Piano Studyin Soviet-RussianSchoolsof Music

WALTERROBERT

Translator'snote: The followingis a translationof

the Syllabus of Special Classes in Piano for Music
Schoolsapprovedby the Departmentof Educationof
the Ministryof Cultureof the Unionof SovietSocial-
ist Republicsand publishedin Moscow(1960) by the
Ministryof Culture.
The first part, translatedin its entirety,states the
general principlesand pedagogicaims of the study
program;the secondpart, of whichwe publisha par-
tial translation,sets up the requirementsin detail.The
courseof study presupposesgraduationfroma prepar-
atorymusichighschool("MusicSchoolfor Children")
and leads to a diploma qualifyingthe graduateto
teach in a preparatorydepartmentof a USSR music
schoolor to fill a positionas coach-accompanist. It is
not the courseof study for the highestlevel of training
in conservatoriessuch as the TchaikovskyConserva-
tory in Moscow. The translationconsciouslysacrifices
excellenceof Englishstyle to close adherenceto the
originalRussian.

SYLLABUSOF SPECIALCLASSESIN PIANO FOR MUSIC SCHOOLS

Approvedby the Departmentof Educationof the Ministryof Culture
of the Union of Soviet SocialistRepublics.Moscow,1960.

Goalsof specialclasses The teacherof a specialclass is the

and generalpedagogicremarks. principalguide of the student in a
HE GOAL of the special classes of music school. Having as his goal the
pianoplayingis the preparationof developingof qualifiedspecialists,true
specialistswho possess the knowledge patriotic sons of the fatherland,he
and the musical performanceskills has to pay attentionto all phases of
which are necessaryfor independent the intellectualdevelopmentand the
professionalactivityas teachersin mu- social life of the student. He must
sic schools for children [i.e. elemen- furtherhis love for musicand his un-
tary and secondaryschools] and as
coach-accompanists.1 coach-accompanistfinds a recognition which is
sadly lacking in American music departments
and it is somewhat surprising to find this equip-
1 Translators' comment: It is interesting to ment to be equated with the preparation for
note that the professional equipment of the piano teachers proper.
199
200 JOURNAL OF RESEARCH IN MUSIC EDUCATION

