-volume r e p e r t o i r e s er ie s,

Anson Introduces (1959-1975, Willis), reflects a trend

toward graded repertoire books containing works of a s i n g l e

composer, along w ith limited information about t he c o m p o s e r s

and selections. In c o m p a r i s o n to the large volumes of the

Music for M i l l i o n s , A n s o n ' s volumes a re m u c h s m a l le r,

containing as few as f o ur or five pieces a nd a p p a r e n t l y

chosen because of t h e i r suitability as s t y l i s t i c m o d e l s

and/or their technical accessibility. His Sonata Sampler in

three volumes offers excellent examples of the e d i t o r ' s

approach. Each volume contains baroque, classical, ro ma nt i c,

and contemporary sonatas, including composers s u c h as

Scarlatti, Clementi, Beethoven, and Kabalevsky. The preface

to e a c h v o l u m e contains a brief discussion of s o n a t a - a l 1 e gr o

form; a nd p r i n t e d on t he f ir s t page of each piece is

pertinent information about t he composer a nd t he work,

including an o u t l i n e of the form (see E x a m p l e 1, page 19).

Anson's editorial markings are not distinguished from those

of the c o m p os e r, but d o not seem to b e as n u m e r o u s as in

some earlier e d i t io n s. The scores a re n o t a b l e for their

clear, c l e a n print. Repertoire choices include less familiar

p i e ce s , s u c h as G u r l i t t ' s Sonatina in A m in or , Op. 76, No. 5

(Book II) a nd S c h u m a n n ' s "To Julia" Sona ta , Op. 118

 19

The Sonata
Originally the term "Sonata" meant a "sound" piece, an instrumental work (from
sonare: to sound), the opposite of "Cantata", to be "sung" (from cantare: to sing).

The form gradually developed from the Suite, a work of several contrasting move­
ments, and in the Classic period, with Haydn and Mozart as its foremost exponents, be­
came a somewhat set type of larger composition.
However, it is a great mistake to think that all Sonatas are alike in form and content.
Many of them follow a rather standard pattern, but an equal number are extremely indi­
vidual works not a t all in conventional pattern, and often the greater the composer, the
less likely will his Sonata conform to rule.
The BAROQUE Sonata, especially those by Domenico Scarlatti and his school, has
only one movement, is usually in Binary form, and is simply a '"sound" piece.
Even the Classic and Romantic Sonatas vary greatly in form and length. The great
Sonata in B minor by Liszt has but one movement, while the Sonata, Opus 5, by Brahms,
has five.
Haydn and Mozart use two or three movements, while Beethoven used four movements
in his earlier works and in his later and greater ones frequently used only two.
Whatever the number, the skilled composer gives variety by contrast in speed, key
and meter for the various movements.
The conventional SONATA plan follows this pattern:
First movement: Sonata-allegro form.

In three sections: Exposition-

Principal theme in the tonic key
Secondary theme in the dominant key
(The Exposition is usually repeated in the earlier works).
Development-
Free treatment of the thematic material presented in the
Exposition.
Recapitulation—
Principal theme in the tonic key
Secondary theme in the tonic key
There sometimes is an Introduction, and sometimes a Coda ("tail") to close the
movement.

Ex. 1: Sonata S a m p l e r , Vol. II, (Anson, 1964), P re fa c e,

p. 2.
 20

(Book III), as well as w o r k s th at appear frequently in o t h e r

pedagogical collections.

H oward Ferguson, an E n g l i s h p i a n i s t , b e g a n his

editorial career in 1949; however, his f i rs t p e d a g o g i c a l

editions for p i a n o w e r e n ot p u b l i s h e d u n ti l 1961. Ferguson's

works represent a dec i de dl y new direction for e d i t i o n s of

their kind, n am e ly , an i n c r e a s e d emphasis on a c c u r a c y , as

well as t h e i n c l u s i o n of m o r e extensive biographical a nd

historical information. Ferguson's six-volume s er ie s , Style

and Interpretation (1964-1972, Oxford University Press ),

offers excellent examples of h is editing practices (see

Example 2, page 21). Each volume contains an e x t e n s i v e

introduction providing g en e ra l information a bo u t the

particular historical p e r io d , the i n s t r u m e n t s in u s e at that

time, and suggested perfor m an ce practices. L ik e Anson,

Ferguson places specific information about the p i e c e s on the

f i r st p a g e of e a c h sc or e; however, Ferguson's scores s e e m to

have been more carefully prepared, and t he exac t source for

each piece is identified. All editorial dynamic and phrase

markings appear either in p a r e n t h e s e s , or are identified

w ith crosstrokes. Ornaments a re realized in the s c o r e or in

footnotes. Ferguson is p a r t i c u l a r l y c are fu l to p o i n t out

altered notes in the s core, even when mistakes in the

manuscript seem fairly ob vious.

At a b o ut the s a m e t im e th at Ferguson's Style and

Interpretation series appeared, Willard Palmer b e g a n to


IN TRO D U CTIO N
T hough the Jix composers included in the present volume
were bom in countries as widely separated as Ireland.
Germany. Poland and Hungary, they form an unexpec­
tedly interconnected group. John Field, the Irishman, was
fifteen years older than Schubert; yet his gentle romanticism
and his feeling for a new type of keyboard texture, in
which widely-spaced broken chords where held together by
a liberal use of the sustaining pedal, mark him out as the
unassuming prophet of a whole school of piano writing.
His European success as a pianist brought his works
M o re a wide public; and slight though they were, they
deeply influenced the composers of the next generation.
Chopin gave his pupils the Nocturnes of Field to study,
and himself profited by their example; Liszt later pub­
lished them in an edition of his own: and their effect on
Mendelssohn and Schumann, if more indirect, was scarcely
less profound. The last link in this chain was provided in
the following generation by Brahms, whose early admira­
tion for the music o f Mendelssohn was succeeded by a
deeper and more lasting veneration tor Schumann.
The Instrument and Its Dynamics
The instrument for which these 19th century composers
wrote was in process of changing its character, as we have
already seen from the Introduction to Volume 3 o f this
anthology. {C f vol. 3. p. 6. Forupiano and Pianofont.)
Field started his career in the late 1790s by demonstrating
dem enti's fottepianos: instruments whose light and trans­
parent tone was conditioned by their mainly wooden
frames, thinnish. comparatively low-tensioned strings,
small leather-covered hammers and shallow touch. But
by the mid-19th century Liszt and Brahms were playing
on what was virtually the modem pianofont. with its
all-iron frame, heavy high-tensioncd strings, large, felt-
covered hammers and comparatively deep touch, which
produced a more powerful tone, but one that was also
‘thicker’ and less transparent than that of the earlier
instrument. In the intervening period. Mendelssohn.
Chopin and Schumann used pianos whose tone and touch
lay between these two extremes.
The performer of today should always bear in mind the
differences between these various instruments, for they
are bound to affect his approach to the music itself. (Cf.
vol. 3, p. 7, The lone and touch o f the Fortepiuno.)
The light touch and transparent tone of Field's forte-
piano. coupled with its fairly restricted dynamic range,
gives some indication of the type of sound required by his
music. Dynamic contrasts should never be extreme, and
the all-important melodic line should stand out effortlessly
against an accompaniment which is sensitively moulded
yet always discreet
The pianos used by Mendelssohn. Chopin and
Schumann were a quarter of a century nearer to our own.
nevertheless they were still considerably less ‘thick’ and
E x . 2: S t y l e an d I n t e r p r e t a t i o n , Vol. IV, R o m a n t i c
M u s i c , (F er gu s on , 1964), P r e f a c e , p. 6.
21
powerful than the modem instrument Mendelssohn in
particular must have preferred a touch and tone that was
distinctly on the light side, for this would have suited the
quick and delicate pp staccato effects of which he was so
fond. He muss also have been accustomed to a bass register
that was transparent rather than powerfuL otherwise he
would never have written a passage such as the l.h. part
of bb. 48-50 in his Fantasie in E. p.20. If these facts are
not borne in mind when playing Mendelssohn today, the
heavier quality of our pianos will continually distort his
typically light and delicate texture.
With Chopin and Schumann the situation is less
straightforward. Their music at times seems to reach out
towards the weight and power of the modem pianoforte;
yet it should never be forgotten that both composers wrote i
essentially for an intimate group of listeners in a salon or 1
drawing-room, rather than for a more impersonal audience
in a large concert hall. Hence, sensitiveness was o f greater
importance to them that sheer dynamic power. Chopin was
delighted when Kalkbrcnner mistakenly guessed from his
playing that he had been a pupil o f Field: and he preferred,
as we know, a piano whose touch was much lighter than
that used by many performers of his day. A. J. Hipkins of
the firm of Broadwood. whose pianos Chopin used in
England, wrote that his fortissimo was a full, pure tone
without any suspicion of harshness or noise; that his
nuances decreased to the faintest yet always distinct
pianissimo; and that his singing legatissimo touch was
specially remarkable. Schumann, even before he damaged
one of his fingers, was not a pianist of the calibre of
Chopin;'but the intimate character of much o f his music
suggests that their outlook on performance cannot have
been very dissimilar. We have. too. the delightful photo­
graph of Clara Schumann seated at a small upright piano.
with her husband gazing adoringly at her; and this
suggests that the Schumanns, like Debussy three-quarters
of a century later, may even have preferred the smaller
type of instrument, at least in the home.
All in all. therefore, it would seem advisable for today's
interpreter of Chopin and Schumann to moderate the
power of his instrument somewhat. The impression of
strength and weight of tone must often be there: but there
should always be a reserve, to match not only both
composers' preference for an intimate atmosphere, but
also the 'inward' quality that is such an essential part of
their music.
The full dynamic range of the modern piano was avail­
able to Liszt and Brahms. Brahms must have written for
just such an instrument from a fairly early age. And
though Liszt belonged to the previous generation, his
music, like that of Beethoven, always demanded and
anticipated every increase in power that the piano manu­
facturer could supply. Moreover, he outlived his contem­
poraries Chopin and Schumann by many years; so for
Piano
 22

produce editions for A l f r e d P u b l i s h i n g C o m p an y. Palmer's

editions, like t h o s e of F e r g u s o n , represent a more scholarly

approach to ed it in g. His J. S. Bach: Inventions and

Sinfonias (1971, Alfred) reflects an a t t e m p t to p r o v i d e m o r e

accurate s c or es , based upon autographs or fi rs t editions. In

the i n t r o d u c t i o n , the editor provides information concerning

t he s o u r c e s consulted and their l oc at io n. Discussion of

subjects s u c h as ornamentation, tempo, and d y n a m i c s follows

(see E x a m p l e 3, page 23). In t he scor es , editorial markings

appear in lig ht g r a y pr i nt , a nd footnotes are u s e d w h e r e

further clarification is n e c e s s a r y . O ne of the m o s t

important aspects of P a l m e r ' s collections is t he s e p a r a t i o n

of a c o m p o s e r ' s e a r li e r, less m a t u r e w o r k s f r o m the

masterworks. Palmer has organized this repertoire into

volumes tit le d, "Introduction t o- - " and "F i rs t Book

of--." While still being carefully prepared a nd edit ed ,

these volumes contain less extensive text ua l information a nd

f e w e r p i ece s, and are accessible to e a r l y i n t e r m e d i a t e

students.

J an e a n d J a me s B a s t i e n are a m o n g the m o s t widely

r ecognized editors of elementary and intermediate piano

teaching materials in t h e twentieth c en tu r y. Together t h ey

produced the four-volume Piano L iterature series (1966-

1974, K jo s) . Ja ne B a s t i e n compiled and edited t he f ir st two

volumes of the series, and her hu sband Jame s edited the last

t wo vo lu m es :

ORIGIN
J. S. B ach's Inventions and Sinfonias. more com m only
know n as the Two-Part inventions and Three-Part Inven­
tions. were n ot published during Bach’s lifetime. There
are tw o authentic autographs:
l .T h e Clavier-Buchlein ror Wilhelm Friedemann
Bach, w hich was begun in the year 1720, con­
tains each o f the fifteen Inventions under the
title Preambuhim. The Sinfonias are contained
in the same volume, each bearing the title
Fantasia, but the C m inor Sinfonia is missing
and the D Major Sinfonia is incom plete. Several
o f the Inventions are in the hand o f Wilhelm
Friedem ann, b ut these certainly were w ritten
u nder th e supervision o f his father. Most o f the
Inventions and all o f the Sinfonias are clearly in
J. S. Bach's own hand. T his m anuscript is now
THE IMPORTANCE OF THE CLAVIER-BUCHLEIN
Because the Clavier-Buchlein was in private ownership
until 1932, when it was purchased by the library o f the
Yale School o f Music, it was n ot easily available for use
in ed itions prepared before th at year. T his includes the
Bachgesellschaft, Busoni, Czem y and Mason editions.
Hans B ischoff had access to it only after he had com­
pleted h is edition o f the Two an d Three-Part Inventions
and m ade a few incom plete references to it in a supple­
m entary table, overlooking a great deal o f im portant
inform ation. While the A utograph o f 1723 m ust be con­
sidered the final revision, and consequently the version
m ost approved by J. S. Bach, the value o f the Clavier-
B uchlein in establishing an authentic and accurate tex t
is easily illustrated by the following example:
In Invention No. 3. one o f the ornam ents has caused
considerable confusion. It appears in the 3rd measure
fhoto-faedmile from
the Autograph o f 1723
3rd m e m o : 45th s m s m :
The “ ornam ent” is very dearly a slur followed by a
In his m anuscripts Bach made use o f th e following clefs:
Bu>: Tenor-. Alio: sl^Vo: So<‘nno:
v
Ex. 3: J. S. Bach: I n v e n t i o n s a nd S i n f o n i a s , ( Pa lm er )
P r e f a c e , p. 2. C o p y r i g h t 1968, A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of the P u b l i s h e r .
23
in the library o f the Yale School o f Music at
New Haven, Conn. A facsimile edition is pu b ­
lished by the Yale University Press.
2. The final and com plete version, the Autograph
o f 1723. is entirely in J. S. B ach's own hand. This
m anuscript is in the possession o f the German
State Library in Berlin. A facsimile edition is
published by C. F. Peters.
A third “ autograph,” NOT by J. S. Bach, was pos­
sessed by Wilhelm Friedem ann Bach. I t is referred to in
the Bischoff edition as the “ second A utograph” o r the
“Griepenkeri A utograph.” It is n ot considered authentic.
This m anuscript is also in the possession o f the German
S tate Library in Berlin. We will refer to this as the
“Friedemann m anuscript."
and again in th e 45th measure, which is identical. In the
Autograph o f 1723 this ornam ent has th e appearance o f
, b u t it appears over a sixteenth note! T he ornam ent
bears little resem blance to Bach’s m anner o f writing the
“doppelt cadence und m ordant” (see the Explication
from the Clavier-Buchlein o n Page 3 o f this edition).
It is clearly impossible to execute a t any reasonable
tem po, since it involves playing 8 notes in the time
occupied by a sixteenth note. In spite o f th e fact th at il
is unplayable, it is found in th e Bachgesellschaft editioi
w ithout co m m e n t Hans B ischoff refers to it as the
authentic ornam ent b u t assigns it to a footnote, thus
indicating his concern.
When these m easures from th e final A utograph are
compared w ith th e corresponding m easures in the
Clavier-Buchlein. the problem disappears:
fhoto-faenmBe from
the Oavier-BSchleui
3fd mouure: 45th
/"\ «-
th a tide io tbl coattr o f tha
movcabte ck f ta niddla C
|g MiddltC
 24

Piano L i t e r a t u r e . Vol. 1 (1966)

Piano L i t e r a t u r e . Vol. 2 (1966)
Piano L i t e r a t u r e , Vol. 3 (1968)
for the I n t e r m e d i a t e G r a d e s
Piano L i t e r a t u r e , V o 1. 4 (1974)
for th e E a r l y A d v a n c e d G r a d e s

According to the e di to r s, "The continuous,

consistent, a nd s y s t e m a t i c grading throughout all f ou r

collections has been of p r i m e importance."9 Each volume of

t he s e r i e s contains repertoire from the B a r o q u e , Classical,

Romantic, and Co nt em p or ar y periods. A broad variety of m u s i c

is o f f e re d, including compositions by T c h e r e p n i n ,

Kabalevsky, a nd K h a t c h a t u r i a n , as well as s u c h p i e c e s as

Mozart's "Alla Turca" movement f r o m t he Sonata in A M aj o r ,

K. 331 an d Schumann's "Important Event" from K i n d e r s z e n e n ,

Op. 15.

The final volume of t he s e ri e s, Piano Literature for

t he E a r l y A d v a n c e d G r a d e s , s h o w s several changes in the

o ri g i n a l format. This volume contains nearly t w i c e as m a n y

pieces as e a c h of the other volumes; both composer and t i t l e

indexes a re a l s o included. Perfo rm an ce notes appear in s o m e

of t he s c or e s; however, as in o t h e r v o l u m e s of the serie s,

editorial markings, for the m o s t part, a re indistinguishable

from those of the c o m p o se r .

During t he pa st one-hundred y ears, pedagogical

editions have grown vastly in n u m b e r a nd scope, as has the

9J a me s B a s t i e n , e d ., P i a n o L i t e r a t u r e for the
E a r l y A d v a n c e d G r a d e s , Vol. 4, (San D ie go , CA: Kjos,
1974), 1.
field of p i a n o pedagogy its el f. Steadily, the q u a l i t y of

these editions ha s changed, gradually i n c o rp or a ti ng higher

standards of accuracy and authenticity, as well as m o r e

extensive information about historical, stylistic, and

performance elements. The works of e d i t o r s s u c h as P a lm er ,

Ferguson, and Bastien h el pe d to create a market for n e w

editions. Simultaneously, a new generation of teachers was

emerging from pe rf or m a n c e a nd p e d a g o g y programs, more aware

of the n e e d for a c c u r a t e and reliable editions t h a n any

previous group of t e a c h e r s . The combination of these

elements created an e a g e r market for th e p e d a g o g i c a l

editions and co llections of M a u r i c e H in so n.

 CHAPTER 3

T H E E D I T O R I A L W O R K OF M A U R I C E H I N S O N

Maurice Hinson's editorial career began in 19 71 with

A Collection of E a r l y K e y b o a r d M u s i c , p u b l i s h e d b y W i l l i s

Music Company of F l o r e n c e , Kentucky. S i n c e that time, an d

especially from the 1980s onwa rd, Hinson's editorial

activities have virtually exploded, resulting in ov er one-

hundred collections, p u b l i s h e d m a i n l y by A l f r e d P u b l i s h i n g

Company of V a n Nuy s, California. This chapter presents a

number of those collections, together with a di scussion of

their organization, c o nt e nt , a n d t he n a t u r e of t h e i r

editorial suggestions. Comparisons of s p e c i f i c s c o r e s w i t h

t h o s e t ha t w e r e p u b l i s h e d e ar li e r, as well as

contemporaneous editions a re i n c l u d e d in C h a p t e r 4 of this

monograph.

Hinson's pedagogical editions for A l f r e d a p p e a r in

fo ur m a i n s e r i e s whose specific purposes are r e f l e c t e d in

their titles. These a re At the P i a n o w i t h - - J. S. Bach,

C h o p i n , D e b u s s y . et c e te ra; Masters o f -- P i a n o P r o g r a m M u s i c ,

I m p r e s s i o n i s m , the Roma nt i c P e r i o d , et cetera; Dances o f --

B e e t h o v e n . C h o p i n , B r a h m s , et cetera; and C l a s s i c s in

C o n t e x t - - E a r 1y M u s i c of M o z a r t , B e e t h o v e n , L i s z t , et cet er a.

26
 27

Because of t h e v a st quantity of t hi s m a t e r i a l and the

varying nature of i n d i v i d u a l volumes within each series, the

general outline of the t ex tua l material found in e a c h v o l u m e

will be dis cu s se d first, a n d an e x a m i n a t i o n of t he s c o r e s

will follow.

During t h e 19 70 s, t he t e x ts of p e d a g o g i c a l collections

underwent some important c ha ng es , i n c l u d i n g the

identification of s o u r c e s a nd e x p a n d e d d i s c u s s i o n s on

ornamentation and general style characteristics. Many of

these changes ar e e v i d e n t in the e d i t i o n s of F e r g u s o n a nd

Palmer, where discussion of tempo, dynamics, phrasing, a nd

pedaling is m o r e thorough t h a n in the A n s o n a nd T h o m p s o n

collections. Hinson's editorial style includes still further

modifications in the t e x t u a l c o n t en t, including

(1) s u b s t a n t i a l q u o t a t i o n f r o m p r i m a r y s o u rc e s, s u c h as
t h e l e t t e r s a n d w r i t i n g s of a c o m p o s e r (At t he P i a n o
with M o z a r t )

(2) d i s c u s s i o n of i m p o r t a n t s t y l i s t i c e l e m e n t s , u s i n g
e x c e r p t s f r o m p i e c e s in the c o l l e c t i o n (D a n c e s of
Brahms)

(3) d i s c u s s i o n of p e r f o r m a n c e p r a c t i c e s , s u c h as the u s e
of p eda l in B a c h (At the P i a n o w i t h J. S. B a c h )

(4) f o o t n o t e s in t h e text, d o c u m e n t i n g i n f o r m a t i o n on
c o m p o s e r ' s b a c k g r o u n d , career, s t y le
c h a r a c t e r i s t i c s , et cetera.

(5) bibliography

Hinson's collections have been consistently p raised

for the q u a l i t y a nd u s e f u l n e s s of the t e xtu al information

included. In his r e v i e w of H i n s o n ' s four-volume collection,

Masters o f --E n q l i s h , F r e n c h , R u s s i a n , Spanish Piano Music

(1990, Alfred) Richard S h a d i n g e r w ro te : "Pianists should

acquire these volumes f or t hi s i n f o r m a t i o n a l o n e , " 10 e c h o i n g

the s e n t i m e n t s of m a n y reviewers. (T ho s e w h o a r e familiar

with Hinson's books on p i a n o l i t e r a t u r e will notice that the

texts to his collections are w r it t e n in a s i m i l a r l y s u c c i n c t

style.) Moreover, t he e d i t o r ' s texts a re c a r e f u l l y tailored

to h i s antic ip at ed audience: intermediate-level piano

students and their teachers. For instance, in At th e Piano

with J. S. Bach (1987, Alfred) Hinson f ir s t relates

interesting details of t he c o m p o s e r ' s life, then discusses

important traits of B a c h ' s s ty le , and finally the individual

p ie c e s . In c o n t ra s t, Palmer's Bach: 18 S h o rt Preludes (1971,

Alfred) b e g i n s w i t h a t h o r o u g h d i s c u s s i o n of s o u r c e s

f o l l o w e d by a t w o - p a g e ornament chart a n d g en er al

information on t h e s tyle.