derstanding of the important role of the leading contemporary composers

art in society. He must guide his abroad.4
pianistic and general musical develop- In learning music, the student must
ment; he must deepen his historical first of all be taught to read the text
and theoretical knowledgeof music in of the author correctly, and to inter-
connection with the work in the spe- pret it intelligently on this basis; to
cial class; he must constantly foster listen to his own performance,to an-
the sense of responsibility, of con- alyze the difficulties encountered; to
scious discipline,of will and dedication control carefully the quality of sound
to truth and other qualities which are and the rhythmic, coloristic, and dy-
indispensableto a Soviet specialist. All namic aspects of his performance.Me-
this work must be carried out in ac- chanical playing-through, a type of
cordance with the principles of com- practicing where the content of the
munist education.2 composition is ignored, leads not only
to a purely mechanical performance
Such are the educationalgoals which
but has a generally harmful effect on
confront the music teacher; they de-
the musical development of the stu-
mand from him a knowledge of the dent.5
circumstances of the life of the stu-
The teacher must in every way en-
dent, of his conduct in school and in
the home. It is imperative that the courage the student to work on the
teacher in the special field maintain perfectionof his technique. The devel-
opment of technique in the broad
constant contact with the teachers of sense of the word is brought about by
other disciplines.3 all compositions which the student
The teacher in the special field must masters; the developmentof technique
develop in the students love for folk in the narrowsense of the word (veloc-
music, for the art of his fatherland, ity, agility, evenness) is achieved by
for Russian classical music, for the systematic work on etudes, scales, and
realistic works of Soviet composers,for exercises. When working on technique
the productionsof the classics of other it is imperative to give exact, individ-
nations, and for the contributions of ual assignmentsand to supervise their
execution regularly. Never must work
2The strong emphasis on patriotism and the on technique lead to a piling up of a
fatherland comes as a surprise to the Western
reader who is conditioned to think of "the in-
great number of exercises and their
ternational Communist conspiracy." If the mechanical execution. Here, not only
words Soviet and communist were substituted the quantity but the quality of the
by "democratic"the goals announcedare fairly work, the constant refinement of the
the same as any teacher anywhere could sub-
scribe to. performanceare important.
3 In American higher education the lack of Attention to tone, rhythm and dy-
knowledge of a student's background is often namics is important in the study of
the cause of failure; the demands made on the
college freshmanwhose home, school and church
experiencehas not gone beyond "StormyWeath- 4 No Western observer has ever explained to
er," "The Stars and Stripes" and "Jesus Loves the writer's satisfaction what "realism" in the
Me" are often the cause of discouragementand Soviet vocabulary means. Its opposite is "for-
waste of potentially valuable musical material. malism"; the distinction between the two terms
The injunctionthat the Soviet teacher must get seems to be subject to revision, to put it mildly.
to know "the circumstancesof the student's life, 6 The strong emphasis on "interpretation
of his conduct in home and in school" sounds, from the start" can only be applauded. This is
for our suspicious ears dangerouslylike an in- true also for the explicit statement on "tech-
vitation to snooping. Need it be that, however? nique" in the next paragraph.
 PIANO STUDY IN SOVIET-RUSSIAN SCHOOLS OF MUSIC
teaching material, not only when learn-
ing pieces of musical value.
One of the most important means
to stimulate the interest in technique,
and to achieve best results is the clear
understanding,on the part of the stu-
dent, of the artistic goal for which the
work is being done. Lack of clear un-
derstandi4g about what is to be per-
formed and absence of a link between
musical ideas and the corresponding
motions which are necessary for their
realization, excessive difficulty of the
material to be learned, sharply lower
the quality of performance and are
detrimental to the normal develop-
ment of the student.
One of the most necessary condi-
tions to insure the success of the stu-
dent is the avoidance of excessive
muscular tension, which often becomes
an insurmountableobstacle for the mu-
sical and pianistic growth of a pianist.
The individual lesson is the basic
form of pedagogic and educational ac-
tivity. In the course of a lesson there
are many kinds of activities: check-
ing on the execution of the assignment,
explanation of the character of the
composition to be performed, advice
in regard to the work on assignments,
etc. In most cases, the most condu-
cive method is first to listen to the as-
signed piece and then to give the nec-
essary criticism. Performance by the
teacher (of the whole or of parts) to-
gether with verbal explanations of a
composition is without doubt the best
way of teaching; it stimulates the in-
terest, the attention, and the activity
of the learner. The approach to the
teaching material must change in ac-
cordance with the goals which are set
to the student in each phase of his
musical, artistic, and technical develop-
ment.6
It is interesting to note that the Soviet con-
servatories use the plan of individual lessons,
201
The teacher must constantly broad-
en the musical horizon of the student
and foster his creative activity and
self-sufficiency. In addition to the com-
positions which the student studies in
detail, he must acquaint himself with
literature of every genre, solo and en-
semble, original and transcribed. A
great deal of leeway is to be given to
the degree of perfection to be achieved
in each instance.
One of the most important tasks of
the pedagogue is the development of
habits of independent work on com-
positions; the ability to form and to
project an independent interpretation
of a composition on the basis of care-
ful and thoughtful study of the text
must be developed. With this is con-
nected the fostering of the student's
creative initiative, the understanding
of the individual style of the composer,
the formulation of clear notions in re-
gard to practice habits and approaches
to various problems. The teacher must
lead his students to transfer the ac-
quired habits and skills and to apply
them in novel situations. To develop
the ability of independent study the
student must be assigned at least once
a year a compositionof reasonabledif-
ficulty to be studied independently
and to be brought to as high a degree
of perfection as possible.7
As a rule the selection assigned for
independent study should be easier
than the material in the syllabus for
the year. A check on the independent
study of the student should be made
systematically once or twice a year, in
the presence of the other students.
in contrast to most Central European institu-
tions, where teaching usually takes place in
small groups.
7The emphasis on the development of self
sufficiency, transfer of learning and feeling fos
style is most commendable. This aspect of
pedagogy is generally left entirely unsupervised
in American institutions and therefore honored
mostly in the breach.
202 JOURNAL OF RESEARCH IN MUSIC EDUCATION
Systematic training in analysis and
sight reading are of prime importance
for the development of the student
and for his future activity. The devel-
opment of these skills is intimately
connected with the total musical ex-
perience of the student, with the gen-
eral level of his musical and technical
preparation,with the range and clarity
of musical impressionshe has received,
with the amount of music he has
studied and with his knowledgeof mu-
sic theory. Skill in analysis and sight
reading are most closely connected
with the development of the so-called
"inner hearing." Adequate develop-
ment of these skills is therefore possi-
ble only on the basis of serious and
diversifiedstudy of musical disciplines
carriedon not only in the piano lesson
but also in other courses.
The teacher's part in analysis and
sight reading consists in selecting the
material and in practical assistance in
the student's endeavors. The teacher
must carefully choose the material for
analysis and sight reading considering
the interests and requirementsof the
pupil. Compositionswhich due to their
content and musical idiom cannot af-
ford enjoyment for the student must
be avoided. The material for analysis
and sight reading must be within his
range; it should be attractive, and
must possess educational and musical
value. Systematic work towards inde-
pendent analysis must be carriedon in
class as well as in the form of home-
work. The purpose of teaching is not
only to enable the student to read cor-
rectly and with understanding, but
with speed and fluency.
It is advisable to teach the student
first of all to survey the text with the
aim of making clear to himself the
melodic contour, the tonality, the
meter, the texture, the voice leading,
the harmonic progressions, the recur-
rence of one or another musical unit,
etc.
Of great importance is a wise em-
ployment of the student's practice
time. In order to insure the most ra-
tional use of the student's time, the
teacher must help the student to give
an account of his "working day."
Planning of the work and most careful
selection of material are the most im-
portant factors to promote good or-
ganization of the learning process and
to insure successful all-round develop-
ment of the musical and interpretive
gifts of the student. The progress of
the student depends to a large extent
on the validity of the individual pro-
gram, how completely it is carried out
step by step, and what standards of
quality are maintained in its fulfill-
ment.8
The program for each student must
be planned by the teacher with a view
towards all-round development of the
professionaland performancepotential
of the student; the whole range of the
repertoirelisted in the syllabus should
be sampled and the need for pointing
out the style characteristicsof the dif-
ferent schools should be kept in mind.
The repertoire of the student should
include works differing in content,
form, style, and texture. The basis of
the teaching material is in the Russian
classical school, Soviet music, and the
products of the non-Russian classics.
In the music schools of the federal re-
publics the broad use of works from
3 The inclusion of this topic as well as the
following into an official syllabus is worthy of
note. The American teacher regards a discus-
sion of "How to practice" and even more, the
planning (or absence of a plan) as his very
private domain and would probably strongly re-
sent any official mandate in this as in many
other areas.
 PIANO STUDY IN SOVIET-RUSSIAN SCHOOLS OF MUSIC
the pen of national composers is rec-
ommended.9
The teaching material must be
suited to the individual needs of the
student, to the level of his general
musical and pianistic development; the
new requirementson each level should
be commensurate with this develop-
ment.
The repertoire lists below are
meant to be suggestive and should in
no way thwart the initiative of the
teacher. When it seems desirable to
include individual compositions from
the next higher course, there is no
reason not to do so once in a while.
Unwarrantedstiffening of the program,
however, is not advisable.
The individual repertoire is planned
by the teacher for each student at the
beginning of the first and second
semester; these plans must be ap-
proved by the head of the department.
At the end of the year the teacher
must render an account of their ful-
fillment together with an evaluation of
the student's work.10
For newly entering students and in
case of transfer from one teacher to
another, the repertoire plan is worked
out after the teacher has acquainted
himself with the student's abilities
9 As is borne out by the compilations of ma-
terial at the end of the syllabus the emphasis
on Russian (or national composers) is in strong
contrast with the practice of most piano teachers
in America who largely by-pass the home-
grown product and favor the European import.
A study of the recital programs of U. S. con-
servatories would easily bear out the validity
of this statement.
10The stress on the planning of the repertoire
is commendable,because too often the selection
of assignments is left to chance, to indefensible
idiosyncrasies of the teacher, to irresponsible
excesses of ambition on the part of the student
or teacher, and other detrimental factors. The
strict supervision of the Soviet pedagogue's
plans, however, would be unthinkable in the
atmosphere of individual freedom and initiative
of an American music school.
203
(approximately after a month of
study).
When planning the individual reper-
toire the teacher must keep in mind
the requirements of performing in
exams, in closed and public concerts
sponsored by the institution as well as
in professional appearances. The pro-
grams for diploma candidates are ar-
ranged by the teacher at the end of
the first semester and approved by the
departmental faculty.
Each student has to appear no less
than three times a year in exams or
public performances,and no less than
twice in the second semester. In the
course of the year the student must be
presented sufficiently in various capac-
ities to allow the formation of a judg-
ment. The repertoire for the spring
exam must include compositions of all
principal schools in accordance with
the outline of exam requirementsgiven
below; the repertoire of the semester
examination need not be complete
(compositions in sonata form or poly-