Hinson's texts are usually divided i n t o s ix to n i n e

main sections that m a y be u n d e r s t o o d w h e n s t u d i e d separately

or as o ne entit y. A c c o r d i n g to H i n s o n , his goal in

presenting t he m a t e r i a l in this m a n n e r w as to i n c r e a s e the

likelihood that the m a t e r i a l w o u l d a c t u a l l y be r e a d by the

student, rather than simply i g n or e d, as is so o f t e n t he

c a s e .11

10R i c h a r d S h a d i n g e r , r e v i e w of M a s t e r s of
(E n g l i s h . F r e n c h , R u s s i a n . S p a n i s h ) P i a n o M u s i c ,
e d i t e d b y M a u r i c e H i n s o n , in A m e r i c a n M u s i c T e a c h e r ,
( D e c e m b e r / J a n u a r y 1 9 9 1 / 92 ): 72,74.

u M a u r i c e H i n s o n , i n t e r v i e w by a u th or , t a p e
r e c o r d i n g , B i r m i n g h a m , A l a b a m a , 28 F e b r u a r y 1994.
 29

H i n s o n ' s At t he P i a n o w i t h - - J. S. B a c h , S o ns of B a c h ,

et cetera is a s i x t e e n - v o l u m e series that includes the music

of t he f o l l o w i n g composers:

J. S. B a c h L i s zt
S o n s of B a c h Felix and Fanny M e n d e l s s o h n
Beethoven Mozart
Chopin Ra vel
Debussy Robert and Clara Schumann
Haydn Scarlatti
Joplin Tchaikovsky
Kabalevsky Women Composers

This series is d e s i g n e d to a c q u a i n t students w i t h t he

various composers to w h i c h e a c h v o l u m e is d e d i c a t e d ,

s u p pl yi ng information about their lives, t h e i r m u si c , a nd

the historical background of t h e i r p a r t i c u l a r m u s i c a l

periods. Hinson fervently believes that b y p r o v i d i n g th is

i n f o r m a t i o n he i n c r e a s e s the p r o b a b i l i t y t hat the student's

performance of th e l i t e r a t u r e will be m o r e stylistically

c o r r e c t .12

An excellent example of th is type of collection is At

the Piano with M ozart (1986). The t ex t u a l material in this

volume is d i v i d e d into s i x m a i n parts:

M o z a r t a nd t he C l a v i e r
M o z a r t as P e r f o r m e r
M o z a r t as T e a c h e r
A b o u t the W o r k s in t h i s E d i t i o n
P e r f o r m i n g t he W o r k s in th is C o l l e c t i o n
T h e P u r p o s e of t h is E d i t i o n 13

12M a u r i c e H i n s o n , i n t e r v i e w by a ut h or , t a p e
r e c o r d i n g , 19 A u g u s t 1993, B i r m i n g h a m , A l a b a m a .

13M a u r i c e H i n s o n , ed., At t he P i a n o w i t h
M o z a r t , V a n N u y s , CA: A l f r e d , 1986), 5-17.
 30

In t h e s e p r e l i m i n a r y p a ge s , Hinson provides information on

Mozart's keyboard instruments a n d h is life, and supplies

details of M o z a r t ’s t e a c h i n g , using letters b y t he c o m p o s e r

to h is f a t h e r L e o p o l d as a source (see E x a m p l e 4, page 31).

He also includes helpful suggestions regarding f i n g e r i n g a nd

ornamentation.

In o t h e r v o l u m e s of t h is s e ri e s, the i n f o r m a t i o n

p r o v i d e d v ar i es , sometimes inc lu di n g more historical d et a i l

or m o r e information about form, as in At t he P i a n o w i t h

Debussy (1986), where H i n s o n maps out t he f o r m of e a ch

p iece. Under th e h e a d i n g "Purpose of th is E d i t i o n , " in e a c h

v o lu m e, information may a l s o vary. For in st an c e, in At the

Piano with M o z a r t . H i n s o n states that d y n a mi c , p ed al, and

metronome markings a re editorial unless otherwise i nd i ca t e d .

In a d d i t i o n , all fingering is e d i t o r i a l . 14 H o w e v e r , in At

t he P i a n o w i t h C h o p i n (19 86 ), the composer's fingering

appears in i t a l ic s ; Chopin's p e da l markings are indicated in

footnotes or in the texts about e a c h p i e c e . 15 It is

important to m e n t i o n h e r e t h at although Hinson's effort to

supply composer fingerings is c o m m e n d a b l e , the A l f r e d

edition's italicized print, recognizable o nl y b y its s l i g h t

s lant, is d i f f i c u l t to d i s t i n g u i s h f r o m its regular print.

In s o m e other collections, s u c h as D a n c e s of B r a h m s , the

14I b i d . , 17.

15M a u r i c e H i n s o n , ed., A t the P i a n o w i t h

C h o p i n , (Van Nuys, CA: A l f r e d , 1986), 15.
 31

MOZART AS TEACHER
Mozart m ust have found it depressing that very few pupils approached his own standards
either in virtuosity or powers of expression. “You happy m an ," he once remarked to
Cyrowetz, who was about to start on a journey to Italy. "As for me, I am off now to give a
lesson to earn my bread." While his attitude fluctuated in regard to the whole m atter of
keyboard perform ance and to having to devote so much tim e and energy to teaching, he
seems ultim ately to have accepted it as a necessary part of his life and as one which was
not w ithout its compensations. "Unless you wear yourself o u t," he wrote to his father from
Paris on July 31, 1778. "by taking a large num ber of pupils, you cannot make much
money." T h at some of his students were extremely slow must be inferred from several
remarks in his letters, and w e can only guess at the drudgery involved, of which there is a
hint on a single sheet in M ozart's autograph (in the Fitzwilliam Museum, Cambridge),
containing some quickly jotted-dow n five-finger exercises.
But he could take pains w ith a backward pupil and a good one caused him much pride.
On June 9, 1784, he w rote to his father: "I am fetching Paisiello in m y carriage, as I w ant
him to hear both my pupil and my compositions." This pupil was Barbara Ployer, for
whom he had composed his Concertos in £ flat (K. 449) and C (K. 453). Another girl in
whose playing he delighted was Franziska von Jacquim, of whom he wrote on January 14,
1787: "1 have never yet had a pupil who was so diligent and w ho showed so much
zeal—and indeed 1 am looking forward to giving her lessons again according to my small
ability." W e get a hint of the bond between himself and some of his students w hen we
read in his father's letter of November 19,1784, that to celebrate his nam e-day, he “gave a
small musical party, at w hich his pupils performed."
Mozart's account of his teaching Rosa Cannabich at Mannheim contains the following
interesting passages taken from letters of November 14-16, 1777:
The Andante [of the sonata K. 309] will give us most trouble, for it is full of expression and
must be played accurately and with the exact shades of forte and piano, precisely as they
are marked. She is very smart and learns very easily. Her right hand is very good, but her
left, unfortunately, is completely ruined. I can honestly say that I often feel quite sorry for
her when I see her struggling, as she so often does, until she really gets quite out of breath,
not from lack of skill but simply because she cannot help it, for she has got into the habit of
doing what she does, as no one has ever shown her any other way. 1 have told her mother
and I have told her too that if I were her regular teacher, I would lock up all her music,
cover the keys with a handkerchief and make her practise, first with the right hand and
then with the left, nothing but passages, trills, mordants and so forth, very slowly at hist,
until each hand should be thoroughly trained. I would then undertake to turn her into a
first-rate clavierist.
It appears th at M ozart was not an ideal teacher, due to certain flaws in his character. He
never suffered fool's flattery and in his earlier years, during the tim e of his stay in Paris,
was too lazy to involve himself with teaching. L ater, despite his spasmodic and harassed
way of life, he m ade an effort to keep to a routine, although his irregular concert
engagements and travel m ust have made it difficult to m eet students on a regular basis. In
February, 1782, he norm ally taught from nine to one. Exactly tw o ye a n later he w rote to
his father on February 10: "I spend the whole morning giving lessons, so I have only the
evening to spare for my beloved task—composition."
Mozart’s financial situation was so desperate by May, 1790, th at he w rote to his generous
friend, Puchberg, on the 17th: "I now have two pupils and should very much like to raise
the num ber to eight. Do your best to spread the news th at I am willing to give lessons."
We do not know w hat Mozart's fees were, nor w hether he charged his aristocratic pupils
at a different rate from his other pupils. Nor have we definite evidence as to the length of

E x a m p 1 e 4: At t he P i a n o w i t h M o z a r t , ( H i n s o n ) ,P r e f a c e ,
p. 10. C o p y r i g h t 19 86 by A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of the P u b l i s h e r .
 32

itali ci z ed print t ha t d e n o t e s the c o m p o s e r ' s fingering is

also s ma l l e r , making it easier to r e c o g n iz e.

In H i n s o n ' s M a s t e r s o f -- T h e m e a nd V a r i a t i o n s ,

Polyphonic P i a n o M u s i c , t he R o m a n t i c P e r i o d , et c et er a, the

pieces in e a c h v o l u m e a re organized according to a s i n g l e

musical form, genre, or s t y l e perio d. T h is series contains

nineteen vo lu me s :

A me ri c a n Piano M u si c Piano Program Music

Baroque Period Polyphonic Piano Music
C haracter Piece Romantic Period
Classical Period R ussian Piano Music
Early Contemporary Music S on a t i n a , B k s . I-III
English Piano M u si c Spanish Piano Music
French Piano Music Suite
Impressionism T h e m e an d V a r i a t i o n s
Piano Fantasy

In t h e s e v o l u m e s H i n s o n traces the d e v e l o p m e n t of

various musical fo rm s a nd includes a variety of c o m p o s e r s

and musical sty le s. Masters of Impressionism (1990) is a

good example of this series.

In M a s t e r s of Impressionism, Hinson presents works by

Chopin, Liszt, Gr ie g, D e bu s sy , Ravel, B ar to k, Ravel a nd

o t he rs . Hinson's preface to t he v o l u m e includes discussion

of th e early development of Impressionism, a nd its full

flowering in th e m u s i c of D e b u s s y a n d Ra ve l. By i n c l u d i n g

Scriabin's "Desire," Op. 57 a nd Cyril Scott's "Lotus Land,"

Op. 47, No. 1, H i n s o n clarifies for t he s t u d e n t that the

influence of the i m p r e s s i o n i s t s t y l e w as s tr on g, extending

beyond the w o r k s of D e b u s s y a nd Ra vel. A bibliography a nd

list of s o u r c e s for f u r t h e r reading are a l s o included (see

 33

Examples 5a-b, pages 34- 35 ). As in o t h e r v o l u m e s , H i n s o n is

c a re f ul to d i s t i n g u i s h b e t w e e n original material and

editorial suggestions. For e x am p le , in t h i s v o l u m e D e b u s s y ' s

fingering is p r i n t e d in i ta li c s. (All other fingering is

editorial.) Similarly, Debussy's pedaling is identified in

the f o o t n o t e s . (All other p e daling is e d i t o r i a l . ) The

metronome markings are editorial, unless otherwise indicated

in t h e f o o t n o t e s , an d F r e n c h t e r m s in t h e s c o r e s appear with

their En glish translations, a d d e d b y t h e editor.

Masters of P o l y p h o n i c Piano Music (1989) includes

music f r o m t he B a r o q u e , Classical, Romantic, a nd

C o n t e m p o r a r y p e r i od s . In t hi s v ol u me , Hinson provides a

compilation of repertoire t ha t is e x t r e m e l y u s e f u l for s t u d y

of contrapuntal style, a very challenging area for m o s t

young pianists. I n c l u d e d a re s e v e r a l fugues, as well as

pieces in f u g a t o style. Hinson provides thoughtful

instruction in f u g u e s t y l e b y c l e a r l y m a r k i n g t he s u b j e c t

and answer entries wi t h brackets; he a l s o labels episodes

(identifying their modulations where necessary), various

s t r e tt i , a n d c o d as in s ev e r a l of t he p ie c es . These pieces

t hus m ay s e r v e as m o d e l s for s t u d y i n g the f o r ms of the o th e r

pieces in t he v o l u m e (see E x a m p l e s 6a-b-c, page 36).

 34

ness—the sam e attitude tow ard life and nature
that drove the Impressionist painters out of their
indoor studios into the open. Debussy wanted to
make his music sound like a continuous improvi­
sation, thereby averting the dan g er of a purely
intellectual response. He was a great poet among
musicians, and his mosaidike conception of form
influenced by pure sensation, his creation of musi-
a i texture from the intermingling of fluid sonori­
ties—all opened whole uncharted areas of mind
and emotion, none of which had been available in
m usical term s before. H e m ad e m usic create
atmosphere, made it evoke and suggest made it
express in understandable yet necessarily elusive
terms the great subtleties and variations of nuance
that had previously remained exclusively with the
painters and poets. Debussy felt that m usic being
an art that existed not in space but in time, could
.approach m ore closely the Im pressionist ideal
man painting, since in painting the play of light
can only be realized in a static manner, whereas
Tnusic can convey me sense of constantly chang­
ing movement, of continual flux, far more effec­
tively. But many of Debussy's Impressionist piano
pieces appear similar to Impressionist paintings
precisely because mere seems to be no real move­
ment or progression; they appear as 'static trans-
fixations of me fleeting moment, on me point of
dissolution but 'frozen' in a specific moment in
time.*’
M u sic a l T e c h n iq u e s
40
Debusy: Incomplete chords, floating. The tone
must be made to sink. (0 font itoyer It ton) One
can travel where one wishes and leave by any
door. Greater nuances.
Guiraud: But when I play this (Ex. b l it has to
resolve.
Dtbusttp .1don't see that it should. Why?
Guiraud: Well, do you find this (Ex. Ibl lovely?
Drbuszy: Yea, yes, yes! There b no theory You
merely have to listen. Pleasure b the law.
Ex. b Ex. lb
This use of parallel chordal motion (Ex. Ib) dissi­
pates harm onic tension. The urge for resolution
disappears.
2. Whole-tone sc ale
This evocative scale is of oriental origin; it is elu­
sive, for each tone is just as important as the next;
therefore there is no one tone that predominates.
Debussy used it in many of his works and used it
exclusively in Voiles (see pages 32-35).
(Dob aa rythnas arm rigoaar et am n al)

used by th e I m pressionists
L Plainsong. This offered the Impressionists use
of the old chu rch m o d es w ith th e ir varied
arrangement of internal sequence. Debussy con­
ceived of chords as abstract sonorities, as self-suf­ tunacordal
ficient entities released from restrictio n to a
melodic line, and thus brought into use the princi­
ple of "nonfunctional" harmony—harmony that measures 1-2 Voder
doesn't function according to the rules of tradi­ 3. Folk music. Debussy had a great love for me
tional tonal relations. For example, he juxtaposed penta tonic scale found in the folk music of Russia
unrelated major and m inor chords in root posi­ and m e Far E ast This scale influenced his har­
tion, and meandered at will in sequences of open monic thinking considerably. The arabesques of
fifths. He gradually abandoned the major-minor oriental m onody often determined the shape and
or tonal system and avoided m e tonic-dominant direction of his unusual melodic lines.
relationship. W hatever the source, there was
always me ear as me final judge. Lockspeiser # ^ \
quotes a fascinating exchange on m e subject of ■■■■
harmony between Debussy and Earnest Guiraud,
his friend and teacher at the Paris Conservatoire.
The following is an extract:
H T 1 Hi 171 IT "? 1
Ciriraud (Debussy having played a series of
chords on the piano): What's that?
"Christopher Palmer. Impnsuonaxt m M u x . p. 20. l a collina (TAmcapn measures 19-20

Ex. 5a: M a s t e r s of I m p r e s s i o n i s m . ( Hinson), P re f a c e , p. 7.

C o p y r i g h t 1990 by A l f r e d P u b l i s h i n g Co., Inc. U s e d
w i t h P e r m i s s i o n of the P u b l i s h e r .

Cyril Scott's originality earned him the title “the
English Debussy." He acquired fame as a com­
poser of exotically flavored piano pieces, of
w hich Lotus Land has becom e an e n d u rin g
favorite. His ingratiating suite Impressions of the
Jungle Book, after Kipling, w as also very well
known. Scott wrote in a style that was strongly
influenced by French Im pressionism and used
sonorous parallel progressions of unresolved dis­
sonant chords as well as the whole-tone scale.
Bela Bartdk said: "Debussy was the greatest com­
poser of our period." Bartdk discovered Debussy
in 1907, two years after he had set out on his folk
song research trips. It is likely that some ele­
ments found in the Hungarian folk style (e.g., the
use of the penta tonic scale and a certain impro­
visatory character) m ade Bartdk particularly
receptive to the French m a s te r's art. Bartdk
acknowledged in a brief biographical note writ­
ten in 1921 that three composers had influenced
his work: Liszt, Richard Strauss and Dehussy.
D ebussy's influence was the m ost lasting; the
lum inosity of the Impressionistic color scheme
can be observed even in som e of Bart6k's later
works.
A bo u t T h is
C o llection
Masters of Impressionism is a perform ing critical
edition aim ed at helping the pianist achieve an
authentic Impressionistic performance. Reliable
sources have been used and are identified in the
discussion of each piece. The composer's finger­
ing is printed in italics where I could positively
id en tify it. A ll o th e r fin g erin g is editorial.
Debussy never wrote fingering in his pieces. He
told his pub lish er that fingering m ust fit the
h an d , an d th at w h a t is co m fo rtab le for one
pianist may not be suitable for another.
I have retained each com poser's pedaling (identi­
fied in footnotes) and added others where need­
ed to help clarify the musical idea or effect It is
almost impossible to accurately notate the sub­
tleties required in pedaling Impressionistic piano
music. Debussy realized this and it is surely why
he indicated so few pedal markings in his scores
(less than 20 pedal m arks in his entire piano
music). Therefore, the pedal indications in this
edition must be taken as suggestions and approx­
im ations of the actual p ed alin g required for
musical performance. The pianist should experi­
Ex. 5b; M a s t e r s of I m p r e s s i o n i s m , (Hin so n), P r e f a c e , p. 9.
C o p y r i g h t 1 99 0 by A l f r e d P u b l i s h i n g Co., Inc. U s e d
w i t h P e r m i s s i o n of the P u b l i s h e r .
35
ment with half-pedal and flutter pedal to arrive
at the m ost m usical solution. The sign i i
in d ic a te s n o rm al d e p re ss io n o f th e d a m p e r
pedal. The sign i_____ j indicates use of half or
less than full depression of the pedal, and j v u v w
indicates flutter pedaling. "Una c o td a ' (the left
or soft pedal) is indicated a few times. The term
't r e c o rd e ' indicates release of the una corda
pedal.
Ail metronome marks are editorial unless other­
w ise id en tified in footnotes. All m aterial in
parentheses is editorial. French terms have been
translated into English. The pieces in this collec­
tion have been selected with the intermediate to
m oderately advanced pianist in m ind an d are
arranged alphabetically in order by composer.
The Sz. num ber for Bartdk's music is by A ndris
SzoUosy and is from the numbering system used
in The New Grove Dictionary of Music, 1980.
S o urces C o n su lted in th e
P reparation o f T his
C o llection
Otto, D eri Exploring Twentieth-Century M usk.
New York. 1968.
Roy H ow at Debussy in Proportion. Cambridge,
England, 1983.
Edward Lockspciser. Debussy: His Life and Mind
(2 vols.). London, 1965.
C hristopher Palmer. Impressionism in M u sk.
New York, 1973.
Fo r
F u r t h e r R e a d in g
Martin Cooper. French M usk. New York, 1951.
E dgar A llan Poe. "The P hilosophy of Com ­
position," in The Complete Works of Edgar Allan
Poe, ed. James A. H arrison. New York, 1902
(reprinted 1965), voL 14, pp. 193-208.
J. Rewald. The History of Impressionism. N ew
York, 1946.
 36

subject Johann Pachelbel

episode (1655-1706)

answer

subject

Ex. 6a: P a c h e l b e l G i gu e , mm. 1-4. M a s t e r s of P o l y p h o n i c

P i a n o M u s i c , ( Hi ns on ). C o p y r i g h t 1 9 8 9 b y A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

A llegretto ( ^ * c. 7 2 ) ke^of A

su?ec‘ ....... - .....................e j . . . -Q—-CfSL

1_ _ r ~ “ L
* ? f 5 l

PW =
Ex. 6b: W. F. B a c h F u g a in D m a jo r , mm. 1-3. M a s t e r s of
P o l y p h o n i c P i a n o M u s i c . ( H i n s o n ) .C o p y r i g h t 19 89 by
A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of
t he P u b l i s h e r .

(Allegretto, J = c. 521
Ludwig van Beethoven
subject
(1770-1827)

Ex. 6c: B e e t h o v e n Fuga, mm. 1-6. M a s t e r s of P o l y p h o n i c P i a n o

P i a n o M u s i c , (Hi nso n) . C o p y r i g h t 19 89 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h
P e r m i s s i o n of the P u b l i s h e r 1989.