phonic works may be omitted). If
the student presents himself after the
first semester with a sufficiently full
program,he may, upon the decision of
the department, be excused from the
examination after the next semester.
In this case the grade received for his
public performancewill be counted as
his semester grade. After the first
semester of the first course, a control
lesson is scheduled. The pieces to be
performed in the control lesson are
determined by the teacher.ll
Among the compositions to be per-
formed in examinations and in public
during the school year must be works
of the Russian classics and those by
Soviet composers.
1It is interesting to note that no full recital
of the scope of our junior or senior recitals are
provided for.
204 JOURNAL OF RESEARCH IN MUSIC EDUCATION
As a check on the technicalprepara-
tion of the students in the first three
courses of study a special control les-
son is scheduledin March. This check
takes place in class in the presence of
the teacher and the head of the piano
department.
Examinations and public perform-
ances are graded A, B, C, D, and F.
In addition to the grade the commit-
tee will report about the performance
in general and about the progress of
each student in particular. In compil-
ing the yearly grade for promotionall
grades received by the student during
the year are added up, including the
grade given by the teacher for the
year's work, but the grade given by
the committee for the examination
played carries greatest weight.
The promotion examination is held
by a committee appointed by the di-
rector of the school, consisting of the
head of the department, the teacher
of the particular class, and other
teachers of the department. Diploma
performancesare heard by a commit-
tee constituted according to pertinent
instruction.
In addition to closed concerts there
are open student performanceswhere
those students appear who have suc-
cessfully performedin the closed con-
certs. The open concerts may be
mixed; that is, consisting of perform-
ances by students of various depart-
ments, or restricted to piano students
alone. There is also the possibility of
arranging open concerts by the indi-
vidual classes of the institution.
The programs of the student dem-
onstration concerts of the institution
consist of works by different com-
posers. In addition, it is possible to
conduct open concerts dedicated to the
work of a single composer or to the
products of a particular style. Per-
formances of works for pianoforte
with orchestraaccompanimentare de-
sirable.
In addition to the required public
performances and examinations, the
students must take part in concerts in
public schools, in clubs, in children's
homes, in election wards, on the radio,
etc. Students appear only with selec-
tions previously performed in closed
concerts and approved by committee.
Performances outside the music
school are permittedonly with the per-
mission of the director and under the
supervision of a faculty member (a
responsible teacher or coach-accompa-
nist is delegated to each appearance).
In order to improve the quality of
the students' musical educationregular
class meetings are arranged twice or
three times a year. Their subject mat-
ter is submitted to the teacher. Social
gatherings are encouragedin order to
acquaint the students with the achieve-
ment, life, and activities of leaders in
their field. Class meetings and subse-
quent criticisms of the performances
by classmates are useful. Such eve-
nings develop the faculties of criticism
and self-criticism, as well as the rou-
tine of public performancewhich is so
necessary and not always sufficiently
fostered.
The solution of the complicateded-
ucational problems with which the
teacher is faced requiresof him cease-
less endeavor in widening his intellec-
tual and political horizon, raising his
general culture, improving his peda-
gogic skill, and perfectinghis perform-
ance ability. Thoughtful analysis of
his daily work, searchingself-criticism,
and careful attention to the criticism
of his fellow teachersare indispensable
conditions for a successful handling of
the task entrusted to him. The teach-
er must actively participate in the ed-
ucational and musical activity of the
institution.
 PIANO STUDYIN SOVIET-RUSSIAN
SCHOOLSOF MUSIC 205
SYLLABUSOF THE SPECIAL CLASSIN PIANO FOR MUSIC SCHOOLS
Total: 340 hours IndividualLessons: 340 hours
Entrance Requirements.-Studentsenteringthe first year must have a preparationequival-
ent to seven classesof a music school for children. The entranceexaminationconsists of:
1. One polyphoniccomposition
2. Two etudes
3. One compositionin sonata form (a sonata or concertomovement,or variations)
4. A piece of lyrical character.
The repertoireto be heard must include compositionsby classic Russian and Soviet
composers.
The entrance requirementsinclude tests of ear training, rhythm, memory, theory, and
sight reading. These tests are given separatelyfrom the examinationin piano.
RepertoireRequirements.-The following minimum program for the year is required for
each class:
First Year Course
1. Eight studies in differentphases of technique
2. Three to four polyphoniccompositions
3. Two compositionsin sonata form
4. Six compositionsin smaller forms, of differentcharacter,in lyrical and virtuoso style.
SecondYear Course
1. Eight studies in difficultphases of technique
2. Three polyphoniccompositions
3. Two compositionsin sonata form
4. Six compositionsin smaller forms, of differentcharacter,in lyrical and virtuoso style.
Third Year Course
1. Five to six etudes in differentphases of technique (of these, two of virtuoso concert-
etude character)
2. Three polyphoniccompositions
3. Two compositionsin sonata form
4. Five compositionsin smallerforms, of contrastingcharacter.
Fourth Year Course
1. Two concert etudes of virtuoso character
2. Two polyphoniccompositions
3. Two compositionsin sonata form
4. Five to six compositionsin smallerforms, of contrastingcharacter.
Graduatesof music schools in piano are qualified to become teachers in music schools
for children and coach-accompanists.In accordancewith this, graduatesof such schools
must:
1. Possess skills in musical performanceat the piano enabling them to appear as soloists
and in musicalensemblesof any kind.
2. Possess the knowledge of piano and ensembleliteratureas outlined in the syllabus of
music schools for applicationin piano.
3. Possess the ability to study music independently.
4. Possess pedagogicqualificationsand practicalexperiencein piano teachingfor work with
children,in accordancewith the requirementsas outlined; they must know the principal
works of pedagogicliteratureas outlined in the requirementsof music schools for chil-
dren.
ExaminationRequirements.-For the second year course the student must be preparedto
perform:
1. Two etudes coveringdifferentaspects of technique
2. One polyphoniccomposition
3. One compositionin sonata form
4. One lyricalpiece.
206 JOURNAL OF RESEARCH IN MUSIC EDUCATION

TypicalExaminationProgramsfor the SecondYear Course

1. Arensky Op. 74, No. 2, Etude, C Minor
Czerny Op. 740, No. 3, Etude, D Major
Bach Preludeand Fugue, F sharp Major, (Vol. I,
Well TemperedClavier)
Mozart Concerto,A Major, 1st Mvt.
Alexandrov Op. 60, Echoes of the Theatre,Aria
2. Pachulsky Op. 28, No. 2, Etude, F Major
Czerny Op. 740, No. 5, Etude, E flat Major
Liadov Op. 41, No. 2, Fugue, D Minor
Beethoven Op. 14, No. 2, Sonata, G Major, 1st Mvt.
Goedicke Op. 9, No. 1, Prelude,F Minor
For the third year course:
Specialemphasisshould be placed on the technicalproficiencyof the students.
To establishthe level of technicalpreparationone of the following etudes should be
included:
Arensky Op. 41, No. 1, Etude, E flat Major
Tchaikovsky Op. 40, No. 1, Etude, G Major
Clementi-Tausig Etudes: No. 6, D Major;
No. 13, F Major; and
No. 21, F Minor
Moszkowski Op. 72, No. 7, Etude, E flat Major
Op. 75, No. 11, Etude, G Minor, "Velocity"
For the examinationthe followingmust be performed:
1. Three etudes coveringdifferentaspectsof technique
2. One polyphoniccomposition
3. One compositionin sonata form
4. One lyricalpiece.
Typical ExaminationProgramsfor the Third Year Course
1. Czerny Op. 740, No. 21, Etude, D Major
Kobyliansky Etude, A flat Major (Six Octave Etudes)
Clementi (Ed. Tausig) Etude No. 13, F Major
Rimsky-Korsakov Op. 17, No. 1, Fugue, D Minor
Beethoven Concerto,B flat Major, 1st Mvt.
Rakhmaninov Op. 3, No. 3, Melody, E Major
2. Tchaikovsky Op. 40, No. 1, Etude, G Major
Maikapar Op. 18, No. 1, OctaveIntermezzo,A Minor
Koszkowski Op. 62, No. 7, Etude, E flat Major
Bach Preludeand Fugue, C Minor (Vol. II,
WeUTemperedClavier)
Mozart Sonata,A Minor
Miaskovsky FadedLeaves,No. 1 and No. 3
For the fourth year course:
1. One concertetude
2. One polyphoniccomposition
3. The slow movementof a classicalsonata. (The slow movementmay be performed
instead of appearanceon one of the closedstudent recitalsduringthe year.)
4. One compositionin sonata form
5. One lyricalcomposition.
Typical Examination Programs for the Fourth Year Course:
1. Liadov Op. 41, No. 1, Fugue, F sharp Minor
Beethoven Op. 2, No. 2, Sonata, A Major, 2nd Mvt.
Chopin Op. 32, No. 10, Nocturne,A flat Major
 PIANO STUDY IN SOVIET-RUSSIAN SCHOOLS OF MUSIC 207