In the D a n c e s o f - - B e e t h o v e n , B r a h m s , C h o p i n , et

c e te ra , H inson has created a series in w h i c h e a c h v o l u m e

 37

uses a similar format for t he t e xt u al material; however,

each v olume varies in o t h e r s i g n i f i c a n t ways. T h is six-

volume series includes music of the following composers:

Beethoven
Brahms
Chopin
Debussy
R a ve l
Schubert

In D a n c e s of B e e t h o v e n (1986), Hinson defines each

dance f o r m a p p e a r i n g in t he c o l l e c t i o n a n d e x p l a i n s t he

general intention of t h e c o l l e c t i o n , w h i c h is to p r o v i d e an

opportunity to learn about t he f orm s themselves, as well as

to a c q u i r e v a r i o u s m u s i c a l a nd t e c h n i c a l skil ls . In a d d i t i o n

he d i s c u s s e s pedaling, ornaments, tempo, dynamics, a nd

articulation. Interestingly, t h e r e is no i d e n t i f i c a t i o n of

sources for t h e m us ic . On c e r t a i n p a g e s throughout the

collection, Hinson includes information that is r e l e v a n t to

the compos it i on on t h a t page. For instance, th e "Country

Dance" WoO 14, No. 7, is i d e n t i f i e d as t h e t h e m e that

B ee t h o v e n used in t he F i n a l e of the E r o i c a Symphony, in the

Fifteen Variations a n d F u g u e , Op. 35, and in t he B a l l e t " Th e

Creatures of P r o m e t h e u s . " 16 L a t e r v o l u m e s in t he s e r i e s

include more extensive background i n f o r m a t i o n and

performance instructions.

In c o n t r a s t to the D a n c e s of B e e t h o v e n . H i n s o n ' s

Dances of B r a h m s (1992) includes a suggested teaching order,

16M a u r i c e H i n s o n , e d . , D a n c e s of B e e t h o v e n ,
(Van N u y s , CA: A lf r e d , 1986), 12.
 38

grouping of th e p i e c e s for u se in p r o g r a m m i n g , as well as

specific information about e a c h piece. In a d d i t i o n , the

editor discusses B r ah ms ' irregular phrasing, using for

illustration excerpts f r o m s o m e of the p i e c e s in the

collection (see E x a m p l e 7, p a g e 39). Hinson provides yet

another tool of instruction in his D a n c e s of D e b u s s y (1988).

This volume contains a two-page l e s s o n on the p r o p e r voicing

of D e b u s s y ' s mu s ic , including extensive exercises. Hinson

clearly supports the i d e a that a correct performance of

Debussy's m u s i c m u st begin with a mastery of the p r o p e r tone

quality and voicing (see E x a m p l e 8, p a g e 4 0 ) . 17

One of H i n s o n ' s most valuable contributions is the

addition of n e g l e c t e d repertoire to the m a i n s t r e a m

literature f or p i a n o a n d p i a n o s t u d en t s. The following

collections are representative of t hi s important literature:

A t the P i a n o w i t h F e l i x a n d F a n n y M e n d e l s s o h n
At t he P i a n o w i t h R o b e r t an d C l a r a S c h u m a n n
A t th e P i a n o w i t h S c o t t J o p l i n
At the P i a n o w i t h W o m e n C o m p o s e r s
M a s t e r s of A m e r i c a n P i a n o M u s i c
M a s t e r s of E a r l y C o n t e m p o r a r y M u s i c
M u s i c of V i c e r e g a l M e x i c o
12 x 11 - P i a n o M u s i c in T w e n t i e t h C e n t u r y A m e r i c a

Hinson's editions represent a significant contribution to

pedagogical literature in t h r e e d i f f e r e n t areas: music of

female composers, c o n t e m p o r a r y m usic, a nd A m e r i c a n music.

17M a u r i c e H i n s o n , ed. Dances of D e b u s s y , (Van

Nuys, CA: A lf r ed , 19 88), 10.
 39

N o . 8 __________________________________________ SO Brahms later underlines this shifted right-hand rhythm by

adding an agogic accent as a reinforcement:
T h is is one o f the gems o f the set and contains a m ost attrac­
tive rhythm . T h e dolce and sotto voce mood is eleganc, and
the frequent left-hand skips are characteristic o f Brahm s’s
piano writing. H ere are the principal elements o f Brahms!:
style in miniature:
1. T h e seven-measure pedal point on B-flat (measures 1-7)
and D -flat (measures 13-19).
2. T h e chromatic passagenork within the confines o f the measures 12-16
simpler cop voice and bass.
Im m ediately follow ing this passage the musical texture is
3 . T h e implications o f original thythm ic patterns.
complicated by th e appearance o f an inner, third melodic
All these elements are present along with charm, grace and line. T his inner p a rt supports the left-hand accompaniment
finesse. T h is dainty waltz is th e picture o f geniality and in i s struggle against the shifted rhythm o f the uppermost
innate happiness. line. T h e m usical,dimax o f th e piece is reached at this point
(measure 16):
N o. 9 ........................................................... ............... .51
T h is melancholy waltz seems to grow o ut o f N o. 8. T h e
a p ra i rvo indication should alert the pianist to be flexible
w ith th e tem p o . S p rin k le som e “ te n d er, loving c a re ” m =
th ro u g h o u t! T h is m iniature— shy, sad, even introspec­ 1 ) —

tive—has a m elody rem iniscent o f N o . 18 o f Schum ann’s n r r r - 1

Davidsbwidler Danca. F or the m ost part, Brahmsb piece jux­
taposes the right hand against the left. Although both hands
play a triple-rhythm pattern o f accents (strong - weak -
weak), the right-hand p a n has the main pulse on beat three,
and th e left hand m aintains the m ain pulse on beat one.
T herefore, the m etric accent is displaced in the right hand.
T h is serves to emphasize beat three by means o f the contour
and a preceding rest. As a result, it conflicts subtly with the
regular m etric pattern in the accompaniment:
measures 1—4
b p 1[ r 1 1, f 1
"■W.--- *1 --- 1
16-20
T his innocent-looking th in-tenured waltz features a thicker
tenure on m ost o f th e second beats. I t almost continuously
presents a three-layer rhythm ic texture. Various forms of
accent alternately emphasize beat one (left hand), beat two
(chord texture) and beat three (right hand). T hree cadences
(measures 6-8, 2 2-24 first ending, and 27-29 second end­
ing) use a 6 /4 grouping o f two measures. In this case, the
implied 6 /4 shift begins on the third written beat. Notice
how the contour creates the conflicting m eter
«
4

4
measures 6 -8

Ex. 7: D a n c e s of B r a h m s . (Hinson), P r e fa c e, p. 14. C o p y r i g h t

1992 by A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h
P e r m i s s i o n of t h e P u b l i s h e r .
 Debussy was very particular about a mellow, liquid tone production, so m uch so that when,
on rare occasions, he played in public, he requested the top of the concert grand remain
closed, to better produce that sonority. Successful production of this type of tone, so m uch a l e r flo
o r m in g
part of Debussy's music, lies in the ability to produce subde dynam ic sh a d in g - in particular, th e
an effective pianissimo.
P ieces
All of the pieces in this collection require the pianist to play pianissimo. This technique m ust
be mastered to effectively periorm Debussy's piano music. Use the following procedures to in
help develop this technique: th is
Depress both the una corda (left) and damper (right) pedals and begin playing the chord of C C ollection
major (C-E-G):

(No. 1)

Begin piano. Listen carefully and critically and be sure all three notes sound together. Also, be
sure that the three have exactly the same volume , so that none is heard louder than the
others. Play more and more pianissimo. Then vary the series, playing m ore slowly in order to
hear more carefully the vibrations produced:

(No. 2)

Keep the fingertips in contact with the keys at all times, even betw een the playing of each
chord. The fingers should have a certain flexible firmness, w ith no stiffness.
The cushions of the fingertips should be very sensitive, and through their 'fe e l/ you should
almost be able to predict the tone quality that will occur w hen a key is depressed. This was
one of Debussy's ow n principles:
Play with more sensitiveness in the fingertips. Play chords as if the keys were being attracted to
your fingertips, and rose to your hand as to a magnet.
Using the same procedure, practice other three-note chords:

(No. 3) n ■ 1'fT fT - -■))■ -s*— tt-nr*— ■' flcra

Also four- and five-note chords:

If a key is depressed gently and slowly, just before it reaches the bottom there is a slight
resistance, which releases under continued finger pressure. This is called the 'double escape'
of the piano action. You can use this part of the action to great advantage in your pianissimo
playing, by getting your tone from this lower part of the stroke. Be sure and keep your fingers
in constant contact with the keys, and do not allow the keys to com e all the way back u p -
onfy about halfway, keeping the two pedals depressed all the time.
For the next step, w e need to practice bringing out in turn each single note of all the chords we
previously practiced, since Debussy's music m akes frequent use of this technique:

LA
(No. 5)

I 011 (Emphasize the solid notes)

D a n c e s of D e b u s s y . (H inson), P r e f a c e , p. 5. C o p y r i
1 988 by A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h
P e r m i s s i o n of t h e P u b l i s h e r
 41

H i n s o n ' s At t he P i a n o w i t h W o m e n C o m p o s e r s (1990)

offers excellent examples of this literature. The volume

contains eighteen pieces by c o m p o s e r s from nine different

countries, spanning a two-hundred y e ar p er i o d . In t he past,

the music of female composers w as infrequently taught,

except for e l e m e n t a r y - 1evel pieces in m e t h o d b ooks. In

r e ce n t years, however, r e s e a r c h h as u n c o v e r e d a substantial

body of l i t e r a t u r e by female composers of w h i c h m a n y

pianists and piano teachers had little knowledge. Hinson's

v o lu m e, p u b l i s h e d in 1990, was on e of t he f ir st of its kind.

The editor go es quite b e y o n d th e w o r k s of F a n n y H e n s e l t

Mendelssohn and Clara Schumann, w hi c h have been recently

s t u d ie d , performed, a n d r e c o r de d . Repertoire in his

collection also includes works of E l i z a b e t t a De G a m b a r i n i

(1731-1765), Maria Szymanowska (1789-1831), A gathe Backer-

Grondahl (1847-1907), Teresa Carreno (1853-1917), Cecile

Chaminade (1857-1944), Amy M ar cy Beach (1867-1944), a nd

others.

Biographical sketches of each composer are provided,

including details of t h e i r m u s i c a l training a n d c a r ee r s, as

well as i n f o r m a t i o n regarding the q u a n t i t y and types of

their compositions. Of particular interest is H i n s o n ' s

information about Cecile Chaminade. Although many piano

teachers ar e familiar w i t h h er " Sc a rf Dance" Op. 37, No. 3,

an old r e ci ta l favorite, few w o u l d k n o w t ha t Chaminade

 42

composed over two h u n d r e d p i a n o p ie c e s , as well as an o p e r a

a nd w o r k s f or o r c h e s t r a . 18

Because these composers and their works are quite

unfamilar to m a n y teachers and students, Hinson's

bibliography is p a r t i c u l a r l y v a l u a b l e . Among o t h er

references included is A a r o n C o h e n ' s International

Encyclopedia of W o m e n C o m p o s e r s , a t w o - v o l u m e w o r k . 19 ( T h e s e

sources were all published in t h e l at e 1980s, reflecting the

recent nature of this research.) Hinson suggests th at some

or all of t he p i e c e s might be p r o g r a m m e d on a r e ci ta l

dedicated to th e w o r k s of w o m e n composers, s o m e t h i n g he has

done n umerous times.

For many y e a r s H i n s o n ha s b e e n an a d v o c a t e of A m e r i c a n

mu si c. In 1961, he compiled a list of s o n a t a s and sonatinas

by A m e r i c a n - b o r n composers (1900-1960) for the A m e r i c a n

M u s i c T e a c h e r .20 T h i s was followed by a series of four

articles (appearing in t he s a m e j ou rn a l) a b o ut t he s o lo

piano works of V i n c e n t P e r s i c h e t t i ,21 A l a n H o v h a n e s s , 22

18M a u r i c e H i n s o n , ed. At t he P i a n o w i t h W o m e n
C o m p o s e r s , (Van N u y s , CA: A l f r e d , 1 990), 4.

19A a r o n I, C oh e n , e d . I n t e r n a t i o n a l
E n c y c l o p e d i a of W o m e n C o m p o s e r s . 2 vols. N e w York:
B o o k s a n d M u s i c (USA) Inc., 1987.

20M a u r i c e H i n s o n , " P u b l i s h e d S o n a t a s a nd
S o n a t i n a s by A m e r i c a n B o r n C o m p o s e r s 1 9 0 0 - 1 9 6 0 , "
A m e r i c a n M u s i c T e a c h e r 10 ( J u l y - A u g u s t 1961): 10-11.

21M a u r i c e H i n s o n , " T h e S o l o P i a n o W o r k s of
V i n c e n t P e r s i c h e t t i , " A m e r i c a n M u s i c T e a c h e r 15 ( A pr il -
M a y 1966): 38-39, 59.
 43

Norman Dello J o i o , 23 a n d R o s s Le e F i n n e y . 24 A c c o r d i n g to

Hinson, the s c a r c i t y of A m e r i c a n p i a n o m u s i c on p i a n o

recitals ca n be t r a c e d to the p i a n i s t ' s t ra i n i n g :

A p i a n i s t , no m a t t e r h o w a dv a n c e d , o f t e n s t u d i e s a n d
p e r f o r m s th e m u s i c h i s t e a c h e r has a s s i g n e d .
U n f o r t u n a t e l y , m a n y p i a n o t e a c h e r s in t he U n i t e d S t a t e s
d o n ot r e a l i z e t h e r e is s u c h a t h i n g as A m e r i c a n p i a n o
m u s i c .25

Hinson encourages teachers to e x a m i n e their teaching an d

performing repertoire, replacing " o ld w a r h o r s e s " with " n ew

i n g r e d i e n t s ." 26

From 1 97 1 to the p r e s e n t H i n s o n has p r o d u c e d editions

for B e l w i n M i l l s , Willis, Hinshaw, a nd Alf re d.

Representative of t his literature are the following

collections:

A l e xa n de r Reinagle: F i v e S c o t s T u n e s (1985, H i n s h a w )
A lex a nd er Reinagle: T h i r t e e n S h o rt an d E a s y D u e t s
(1977, H i n s h a w )
A l e x a n d e r R e i n a g l e : T w e n t y - f o u r S h o r t a nd E a s y
P i e c e s (1975, H i n s h a w )
F r a n c i s H o p k i n s o n : S e v e n So ng s for the H a r p s i c h o r d
(1987, H i n s h a w )
A m e r i c a n I n d i a n M e l o d i e s (1977, H i n s h a w )
A t th e P i a n o w i t h S c o tt J o p l i n (1990, A l f r e d )

22M a u r i c e H i n s o n , " T h e S o lo P i a n o W o r k s of A l a n
H o v h a n e s s , " A m e r i c a n M u s i c T e a c h e r 16 ( J a n u a r y 1967):
22-24, 44.

23M a u r i c e H i n s o n , " T h e S o lo P i a n o W o r k s of
N o r m a n D e l l o J o i o , " A m e r i c a n M u s i c T e a c h e r 16 ( J a n u a r y
1967): 34, 48.

24M a u r i c e H i n s o n , " T h e S o lo P i a n o W o r k s of R o s s
L e e F i n n e y , " A m e r i c a n M u s i c T e a c h e r 20 ( J u n e - J u l y
1971): 16 -18, 40.

25Ibid. , 16.

26I b i d .
 44

D a n c e s of the Y o u n g R e p u b l i c (1977, H i n s h a w )
P i a n o M u s i c in 1 9 t h C e n t u r v A m e r i c a (1975, H i n s h a w )
12 x 11 - P i a n o M u s i c in T w e n t i e t h C e n t u r y A m e r i c a
(1979, H i n s h a w )

E x a m i n a t i o n of t h e s e v o l u m e s reveals that, in the realm of

pedagogical literature, Hinson's coverage is u n u s u a l l y

broad: American I n d i a n mu si c, A f r i c a n - A m e r i c a n mu s ic , a nd

music of e i g h t e e n t h , nineteenth, a nd t w e n t i e t h - c e n t u r y

America a re all represented.

O n e of H i n s o n ' s recent volumes, Masters of A m e r i c a n

Piano Music (Alfred, 1992) offers excellent coverage of this

music. The preface to t h e collection contains a brief

historical survey of p i a n o m u s i c in A m e r i c a , f o l l o w e d by a

bibliography containing numerous r ec e n t sources and a

suggested teaching order for t he p ie ce s. Commentary is

supplied for e a c h p i e c e a nd s o u r c e s a re carefully

identified. A wide variety of repertoire from the eighteenth

t h r o u g h the twentieth centuries is o f f er ed , including such

pieces as H e i n r i c h ' s "Philadelphia Waltz," Op. 2, No. 2;

J o p l i n ' s . " G l a d i o l u s Rag "; MacDowell's "To A W h i t e P i n e , " Op.

62, No. 7; and Barber's " Lo v e Song."

H i n s o n has a l s o edited the f o l l o w i n g collections that

c o n t a i n t e c h n ic a l exercises a n d etudes.

Bra hm s: 51 E x e r c i s e s (1985, A l f r e d )
Burgmuller: 12 B r i l l i a n t a n d M e l o d i o u s S t u d i e s , Op. 105
(1991, A l f r e d )
Burgmuller: 18 C h a r a c t e r i s t i c S t u d i e s , Op. 10 9
(1991, A l f r e d )
Cra me r: 50 S e l e c t e d S t u d i e s (1992, A l f r e d )
Czerny: 24 S t u d i e s for the Left H a n d , Op. 718
(1991, A l f r e d )
Czer ny : 40 E x e r c i s e s , Op. 337 (1991, A l f r e d )
 45

C z er ny : 100 P r o g r e s s i v e S t u d i e s W i t h o u t
O c t a v e s . Op. 139 (1991, A l f r e d )
C z er ny : 125 E x e r c i s e s in P a s s a g e P l a y i n g , Op. 261
(1991, A l f r e d )
C z er n y: 160 E i g h t - b a r E x e r c i s e s , Op. 821
(1991, A l f r e d )
Moszkowski: 15 V i r t u o s i c E t u d e s , Op. 72
(1992, A l f r e d )

Hinson's editions of the B r a h m s 51 E x e r c i s e s an d the

Moszkowski 15 V i r t u o s i c E t u d e s , Op. 72 a re the m o s t advanced

of these volumes and contain additional i n f o r m a t i o n not

f o u n d in t he other technical collections. In t he B r a h m s

collection Hinson provides interesting background

i nf ormation and a brief pedagogical analysis of e a c h

exercise. In a d d i t i o n , th e e d i t o r includes an i n d e x that

organizes t he e x e r c i s e s i n to technical categories, s u c h as

s ca le s, r e p e a t e d n ot e s , an d b r o k e n chords. T he i n d e x is an

invaluable a id to the t e ac h er , who can choose appropriate

exercises without scanning the e n t i r e collection in the

process.

The format for t h e M o s z k o w s k i etudes is s i m i l a r to

that used in a n u m b e r of o t h e r H i n s o n collections. Th e

preface contains a biographical s k e t c h of the c o m p o s e r , a

concise description of his style, pertinent information

about t he w or ks , a n d a list of s o u r c e s used in p r e p a r i n g the

e d i ti o n. A t ec h n i c a l analysis of e a c h etude fo llo ws ,

including performance suggestions.

In a d d i t i o n to t he f ou r s e r i e s d i s c u s s e d above,

H i n s o n has edited three volumes of A l f r e d ' s six-volume

Essential R e p e r t o i r e s er ie s. These volumes are s i m i l a r

in f o r m a t to A g a y ' s M u s i c for M i l l i o n s s e rie s,

containing approximately eighty compositions each. T he

f i rst three volumes were e d i t e d by t he la te L y n n F r e e m a n

Olson. Hinson's Essential Intermediate Keyboard Repertoire

(1990, Alfred) and Essential Keyboard Repertoire Requiring a

Hand Span of an O c t a v e or Le ss (1991, Alfred) contain

repertoire f r o m the B a r o q u e , Classical, Romantic, a nd

Contemporary periods. The repertoire in th e f irs t of t he two

volumes is d i v i d e d a c c o r d i n g to early, middle, an d late

intermediate l ev e l s and substantial t ex t u a l material is

included in b o t h v o l u m e s . Many of the p i e c e s in t h e se

collections are only a page in length. Hinson's l atest

volume in th is s e ri es , Essential Keyboard Repertoire to

Develop Technique a nd M u s i c i a n s h i p (1993, Alfred)

concentrates on s p e c i f i c keyboard techniques, including

s c al e s, arpeggios, ana o ct aves.

A l t h o u g h H i n s o n h as edited a number of collections for

other publishers, i ncluding Hinshaw, Belwin Mills, a nd

European Ame r ic an Music, it is for his A l f r e d collections

t ha t h e is b e s t known. In a d d i t i o n to i n c o r p o r a t i n g

important elements found in o t h e r editions, s u c h as those of

Ferguson a nd P al m e r , H i n s o n has a d d e d his own, expanding

Alfred's original format considerably. His a p p r o a c h to

editing is t h o r o u g h . In m o s t of his editions, sources for

each piece and editorial markings a re c a r e f u l l y identified.

Hinson's editions are especially designed to a pp e al to his

 47

primary audience: the intermediate s tu de nt . His texts are

full of interesting inform at io n that helps p rovide a basis

for u n d e r s t a n d i n g the v a r i o u s styles of m u s i c p r e s e n t e d . The

pieces in e a c h c o l l e c t i o n h a v e b e e n carefully selected from

a huge body of literature and offer to t he s t u d e n t a variety

of s t y l e s and musical g en r e s , including some areas th at have

been under-represented in t h e past, s u c h as twentieth-

century and A me ri c a n music, as we ll as the m u s i c of female

composers.
 CHAPTER 4

A COMPARISON OF R E P R E S E N T A T I V E SCORES

The important characteristics of H i n s o n ' s editorial

style c a n b e st b e e x a m i n e d by s t u d y i n g s e v e r a l editions of

individual t e a c h i n g p ie c es . Two examples have been chosen

for t hi s p u r p o s e : Bach's Prelude in F m a j o r , BWV 927

(editions by L a n n i n g , P al mer , and H i n s o n ) and d e m e n t i ' s

Sonatina in C m a j o r , Op. 36, No. 1 ( e d i t i o n s by S c h i r m e r ,

P a lm e r, a nd H i n s o n ) . Both works a re p l a y e d f r e q u e n t l y by

early intermediate-level pianists and have been chosen

because piano literature f r o m t he B a r o q u e an d C l a s s i c a l

periods presents a considerable challenge to th e e d i t o r of

an i n s t r u c t i v e edition in w a y s that will be d i s c u s s e d

throughout this chapter. T h e e d i t i o n s will be c o m p a r e d in

the f o l l o w i n g ar eas : s ou r c e s , notational accuracy, and

editorial suggestions (d y na m ic s , articulation, and

pedaling). These two selections provide ideal examples for

th e s t u d y of e d i t o r i a l style.

The works of B a c h p r o v i d e a s p ec i al challenge to the

teacher because so f ew p e r f o r m a n c e suggestions a re s u p p l i e d

by the c om p os e r. All decisions as to tempo, f i n g e r in g,

pedaling (or lack of p ed a l ) , articulation, and dynamics m us t

48
be m a d e by t he t e a c h e r s , who may find that their musical

t r a i n i n g h as n ot led to c o n f i d e n t choices in t h e s e a reas.

(I ndeed, the very fact that the m u s i c wa s w r i t t e n to be

p e rf or m ed on h ar p si c h o r d or c l a v i c h o r d m a k e s m a n y of t h e s e

choices challe ng i ng for even the hi gh l y- tr ai n ed teacher.)

Musicological r e s e a r c h a nd s t u d y h a v e p r o v i d e d m a n y clues as

to a u t h e n t i c p e r f o r m a n c e p r a c t i c e , but for m o s t teachers of

intermediate-level students, t he e d i t i o n i t s e l f remains the

primary source of i n f o r m a t i o n in t h e s e areas.

Bach Prelude in F M a j o r

Bach's P r e l u d e in F m aj or , BWV 927, f r o m the C l a v i e r -

Buchlein fur W i l h e l m Fr iedemann Bach (Little Clavier Book

f or W i l h e l m F r i e d e m a n n Bach), is a f a v o r i t e t e a c h i n g pi ece,

often included in p e d a g o g i c a l collections. The examples

chosen for th is s t u d y a re f o u n d in in R u s s e l l L a n n i n g ’s

Music by t h e M a s t e r s (1946, B e l w i n M i l l s ) 27 (a s i n g l e v o l u m e

containing music f r o m t he B a ro q ue , Classic, Romantic, and

C o n t e m po r ar y musical periods), Palmer's Bach: 18 S h o r t

Preludes f or t he K e y b o a r d (1971, Alfred), a n d H i n s o n ' s At

t he P i a n o w i t h J. S. B a c h . (1987, Alfred). Examination of

this piece reveals many examples of w a y s in w h i c h e d i t o r i a l

style in p e d a g o g i c a l w o r k s h as c h a n g e d o v er t he p a s t thirty

y ears. An immediately obvious point is w h e t h e r the editor

27B e l w i n M i l l s is n o w C P P Belwin.
 50

has d i s t i n g u i s h e d hi s o wn m a r k i n g s f r o m t h o s e of the

composer; th is p r a c t i c e is c o n s i d e r e d m u c h m o r e important

now t h an in th e earlier part of thi s c e n t ur y. In t he L a n n i n g

sc or e, none of th e e d i t o r i a l markings has been identified.

In th e P a l m e r sc or e, editorial markings appear in light g r a y

p rin t. In t he t e x t to hi s collection, Hinson states that all

t empo, dynamic, and phrase markings are editorial.

L a n n i n g d o e s n ot identify sources used in t h e

p r e p a r a t i o n of his e d it i on . Palmer identifies a number of

sources, i n c l u d i n g a f a c s i m i l e of t he C l a v i e r - B u c h l e i n .28 a

microfilm of the K e l l n e r m a n u s c r i p t , 29 as well as the B a c h

Gesellschaft, Steingraber ( B i s c h o f f ),30 a n d P e t e r s

e d i t i o n s . 31 H i n s o n ' s sources include a facsimile of the

C l a v i e r - B u c h l e i n and t he N e u e B a c h A u s g a b e ,32 w h i c h is

c o n s i d e r e d by m a n y m u s i c i a n s to be the m o s t reliable modern

edition of B a c h ' s w orks.

28A f a c s i m i l e of t he a u t o g r a p h of t h e C l a v i e r
B u c h l e i n v o r W i l h e l m F r i e d e m a n n B a c h , h e l d by t he m u s i c
l i b r a r y at Y a l e U n i v e r s i t y , N e w H av en , C o n n e c t i c u t .

29A m i c r o f i l m of the m a n u s c r i p t f r o m the estate

of J o h a n n P e t e r K e l l n e r ( B ac h m u s i c m a n u s c r i p t
No. P 80 4) , h e l d by the S t a t e L i b r a r y in B e r l i n
[Preussischer Kulturbesitz].

30H a n s B i s c h o f f , ed., J. S. B a c h C o m p l e t e
W o r k s , (Miami, F L : K a l m u s , 1891). Note: K a l m u s is n o w
o w n e d b y C C P Belwin .

31H a n s J o a c h i m K oh l er , ed. J. S. Bach: Complete

W or k s , ( Leipzig: P et er s, 1950).

32W o l f g a n g P l a t h an d oth er s, e d s ., N e u e B a c h
A u s g a b e . S e r i e s 5, V o l u m e V. K as s el , Ge rm a ny :
B a r e n r e i t e r , 1962.
 51

Comparison of t he L a n ni n g, P a lm er , a nd H i n s o n scores

w i t h t he N e u e B a c h A u s g a b e (1962) reveals no variances in

p i t ch e s. However, Lanning's edition of the P r e l u d e v a r i e s

f r om the N e u e B a c h A u s g a b e in t h r e e ways: an e i g h t h note,

rather than a quarter note appears on the t h i r d b e a t in

measure 4; the r i g h t - h a n d , b r o k e n d o m i n a n t - s e v e n t h c h o r d in

measure 14 is r e p e a t e d as a r o l l e d ch ord, rather than tied;

a n d an o c t a v e F a p p e a r s in the left h a n d i n t h e final

measure, rather t h a n a s i n g l e note. Palmer's e d i t i o n is

identical to th e Neue. B a c h A u s g a b e, w i t h o n e exception: in

the b r o k e n d o m i n a n t - s e v e n t h c h o r d in m e a s u r e 14,

representation of th e tied notes is s l i g h t l y d i f f e r e n t .

Examples 9a -b a n d l O a - b - c s ho w these variances. Notes and

note values in the H i n s o n e d i t i o n ar e identical to the N e u e

Bach A u s g a b e .

The areas of p h r a s i n g a nd a r t i c u l a t i o n g i v e s p e ci al

insight i n t o e a c h e d i t o r ' s work, as B a c h ' s o r i gi n al

manuscripts c o n t a i n e d v i r t u a l l y no a r t i c u l a t i o n or p h r a s e

m a r k i ng s . In e a c h of these instructive editions, the

e dit or s' markings reflect their individual concepts of

Baroque p e rformance practice, and perhaps, the concepts that

were considered "correct" at the ti me t he editions were

published.

Choosing an ar ticulation for repetitive patterns of

eighth or s i x t e e n t h n o t e s proves a challenge for t e a c h e r s

an d e d i t o r s alike. The pattern of s i x t e e n t h s f o u n d in t he

 52

Ex. 9a: B a c h P r e l u d e in F ma jo r , BWV 927, m. 4.

N e u e B a c h A u s g a b e . 33

Ex. 9b: B a c h P r e l u d e in F ma j or , BWV 927, m. 4.

L a n n i n g e d i t i o n . 34

a.

Ex. 10a: B a c h P r e l u d e i n F m aj o r, BW V 927, mm. 14-15.

Neue Bach A u s g a b e .

33N e u e B a c h A u s g a b e , 10-11.

34J o h a n n S e b a s t i a n Bach, P r e l u d e in F m ajor,

B W V 927, in M u s i c by t he M a s t e r s , ed. R u ss e ll
L a n n i n g , ( M i a m i , F L : B e l w i n M i l l s , 1946), 54.
 53

Ex. 10b: B a c h P r e l u d e in F m aj o r, BWV 927, mm. 14-15.

L a n n i n g e di t i o n .

Ex. 10c: B a c h P r e l u d e in F m aj or , B W V 927, mm. 14-15. P a l m e r

e d i t i o n . 35 C o p y r i g h t 1 9 7 1 b y A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of th e P u b l i s h e r .

right hand in m e a s u r e s 1-2 a n d in th e left h a n d in m e a s u r e s

5-6, provides opportunity for examining each editor's

suggested phrasing and articulation. The Neue Bach Ausgabe

provides no markings in e i t h e r i n s t an c e. In h e r book,

Performance Practices in C l a s s i c P i a n o M u s i c . S a n d r a

Rosenblum explains a current philosophy on a r t i c u l a t i o n of

these types of p a s s a g e s .

35J o h a n n S e b a s t i a n Bach, P r e l u d e in F ma jo r ,
B W V 927, in Bach: 18 S h o r t P r e l u d e s , e d . W i l l a r d
P a l me r , (Van N u y s , CA: A l f r e d ) , 20-21.
 54

. . . l eg at o g r o u p s in B a r o q u e , e a r l y C l a s s i c , a n d s o m e
C l a s s i c m u s i c t y p i c a l l y e n c o m p a s s e d t wo to fo ur n o t e s
a n d r a r e l y e x t e n d e d u n i n t e r r u p t e d o v e r a b ar l i n e . 36

In d i r e c t contrast to R o s e n b l u m ' s philosophy, L an n i n g , in

measures 1 a n d 4, suggests a four-note grouping for the

s ix te en t h - n o t e motive, connecting on e n o t e i n t o t he n e x t

beat (Example 11a). Such short phrasing is likely to i m p e d e

the natural rhythmic flow of t h e s i x t e e n t h no te s, a n d ma y

contribute to a d i s t o r t i o n of the rhyt hm . In c o n t r as t ,

Palmer (Example lib) suggests a l o ng legato phrase, two

measures in length, for the s a m e p a s s a g e . In t he H i n s o n

edition ( E x a m p l e 11c), no phrase markings a pp ea r; however,

in t he text to h is collection Hinson s t at es, " . . .

throughout t he B a r o q u e p e r i o d , p l a y i n g i n a d e t a c h e d or n on -

legato m anner was t h e a c c e p t e d s t y l e . " 37 L at er , in

performance notes for the Prelude, Hinson suggests keeping

t he s i x t e e n t h n o t e s in t he P r e l u d e "light and flowing,"

giving further indication of an a p p r o a c h t o w a r d s l i g h t

d e t a c h m e n t .38

The left-hand e ighth notes in m e a s u r e s 5-7 in e a c h of

th e three editions, are m ar k ed s t a c c a t o , contrasting with

th e right-hand running s i x t e e n t h notes. However, in the

36S a n d r a P. R o s e n b l u m , P e r f o r m a n c e P r a c t i c e s in
Classic Piano M u s i c . (Bloomington: Indiana Un iversity
P r e s s , 1 98 8) , 150.

37M a u r i c e H i n s o n , e d . At the P i a n o w i t h B a c h .
( Va n N uys, CA: A l f r e d , 1986), 10.

38Ibid. , 15.
 55

P crese.

Ex. 11a: B a c h P r e l u d e in F m aj or , B WV 927, mm. 1-2

L a n n i n g e d it i on .

Ex. lib: B a c h P r e l u d e in F m aj or , B W V 927, mm. 1-2. P a l m e r

e d i t io n . C o p y r i g h t 1 971 by A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of th e P u b l i s h e r .

5 24 4 2
4 2 5 2 4 2 4 ?2 a

Ex. 11c: B a c h P r e l u d e in F ma j or , B W V 927, mm. 1-2. H i n s o n

e d i t i o n . 39 C o p y r i g h t 1987 b y A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of th e P u b l i sh er .

39J o h a n n S e b a s t i a n Bach, P r e l u d e in F m aj or ,
B W V 927, i n At the P i a n o w i t h J. S. B a c h , e d . M a u r i c e
H i n s o n , (Van N u ys , CA: A l f r e d , 1987), 21.
 56

Lanning edition (Example 12a) the a s c e n d i n g left-hand eighth

notes in m e a s u r e s 5-6 a re g r o u p e d into lo ng p h r a s e s in w h i c h

the last n o t e in e a c h m e a s u r e is c o n n e c t e d to the fi rst n o t e

in t he f o l l o w i n g m e a s u r e . Palmer's use of sh or t, four-note

symmetrical phrasing for the s a m e p a s s a g e (Example 12b) is

consistent with Rosenblum's viewpoint. Hinson (Example 12c)

avoids all such phrasing a nd s i m p l y m a r k s all t he left-hand

notes s t a c ca t o.

dim.

Ex. 12a: B a c h P r e l u d e in F ma jor, BWV 927, mm. 5-6

L a n n i n g ed it io n.

C7~-------- .... .... - 1 ;

— » " ------ m *"
(fo P 3 — ........... “--- i
---- «------1-- * - -- -----
:=*==* = = — ===== = £ = = -
e,rK. .........................................................

■« * ^ "o

Ex. 12b. B a c h P r e l u d e in F m ajor, B WV 927, mm. 5-6. P a l m e r

e dition. C o p y r i g h t 19 71 by A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of th e P u b l i s h e r .

cresc.

Ex. 12c: B a c h P r e l u d e in F major, BWV 927, mm. 5-6. H i n s o n

ed it io n. C o p y r i g h t 1987 b y A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of t h e P u b l i s h e r .
 In th e a r e a s of d y n a m i c s , ac ce nt s , an d p e d a l i n g , all

three editors add numerous suggestions. It is h e r e that the

teacher's choice of e d i t i o n s may become c ri t ic a l. While some

teachers simply alter th e editorial markings as n e e d e d to

conform to t h e i r o wn p e r s o n a l i de a s of p e r f o r m a n c e p r a c t i c e ,

other teachers r e ly h e a v i l y on the s t u d e n t ' s e di ti o n, either

to s a v e time spent m arking and remarking, or as a s o u r c e to

supplement a l ac k of fo rmal training in c e r t a i n areas, such

as o r n a m e n t a t i o n . The t a sk then becomes the s e l e c t i o n of an

edition that somehow strikes a balance between maintaining

the c l a r i t y and general sound characteristics of the

original instrument, the ha rpsichord or c l a v i c h o r d , while

e n h a n c i n g but not overwhelming that s t y l e w i t h the

capabilities of t he m o d e r n piano.

All three editors have added a number of d y n a m i c

markings to t h e i r s c or es. O v er a ll , both Lanning and Palmer

indicate fewer general dynamic le v el s t h a n H in s o n , employing

crescendo a nd d i m i n u e n d o m a r k i n g s that s t r e t c h o ve r s e v er a l

measures. Hinson's dynamic changes occur o v er a s h o r t e r time

span, indicating a different approach, one that is b a s e d

upon a subtle shaping of a s c e n d i n g a nd d e s c e n d i n g m e l o d i c

lines in e a c h h a n d a n d c ar ef ul consideration of c a d e n c e

p oi nt s. Measures 5-8 offer important insight i n to the

different approaches of the t h r e e edi tors.

 58

In m e a s u r e 5 of E x a m p l e 13a, Lanning indicates mf,

f o l l o w e d by a d i m i n u e n d o . No other indication is g i v e n until

t he mf o n the t h i r d b e a t of m e a s u r e 10.

Ex. 13a: B a c h P r e l u d e i n F m ajor, BW V 927, mm. 5-8.

L a n n i n g ed it i on .

In a d i r e c t l y opposite marking, Palmer ( E x a m p l e 13b)

indicates a crescendo from measures 5-6, f o l l o w e d by a

d i m i n u e n d o b e g i n n i n g at m e a s u r e 7, which continues u nt il the

third beat of m e a s u r e 8 w h e r e m p is i n d i c a t e d .

Ex. 13b: B a c h P r e l u d e in F m ajor, B W V 927, mm. 5-8. P a l m e r

ed it io n. C o p y r i g h t 1971 by A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of t he P u b l i s h e r .
 59

In c o n t r a s t , Hinson (Example 13c) indicates mf in

measure 5, followed by a crescendo in m e a s u r e 6 and a

diminuendo in m e a s u r e 7 to the t h i r d b e a t of m e a s u r e 8,

w h e r e mjD is i n d i c a t e d .
5 . 5
m m m 5 3 4 5
r-S n —

cresc.
T'— m—
■■■■I’
= z a 0 |p —: P f T " Lamlnw * ^ ~

.1 2 a 2
I *

E3 _A 5

i
m
m
BSD
s\ ___ 5___ /,

mm
dim. mp

2 a i
4
i 2 4

Ex. 1 3 c: B a c h P r e l u d e in F m aj o r, B W V 927, mm. 5-8. H i n s o n

e dit io n. C o p y r i g h t 1 9 8 6 by A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of t h e P u b l i s h e r .

Comparison of th e three examples reveals th at both

Lanning a nd P a l m e r favor l on g p h r a s e s , in w h i c h t h e d y n a m i c

level changes gradually o v er s e v e r a l measures. H in s o n ,

however, favors an a p p r o a c h in w h i c h h a r m o n i c tension

determines the length of e a c h p hr a se . Hinson's dynamics

follow t he m e l o d i c shape - in th is case, the p i t c h c o n t o u r

of the left h a n d (Example 13c). H i n s o n ’s i d e a s are

consistent w ith those of H o w a r d F e r g u s o n , w h o w r it e s:

 T h e m e l o d i c ri se a n d fall [of a m u s i c a l line] t e n d s to
be e c h o e d by a d y n a m i c r i s e a n d fall; a n d t h o u g h this
m u s t at t i m es g i v e w a y to o t h e r c o n s i d e r a t i o n s , it
u s u a l l y p r o v i d e s a u se fu l s t a r t i n g p oi n t. . . . T h e
p h r a s i n g is a l s o a n i m p o r t a n t fact or : for th e s h a p e of
p h r a s e c o n d i t i o n s its d y n a m i c s an d d y n a m i c s h e l p to
d e f i n e the p h r a s e . 40

Accents have been inserted above both the r igh t and

left h a n d in m e a s u r e s 14-15 of the Lanning score (Example

14a).

Ex. 14a: B a c h P r e l u d e in F m aj o r, BWV 927, mm. 14-15.

L a n n i n g e di ti on .

In the P a l m e r score ( E x a m p l e 14b), t he e d i t o r u s e s tenuto

ma rk s, calling for t he full value of e a c h e i g h t h note, whi

may bring about slight stresses in t he left hand. Accents

an d tenuto markings a r e no t f o u n d in t he H i n s o n score

( E x a m p l e 1 4 c ).

40H o w a r d F e r g u s o n , K e y b o a r d I n t e r p r e t a t i o n ,
(New York, O x f o r d U n i v e r s i t y P re ss , 1975), 157.
 61

g I m l m

Ex. 14b: B a c h P r e l u d e in F m aj o r, B WV 927, mm. 14-15. P a l m e r

ed it io n. C o p y r i g h t 1 9 7 1 by A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of the P u b l i s h e r .

ritard.

Ex. 14c: ’B a c h P r e l u d e in F ma jo r , B WV 927, mm. 14-15. H i n s o n

e di ti o n. C o p y r i g h t 1987 by A l f r e d P u b l i s h i n g Co.,
Inc. U s e d w i t h P e r m i s s i o n of the P u b l i s h e r .

T he sf. u n d e r n e a t h t he final right-hand sixteenth note

in m e a s u r e 15 of the L a n n i n g s c o r e (Example 14a) seems to be

a request for g r e a t e r stress on t he p e n u l t i m a t e dominant-

s e v e n t h chord. T he editor's use of the sf_ m a r k i n g to a c h i e v e

this ma y indicate the absence of s c h o l a r l y authenticity in

editions of t ha t date. Based upon Rosenblum's extensive

research of d y n a m i c s in t he c l a s s i c a l per io d, Lanning's u se

of this m a r k i n g in b a r o q u e k e y b o a r d m u s i c is

i n a p p r o p r i a t e .41

41R o s e n b l u m , 58, 60.

 62

T h e us e of p edal in b a r o q u e m u s i c is a s u b j e c t of

considerable dispute among pianists. T h e peda l markings

included in H i n s o n ' s score are c o n s i s t e n t w i t h his viewpoint

that the full resources of the p i a n o m a y be e m p l o y e d e v e n in

the p e r f o r m a n c e of b a r o q u e m u s i c . 42 H o w e v e r , the r ol e of the

pedal in this piece is c a r e f u l l y limited to a d d i n g

additional resonance to the d o m i n a n t - s e v e n t h c h o r d in

measure 14 an d the final cadence in m e a s u r e 15. Both Lanning

and Palmer seek to achieve similar effects by a d d i n g

fermata(s) and tenuto markings to t h e i r scores (see E x a m p l e s

14a-b-c).

Of the t h r e e editions, Hinson's remains closest to the

N e u e B a c h A u s g a b e , b e c a u s e his additional markings are k ep t

to a m i n i mu m . H e a dd s no p h r a s e m a r k i n g s ; a n d his dynamic

markings primarily support the i n h e r e n t rise and fall of

melodic lines, functioning on ly as s u b t l e reminders to the

s tud e nt . All editorial markings ar e c l e a r l y identified a nd

generally s e e m to r e f l e c t current pu blished studies on

baroque p er formance practice.

Clementi Sonatina Op . 36, N o. l

The early publications of d e m e n t i ' s Sonatinas,

Op. 36 p r e s e n t an i n t e r e s t i n g chronology that is o u t l i n e d by

Hinson in the p r e f a c e to his dementi S o n a t i n a s , Op. 36

( S i x t h E d i ti o n, 1978, Hinshaw) . d e m e n t i ' s Six P r o g r e s s i v e

42M a u r i c e H i n s o n , ed., At the P i a n o w i t h J.S.