Arensky Op. 48, Fantasia on Themesof Bellini

Prokofiev Op. 12, No. 7, Prelude,C Major
2. Bach Toccata, E Minor (from the Partita)
Beethoven Op. 10, No. 3, Sonata, D Major, 1st and
2nd Mvts.
Glinka-Balakirev The Lark
Arensky Op. 36, No. 13, Etude, F sharp Major
Babadjanian Impromptu
Typical Programsfor Diploma Candidates
1. Tchaikovsky Op. 21, Preludeand Fugue, G sharp Minor
Beethoven Op. 2, Sonata, A Major, 1st Mvt.
Liszt Etude, D flat Major
Rakhmaninov Op. 1, Concerto,F sharp (First Version)
Prokofiev Op. 75, Suite Romeo and Juliet, 2nd and
3rd Mvts.
2. Bach Preludeand Fugue, G Minor, (Vol. II,
Well TemperedClavier)
Beethoven Op. 37, Concerto,C Minor
Schtlmann Soaring
Glazunov Op. 31, No. 3, Etude, E Major, UNight"
Tchaikovsky Dumka
Chebotarian Preludes
Requirementsfor Technique
First Year Course.-Major, minor and chromaticscales in octaves in paralleland contrary
motion, scales in thirds, sixths and tenths in parallelmotion. Broken chords arpeggiosand
chords in major and minor with inversion. Dominant seventh chords with inversions,
diminishedseventh chords.
Second Year Course.-Same scales as in first year, at faster speed. Arpeggiosstarting on
same note (eleven chords) in parallelmotion, starting on all white keys. Some scales in
double thirds.
Third Year Course.-Major and some (harmonic) minor scales in double thirds, in parallel
motion. Chromatic(minor) double scales.
RepertoireOutline
First Year Course
Glinka Fugue, A Minor
Liadov Op. 3, Fugue, G Minor;
Op. 34, No. 2, Canon, C Minor;
Op. 41, Fugue, D Minor
Miaskovsky Op. 78, Fugue, B Minor (PolyphonicSketches)
Goldenweiser No. 15, Fughetta, (PolyphonicSketches)
Bach Three Part Inventions:
F Minor, E Minor, B flat Major;
Preludesand Fugues:
D Minor, C Minor,B flat Major,
F sharpMajor (Vol. I, Well Tempered
Clavier); F Minor (Vol. II, Well Tempered
Clavier)
Preludeand Fughetta, B flat Major
FrenchSuites: E Major, B Minor, C Minor
Partita, G Major: Selections
Fantasia,C Minor
Handel Suite No. 9, G Minor
Suite No. 12, G Major
Suite No. 16, G Minor (with Ptsacag]iit)
208 JOURNAL OF RESEARCH IN MUSIC EDUCATION

Rakov Sonatina
Scarlatti Sonatas:
No. 6, F Major;
No. 9 and No. 10, D Minor (Ed. Golden-
weiser)
Ph. E. Bach Sonata,A Minor
Haydn Sonatas:
No. 3, E flat Major;
No. 7, D Major (Ed. Musgis 1946)
Clementi Sonata,F SharpMinor
Mozart Sonatas:
No. 5, G Major;
No. 7, C Major;
No. 9, D Major;
No. 16, B flat Major;
No. 12, F Major (Ed. Goldenweiser)
Beethoven Sonatas:
Op. 2, No. 1, F Minor;
Op. 10, No. 1, C Minor, 1st Mvt.;
Op. 14, No. 2, G Major;
Op. 79, G Major
Fliarkovsky Sonatina,G Major
Khandoshkin Variations
Glinka Variationson a Theme of Mozart, E flat
Major
Handel Variationsin E Major (Suite No. 5)
Mozart Variations,A Major (Allegretto),Six
Variations
Variations,C Major (2/4), Twelve Variations
Beethoven Variationson a Themeof Gretry,C Major
Handel Concerto,G Minor
Mozart Concertos:
No. 15, B flat Major;
No. 23, A Major
Beethoven Op. 15, Concerto,C Major, 1st Mvt.
Zhilin Quadrille,A Major (A. Drosdov and T.
TrofimovaCollectionof Old Russian
Piano Music)
Koslovsky Polonaise,D Minor (Drosdovand Trofimova)
Ecossaise,E flat Major (Drosdov and
Trofimova)
Polonaise-Pastoral,G Major (Drosdov and
Trofimova)
Laskovsky The Old Woman'sTale, Mazurka,B flat
Minor
Gurilev Two Polka Mazurkas:A Minor; D Major
Glinka Nocturne,F Minor, "Parting,"(Children's
Polka)
Rubinstein,A. Op. 30, No. 1, Barcarole,F Minor;
Op. 26, No. 1, Romance,F Major;
Op. 75, No. 10, Mazurka,D Minor
Mussorgsky Children'sScherzo,"Thought"
Borodin Little Suite (selectedparts)
 PIANO STUDY IN SOVIET-RUSSIAN SCHOOLS OF MUSIC 209
Cui Op. 12, Rustic Scherzo,C Major
Tchaikovsky Op. 2, No. 3, Song Without Words,F Major;
Op. 9, Mazurka,D Minor;
Op. 10, No. 1, Nocturne,F Major;
Op. 10, No. 2, Humoreske,G Major;
Op. 19, No. 4, Nocturne, C sharp Minor;
Op. 37 b, Seasons, (pieces of moderate
difficulty);
Op. 40, No. 9, Waltz, F sharp Minor
Arensky Op. 28, No. 2, Peonies,A Minor;
Op. 36, No. 5, Solace, D Major;
Op. 36, No. 10, Forget Me Not, E Minor;
Op. 36, No. 11, Barcarole,F Major;
Op. 36, No. 16, Elegy, G Minor;
Op. 36, No. 24, In the Field;
Op. 43, No. 4, Capriccio,G Major;
Op. 53, No. 1, Prelude,E Minor;
Op. 63, No. 1, Prelude,A Minor;
Op. 63, No. 3, Prelude,G sharp Minor;
Op. 63, No. 4, Prelude;
Op. 63, No. 5, Prelude,G Minor;
Op. 63, No. 10, Prelude,D Minor
Liadov Op. 3, No. 1, Prelude,D Major;
Op. 10, No. 1, Prelude,D flat Major;
Op. 30, Bagatelle,D flat Major;
Op. 31, Prelude,B flat Minor;
Op. 32, Music Box;
Op. 33, Grotesque(Cheremishtheme);
Op. 33, No. 3, Pastoral, F Major;
Op. 40, No. 3, Prelude,D Minor;
Op. 40, No. 4, Prelude,D flat Major;
Op. 53, Bagatelles,PastoralePrelude
Glazunov Op. 42, No. 1, Pastoral,D Major;
Op. 42, No. 3, Waltz, D Major
Blumenfeld Op. 23, No. 3, CradleSong, E flat Minor
Alexandrov,An. Op. 33, Melody (from Little Suite);
Op. 60, Echoes from the Theatre,Aria
Goedicke Op. 9, No. 1, Prelude,F Minor;
Op. 52, Minuet, A flat Major
Rakov Lyrical Pieces and Novelettes (selections)
Balanchivadze Nocturne, F sharp Minor
Kabalevsky Op. 39, Preludes
Molchanov Prelude,A Major
Prokofiev Op. 32, No. 3, Gavotte,F sharp Minor
J. S. Bach Allegro,A flat Major
Ph. E. Bach Allegro,F Minor
Handel Capriccio,G Minor;
Sonata, C Major, "Fantasy"
Beethoven Bagatelles: Op. 33, Op. 119, Op. 126
Field Nocturne,B flat Major
Mendelssohn Songs Without Words:
Op. 62, No. 25, G Major;
Op. 85, No. 37, F Major;
Op. 102, No. 46, G Minor;
Op. 104, Prelude, B Minor
210 JOUR
kNALOF RESEARCH
IN MUSICEDUCATION