Bach, 13.
 63

S o n a t i n a s , Op. 36 w e r e f ir st published in 1797 by t he L o n d o n

firm Broderip an d L o n g m a n . ( C l e m en t i himself served as

editor and publisher.) A n e w e dit i on , without fingering, but

otherwise following th e f irst edition c lo se l y, w as published

in 1801. In 1803, a subsequent e d i ti o n, following the det ai l

of the f i r st edition and carefully f i n g er e d, was

p u b l i s h e d . 43 (The 1803 e d i t i o n is n o w h e l d by t he B r i t i s h

museum.) N o a u t o g r a p h has b e e n located for either the 1797

or t he 1 80 3 editions of the s o n a t i n a s . According to H in s o n ,

Clementi, like o t h e r composers of h is day, often di sposed of

h is m a n u s c r i p t s o n c e th e w o r k s w e r e p u b l i s h e d . 44

The earlier versions of the s o n a t i n a s have been used

by m a n y e d i to r s, i n c l u d i n g G. S c h i r m e r a nd Palm er . Sources

a re n ot identified in t he 1893 G. Schirmer edition of the

sonatinas. Palmer indicates that he b a s e d his 1 96 8 edition

of the s o n a t i n a s on t he 1803 v e r si on , p u b l i s h e d by

C l e m e n t i . 45 (In 1798, Longman and B r o d e r i p w e n t bankrupt;

Clementi subsequently acquired t he p u b l i s h i n g rights to the

b u s i n e s s . )46

43M a u r i c e H i n s o n , ed. C l e m e n t i : S o n a t i n a s ,
Op. 36, (Sixth Edition), (Chapel Hill, N C : H i n s h a w , 1978),
4.

44M a u r i c e H i n s o n , T e l e p h o n e i n t e r v i e w by author,
L o u i s v i l l e , K e n t u c k y , A p ri l 20, 1994.

45W i l l a r d P al me r, ed. C le m e n t i : Six Sonatinas,

Op. 36, (Van N u y s , CA: A lf r ed , 1968), 1.

46S t a n l e y S a d i e a nd o t h er e d s ., N e w G r o v e D i c t i o n a r y
of M u s i c , (London: M a c m i l l a n Press, Ltd., 1980), s. v.
" C l e m e n t i , " by M a r g a r e t C r a n m e r and P e t er W a r d Jones.
 64

A published c o py of the s i x t h e d i t i o n of d e m e n t i ' s

Sonatinas, Op. 36 ( C l e m en t i, 1820) wa s accidentally

d i s c o v e r e d by H i n s o n in 1963 w h e n he w a s d o i n g research in

the B r i t i s h M u s e u m . Hinson's edition of t he C l e m e n t i

Sonatinas Op. 36 (Sixth Edition, 1978, Hinshaw) contains

numerous changes in t h e score, some s e emingly due to

improvements in t he i n s t r u m e n t . Much c an be learned f r om

examination of the f i r s t sonatina in t he collection.

In the s i x t h e d i ti o n, dementi's inclusion of the

newly -a d de d upper notes of t he instrument is i m m e d i a t e l y

apparent in the A n d a n t e , where the right hand is w r i t t e n an

octave higher throughout t he e n t i r e m o v e m e n t . Beginning in

t he e a r l y n i n e t e e n t h c en t u r y , the f i v e - o c t a v e range (FF -

F 3 ), the n o r m for m a n y p ia n os , was expanded to f i ve an d one-

ha lf octaves (FF - C 4 ) . 47 In a d d i t i o n , pianos m a n u f a c t u r e d in

England where Clementi l i v e d a nd w o r k e d w e r e often triple­

strun g, thereby further increasing their resonance,

particularly in the u p p e r r e g i s t e r . 48 It is no t surprising,

therefore, that dementi's newer version of t he s o n a t i n a s

reflects these de v elopments in t he instrument, as s h o w n in

Examples 1 5 a - b a n d 16a-b.

Other changes in n o t a t i o n reflect t he c o m p o s e r ' s

desire to a l t e r the m e l o d y (Example 17b) or to e x t e n d

47R o s e n b l u m , 32.

48I b i d . , 34.
 65

phrases (Example 18b). This final example of n o t a t i o n a l

changes (Examples 18a-b) reveals a new two-measure

extension, f a c i l i t a t e d by ending the trill on A, (Example

18b, measures 25-26), providing opportunity for the

cadential e x t e n si o n.

pp

Ex. 15a: C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d a n t e , mm. 1-3

P a l m e r (1803 v e r s i o n ) . 49 C o p y r i g h t 1 96 8 b y A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

Andante

mezzo

(b) 3

(b) C le m e n ti in d ic a te d p e d a l from th e b e g in n in g o f bar 1 to th e second b e a t o f bar 3.

Ex. 15b: C l e m e n t i S o n a t i n a Op. 36, No. 1, A n d a n t e , mm. 1-3

H i n s o n (1820 v e r s i o n ) . 50 C o p y r i g h t 1 9 78 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

49M u z i o C l e m e n t i , S o n a t i n a in C ma j or , Op. 36,

No. 1, e d . W i l l a r d P a l me r, (Van N u y s , CA: A lf r ed ,
1968), 4-10.

50M u z i o C l e m e n t i , S o n a t i n a in C m aj o r, Op. 36, No.

1/ in Six P r o g r e s s i v e S o n a t i n a s . Op. 36, ( S i x t h E d i t i o n ) ,
ed. M a u r i c e H i n s o n a n d D o r o t h y B is h op , (Chapel Hill, N C :
H i n s h a w , 1978), 6-11.
 66

Ex. 16a: C l e m e n t i S o n a t i n a , Op. 36, No. 1, A n d an t e,

mm. 11-12. 1 8 0 3 v e r s i o n . C o p y r i g h t 1968 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

(8va)

£ mm
m m

Ex. 16b: C l e m e n t i S o n a t i n a , Op. 36, No. 1, A n d an t e,

mm. 11-12. 18 20 v e r s i o n . C o p y r i g h t 1978 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of t he
Publisher.

Ex. 17a: C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e g r o , mm. 6-7.

1803 v e r s i o n . C o p y r i g h t 1968 by A l f r e d P u b l i s h i n g
Co., Inc. U s e d w i t h P e r m i s s i o n of the P u b l i s h e r .
Ex. 17b: C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e g r o , mm. 6-7.
1 82 0 v er si on . C o p y r i g h t 1 9 7 8 by A l f r e d P u b l i s h i n g
Co., Inc. U s e d w i t h P e r m i s s i o n of t he P u b l i s h e r .

Ex. 18a: C l e m e n t i S o n a t i n a , Op. 36, No.l, A n d a n t e ,

mm. 25-26. 1803 v e r si o n. C o p y r i g h t 1 96 8 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

8va * " “ 1

Ex. 18b: C l e m e n t i S o n a t i n a , Op. 36, No.l, A n d a n t e ,

mm. 25-28. 1820 v e r s io n . C o p y r i g h t 1 97 8 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of t he
Publisher.

A meaningful examination of v a r i a n c e s in p h r a s i n g

a m o n g the t h r ee editions is n e a r l y impossible since the

Schirmer s c o r e d o e s n ot d i st in gu i sh editorial marks f r o m the

composer's marks. However, the e x t e n s i v e n u m b e r of p h r a s e

 68

marks leads th is author to h y p o t h e s i z e th at m a n y m a y be

e d i t o r ia l , as w a s often the c a se in e d i t i o n s of t ha t peri od .

Measures 1-4 of t he V i v a c e p r o v i d e an i l l u m i n a t i n g e x a m p l e

of the w i d e range of p h r a s i n g , an d p e r h a p s illustrate the

phrasing principles of the respective e d i t or s. Examples 19a-

b s h ow two i d e n t i c a l passages in t he S c h i r m e r e d it i on , with

an i n e x p l i c a b l e change in p h r a s i n g .

Ex. 19a: C l e m e n t i S o n a t i n a Op. 36, No. 1, V i v a c e , mm. 1-4.

G. S c h i r m e r ed it io n.

Ex. 19b: C l e m e n t i S o n a t i n a Op. 36, No. 1, V i v a c e , mm. 9-10.

G. S c h i r m e r e di ti on .

Seventy-five years later, in the p r e f a c e to th e P a l m e r

e di ti on , Example 19a is c i t e d by t he editor as an

illustration of improper phrasing, demonstrating a change in

 69

accepted phrasing practices f r o m 18 93 to 1 9 6 8 . 51 And,

ind ee d, in the P a l m e r e d i t io n , t he p h r a s i n g is s ho rt e r, as

seen in E x a m p l e 20a. The editor explains that, as t he right-

hand slur connecting the f ir s t and second beats in m e a s u r e 2

is one of the few s l u r s that C l e m e n t i included in the

original e di tion, it m u s t n ot be i g n o r e d . A c c o r d i n g to

P al me r, the c o m p o s e r "correctly anticipated the fact that

s o me p e r f o r m e r s would wish to b r e a k the l eg a t o a f t e r the G

a nd i n s e r t e d the s lu r to i n d i c a t e his d i s a p p r o v a l . " 52 The

Hinson edition (Example 20b), with phrases m a r k e d by the

composer contains frequent short phrases th at do not cro ss

t he b ar l i n e , reflecting a v i e w h e l d by m a n y p i a n i s t s t od a y

a nd s u p p o r t e d by a u t h o r i t i e s s u c h as R o s e n b l u m (see p a g e 54

of t hi s s t u d y ).

A c o m p a r i s o n of the t h r e e editions also reveals much

a bo ut the u se of s t a c c a t o m a r k i n g s . These marks are f o u nd

extensively in a n u m b e r of editions, including the Schirmer

e dit io n, particularly in the A l l e g r o . According to the

Palmer a nd H i n s o n editions, many of these marks in the

Allegro are e d i t o r i a l , except for those that appear o v e r the

right-hand quarter notes in m e a s u r e 30 (Examples 2 1 a - b ) . T he

H inson score e ve n contains t he w o r d s t a c c a t o in a d d i t i o n to

the m a r k s t h em se l v e s .

51W i l l a r d P a l me r , e d ., C l e m e n t i S o n a t i n a s ,
Op. 36, (Van N u y s , CA: A lf r e d , 1968), 2.

52Ibid.
 70

i- P P

legato

Ex. 20a: C l e m e n t i S o n a t i n a Op. 36, No.l, V i v a c e , m m 1-4.

P a l m e r e d i t i o n . 53 C o p y r i g h t 1 96 8 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

Ex. 20b: C l e m e n t i S o n a t i n a Op. 36, No. l, V i v a c e , mm. 1-4.

H i n s o n e d i t i o n . C o p y r i g h t 19 78 by A l f r e d P u b l i s h i n g
Co., Inc. U s e d w i t h P e r m i s s i o n of th e P u b l i s h e r .

3 3 3
i i i

Ex. 21a: C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e g r o , m. 30.

P a l m e r e d i t i o n . C o p y r i g h t 19 68 by A l f r e d P u b l i s h i n g
Co., Inc. U s e d w i t h P e r m i s s i o n of the P u b l i s h e r .

53M u z i o C l e m e n t i , S o n a t i n a in C m ajor, Op. 36,

No. 1, in S i x S o n a t i n a s , Op. 36, ed. W i l l a r d Palmer ,
(Van N u y s , CA: A l f r e d , 1968), 4-10.
 71

$ t f
staccato

V r i

Ex. 21b: C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e g r o , m. 30.-

H i n s o n e d i t i o n . C o p y r i g h t 1 97 8 by A l f r e d P u b l i s h i n g
Co., Inc. U s e d w i t h P e r m i s s i o n of th e P u b l i s h e r .

Additional staccato marks are found throughout both

t he S c h i r m e r and Palmer editions ( i d e n t i f i e d as editorial by

Palmer) in t he A l l e g r o and Vivace movements, chiefly in

connection with r e p e a t e d no tes. If t he p i a n i s t chooses to

observe these markings, it is w i s e to a b i d e b y p e r f o r m a n c e

instructions appearing in e i g h t e e n t h - c e n t u r y treatises,

including those of Carl Philipp Emanuel B a c h ( 17 5 3 ) , 54 D aniel

G o t t l o b T u r k ( 1 7 8 9 ) , 55 a n d C l e m e n t i (1801). B a s e d u p o n h er

study of t h e s e treatises, Rosenblum concludes that notes

m arked w ith dots were i n t e n d e d to r e c e i v e at l e a s t ha lf

t he i r v a l u e . 56 In d e m e n t i ' s Introduction to t he A r t of

54Carl P h i l i p p E m a n u e l Bach, E s s a y on t he T r u e Art

of P l a y i n g K e y b o a r d I n s t r u m e n t s (1753), t r a n s l a t e d a n d
e d i t e d by W i l l i a m J. M i t c h e l l , (New York : W. W. N o r t o n and
Co., 1949), 112.

55Da n ie l G o t t l o b T u r k . School of C l a v i e r P l a y i n g ,
(1789 ed.), T r a n s l a t i o n , I n t r o d u c t i o n , a n d N o t e s by R a y m o n d
L. H ag g h , (Lincoln: U n i v e r s i t y of N e b r a s k a P re ss , 1982),
345 .

56R o s e n b l u m , 144.
 72

Playing on the P i a n o f o r t e , t he c o m p o s e r gives h is v i e ws on

th e s u b j e c t of s t a c c a t o and legato articulation:

W h e n the c o m p o s e r l ea v e s th e L E G A T O a n d S T A C C A T O to
t h e p e r f o r m e r ' s t as t e; t he b e s t r u l e is to a d h e r e
c h i e f l y to the L E G A T O , r e s e r v i n g the S T A C C A T O to gi ve
S P I R I T o c c a s i o n a l l y to c e r t a i n p a s s a g e s an d to set off
the h i g h e r b e a u t i e s of the L E G A T O . 57

By not m a r k i n g t h e s e n o t e s s taccato H in so n avoids the

likelihood that students will exaggerate their shortness,

upsetting t he d e l i c a t e p h r a s i n g i n t e n d e d . Examination of

measures 1-3 of the A l l e g r o illustrates the d i f f e r e n t

approaches of the e di t o r s .

Ex. 22a: C l e m e n t i S o n a t i n a Op. 36, Mo. 1, A l l e g r o , mm. 1-4.

G. S c h i r m e r e d i ti o n.

22b: Clementi Sonat Op. 36, No. 1, All 1-4

P a l m e r e d i t io n. C o p y r i g h t 19 68 by A l f r e d P u b l i s h i n g
Co., Inc. U s e d w i t h P e r m i s s i o n of the P u b l i s h e r .

57M u z i o C l e m e n t i , I n t r o d u c t i o n to th e A r t of
P l a y i n g on the P i a n o f o r t e (1801) ed. by S a n d r a P.
R o s e n b l u m , (New York: D a C a p o Pr es s, 1 97 4) , 9.
 73

Ex. 22c: C l e m e n t i S o n a t i n a Op. 36, No. 1, A l l e g r o , mm. 1-4.

H i n s o n e d i t i o n . C o p y r i g h t 1978 by A l f r e d P u b l i s h i n g
Co., Inc. U s e d w i t h P e r m i s s i o n of t he P u bl i s h e r .

Hinson's e d i ti o n, while being laudable for a v o i d i n g

t he n u m e r o u s staccato markings for w h i c h S c h i r m e r editions

a re o f t e n criticized, sometimes f ai ls in p r a c t i c e . Students

automatically separate the r e p e a t e d G in m e a s u r e 1, but then

consistently fall into the f o l l o w i n g p a t te r n:

Example 22d: Clementi S o n a t i n a Op. 36, No. 1, A ll e g r o ,

mm. 1-4. (Often-played student articulation)

T h is pattern seems unstylistic, as it c h a n g e s the t h r e e

sections of the p h r a s e i n to (1) a m o t i v e w i t h no u p be at, (2)

a repetition of that m o ti ve , n o w w i t h an u pb eat , a nd (3) the

c l o s i n g m o ti ve , also with an upbeat.

Later, in the V iv a c e , a n o t h e r u se for s t a c c a t o is

f o u n d in the 1820 version only. T he right-hand eighth notes

in m e a s u r e s 66-70 are m a r k e d s t a c c a t o . S i n c e ped al is a l so

indicated, the c o m b i n e d effect is that of p o r t a t o ■ W r i t i n g

 74

about the p o r t a t o touch, H u t c h e s o n s ta tes, "Properly

understood, it will always n e e d th e p edal to s u s t a i n the

t one w h i l e the f i n g e r s ta ke c a r e of t he d e t a c h m e n t . 58 This

technique provides the e ff e c t of "prolongation rather th an a

shortening of the t o n e . " 59

Example 23a. C l e m e n t i S o n a t i n a Op. 36, No. 1, V i v a c e ,

mm. 66-70. P a l m e r (1803 v e r s i o n ) . C o p y r i g h t
19 68 by A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h
P e r m i s s i o n of the P u b l i s h e r .

dementi's inclusion of p edal indications in th e 1820

version represents another important development. Between

the late e i g h t e e n t h c e n t u r y and early n i ne t e e n t h ce nt u ry ,

k ne e- an d h a n d - o p e r a t e d m e c h a n i s m s were gradually replaced

with a m e c h a n i s m that c o u l d be o p e r a t e d by the foot. It is

therefore o n ly n at u r a l that C l e m e n t i , a composer wh o

d i s p l a y e d an i n t e n s e interest in t he d e v e l o p i n g instrument

(ev en by a c q u i r i n g his o wn p i a n o firm), made changes

accordingly in his s c o r e s . 60

58E r n e s t H u t c h e s o n , T h e L i t e r a t u r e of the
Piano, 3rd e d ., rev. (New York: A l f r e d Kn o pf , 1977),
111.

59I b i d .

60R o s e n b l u m , 130.
 75

(d)Ped

(d) d e m e n ti's long pedal mark adds much resonance but a change of pedal on each bar is probably enough resonance, especially on
today's grand piano. Pedal extends from bar 66 through the first beat of bar 70.

Ex. 23b. C l e m e n t i S o n a t i n a Op. 36, No. 1, V i va c e,

mm. 66-70. H i n s o n (1820 v e r s i o n ) . C o p y r i g h t 1978 by
A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of
the P u b l i s h e r .

Pedal indications appear in th e H i n s o n s c o r e at t h r e e

different point s: (1) in m e a s u r e s 1-3 and (2) 19 -2 2 of the

Andante, and (3) in m e a s u r e s 6 6-70 of t he V iv a c e . Hinson

uses footnotes to c o n v e y t hi s information, because the

composer's suggested pedaling, if followed l i te r a l l y , ma y

prove excessive on t o d a y ' s more resonant p i a n o . 61 The

cantabile style of the A n d a n t e is e n h a n c e d by the p e d a l i n g

indicated in m e a s u r e s 1-3 (Example 15b, page 65). Later, in

measures 19-2 2 (Example 24), however, the e d i t o r ' s

reservations are rather clearly j us t if i ed , where the

suggested pedaling creates a significant blur because of the

r i g h t - h a n d E - f l a t 's p r o x i m i t y to D.

61M a u r i c e H i n s o n , ed. C l e m e n t i Six P r o g r e s s i v e

S o n a t i n a s , Op. 3 6 , (Chapel Hill, N C : H i n s h a w , 1978), 5.
 76

cresc.

(c )

(c ) C le m e n ti in d ic a te s p e n a l from the b e g in n in g o f bar 1 9 to the first b e a t o f bar 22;

Ex. 24: C l e m e n t i S o n a t i n a Op. 36, No.l, A n d a n t e , mm. 19-22.

H i n s o n ( 1 8 2 0 v e r s i o n ) . C o p y r i g h t 19 78 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

dementi's use of t he instrument's new resources is

particularly evident in m e a s u r e s 66-70 of t he V i v a c e

(Example 23b), referred to on p a g e 81. The fortissimo is

e n h a n c e d by the fuller chords a nd t he u s e of the p i a n o ' s

upper register. T h is new, grander ending contrasts sharply

with t ha t of the 1797 version (Example 23a).

Variances in d y n a m i c indications among th e three

editions include (1) p r e s e n c e or a b s e n c e of d y n a m i c h a i r p i n s

and other signs; (2) d i f f e r e n t g e ne r al dynamic levels; and

(3) repositioning of e x i s t i n g signs. However, t he m e z z o and

fz m a r k i n g s used in the sixth edition (1820) ar e p e r h a p s the

most historically significant of these. According to

Rosenblum, dementi's u s e of m e z z o (m e z z o p i a n o ) is

noteworthy, because ". . . mezzo piano was u s e d n ot at all

in the p i a n o m u s i c of H a y d n a nd M o z a r t , a nd a p p a r e n t l y o nl y
 77

o n ce by B e e t h o v e n . " 62 Rosenblum speculates that the

composer's use of t hi s m a r k i n g m a y b e reflective of the

. . . m o r e c o n t r o l l a b l e a c t i o n of E n g l i s h f o r t e p i a n o s ,
as well as . . . t h e i r m o r e s o n o r o u s t o n e a n d e x t e n d e d
d y n a m i c range, all of w h i c h m a k e it e a s i e r to o b t a i n
t h e s e m i d d l e s o u n d s . 63

In the S c h i r m e r and Palmer e d i t io n s, th e opening measures of

t he A n d a n t e ar e m a r k e d d o l c e a n d p p , r e s p e c t i v e l y . However,

in the H i n s o n ed it i on , mezzo is used.

Fz m a r k i n g s appear in t he A n d a n t e at v a r i o u s points in

all three editions, but a re u s e d in th e V i v a c e o n ly in the

1820 v e rs i on . Here, dementi's u s e of t h e f_z in m e a s u r e s 9-

10, 13-14, 43-44, a nd 4 7- 4 8 h e l p s to c r e a t e a s l i g h t l y

different interpretation than was intended in t h e e a r l i e r

version.

3 --— -

Ex. 25a: C l e m e n t i S o n a t i n a Op. 36, No. 1, V i v a c e , mm. 9-12.

P a l m e r (1803 v e r s i on ) . C o p y r i g h t 1 96 8 b y A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

62R o s e n b l u m , Performance P r a c t i c e s . 58.

63I b i d .
 8va
3
*
/

*
Ex. 25b: C l e m e n t i S o n a t i n a Op. 36, No. 1, V iv ac e , mm. 9-12
H i n s o n (1820 v e r s i o n ) . C o p y r i g h t 1987 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

The composer's u s e of t h e f_z is s o m e w h a t similar to

Beethoven's us e of s_f in s o n a t a s c o m p o s e d d u r i n g t h e s a me

g e ne r al t i me p er i od . The P restissimo of B e e t h o v e n ' s Sonata

in F m i n o r Op. 2, No. 1 (measures 1 11 - 1 1 3 ) shows this

s i m i 1a r i t y .

CO
-4-
1 = i-
m
t f f

Ex. 26: B e e t h o v e n S o n a t a in F m i n o r Op. 2, No. 1,

P r e s t i s s i m o , mm. 1 1 1 - 1 1 3 (1795). H e n l e e d i t i o n . 64
C o p y r i g h t 1952 by G. H e n l e V e r l a g , M un i c h . U s e d w i t h
P e r m i s s i o n of the P u b l i s h e r .

64L u d w i g v o n B e e t h o v e n , S o n a t a in F minor,
Op. 2, No. 1, in B e e t h o v e n : K l a v i e r s o n a t e n . Vol. I, (Munich:
G. H e n l e V er l a g , 1952), 19.
 CHAPTER 5

HINSON'S CHOPIN COLLECTIONS

D uring the past twenty y ears, H i n s o n ha s m a i n t a i n e d a

keen interest in t he m u s i c of C h opin . According to the

e d i to r , "[Chopin] is u n i q u e in all the composers. . . . Few

pianists have e ve r b e e n c a l l e d gr ea t w h o d i d no t play great

Chopin." Recent r e s e a r c h on C h o p i n ' s p i a n o m u s i c by H i n s o n

has led to o v e r t w e n t y lectures an d w o r k s h o p s on C h o p i n that

h e has p r e s e n t e d at c o l l e g e s a nd u n i v e r s i t i e s in the U n i t e d

S t ate s, England, and Australia.

Hinson's Chopin collections, in f o ur v ol u m e s ,

represent the largest number of v o l u m e s devoted to t he w o r k s

of a s i n g l e composer among the editor's collections for

A lf re d P ub l is hi n g Company. A l t h o u g h the repertoire is

l i m i t e d to th e early-intermediate through late-intermediate

levels, an un usually complete r a n ge of t he composer's style

is o f f er e d. As each of the v o l u m e s a p p e a r e d at d i f f e r e n t

points during the e d i t o r ' s career, the C h o p i n collections

ar e us ef ul examples of H i n s o n ' s e d i t o ri a l style throughout

hi s career.

^Maurice Hinson, l et t e r to the a ut ho r, 1

F e b r u a r y , 1994.
 80

H i n s o n has consulted a variety of s o u r c e s in p r e p a r i n g

hi s C h o p i n s c or es , including photostatic copies of

manuscripts f r om libraries all o ve r t he w or l d; l et t e r s

w r i t t e n by s t u d e n t s of C h o p i n t ha t contain details of their

l e s so n s; a nd p r i n t e d c o p i e s of C h o p i n ' s s co res , which

include corrections a n d e m e n d a t i o n s m a d e by the c o m p o s e r . In

At the Piano w i t h C hopin (1986), s ev e r a l of C h o p i n ' s

students ar e m e n t i o n e d , including Georges Mathias (1 826-

1910), Ka ro l Mikuli ( 182 1- 9 7) , and Thomas Tellefsen (1823-

74). Concerning their copies of C h o p i n ' s mu si c, Hinson

writes:

T h e s e c o pi e s c o n t a i n m u c h v a l u a b l e m a t e r i a l th at c a n n o t
be i g no r ed . In m a n y c a s e s t h ey r e p r e s e n t t h e c o m p o s e r ' s
l a t e r t h o u g h t s on a p u b l i s h e d work, an d h is s t u d e n t ' s
t e s t i m o n y an d t he d o c u m e n t a r y e v i d e n c e of t h e i r c o pi e s
of h is m u s i c s h o w th at he d i d not r e g a r d t he v e r s i o n s he
s en t off to h is p u b l i s h e r s as s a c r o s a n c t . S o m e of the
a u t h e n t i c v a r i a n t s h a v e b e e n left out of s u b s e q u e n t
e d i t i o n s o n l y b e c a u s e t h ey are d i f f i c u l t to p e r f o r m .

An excellent e x a m p l e of the i m p a c t of this kind of

o b s e r v a t i o n is the P r e l u d e in C mi n or , Op. 28, No. 20,

included in Hinson's. At the P i a n o w i t h C h o p i n . In m e a s u r e 3,

an E - f l a t appears on t h e f o u r t h b e a t in t he r i g h t hand. In

b o th the Schirmer and Palmer editions of the P r e l u d e s , an E-

natural ap pe a rs . Palmer explains his inclusion of th e E-

n a t u r a l , r a t h e r t h a n E -f l a t , in a f o o t n o t e (see E x a m p l e s

2 7 a - b - c ).

® 6H in s o n , e d . , At the P i a n o w i t h C h o p i n . (Van
N u y s , CA: A lf r ed , 1986), 15.
 81

Ex. 27a. C h o p i n P r e l u d e in C mi n or , Op. 28, No. 20, m . 3,

G. S c h i r m e r ( J o s e f f y ) ed iti on .

n
/ .

(D According to the editor* of the Oxford edition, Chopin itjuppoasd to hara addad a flat sign before the E in a copy
b e l o n g i n g to one of bis pupil*. It doea not appear in the Autograph or the original edition*.

Ex. 27b. C h o p i n P r e l u d e in C m in or , Op. 28, No. 20, m. 3.

Palmer edition. C o p y r i g h t 1968 b y A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h
P e r m i s s i o n of t h e P u b l i s h e r .

67
D Frederic C h o p i n , P r e l u d e in C mi no r, Op. 28,
No. 20, in C ho pi n: P r e l u d e s , ed. Ra f ae l Jo se ff y, (New
Y ork: G. S c h i r m e r , 19 4 3) , 39.

6 8 F r e d e r i c C h o p i n , P r e l u d e in C mi no r, Op. 28,
No. 20, in C h o p i n - P r e l u d e s , ed. W i l l a r d Palm er , (Van
Nuys, CA: A l f r e d , 1968), 62.
Ex. 27c. C h o p i n P r e l u d e in C mi n or , Op. 28, No. 20, m. 3.
H i n s o n e d i t i o n . 9 C o p y r i g h t 1 9 8 6 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of t he
Publisher.

Hinson's decision is o b v i o u s l y b a s e d on the s t u d e n t copy,

which belonged to J an e Stirling (1804-1859). (The S t i r l i n g

scores were consulted by Edouard Ganche in p r e p a r a t i o n of

7 fi
the O xford Un iv e r s i t y Press complete Chopin edition.)

L at e r, in m e a s u r e 12, a forte marking appears on the

second beat in t he H i n s o n score that is n ot found in e i t h e r

th e Schirmer (Example 28a) or P a l m e r (Example 28b) sco re s.

Hinson explains t hi s addition, f r o m t he s c o r e of C a m i l l e

Dubois (1830-1907), in a f o o t n o t e (Example 28c).

Of the four volumes, Hinson's At the P i a n o w i t h C h o p i n

(1986) contains t he m o s t biographical and historical de t ai l

® 9F r e d e r i c C h o p i n , P r e l u d e in C mi no r. Op. 28,
No. 20, in At the P i a n o w i t h C h o p i n , ed. M a u r i c e
Hinson, (Van N u y s , CA: A lf r e d , 1986), 51.

70 M a u r i c e H i n s o n , le t te r to the a u th or , 1
February 1994.
 83

= : f>ai

sa 4a

Ex. 28a. C h o p i n P r e l u d e in C m in or , Op. 28, No. 20,

mm. 12-13. G. S c h i r m e r ( J o s e f f y ) e d i t io n .

Ex. 28b. C h o p i n P r e l u d e in C m in or, Op. 28, No. 20,

mm. 12-13. P a l m e r e dit io n. C o p y r i g h t 1 9 6 8 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

'® Chopin m arked the fo r te in bar 12 in Mme. Dubois’ music w hen she studied w ith him .

■ This indicates a strong crescendo from the pianissim o in bar 9. •

Ex. 28c. C h o p i n P r e l u d e in C m in or , Op. 28, No. 20,

mm. 12-13. H i n s o n e di ti o n. C o p y r i g h t 1 9 8 6 b y A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.
in its text, a n d as such , functions as an i n t r o d u c t i o n to

the entire s e ri es . The volume contains t w e n t y p i ec es ,

including well-known repertoire, s u c h as t h e P r e l u d e s Op. 28

in A m a j o r a nd C m i n o r , and less familiar compositions, such

as the " V a l s e M e l a n c o l i q u e ," K K Anh. Ia/7 a nd "Wiosna"

(Sp ri ng ), Op. 76, No. 2 (BI 117). Two thematic catalogues

h a v e b e e n u s e d i n c o m p i l i n g th is v ol u m e , as well as the

other three volumes of H i n s o n ' s C hopin collections, namely:

Maurice Brown's Chopin - An I n d ex of his W o r k s in

Chronological Order (BI) (1972) and K rystyna Kobylan s ka 's

Frederic Chopin Thematisch-Biblioaraphisches Werkverzeichnis

( K K ) , p u b l i s h e d by G. Henle Verlag (1979). Where applicable,

Hinson supplies both catalogue citations. An examination of

the l at er collections reveals two omissions from Hinson's

f irst collection: exact sources f or e a c h p i e c e a n d the

suggested t e a c h i n g o rder.

In H i n s o n ' s D a n c e s of C h o p i n (1988), the t ex tu al

material is c o n c e r n e d almost entirely with musical form.

Each dance f o r m is d e f i n e d , and helpful information

concerning the i nfluence of th e P o l i s h n a t i o n a l styles on

Chopin's works is i n c l u d e d . The r a n g e of d i f f i c u l t y for the

pieces is v e r y wide, a n d for t h is reason, Hinson's

"Suggested Teaching Order" is p a r t i c u l a r l y u s ef u l. At le ast

three different l ev e l s of d i f f i c u l t y exist. From lo w es t to

highest, with examples of each, these are:

 85

Level I: T w o B o u r r e e s BI 160B; K K V l l b 1/2

Leve l II: Waltz in C - s h a r p m i n o r Op. 64, No. 2;

BI 164

Level III: Bol er o, Op. 19; BI 81

The chief organizational factor for H i n s o n ' s Chopin -

Piano Music from His Early Years (1990) is c h r o n o l o g y . The

repertoire, l i m i t e d to m u s i c c o m p o s e d d u r i n g t he first

twenty years of C h o p i n ' s life, consists of t h r e e m a z u r k a s ,

t wo p o l o n a i s e s , a wa lt z, three ecossaises, a nocturne, an d

an etude. These are a r r a n g e d in c h r o n o l o g i c a l order to

emphasize Chopin's "compositional maturation process."7^

Hinson's c h o i c e of r e p e r t o i r e reveals Chopin's stylistic

progression f r o m t he s t r a i g h t - f o r w a r d rhythms and almost

classical f i g u r a t i o n of th e e a r l i e s t polonaises to the

dotted rhythms of t he m a z u r k a s a n d the long romantic phrases

and widely-s pa c ed left-hand figuration typical of the

composer's nocturnes a n d s o me of the e t ud es . By s u p p l y i n g

music that embodies important style ch a racteristics of the

c o m p o s e r ' s wo rk s, yet is still accessible to the

intermediate-level piano student, Hinson hopes to e a s e the

transition toward study of t he m o r e d i f f i c u l t , m a t u r e w orks.

Hinson's Chopin - Piano M u si c I n s p i r e d b y the W o m e n in

h is Life (1990) provides interesting detail n ot only a bo ut

t he m u s i c but also about the v a r i o u s w o m e n who, in d i f f e r e n t

ways, a re a s s o c i a t e d w i t h the r e p e r t o i r e . The music ranges

71
M aurice Hinson, e d . , Chopin - Piano M usic
f r o m H is E a r l y Y e a r s . (Van Nuys, CA: A l f r e d , 1990), 3.
 86

in d i f f i c u l t y from fairly e a s y to d i f f i c u l t , w i t h the

"Fantasie I m p r o m p t u , " Op. 66, b e i n g th e m o s t a d v a n c e d in the

collection. The pieces ar e a r r a n g e d a l p h a b e t i c a l l y by title,

and a s u g g e s t e d teaching o r d e r h as been included. Discussion

of i m p o r t a n t stylistic elements is r a t h e r b r i e f in this

volume for tw o v e r y good re as o ns : a few of t he p i e c e s h a v e

already received detailed treatment in the o t h e r v o l u me s ,

and a t h o r o u g h s t y l i s t i c o r i e n t a t i o n has b e e n s u p p l i e d by

the e a r l i e r v o l u m e s of the seri es . Indeed, t he " F a n t a s i e

Impromptu" is p r e s e n t e d in a s e p a r a t e v o l u m e of H i n s o n ' s

Anatomy of a Classic s er i e s , in w h i c h t h e p i e c e ' s technical

an d m u s i c a l elements a r e d i s c u s s e d in d e ta il .

In a d d i t i o n to t he i m p o r t a n t pedagogical aspects

already discussed, Hinson provides excellent g u i d a n c e in

e a c h of t he C h o p i n c o l l e c t i o n s about dynamics,

ornamentation, fingering, an d p e d a l i n g . This instruction

ra ng es from footnotes in the s c o r e s to d e t a i l e d d i s c u s s i o n s

in the t e x t s of e a c h v ol u me .

Considerable guidance in o r n a m e n t a t i o n is o f f e r e d in

Hinson's Chopin collections. In the N o c t u r n e in C - s h a r p

mi nor, BI 49 (KK IV a/ 1 6) , appearing in At t he P i a n o w i t h

Chopin and Chopin - Piano Music Inspired by Women in His

L i f e , full realizations f or six out of s e v e n t r i l l s a re

p r o v i d e d in th e s core. This piece is t he m o s t highly

ornamented in the c o l l e c t i o n s .
 Hinson's realizations s e e m to be b a s e d o n two f ac to rs:

1) C h o p i n ' s p r a c t i c e of p l a y i n g trill prefixes, introductory

arpeggio f igu r es , a nd lo ng a p p o g g i a t u r a s on th e beat, a n d 2)

his p r e f e r e n c e f or b e g i n n i n g trills on th e a u x i l i a r y note.

The excerpts in E x a m p l e 29 a re i n c l u d e d in a s e c t i o n on

ornamentation in th e R o m a n t i c p e r i o d in H o w a r d F e r g u s o n ' s

Keyboard I n t e r p r e t a t i o n . A c c o r d i n g to F e r g u s o n , these appear

in a c o p y b e l o n g i n g to o ne of C h o p i n ' s students; however,

F e r g u s o n d o e s not identify the s t u de n t. In P a l m e r ' s ed it io n,

th e e d i t o r includes o n e of t h e s e e x a m p l e s , and reveals that

th e s t u d e n t s c o r e s are currently located in the L i b r a r y of

th e P a r i s Conservatoire, but a l s o d o e s n ot identify the

s t u d e n t . 72 E i g e l d i n g e r h as identified t he s t u d e n t to w h o m

the scores belonged; s h e was C a m i l l e D u b o i s , o ne of C h o p i n ' s

most advanced s t u d e n t s . 7 ^ The d otted li ne s w e r e a d d e d by

C ho p i n , i n d i c a t i n g t h at e a c h of the o r n a m e n t a l figures is to

b e p l a y e d on the b e a t (Example 29).

In the N o c t u r n e in C - s h a r p m in or , Hinson's d e c i s i o n to

begin e a c h trill on th e a u x i l i a r y n o t e is consistent with a

statement i n c l u d e d in th e p r e f a c e to M i k u l i ' s complete

edition of Chopin.

72Willard Palmer, ed. C ho p in : P r e l u d e s , (Van Nuys,

CA: A lf r e d , 1968), 8.
7^
' Jean-Jacques Eigeldinger, Chopin - Pianist
a n d T e a c h e r , trans. by R o y H o w a t , (London: C a m b r i d g e
U n i v e r s i t y Press, 1986), 164. C a m i l l e D u b o i s ' s c o r e s
a re n o w h e l d by the L i b r a r y of th e P a r i s C o n s e r v a t o i r e .
 88

Nocturne, Op. 48,

Nocturne, Op. 15, No. 1 Nocturne, Op. 37, No. 1 No. 2

m . 49 m. 123 m. 37

Ex. 29: D i r e c t i o n s for p e r f o r m i n g o r n a m e n t a l f i g u r e s in

C h o p i n ' s n o c t u r n e s , a p p e a r i n g in F e r g u s o n ' s K e y b o a r d
Interpretation.

In the trill, w h i c h he [C ho p in ] g e n e r a l l y c o m m e n c e d on
t he a u x i l i a r y , h e r e q u i r e d p e r f e c t e v e n n e s s r a t h e r t h a n
g r e a t r ap i di ty , t h e c l o s i n g t u r n to b e p l a y e d e a s i l y a nd
w i t h o u t h aste. 5

P a l m e r a l s o c it e s the composer's u s e of d e m e n t i ' s method

books w i t h his s t u d e n t s as important evidence of C h o p i n ' s

ti es to e i g h t e e n t h - rather than n i n e t e en th -c e nt ur y

p e r f o r m a n c e p r a c t ic e. D u r i n g t he n i n e t e e n t h c e n tu r y, it

gradually became customary to b e g i n trills on th e p r i n c i p a l

7
note, a practice e s p o u s e d by H u m m e l a nd others.

The Nocturne in C - s h a r p m i n o r includes the following

kinds of trills:

(1) trills w i t h b o t h p r e f i x a nd s uf fi x,
(2) trills w i t h p r e f i x only,
(3) trills w i t h s u f f i x only, an d
(4) trills e n d i n g on a s i n g l e note.

74Ferguson, 127.
7S
Carl M i k u l i , ed. F o r e w o r d to C h o p i n P i a n o
W o r k s ,(Leipzig: K i s t n e r , 1880), 4.

76Ibid.
Examples for e a c h of t h e s e a p p e a r b el ow , respectively, with

Hinson's suggested r ea l iz at io n pr inted above each excerpt

(Examples 30a-30d).

tre corde
do Ice ,

i A A

Ex. 30a: C h o p i n N o c t u r n e in C - s h a r p m i n o r , BI 49
(KK IV a/ 16 ), mm. 5-6. H i n s o n e di ti o n. Copyright
1 9 86 b y A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h
P e r m i s s i o n of t h e P u b l i s h e r .

poco rit.

Ex. 30b: C h o p i n N o c t u r n e in C - s h a r p m in or , BI 49
(KK IVa /1 6) , m. 11. H i n s o n e dit io n. C o p y r i g h t 1986
by A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n
of th e P u b l i s h e r .

^ At t h e P i a n o w i t h C h o p i n , 38-42.
 ^ A..
Ex. 30c: C h o p i n N o c t u r n e in C - s h a r p mi no r, BI 49
(KK IV a/ 16) , m. 51. H i n s o n e di ti on . C o p y r i g h t 1 98 6
by A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n
of the P u b l i s h e r .

Ex. 30d: C h o p i n N o c t u r n e in C - s h a r p mi n or , BI 49
(KK I Va /1 6) , m. 56. H i n s o n e d i t io n . C o p y r i g h t 1 9 8 6
by A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n
of the P u b l i s h e r .

While Hinson's realizations may not be the o n l y ones

possible, they are graph ic a ll y represented w it h no possible

doubt as to the editor's intent. In c o n t r a s t to this

c la ri t y, Palmer's 1 984 instructive edition of th e c o m p l e t e

Chopin Nocturnes, d o e s n ot include realization of t he t r i l l s

in t he s c o r e of t hi s s a m e n o c t u r n e .
 91

Hinson's suggestions for f i n g e r i n g a r e a l s o an

important aspect of t h e C h o p i n collections. In t h e t ex t of

At the P i a n o w i t h C h o p i n . H i n s o n recalls the w o r d s of o ne of

Chopin's s t u d en t s:

[Chopi n] t a u g h t h i s s t u d e n t s to r e c o g n i z e a n d u t i l i z e
e a c h f i n g e r ' s i n d i v i d u a l q u a l i t i e s . Mme. C o u r t y s a i d
t h at C h o p i n s t r e s s e d t he fact t h at the ' thi rd f i n g e r is
a g r e at s i n g e r . ' 7

Throughout the c o l l e c t i o n s , Hinson makes c o n s i d e r a b l e us e of

the third finger, particularly in p a s s a g e s requiring melodic

playing (see E x a m p l e s 30a a n d 30c). In a d d i t i o n , the editor

includes f i n g e r i n g t h at is e s p e c i a l l y h e l p f u l to small

h an d s. Example 31 s h o w s how redistribution of t h e n o t e s in

t h e r i g ht h a n d e n h a n c e s t he s m o o t h e x e c u t i o n of t he r i g h t -

hand leap.

_A

Ex. 31: C h o p i n P r e l u d e in A m aj or , Op. 28, No. 7,

mm. 15-16. H i n s o n ed it io n. C o p y r i g h t 1 9 8 6 by
A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of
t he P u b l i s h e r .

In m e a s u r e 9 of t he P r e l u d e in D - f l a t m a jo r , Op. 28,

No. 9, another helpful fingering redistribution is f o u nd

7 **At t he P i a n o w i t h C h o p i n . 12.
79
7At t he P i a n o w i t h C h o p i n . 50.
 92

(Example 32). T h e F in t he left h a n d is g i v e n to th e r i gh t

hand. The awkward r e a c h of a tenth in the left h a n d is thus

a v o i de d , making it u n n e c e s s a r y to roll t h e notes. T hi s

fingering is q u i t e h e l p f u l ; a n d s i n c e it a p p e a r s in the

s c o r e s b e l o n g i n g to J a ne Stirling a n d C a m i l l e D u bo i s, it
SO
sheds l ight on C h o p i n ' s p r a c t i c e of redistribution. u

— A------- A--- \

Ex. 32: C h o p i n P r e l u d e in D - f l a t m aj o r , Op. 28, No. 15,

m 9. H i n s o n e d i t i o n . Copyright 1986 by A lfred
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

Another i n te re st i ng aspect of H i n s o n ' s Chopin

collections is the e d i t o r ' s faithfulness to the composer's

o r i g in a l pedal markings, where available. His examination of

Chopin's autographs revealed over 5 ,0 0 0 peda l m ar k s, " m o re

than those of a ny other composer of t he n i n e t e e n t h

q *y
century." Hinson's inclusion of these marks is in c o n t r a s t

to the p r a c t i c e by a n u m b e r of m o d e r n e d i t o r s of a l t e r i n g

8 0 E i g e l d i n g e r , 255.