Sr,ubert Op. 90, Impromptus:

No. 2, E flat Major; and
No. 4, A flat Major
Op. 142, Impromptu,A flat Major
Schumann Op. 99, Novelette,B Minor;
Op. 124, AlbumLeaves:
FantasticDance
Romance,B flat Major
Elfin Dance
Chopin AlbumLeaf
Nocturne,C sharp Minor (posth.)
Moniuszko SelectedPieces (choice)
Grieg Op. 3, Poetic Tone-Pictures;
Op. 6, Humoresque;
Op. 19, WeddingMarch;
Op. 28, AlbumLeaves;
Op. 41, CradleSong;
Op. 43, Lyric Pieces:
Butterfly
Op. 52, No. 3, Poet's Heart;
Op. 54, No. 2, Nocturne;
Op. 54, No. 5, Scherzo;
Op. 65, No. 6, WeddingDay;
Op. 73, No. 5, Etude, F Minor
Liszt Consolations:
No. 1 and No. 2, E Major
Dvorak Op. 85, No. 6, Remembrance;
Op. 101,No. 7
Smetana Andante,E flat Major;
CountryScene,G Major
Debussy Arabesque,G Major
Arensky Op. 19, No. 1, Etude,B Minor;
Op. 74, Twelve Etudes:
No. 1, C Major;
No. 2, C Minor;
No. 5, D Major
Pachulsky OctaveStudy, D flat Major;
Op. 28, No. 2, Etude, F Major
Muschel Toccata,D Major
Czerny Op. 299, Etudes,Books III and IV;
Op. 740, Etudes,Book I
Cramer(Ed. Bulow) Etudes: Books I and II
Moszkowsky Op. 72, Etudes (easiest);
Op. 91, Etudes
Schulhof Op. 13, No. 6, Trill Etude, G flat Major
Kobyliansky Seven Studiesin Octaves
Yurovsky School of OctavePlayingfor Piano, Book I
Nikolaevsky GreatSchool of Double Note Playing
Czerny 160 Short Exercises(selection)
Siering Op. 27, No. 1, Study in Thirds
Vitachek Etude, C Major; Etude,E Minor
 PIANO STUDY IN SOVIET-RUSSIAN SCHOOLS OF MUSIC 211

Translator'snote:-Reasons of space prohibit the reprint of the repertoirelists for the

second, third, and fourth year course. In essence the picture is not differentfrom the one
presentedby the list for the first year course. There is a decidedpreponderanceof Russian
composersover composersof other nations and a strong emphasis on the 19th century in
the repertoiresuggestedfor study.
The fourth year course of study, for instance,lists a total of 118 composers.Of these, 70
are of Russian origin,48 belong to other nations. The proportionwould be even more fa-
vorablefor Soviet piano music if arrangementsby Russianswerecountedamongthe Russians.
Many of the Russianand Soviet-Russiancomposersare little known to the averagemusi-
cian outside the Soviet Union. In addition to such authors as Tchaikovsky,Rimsky-Korsa-
kov, Kabalevsky,etc., the list for the fourth year course contains such names as Golubev,
Blagoi, Rasorenov,Evseev, Geigerova,Peiko, Nikolaeva, Balanchivadze,Taktakishvili,lak-
hin, Revutsky, Simansky,Eshpai, Eiges, Ilin, and Muschel. It would be interestingto ex-
amine the works of these authors which so far have not been easily available commercially
outside of the Soviet Union.
As can be expectedby anyone familiarwith the tenets of Soviet-Russianart policy, there
is a completeabsenceof atonal or dodecaphoniccompositions.More surprisingis the exclu-
sion of Bela Bartok and the meagerrepresentationof the French Impressionistsand post-
Impressionists.Even Ravel appearsonly with the "Pavane"in the fourth year course; De-
bussy is listed with only six single pieces and two Suites: "Children'sCorner"and the
"Suite Bergamasque.
IndianaUniversity