^ F r e d e r i c C h o p i n , P r e l u d e in D - f l a t M a jo r ,
Op. 28, No. 15, in C h o p i n - P i a n o M u s i c I n s p i r e d by
W o m e n in H is L i f e , ed. M a u r i c e H i n s o n , (Van Nuys, CA:
A lf r e d , 1990), 40.
pO
M aurice Hinson, letter to t h e auth or .
 93

t he o r i gi n al pe dal markings ( of t e n w i t h o u t highlighting

these changes) in o r d e r to a v o i d blurring harmonies together

on the s a m e pedal. According to H i n s o n , th is b l u r r i n g is an

important aspect of C h o p i n ' s p e d a l i n g . 83

Chopin's Prelude in A m aj or , Op. 28, No. 7, and

Boler o, Op. 19, BI 81, offer excellent examples of the

composer's pedaling. In t he P r e l u d e in A m aj or , Hinson

retains the o r i gi n al pedals, w h i c h ar e n e a r l y two m e a s u r e s

in length.

j> dolce

sotto

Ex. 33: C h o p i n P r e l u d e in A ma jo r, Op. 28, No. 7, mm. 1-4.

Hinson edition. C o p y r i g h t 198 6 by A l f r e d
P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

In H i n s o n ' s opinion, disregarding these l on g p e d a l s in

f a vor of "a t i m i d c h a n g e on e a c h s e c o n d b e a t " is u n w i s e

because it "obliterates the fundamental t o ne in the b a s s . " 83

QO
M a u r i c e H i n s o n , " P e d a l i n g the P i a n o W o r k s of
C h o p i n , " in J o s e p h B a n o w e t z , T he P i a n i s t ' s G u i d e to
P e d a l i n q , ( B l o o m i n g t o n : I n d i a n a U n i v e r s i t y Press,
1985), 182.
QA
H i ns o n, At t he P i a n o w i t h C h o p i n , 50.

85Ibid.
 94

In a f o o t n o t e to the p ie ce , Hinson suggests using half pedal

OC
"to h e l p b r i n g out the quality of thi s exquisite [piece]."

In the B o le r o, Op. 19, lo ng p e d a l s a re a l s o found;

however, on a m o d e r n g r a n d p iano, t he c h r o m a t i c right-hand

figuration combined with t he p e d a l i n g p r o d u c e s t he k i n d of

blurring that to s o m e ea rs m a y be u n a c c e p t a b l e . In t hi s case

Hinson includes additional, alternative pedaling in

parentheses:

dimin.

Ex. 34: C h o p i n B o l e r o , Op. 19 (BI 81), mm. 16 7- 16 9. H i n s o n

e di ti o n. C o p y r i g h t 1990 by A l f r e d P u b l i s h i n g
Co., Inc. U s e d w i t h P e r m i s s i o n of the
Publisher.

In " P e d a l i n g t he P i a n o W o r k s of C h o p i n , " H i n s o n

discusses another Chopin piece that has l on g p e dal s. An

o r i gi n al manuscript of th e P r e l u d e B - f l a t m in or , Op.

28, No. 16, reveals th at Chopin f irst i n d i c a t e d pedal

on the s e c o n d b e a t of each measure, later crossing

these marks out a n d replacing them w ith one long pedal,

three measures in length. The ri gh t h a n d figuration

86Ibid.
 95
Q *7

th us becomes "a total blur." In P a l m e r ' s edition of

t he C h o p i n p r e l u d e s , an al ternative pe d al in g is a l s o

supplied (indicated by the dotted triangles).

For th e m o s t affective performance of C h o p i n ’s m us ic,

however, H inson makes the following sensible

observation:

T h e s u b t l e t i e s r e q u i r e d in p e d a l i n g t h i s m u s i c
c a nno t, in m a n y cases, be a c c u r a t e l y n o t a t e d . T h e
pe da l i n d i c a t i o n s m u s t b e t a k e n o n l y as s u g g e s t i o n s a nd
a p p r o x i m a t i o n s of the ac t ua l p e d a l i n g r e q u i r e d for
musical performance. 8

con

i f - r - 7*—

Ex. 35: C h o p i n P r e l u d e in B - f l a t mi n or , Op. 28, No. 16,

mm. 1-4. P a l m e r e d i t io n . 9 C o p y r i g h t 1 9 86 by
A l f r e d P u b l i s h i n g Co., Inc. U s e d w i t h P e r m i s s i o n of
t he P u b l i s h e r .

07
° ' M a u r i c e H i n s o n , " P e d a l i n g th e P i a n o W o r k s of
C h o p i n , " in J o s e p h B a n o w e t z T h e P i a n i s t ' s G u i d e to
P e d a l i n q . 185.

8 8 At t h e P i a n o w i t h C h o p i n . 15.
oc
O J C ho pi n: P r e l u d e s , ed. W i l l a r d P al m e r , 48.
 96

The pianist t h e r e f o r e m u s t m a i n t a i n an o p e n m i n d w h e n

p e r f o r m i n g t he w o r k s of C h o p i n b e c a u s e of t he inconsistency

of m a r k i n g s f r o m o ne e d i t i o n to t h e next. It is a l s o w i s e to

recognize th at C h o p i n a l t e r e d his own markings on o c c a s i o n

a n d t ha t h is p i an o s, t he E r a r d a nd P le ye l, were quite

different f r o m o ur m o d e r n instruments. H i n s o n ’s C h o p i n

collections have particular value for t wo re as on s: the

e d i t o r h as p r e s e r v e d the composer's original p e da l markings,

a n d he h as taken into account th e u n i q u e v a l u e of t he s c o r e s

b e l o n g i n g to C h o p i n ' s s t u d e nt s .
 CHAPTER 6

SUMMARY

The pedagogical collections of M a u r i c e H i n s o n h a v e

become extremely popular over th e last t w e n t y years. New

releases c o n t i n u e to a p p e a r frequently a n d a re c o n s i s t e n t l y

met w i t h e n t h u s i a s m b y p i a n o teachers and their students. As

has b e e n s h o w n in the p r e v i o u s chapters of thi s p ap er , there

is m u c h to c o m m e n d in t h e s e collections, all of w h i c h f o l l o w

a twentieth-century pattern of consistent improvement in

"instructive" e d i t i on s . Hinson's pedagogical collections are

frequently praised for t h e i r s e l e c t i o n a n d v a r i e t y of

repertoire, containing music of h i g h q u a l i t y in a v a r i e t y of

musical styles a nd g e n r e s that is a c c e s s i b l e to t he

intermediate-level piano s tu de nt . A number of r e l a t i v e l y

unknown pieces have been included in a d d i t i o n to f a m i l i a r

teaching f a vo ri t e s , t h us considerably improving access to a

broader spectrum of p i a n o literature.In a review of H i n s o n ' s

Masters of the E a r l y C o n t e m p o r a r y P e r i o d . M a r k H a l l u m

Sullivan praises Hinson's choice of literature, calling the

collection "a s e l e c t i o n of repertoire standards and rarely

97
 98

heard gems of real c h a r m a n d b e a u t y . " 99 H i n s o n ' s high regard

for t h e m u s i c in his collections is e v i d e n t in h is own

lecture recitals, which frequently include music f r o m his

collections, s u c h as At t he P i a n o w i t h L i s z t . At t he P i a n o

w i t h W o m e n C o m p o s e r s , a n d the H i n s h a w v o l u m e s of A m e r i c a n

p i a n o mu s ic . The editor believes th at once many of t h e s e

unfamiliar compositions a re h e a r d an d a p p r e c i a t e d , t h e ir

place in t he l i t e r a t u r e will b e a s s u r e d . 100

In a d d i t i o n to o f f e r i n g n e w or u n k n o w n l i t e r a t ur e,

Hinson's editions occasionally provide opportunities for

musicological i n qu i ry , as is t he c a s e w i t h his edition of

dementi's r e v i s e d v e r s i o n of the S o n a t i n a Op. 36, No. 1,

discussed in C h a p t e r 4 of t hi s paper.

A second important area for w h i c h H i n s o n ' s editions

a re p r a i s e d is t he e d i t o r ' s attempt to b a s e tex tu al

suggestions and musical editing on s c h o l a r l y s ou rc es . In

c o n t r a d i c t i o n to n i n e t e e n t h - c e n t u r y editions by recognized

performers, Hinson's pedagogical collections reveal the

editor's thorough knowledge of t he literature an d e x p e r t i s e

as a t ea c h e r , as well as a p e r f o r m e r . Sources u s e d in

preparation of hi s editions are a c k n o w l e d g e d a nd o f t e n

l i s t e d in his collections.

" M a r k Hall urn S u l l i v a n , R e v i e w of M a s t e r s of

t he E a r l y C o n t e m p o r a r y P e r i o d e d i t e d by M a u r i c e H i ns on ,
In A m e r i c a n M u s i c T e a c h e r ( D e c e m b e r / J a n u a r y 1 9 9 2 /9 3 ),
69.

100M a u r i c e H i n s o n , i n t e r v i e w by author,
L o u i s v i l l e , K e n t u c k y , 2 June, 1989. T a p e r ec o rd i ng .
 99

A s m a y b e e x p e c t e d w i t h a ny p u b l i c a t i o n , reviews of

Hinson's collections have contained c r i t i c i s m as well as

p r ai s e. Reviews by Robert Weirich, B r a d f o r d G ow e n, and Mark

Hallum Sullivan point out areas of co nc e rn . In W e i r i c h ' s

r e v i e w of M a s t e r s of t he P i a n o F a n t a s y , c i t e d on p a g e 12,

praise of the repertoire selections later becomes criticism:

". . . th e m u s i c is s o m e w h a t cramped on the p a g e an d t h e r e

is an o c c a s i o n a l m i s p r i n t . " 101 In a r e c e n t review of H i n s o n ' s

e d i t i o n of S c h u m a n n ' s Fantasiestiicke Op. 12, Sinfonische

E t u d e n Op. 13, and Fantasy in C m a j o r Op. 17, Bradford Gowen

also c r i t i c i z e s H i n s o n ' s A l f r e d s co r es , s t a t i n g t ha t t he y

contain numerous misprints a nd "need better p ro of re a di ng and

e d i t i n g . " 102

It s h o u l d b e n o t e d that both of t h e s e reviewers were

examining editions of a d v a n c e d - 1evel repertoire. It is

possible that f e w er p r o b l e m s a re f o u n d in the s i m p l e r p i e c e s

of t he i n t e r m e d i a t e - 1evel collections. No m i s p r i n t s were

f o u n d in the C l e m e n t i and Bach scores studied for this

paper.

In r e s p e c t to m i s p r i n t s , another factor must a l s o be

considered. Since H inson often r el i e s upon manuscripts or

101R o b e r t W e i r i c h , R e v i e w of M a s t e r s of the
P i a n o F a n t a s y e d i t e d by M a u r i c e H in s o n , In A m e r i c a n
M u s i c T e a c h e r , ( D e c e m b e r / J a n u a r y 1 9 9 0 /9 1 ), 60.

102B r a d f o r d Go w en , R e v i e w of S c h u m a n n
F a n t a s i e s t i i c k e , Op. 12, S i n f o n i s c h e E t u d e n Op. 13, and
F a n t a s y in C m a j o r Op. 17 e d i t e d by M a u r i c e H i n s o n , In
P i a n o and K e y b o a r d ( S e p t e m b e r / O c t o b e r , 1993), 58.
 100

first editions as s o u r c e s for hi s collections, h is changes

of n o t e s m a y a c t u a l l y be c o r r e c t i o n s of earlier inaccurate

editions. In p i e c e s s u c h as t h e C h o p i n P r e l u d e in C m in or .

Op. 28, No. 20, discussed on p a g e s 81-82 of t h is paper,

H in so n might have been prudent to h a v e included a footnote

e x p l a i n i n g hi s choice of t he E - f 1 at in m e a s u r e 3, as P a l m e r

did in h is edition of the P r e l u d e s , since so m a n y

performances of t h e p i e c e h a v e taken p lace o v er the y e a r s to

have c a u s e d th e E - n a t u r a l to s o u n d correct to m a n y ears.

In hi s review of H i n s o n ' s M a s t e r s of t he E a r l y

Contemporary P e r i o d . Mark Hallum Sullivan takes issue with

Hinson's pe da l markings:

[ Hi ns o n] d r a w s y a r d s of peda l b r a c k e t s t h r o u g h
n e a r l y e v e r y pi e ce . On th e w h o l e t h e s e s e e m g e a r e d
to p r e v e n t b l u r r i n g r a t h e r t h a n to e n r i c h the
s o n o r i t y . N o t o n ly a r e t h e y v i s u a l l y d i s t r a c t i n g ,
the c h a n g e s i n d i c a t e d are o f t e n m u s i c a l l y
d e t r i m e n t a l .103

One w o u ld have to q u e s t i o n w h y Sullivan believes such

markings are mus i ca ll y detrimental. This review clearly

illuminates t he c h a l l e n g e t ha t t he e d i t o r of an i n s t r u c t i v e

edition undertakes: th at of p r e s e r v i n g th e a c c u r a c y and

clarity of the original or " u r t e x t " s co re, while adding

enough editorial suggestions to a i d a y o u n g or i n e x p e r i e n c e d

student. It is the v i e w of this author t h at M a u r i c e H i n s o n ' s

i n t e r m e d i a t e - 1evel collections, for the m o s t part, m e et t he

103S u l l i v a n , 69.
 101

challenge, and provide a v a l u a b l e w e a l t h of m a t e r i a l for

p i a n o s tudy.
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Books

Bach, Carl P h i l i p p E m a n u e l . E s s a y on the T r u e A r t of

P l a y i n g K e y b o a r d I n s t r u m e n t s (1753). T r a n s l a t e d a nd
e d i t e d by W i l l i a m J. M i t c h e l l . N e w York: W. W.
N o r t o n a nd Co., 1949.

Butt, John. B a c h I n t e r p r e t a t i o n . A r t i c u l a t i o n M a r k s in
P r i m a r y S o u r c e s of J. S. B a c h . C a m b r i d g e : C a m b r i d g e
U n i v e r s i t y Press, 1990.
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C l e m e n t i , Mu z io . I n t r o d u c t i o n to the A r t of P l a y i n g on t he
P i a n o f o r t e , ed. b y S a n d r a P. R o s e n b l u m . N e w York: Da
C a p o Press, 1974.

D o n i n g t o n , R ob e rt . A P e r f o r m e r ’s G u i d e to B a r o q u e M u s i c .
N e w York: C h a r l e s S c r i b n e r ' s Sons, 1973.

Eigeldinger, J e a n - J a c q u e s . Chopin - Pianist and T e a c h e r ,

t r a n s l a t e d by R o y H o w a t . Londo n: C a m b r i d g e U n i v e r s i t y
P ress, 1986.

F e r g u s o n , H ow a rd . K e y b o a r d I n t e r p r e t a t i o n . N e w Y o r k a n d
Lond on : O x f o r d U n i v e r s i t y Press, 1975.

H in s o n , M a u r i c e . G u i d e to the P i a n i s t ' s R e p e r t o i r e . 2nd

rev. a n d e n l . ed. B l o o m i n g t o n : I n d i a n a U n i v e r s i t y
P res s, 1987.

--------- - M u s i c for M o r e T h a n O n e P i a n o . B l o o m i n g t o n :
I n d i a n a U n i v e r s i t y P ress, 1983.

--------- . M u s i c for P i a n o a nd O r c h e s t r a . B l o o m i n g t o n :
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J o s e p h B a n o w e t z , T h e P i a n i s t ' s G u i d e to P e d a l i n g .
B l o o m i n g t o n : I n d i a n a U n i v e r s i t y P ress, 1985.
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--------- . T he P i a n o in C h a m b e r E n s e m b l e . B l o o m i n g t o n :
I n d i a n a U n i v e r s i t y Press, 1978.

--------- . T he P i a n i s t ' s R e f e r e n c e G u i d e . V a n Nuys, CA:

A l f r e d P u b l i s h i n g C om p a n y , 1987.

--------- . T h e P i a n o T e a c h e r ' s Source B o o k . Melville, N.Y.:

B e l w i n M i ll s , 1974.

--------- - Th e P i a n o T e a c h e r ' s S o u r c e B o o k . 2 nd ed.

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--------- . T he P i a n i s t ' s G u i d e to T r a n s c r i p t i o n s ,
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U n i v e r s i t y Press, 1990.

--------- . T he P i a n i s t ' s R e f e r e n c e G u i d e . V a n Nuys, CA:

A l f r e d P u b l i s h i n g Co., 1987.

H u t c h e s o n , Ern es t. T h e L i t e r a t u r e of t h e P i a n o . 3r d ed.,
rev^. by R u d o l p h G a n z . N e w York: A l f r e d K no pf , 1964.
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Keller, Hermann. Phr as i ng and Articulation:

A C o n t r i b u t i o n to a R h e t o r i c of M u s i c . T r a n s l a t e d
by L e i g h G e r d i n e . N e w York: W. W. N o r t o n Co., Inc.,
1965.

N e u m a n n , F r e d e r i c k . N e w E s s a ys on P e r f o r m a n c e P r a c t i c e .
R o c h e s t e r , NY: U n i v e r s i t y of R o c h e s t e r P re ss , 1989.

P l a n t i n g a , Leon. C l e m e n t i : H i s L i f e a n d M u s i c . N e w York:
O x f o r d U n i v e r s i t y Press, 1977.

R o s e n b l u m , S a n d r a P. P e r f o r m a n c e P r a c t i c e s in C l a s s i c
P i a n o M us i c : T h e i r P r i n c i p l e s a n d A p p l i c a t i o n s .
B l o o m i n g t o n : I n d i a n a U n i v e r s i t y Pr e ss , 1988.

Le H ur a y, Peter. A u t h e n t i c i t y in P e r f o r m a n c e : Eighteenth-
Century Case S t u d i e s . Cambridge: C ambridge
U n i v e r s i t y P ress, 1990.

Turk, D a n i e l G o t t l o b . Sc h oo l of C l a v i e r P l a y i n g or
I n s t r u c t i o n s in P l a y i n g the C l a v i e r f or T e a c h e r s a nd
S t u d e n t s (1789) T r a n s l a t i o n , I n t r o d u c t i o n , a n d N o t e s
b y R a y m o n d H. Ha gg h . L i nc o ln : U n i v e r s i t y of N e b r a s k a
P ress, 1982.

Dictionaries and E nc yclopedias

C ohen, A a r o n I., ed. I n t e r n a t i o n a l E n c y c l o p e d i a of W o m e n

C o m p o s e r s . V a n N u ys , CA: A l f r e d , 1990.

H i t c h c o c k , H. W i l e y a n d S t a n l e y Sadie, eds. N e w G r o v e
D i c t i o n a r y of A m e r i c a n M u s i c . Vol. 17. L o nd on :
M a c m i l l a n P r e ss Ltd., 1986. " P i a n o M u s i c " by
M a u r i c e H i n s o n a n d H. W i l e y H i t c h c o c k .

S a d i e S t a n l e y a nd o t h e r eds. N e w G r o v e D i c t i o n a r y of
M u s i c . L on do n: M a c m i l l a n Press, 1980. S.v.
" C l e m e n t i , " by M a r g a r e t C r a n m e r a n d P e t e r W a r d
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Articles

H in s o n , M a u r i c e . " An A m e r i c a n T u n e for T o d a y ’s S t u d e n t , "

C l a v i e r 10 ( S e p t e m b e r 1971): 24-27.

. "Chopin Bibliog ra p hy ," P i a n o Q u a r t e r l y No. 113

( S p r i n g 1981): 63-64.
 107

. " P u b l i s h e d P i a n o S o n a t a s a n d S o n a t i n a s by
American Born Composers 1900-1960," American Music
T e a c h e r 10 ( J u l y - A u g u s t 1961): 10-11.

. " T he S i x t h E d i t i o n of M u z i o d e m e n t i ' s 'Six

P r o g r e s s i v e S o n a t i n a s , ' Op. 36 (ca. 1 8 2 0 ) , " P i a n o
J o ur na l No. 11 ( J un e 1983): 35-36.

. "The Solo Piano Works of N o r m a n D e l l o Jo i o, "

A m e r i c a n M u s i c T e a c h e r 16 ( J a n u a r y 1967): 34, 48.

. " Th e S o l o P i a n o W o r k s of R o s s Lee F i n n e y , "

A m e r i c a n M u s i c T e a c h e r 20 ( J u n e - J u l y 1971): 16-18, 40.

. "T he S o l o P i a n o W o r k s of A l a n H o v h a n e s s , "
A m e r i c a n M u s i c T e a c h e r 16 ( J a n u a r y 1967): 22-24, 44.

. "T he S o lo P i a n o W o r k s of C h a r l e s I v es , " Piano

Quarterly No. 88 ( W i n t e r 19 74 - 75 ): 32-35.

. " T he S o l o P i a n o W o r k s of V i n c e n t P e r s i c h e t t i ,"
A m e r i c a n M u s i c T e a c h e r 15 ( A p r i l - M a y 1966): 38-39, 59.

Book Reviews

R ob e r t , W al t er . R e v i e w of G u i d e to t he P i a n i s t ' s R e p e r t o i r e
by M a u r i c e H in s on . In C l a v i e r 12 ( M a y - J u n e 1973): 8-9.

B a n o w e t z , Joseph. R e v i e w of T h e P i a n i s t ' s G u i d e to
T r a n s c r i p t i o n s , A r r a n g e m e n t s , a n d P a r a p h r a s e s by
M a u r i c e H in s o n . In P i a n o Q u a r t e r l y No. 152 ( W in te r
1 99 0- 91 ): 56-57.

G or d on , S t e w a r t . R e v i e w of T h e P i a n o T e a c h e r ' s S o u r c e B o o k
by M a u r i c e H in s o n . In A m e r i c a n M u s i c T e a c h e r 24
( J u n e - J u l y 1975): 59.

G ow en , B r a d f o r d . R e v i e w of S c h u m a n n F a n t a s i e s t iie k e .
Op. 12, S i n f o n i s c h e s E t ild e n , Op. 13, and F a n t a s y in C
M a jo r , Op. 17 e d i t e d by M a u r i c e H in s on . In P i a n o and
K e y b o a r d 164 ( S e p t e m b e r / O c t o b e r 1993): 54

S h a d i n g e r , R i c h a r d . R e v i e w of M a s t e r s o f - -E n g l i s h , F r e n c h ,
R u s s i a n , S p a n i s h , P i a n o M u s i c e d i t e d by M a u r i c e H in s on .
In A m e r i c a n M u s i c T e a c h e r ( D e c e m b e r - J a n u a r y 1 9 9 1 / 1 9 9 2 ) :
72-74.

S c h u e s s l e r , A n n e m a r i e . R e v i e w of T he P i a n i s t ' s G u i d e to
T r a n s c r i p t i o n s A r r a n g e m e n t s , a nd P a r a p h r a s e s by
M a u r i c e H i n s o n . In C l a v i e r 29 ( N o v . , 1990): 8, 37.
S u l l i v a n , M a r k H al l um . R e v i e w of M a s t e r s of t he E a r l y
C o n t e m p o r a r y P e r i o d e d i t e d by M a u r i c e H i n s o n . In
A m e r i c a n M u s i c T e a c h e r ( D e c e m b e r / J a n u a r y 1 9 9 2 /9 3 ): 69

W e i r i c h , R o be rt . R e v i e w of M a s t e r s of th e P i a n o F a n t a s y
e d i t e d b y M a u r i c e H i ns o n. In A m e r i c a n M u s i c T e a c h e r
( D e c e m b e r / J a n u a r y 1 9 9 0 / 91 ): 60.

Interviews

Hinson, Maurice I n t e r v i e w by a u th o r, 30 M a y 1989,

Louisville, Kentucky. Tape r e c o r d i n g .

---------- I n t e r v i e w b y a ut ho r, 31 M a y 1989, Louisville,

Kentucky. Tape recording.

- - ------ . I n t e r v i e w by auth or , 1 J u ne 1989, Louisville,

K e n t u c k y . T a p e r ec o rd i n g .

--------- . I n t e r v i e w b y a u th or , 2 J un e 1 9 89 L o u i s v i l l e ,
K e n t u c k y . T a p e r ec o rd i n g .

--------- . I n t e r v i e w b y autho r, 28 F e b r u a r y 1994,

Birmingham, Alabama. Tape r e c o r d i n g .

--------- . I n t e r v i e w b y auth or , 20 A p r i l 1994, Louisville,

K e n t u c k y . T e l e p h o n e call.
 APPENDIX I

M U SI C EDITED BY M A U R I C E H IN SO N - L I S T E D BY P U B L I S H E R

A l f r e d P u b l i s h i n g Co.
V a n N u v s . CA

Col 1e c t i o n s

At t he P i a n o w i t h J. S. B a c h 1987
A t t he P i a n o w i t h t he S o ns of B a c h 1990
At the P i a n o w i t h B e e t h o v e n 1986
At t he P i a n o w i t h B r a h m s 1988
At t he P i a n o w i t h C h o p i n 1986
At the P i a n o w i t h D e b u s s y 1 98 6
At th e P i a n o w i t h H a y d n 1990
At t he P i a n o w i t h S c o t t J o p l i n 1990
At the P i a n o w i t h K a b a l e v s k y 1990
A t t he P i a n o w i t h L i s z t 19 86
At the P i a n o w i t h F e l i x an d F a n n y M e n d e l s s o h n 1988
A t the P i a n o w i t h M o z a r t 19 86
At the P i a n o w i t h R a ve l 1986
At the P i a n o w i t h S c a r l a t t i 1989
At the P i a n o w i t h R o b e r t a nd C l a r a S c h u m a n n 1988
At the P i a n o w i t h T c h a i k o v s k y 1990
At the P i a n o w i t h W o m e n C o m p o s e r s 1990
B a r o q u e to M o d e r n - H u m o r in P i a n o M u s i c 1991
B e e t h o v e n - P i a n o M u s i c f r o m H is E a r l y Y e a r s 1990
B e e t h o v e n - P i a n o M u s i c I n s p i r e d by W o m e n in
H is L i f e 1990
B r ah ms : S h o r t e r P i a n o P i e c e s 1985
B ra h ms : 51 E x e r c i s e s 1985
B u r g m u l l e r : 12 B r i l l i a n t a n d M e l o d i o u s S t u d i e s , 1991
Op. 105 1991
B u r g m u l l e r : 18 C h a r a c t e r i s t i c S t u d i e s . Op. 109 1991
C h o p i n - P i a n o M u s i c f r o m H is E a r l v Y e a r s 1990
C h o p i n - P i a n o M u s i c I n s p i r e d by W o m e n
in H is L i f e 1990
Classical M u s i c for th e C h u r c h S e r v i c e .V o l . 1 1989
Classical M u s i c for t he C h u r c h S e r v i c e .V o l . 2 1989
Classical M u s i c for th e C h u r c h S e r v i c e ,V o l . 3 19 89
Classical M u s i c for t he W e d d i n g S e r v i c e 1989

109
 110

Cramer: 50 S e l e c t e d S t u d i e s 1992
Czerny: 24 S t u d i e s fo r t h e Left Hand, Op. 718 1991
Czerny: 40 E x e r c i s e s , Op. 337 1991
Czerny: 100 P r o q r e s s i v e S t u d i e s W i t h o u t O c ta v es ,
Op. 139 1991
C z e r n y : 125 E x e r c i s e s in P a s s a q e i P l a v i n q . Op. 261 1991
C z e r n y : 160 E i q h t - b a r E x e r c i s e s , Op. 821 1991
D a n c e s of J.S. B a c h 1990
D a n c e s of B e e t h o v e n 1 98 6
D a n c e s of C h o p i n 1988
D a n c e s of D e b u s s y 19 88
D a n c e s of Ravel 1990
D a n c e s of S c h u b e r t 1990
Debussy : Children's Corner Suite 1985
D e b u s s y : P e t i t e S u i t e (Duet) 1986
Debussy : Preludes, Book 1 1 98 6
Debussy : Preludes, Book 2 1988
E s s e n t i al I n t e r m e d i a t e K e y b o a r d R e p e r t o i r e 1990
E s s e n t i a l K e y b o a r d R e p e r t o i r e Reauirincf a H a n d S p an
of a n O c t a v e or L e s s 1990
H a y d n : So na t as , Vol.’ 1 1990
Haydn: Sonatas, V o l . 2 1990
Haydn: Sonatas, V ol. 3 1990
Liszt - Piano Music from His Early Years 1990
L i s z t - P i a n o M u s i c I n s p i r e d b y W o m e n in H is L i f e 1990
M a s t e r s of A m e r i c a n P i a n o M u s i c 1992
M a s t e r s of the C h a r a c t e r P i e c e 1987
M a s t e r s of the P i a n o B a l l a d e 1988
M a s t e r s of the P i a n o F a n t a s y 1989
M a s t e r s of P i a n o P r o q r a m M u s i c 1990
M a s t e r s of P o l y p h o n i c M u s i c 1989
M a s t e r s of the S o n a t i n a , B o o k 1 1986
M a s t e r s of the S o n a t i n a , B o o k 2 1986
M a s t e r s of the S o n a t i n a , B o o k 3 19 86
M a s t e r s of t he S u i t e 1989
M a s t e r s of the T h e m e a n d V a r i a t i o n s 1987
M a s t e r s of the B a r o q u e P e r i o d 1988
M a s t e r s of t he C l a s s i c a l P e r i o d 1988
M a s t e r s of t he R o m a n t i c P e r i o d 1988
M a s t e r s of I m p r e s s i o n i s m 19 89
M a s t e r s of E n q l i s h P i a n o M u s i c 1990
M a s t e r s of F r e n c h P i a n o M u s i c 1990
M a s t e r s of R u s s i a n P i a n o M u s i c 1990
M a s t e r s of S p a n i s h P i a n o M u s i c 1990
M e n d e l s s o h n : S o n q s w i t h o u t W o r d s (Co mp le te ) 1993
M o z a r t - P i a n o M u s i c f r o m Hi s E a r l y Y e a r s 1990
M o s z k o w s k i : 15 V i r t u o s i c E t ud es , Op. 7 2 1992
Ra ve l: S e l e c t e d F a v o r i t e s 1993
R e i n e c k e : N u t c r a c k e r a n d t he M o u s e Kinq,
O p . 46 (Duet) 1987
Scarlatti: Selected Sonatas 1989
S c a r l a t t i : So na t as . Vol. 1 1990
S c a r l a t t i : S o n a t a s , Vol. 2 1990
W a a n e r - P i a n o M u s i c I n s p i r e d by W o m e n In Hi s L i f e 1990
World's Greatest Classical Piano S o n a t a s . V o l . 1 1992
World's Greatest Classical Piano S o n a t a s . V o l . 2 1992
World's Greatest Etudes 1993
W o r l d ' s G r e a t e s t M e l o d i e s for P i a n o 1990
World's Greatest R agtime Solos 1993

Single Works

Ahjbeniz: S o n a t a in D 1993
Bar ti k: S o n a t i n a 1985
B e e t h o v e n : V a r i a t i o n s in C M i n o r 1988
C h opi n: " F a n t a s i e I m p r o m p t u " 1988
D e bu s sy : " G o l l i w o g ' s C a k e w a l k " 1985
D e b us s y: "T he S u n k e n C a t h e d r a l " 19 86
D e b u ss y : "La f i l l e au x c h e v e a u x de lin" 1987
D e b us s y: "La p l u s q u e le nt e" 1987
D e b u ss y : " L ' i s l e j oy e u s e " 1993
D e b u ss y : " M i n s t r e l s " 1993
D e b u s s v : P o u r le p i a n o 1990
D v or a k: H u m o r e s g u e , Op. 101, No. 7 1988
G r a n a d o s : M a v Song, Op. 1, No. 3 1993
Joplin: T h r e e P i a n o R a g s 1990
Khatchaturian: Toccata 1988
Liszt: H u n g a r i a n R h a p s o d y , No. 2 1987
Liszt: " L i e b e s t r a u m e " 1987
M a c D o w e l 1: S i x F a n c i e s 1990
M o z a r t : A d a g i o in B m i n o r , K. 540 1993
ozart.: R o n d o in A m i n o r , K. 511 1993
M o z a r t : S o n a t a in A, K. 331 1990
M o z a r t : 12 V a r i a t i o n s on "Ah, v o u s d i r a i - i e , Maman" 1986
R a v e l : Pavane pour une infante defunte 1987
R a v e l : Prelude 1989
R a v e l : Sonatine 1986
Ra ve l: V a l s e n o b l e s et s e n t i m e n t a l e s 1988
R u b i n s t e i n : M e l o d y in F, Op. 3, No . 1 1988
S h o s t a k o v i c h : T h r e e F a n t a s y D a n c e s , Op. 5 19 89
S i b e li u s: R o m a n c e , Op. 24, No. 9 1988
Sibelius: V alse Triste 1989
Si nd in g: " R u s t l e s of S p r i n g " 1988
T o r j u s s e n : "To t he R i s i n g Sun" 1 98 9
 112

B e l w i n Mil Is
M i a m i . FL

A n A d v e n t u r e in R a g t i m e 1975
C ontemp o ra ry Piano Lite ra t ur e
L e v e l s V a n d VI 1971
D u e t s of E a r l y A m e r i c a n M u s i c 197.1
Early A m e r ic an M usic 1971
E n s e m b l e M u s i c of t he C a p i t a l C i t y 19 89
J am e s H e w i t t : T h e B a t t l e of T r e n t o n 1 98 9
K onrad M ax K u n z : Two H u n d r e d Short Two-Part Canons 1988
M u s i c of t he C a p i t a l C i t y 1987
M u s i c f or t he W a s h i n g t o n s 1988
P i a n o L i t e r a t u r e , Vols . I - IV 1984
S o n a t i n a s for P i a n o , V o ls . I a n d II 1982

Hinshaw
C h a p e l H il l , NC

A m e ri c an Indian Mel od i es
H a r m o n i z e d by A r t h u r F a r w e l l 1977
J o h a n n A. An dr e: Si x S o n a t i n a s Op. 45
fo r P i a n o D u e t 1983
J o h a n n C. B a c h an d F r a n c e s c o P. Ricci:
Four te e n Pieces 1983
M uzio Clementi: S o n a t i n a s Op. 36 ( S i x t h E d i t i o n ) 1978
M uz io Clementi: T o c c a t a in B - f l a t 19 79
D a n c e s of the Y o u n g R e p u b l i c 1977
A nton Diabelli: Piano Pieces 1982
H e c t o r B er l i o z : Piano Works 1984
F r a n c i s H o p k i n s o n : S e v e n S o n g s for t he H a r p s i c h o r d 1987
C h a r l e s Ives: I n v e n t i o n 1975
S e rg e i R a c h m a n i n o f f : A l b u m of P i a n o W o r k s 1985
Alex an de r Reinagle: Five Scots Tunes 1985
Alex an de r Reinagle: T h i rt ee n Short and Easy Duets 1977
A l e x a n d e r R e i n a g l e : T w e n t y - f o u r S h o rt a nd
Easy Pieces 1975
E d w a r d M a c D o w e l l : F i r e s i d e T a l e s , Op. 61 1981
E d w a r d M a c D o w e l l : M a r i o n e t t e s . Op. 38 1979
E d w a r d M a c D o w e l l : M o o n P i c t u r e s , Op. 21 (duets) 1984
P i a n o M u s i c of 1 9 t h C e n t u r y A m e r i c a
Vols. I a n d II 1975
P i a n o M u s i c of V i c e r e g a l M e x i c o 1 97 9
Presto d'incerto autore 1977
12 x 11 - P i a n o M u s i c of T w e n t i e t h C e n t u r y
America 197 9
V e r d i - L i s z t : A g n u s Dei f r o m the R e q u i e m 1982
t r a n s c r i b e d by L i s z t 1982
R a y n o r T ay lo r: V a r i a t i o n s to A d e s t e F i d e l e s 1 97 1
Samuel C o l e r i d g e - T a y 1 o r : N e g r o M e l o d i e s . Op. 59 1981
 113

E u r o p e a n A m e r i c a n R e ta i l Music
V a l i e v Fo r ge , PA

C h a n g i n g Faces: New Piano Works by A m e r i c a n

Composers 1987

G. S c h i r m e r
M i l w a u k e e , WI

Classical Music for t he W o r s h i p Service 1980

Schott
N e w Y o rk , NY

T he H i n d e m i t h C o l l e c t i o n 19 89

The G re tchaninoff Collection 1992

The FranQaix Coll e ct io n 1993

The Rodrigo C ollection 1991

Universal Edition
V a l l e y F org e, PA

T h e H e l l e r C o l l e c t i o n : 34 R o m a n t i c E t u d e s
for the P i a n o by S t e p h e n H e l l e r 1994

Willis Music Company

F l o r e n c e , KY

A C o l l e c t i o n of E a r l y A m e r i c a n K e y b o a r d M u s i c 1971
 APPENDIX II

R E P R E S EN TA TI V E LIST OF HI NS O N' S PROFESSIONAL ACTIVITIES

" K e y b o a r d M u s i c in th e C o l o n i e s a n d t he U n i t e d
S t a t e s of A m e r i c a t o 1 80 0 "
Lecture-recital
Oklahoma Baptist University
A pr il 19, 19 94

" N e w A p p r o a c h e s to S t y l e a n d I n t e r p r e t a t i o n "
I n t e r m e d i a t e r e p e r t o i r e : s t e p p i n g s t o n e s to t he m a s t e r s
A n O v e r v i e w of R u s s i a n P i a n o M u s i c
Lecture
A r i z o n a S t a t e U n i v e r s i t y Sc ho ol of M u s i c
A pr il 17, 1 99 4

" H u m o r in P i a n o M u s i c "
Lecture-Recital
Pennsylvania State U n i ve r si ty Sc ho ol of M u s i c
M a r c h 17, 19 94

"Hungarian Folksong Settings for P i a n o b y F r a n z Liszt"

Lecture-Recital
Samford University
B i r m i n g h a m , AL
F e b r u a r y 28, 1 99 4

" B r a h m s as E d i t o r "
Lecture
M as t e r Class
U n i v e r s i t y of M i s s o u r i Kansas City Conservatory
Jan. 21-22, 1991

"Consider these Creators: W omen Composers of P i a n o

Music"
Lecture-Recital
M aster Class
U n i v e r s i t y of M i s s o u r i - C o l u m b i a
Columbia, Missouri
Jan. 23, 1991

114
 115

A ST A International Workshops
C a l g a r y ,C a n a d a
J u ly 29 - Aug. 11, 1990

" C r i t e r i a for S e l e c t i n g G o o d T e a c h i n g M a t e r i a l s "

Lecture
Wisconsin Music Teachers Association Convention
U n i v e r s i t y of W i s c o n s i n - M a d i s o n
Madison, WN
O c t o b e r 7, 1989

" C h o p i n P e d a l i n g B a s e d on A u t o g r a p h s a n d F i r s t E d i t i o n s "
Lecture-Demonstration
Adjudicator
I n t e r n a t i o n a l M a s t e r s P i a n o C o m p e t i t i o n an d F e s t i v a l
M emphis State Un iversity
M e m p h i s , TN
Oct. 1-3, 1989

ASTA International Workshops

Graz, A u s t r i a
Ju ly 25 - Aug. 7, 19 89

M a s t e r C la s s /
Adjudicator, R ussian Romantics Co mpetition
Joanna Hodges International Piano C ompetition
C o l l e g e of the D e s e r t
P a l m D e se r t, CA
M a r c h 24, 1991

" S t y l e a nd C o n t e n t in A m e r i c a n P i a n o M u s i c 1 93 9 -
Present"
Lecture-Recital
Master Class
A m e r i c a n M u s i c F e s t i v a l ( Pi an o C o m p e t i t i o n an d W o r k s h o p )
Ouachita Baptist Un iversity
Arkadelphia, AK
Feb. 21, 1991

"Performance Practice - What the Printed M u s ic Doesn't

S h o w ... a look at s t y l i s t i c a s p e c t s in c or r e c t
p e r f o r m a n c e of b a r o q u e , c l a s s i c a l , r o m a n ti c , a nd
contemporary music"
Lecture-Demonstration
New Jersey Music Teachers Associ at i on Convention
G lassboro State College
G l a s s b o r o , NJ
Nov. 18, 1990
" N e w A p p r o a c h e s to S t y l e a n d I n t e r p r e t a t i o n "
Lecture
Indiana M usic Teachers A s so ci a ti on Convention
Butler University
I n d i a n a p o l i s , IN
Nov. 9, 1990

"At t he P i a n o w i t h t h e W o r l d ' s Greatest Composers"

Workshop
E l l i s P i a n o Co.
Birmingham, AL
Sept. 7, 1990

M aster Class
L e v i n e School of M u s i c
W a s h i n g t o n , D.C.
Apr. 9, 1 98 9

" P i a n o M u s i c in V i c e r e g a l M e x i c o "
Lecture-Recital
Louisiana State Univ er si t y
B a t o n Rou ge , LA
Oct. 31, 1989

" T he Y o u n g B e e t h o v e n "
Lecture-Recital
B e e t h o v e n S o c i e t y for P i a n i s t s
Southern Illinois U n i v e r s i ty - Ca rb on d al e
C a r b o n d a l e , IL
Nov. 18, 1989

" Th e E m e r g e n c e of R o m a n t i c S t y l e in P i a n o M u s i c from
A l e x a n d e r R e i n a g l e to E d w a r d M a c D o w e l l "
Lecture-Recital
Music Teachers National A s so ci a ti on Convention
W a s h i n g t o n , D.C.
M a r c h 19, 1980
 VITA

J o n a t h a n B r o w n is a n a t i v e of B i r m i n g h a m , Alabama. He

began piano studies at t he a ge of s e v e n a n d wa s active in

church choirs throughout his youth. In 1973, he b e g a n p i a n o

s t u d y w i t h S t e v e N e l s o n at S a m f o r d U n i v e r s i t y , w h e r e he

completed a degree in m u s i c e d u c a t i o n a n d wa s a member of

the S a m f o r d U n i v e r s i t y P e r f o r m i n g A r t s P r o gr a m. In 1977, he

w as a winner in the s c h o o l ' s Concer to - Ar ia auditions, a nd in

1978, a r e gi o na l winner in t he A m e r i c a n M u s i c Scholarship

Assoc ia ti on auditions. He graduated magna c um l a ud e f r o m

Samford in 1977.

Mr. Brown received a Graduate Award scholarship to

Southern I l l i n o i s U n i v e r s i t y - E d w a r d s v i 1 le, where he studied

with renowned pianist Ruth Slenczynska an d c o m p l e t e d his

Master of M u s i c degree in p e r f o r m a n c e in 1983. He continued

h is p i a n o s t u d i e s at L o u i s i a n a State Univ er si t y with Alumni

Professor Ja ck G u e r r y , p u r s u i n g t he D o c t o r of M u s i c a l Arts

d e g r e e w h i l e h o l d i n g an a s s i s t a n t s h i p in t e a c h i n g and

accompanying.

Mr. Brown makes h is h o m e in B i r m i n g h a m , w h e r e he

performs a nd t e a c h e s at F i r s t B a p t i s t - P e l h a m S ch oo l of F i n e

Arts a n d B r i a r w o o d P r e s b y t e r i a n Chu rc h.

117
 DOCTORAL EXAMINATION AND DISSERTATION REPORT

Candidate: Jonathan A. Brown

Major Field: Music

Title of Dissertation: Maurice Hinson's Pedagogical Collections

for Intermediate-Level Piano Students

Approved:
( i//i

X /
or Professor and Chairman

EXAMINTNG/COMMTTTEE:

Date of Examination: