Pianists and Piano Literature

http://www.pendragonpress.com/book.php?id=753
Information link: https://www.jstor.org/stable/10.7722/j.ctt2111dw3 -- In this article, Laura Pita examines the well-known advocacy of pianist Teresa Carreño for Edward MacDowell's piano music in greater detail than previous scholars have done. Her research is based on newspapers and archival documents from the Archivo Histórico de Teresa Carreño (Caracas), Teresa Carreño Papers (Archives and Special Collections, Vassar College Libraries), and Edward and Marian MacDowell Collection (Library of Congress).

Artículo incluido en el libro "Interpretación pianística: Estudios para la formación integral del pianista" publicado por el Cuerpo Académico de Interpretación y Ciencias de la Música, Universidad de Guanajuato / Itaca, ISBN 978-607-441-390-8

This study examines the ways in which a relationship is created between the piano and electronic sound in order to clarify the prismatic structure of the piece. The analysis will both isolate the acousmatic material and consider it together with the piano part, using the listening experience, rather than analysis software, as its basis. The features of the piece will be defined employing the concepts and terminology of Denis Smalley's spectromorphology, cross referencing his definition of electroacoustic score. The analysis will explore, on the one hand, the relationship between the piano part and the notation employed for the acousmatic material, and on the other hand the piano-specific writing.
The dialectic interaction between the two sound spectra will lead to observations on how various declensions of the concept of mimesis, as expressed by Simon Emmerson, are realised. The concept of mimesis in this case also informs the syntactic aspect of the piece, in terms of both its writing and its micro-structure, which is largely contrapuntal, as well as presenting canonical-imitative situations.
Taking into account that the use of typo-morphological aspects would be more appropriate, particularly when considering the intertextual nature of the context, the study will define the functions of the segments of the piece in the light of their antecedent-consequent relationships and their function within the macroform, and will go on to propose further levels of formal synthesis. This methodology will identify a relationship with the figure of Messiaen and demonstrate the necessity for semantic listening.
The study will conclude by demonstrating how, in a mixed context with an objective bonding linked to concrete data, electroacoustic material might form part of the formal definition of the piece, re-contextualizing concepts of archetypically acoustic form.

Among the many musical emigrés to be trained in Prague in the nineteenth century was Bernhard Rie. He was one of ten children to be born to David Israel Rie (himself born Dec. 3, 1805) and his wife Lotti (Charlotte, Carolina) Sobotka, b. 1806. David Rie was from a Jewish family that had been in Prague for at least five prior generations; his father, Israel Rie, and grandfather, Michael Rie, had been butchers. David went into the leather business, as did his younger brother, Abraham Rie (b. 1809).  At least two nineteenth-century reference sources provide a birthdate for Bernhard, Oct. 25, 1839; he is actually entered in the birth registry as Aron Beer, born on October 25, 1838, with the two witnesses being Naftali Osers and Joseph J. Lieben. Six other siblings survived to adulthood (three others presumably perished in childhood) and were listed with Bernard among the children surviving David upon his passing in 1875. Isidor, b. 1832, became a gem merchant, and his son Oskar Rie (b. 1863) was a close friend of Sigmund Freud in Vienna. Sara Cäcilie, b. 1835, married Leopold Pick; their son Emil Pick changed his name to the more Czech-sounding Břetislav Lvovsky, and left Prague to study bass with the famous Simandl. He made a career as a composer and librettist for opera in Vienna. Bernhard was the next to youngest of the surviving children.

Alexander Scriabin (1871/2-1915) fue el compositor ruso más oscuro del período de transición entre el fin de una era (el colapso del romanticismo exacerbado a finales del siglo XIX) y el inicio de otra (el nacimiento de corrientes vanguardistas y contemporáneas a principios del XX) en la historia de la música. Pianista, compositor, poeta y filósofo son categorías que lo definen con un muestrario reflexivo y discordante que provocó cuantiosos comentarios discordantes por parte de sus estudiosos. Creador de su propio lenguaje musical a partir de su visión cosmogónica, exaltó una estética que intentó reunir en un todo el significado del arte en función de la salvación humana. Su obra se direccionó al progreso estético más avanzado de su tiempo; no obstante, por su temprana muerte, no alcanzó a representar su creación cumbre: el proyecto Mysterium.

A pianist’s interpretation of a work is the result of long and complex process. During this process he may consult many different sources. This research evaluates the different types of sources on their relevance and added value in forming this interpretation. The object of this case study is Liszt’s Sonata in B minor.
The case study unfolds in three stages. The 0irst chapter discusses how I formed a 0irst interpretation based on the score, the manuscript and the lessons with Prof. Cervino. I recorded this interpretation as a reference recording. In the second chapter I discuss the different types of sources relevant to the research question categorising them. Thereafter, I show which sources contributed to forming my interpretation and performance of the work, and how. This third chapter is a re0lection on the process as the sources are consulted. I made a second recording after this process in order to compare it with the original one. In this same chapter I compare the two recordings while discussing the relevance of each source on my interpretation. Finally, I re0lect as a pianist on how my interpretation and performance evolved during this process.
This research discusses how different sources can contribute to forming an artistic interpretation of a work, in this case the Liszt Sonata. How can a pianist develop an informed interpretation and performance? I was able to draw different conclusions from this research and appreciate the richness of different sources realising their relevance when forming a personal, informed interpretation. The result being what I call a vivid, alive performance.

"Piano Teaching Methodology" is a textbook for students - future piano pedagogues. For this purpose, the themes for the specifics of the initial training, for the stages of studying a piano work have been extensively developed, with particular attention being paid to the preparation of the piece for its stage performance. Several approaches have been described for working on different types of piano technique, on a polyphonic work, the application of the different clavier means of expression is considered depending on the stylistic features of the studied play. The rubrics "Teachers' Mistakes" and "Student Mistakes" have been developed for each subject. In those rubrics are discussed frequently made inaccuracies, incompleteness, misconceptions about the specific problem. Each theme is illustrated with a rich note of material, selected not only to highlight the discussed problem most clearly, but also to enable the comparison of individual examples. After each subject are suggested questions and tasks that help the practical use of the information taught. There is also a possibility to use this book as a reference book for the piano teacher - there are lists in which frequently used etudes as well as commonly studied polyphonic clavier works are arranged by difficulty.

This is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer. The second edition includes research published since the publication of the first edition and provides electronic resources.  The original Guide, by William Smialek, appeared in 1999, and has long since been out of print. Additionally, there was an explosion in Chopin research in the following 15 years that has called for a complete reorganization of the Guide.  Originally written by William Smialek, the Guide was updated by Maja Trochimczyk.

Collects and analyzes data [shortly to be posted] showing instances of Scots-song borrowing in composition, looking at the contributions of visiting pianists to London and their role in spreading London trends in Scottish tunes to the continent; also a comparison of today's well-known tunes with the top tunes of the 19th and 18th centuries.

In an analysis of George Gershwin's piano performance style heard on his 78 rpm recordings, Artis Wodehouse shows how much the composer/pianist was was a product of the ragtime and dance culture of the 'teens through the 1920s, with its highly idiomatic performance practice perfectly suited to the music embodied in the printed scores.  Nevertheless, and despite the substantial amount of Gershwin's recordings still obtainable,  Gershwin's performance practice has little in common with the typical romanticized renditions of his music that came to be accepted following his death. Wodehouse suggests that Gershwin's recorded performances are not only delightful, but provide performers an excellent reference for developing renditions that shed light on the intent of Gershwin's music as embodied in his scores.

Breve historia del piano en la cual se plantea la duda sobre el hecho de que el primer piano de la historia difícilmente haya sido piano de Cristofori dado que anteriormente se pueden encontrar al menos dos instrumentos de características similares.

The Pianist Speaks; British Library Sound Archive Holdings; Egon Petri's Alkan Broadcasts; Pierre Kostanoff. Ronald Smith is remembered for his concentrated, toughly symphonic view of the Classics, his big-boned concertos (more than forty of them), and for his poetic way with the reflective side of Romanticism. His enduring memorial, however, was his selfless championship of the French pianist and composer Charles-Valentin Alkan. Smith put Chopin's misanthropic friend and Square d'Orléans neighbour definitively on the map, through pioneering BBC broadcasts and recordings (going back to the late forties, on both modern and period instruments), trail-blazing literary studies, and his presidency, from 1977, of the British Alkan Society, tirelessly supporting new initiatives, including the Society's Piano Scholarship inaugurated in 2001 in collaboration with Fitzwilliam College, Cambridge. Intellectually, he was a man sharing the Albion DNA, post-Tovey, of Arthur Hutchings, Howard Ferguson, Basil Lam, Humphrey Searle, Robert Simpson, Harold Truscott …

En la presente comunicación se demuestra la importancia de los métodos didácticos para la enseñanza de uno de los aspectos pianísticos más importantes en la interpretación y a la vez tediosos por cualquier docente. El uso del pedal de resonancia es un elemento descuidado por muchos profesores debido a la escasez o incluso ausencia de materiales didácticos impresos que pudieran servir de apoyo para sistematizar su aplicación aparte de la ejecución del repertorio. El estudio de la evolución de los métodos dedicados a la enseñanza del piano ha demostrado que estos materiales suelen ser destinados a las enseñanzas más elementales, etapa en la que el uso del pedal tiene una limitada aplicación. Sin embargo, en los niveles medios, donde se requiere el aprendizaje de avanzadas técnicas de pedal, existe un gran abandono en las publicaciones didácticas. Por ello en este trabajo presentamos la creación de una extensa propuesta para la enseñanza del pedal en esta etapa a través del formato de método didáctico, incorporando una metodología activa para desarrollar la autonomía del alumnado.

Einflüsse und Annäherungen fernöstlicher asiatischer Musik in dem Klavierwerk Claude Debussys - Debussys Weg in eine neue musikalische Ästhetik im Spiegel seiner Zeit, bewertet anhand einer detailierten Anaylse seiner Klavierkompositionen und seinem historischen Umfeld. Diplomarbeit aus dem Jahr 2001

By the last quarter of the 19th century, the piano had become a prime cultural, social and commercial phenomenon and was deeply rooted in Catalan society. Proof of this is the increase in piano manufacturing and the consumption of piano music, the Catalan public's ready access to the repertoire, the consolidation of piano instruction and the massive presence of this instrument in concert halls, universal expositions, cafés, athenaeums, casinos, theatres and private salons. This article provides new information outlining the process by which the piano took root and spread from its arrival in Catalonia in the last quarter of the 18th century until the late 19th century, when it had become the most popular, iconic instrument, as evidenced by the emergence of internationally renowned pianists like Tintorer, Granados and Albéniz. This study encompasses references to piano builders and vendors such as F. Bernareggi and M. Guarro, shops that sold scores like F. España, performers and instructors like J. B. Pujol, instructional materials and centres that taught music, as well as the public and private spaces committed to welcoming the instrument's sound. This information confirms and reveals the profound development of piano activity and culture in 19th-century Catalonia.

Piano teaching in Japan: a survey of piano methods for beginners is a research about piano method books, methodologies and practices used in Japan for teaching children and adult beginners. The study was done in Japan from 1984 to 1987. It is important since it is the first research study done by a Colombian researcher in the field of piano teaching. By those years, arts education research in Colombia was incipient. Now that arts education research has started in Colombia, it deserves to publish it as part of related piano literature studies, for all those interested in this important research field.

The keyboard toccatas of J. S. Bach, BWV 910-916, present a formidable challenge of interpretation to the modern-day performer. These works contain some of the most unusual compositional techniques to be found in Bach’s output due to their use of an improvisatory, virtuosic style inherited from the seventeenth century. While pianists of today are trained to perform with perfect fidelity to the score, the treatises from the time of Bach point to a rhythmically free approach to the improvisatory features of these toccatas. The goal of this treatise is to explore how the historical tradition from which Bach’s toccatas emerged influenced their stylistic characteristics with the purpose of applying this information to create an informed performance by today’s interpreters. In this effort, this treatise focuses on several broad categories in the process of understanding the inspiration and, therefore, the interpretation of these works. These categories include the genesis of the toccata as a genre, the compositional techniques associated with the toccata, Bach's personal contribution to the genre, and the interpretation of Bach's toccatas specifically.

TEXTBOOK EXCERPT (under the tab Description,):
https://notus.world/en/products/par007-piano-foundation-textbook/

This is the first book of the NOTUS PIANO COURSE.

ABOUT THE PUBLICATION

For whom?
The NOTUS PIANO FOUNDATION Textbook has been compiled for the layperson in the field of music. It starts from absolutely zero knowledge of music and piano. The book is used during the first 3 to 4 months of self-study or teacher-guided study.
The book is suitable for ages 12 and up but it is aimed primarily at the adult and senior beginner. This is reflected in the layout and no-frills didactic strategy. You can preview the book (under the DESCRIPTION TAB) here: https://notus.world/en/products/par007-piano-foundation-textbook/
The study of this book is also required for people who have already experimented a little with the complex conventional music notation and have doubts about it: firstly, to phase out their knowledge of conventional music notation and secondly to build their knowledge of the new NOTUS Music Notation.
Focus
The focus in the NOTUS PIANO FOUNDATION Textbook is on learning how to read ALL the notes of the piano keyboard and play ALL the corresponding piano keys. This is done through 134 exercises and short pieces for beginners. NOTUS piano courses are characterized by their smooth and steady evolution. By the end of the first 3 to 4 months, you’ll be playing pieces that are at least two years ahead of the pieces typically learned by the four-month mark using conventional notation.
Whereas, in conventional courses, piano practice during the entire first year is limited to the middle of the piano (approximately 21 white piano keys), NOTUS learners start familiarizing themselves with the entire piano keyboard from the very first lesson. By the end of the NOTUS PIANO FOUNDATION Textbook – that is, after 3 to 4 months – NOTUS learners have control of the entire 88-key piano keyboard and, as such, ALL the notes of this entire keyboard. This makes a significant difference compared with conventional piano lessons, and this in turn has a positive follow-on effect on subsequent study. The NOTUS PIANO FOUNDATION Textbook is an extremely solid music foundation on which to build further.
Final Goal
The specific focus of the NOTUS PIANO FOUNDATION Textbook is for the learner to master the reading of the pitch of all the notes so that this does not form an obstacle to subsequent study, i.e. PIANO TEXTBook 1 and onwards. Indeed, being able to read all the notes is highly encouraging as one progresses toward new pieces and musical knowledge, not to mention improved piano technique. By removing the stumbling block of reading music (a typical pitfall of conventional notation), the NOTUS learner makes very smooth progress, without added performance stress. With NOTUS, the introductory phase of training offers, in other words, precisely what piano training should: the relaxed enjoyment of lessons, progress and playing, coupled with the appreciation of the value of specific exercises. The NOTUS approach to teaching focuses on stress-free, natural mastery of music notation and piano, not on being able to play a few memorized pieces, as is so often the case in conventional courses targeting young people and adults alike.
VIEW A SELECTION OF PAGES, including contents and index (under the DESCRIPTION tab)

Integrated Music theory:
• octave group, octave group number, octave segment;
• tones and notes C, Cs/Df, D, Ds/Ef, E, F, Fs/Gf, G, Gs/Af, A, As/Bf, B;
• double or half note value relationship, till 1/8 note and rest, beam;
• time value rest sign;
• dotted whole, half and quarter note;
• finger numbers and theit use and interpretation;
• tempo and metronome, metronome value;
• the concepts beat, pulse, accent, measure, measure line;
• the time signatures four-four, three-four and two-four, and main accent and weak accent;
• tie;
• slur and phrase mark;
• basic dynamics with abbreviations and NOTUS restyled wedges;
• basic concepts of intervals: melodic, harmonic, ascending, descending, prime, second, third, fourth, fifth, sixth, seventh, octave and their visual relationship through notes on the staff and between the piano keys;
• some basic information about chords: consonant, dissonant, tertian triad, tonic, broken chord and of naming chords;
• NOTUS signs for immediate repeat, repeat of a whole measure, repeat of a rhythmic unit;
• fermata;
• staccato sign, marcato sign and accent sign;
• notation by hand of NOTUS;
• chromatic and diatonic division of the octave;;
• FLAT- and SHARPnotehead;
• the concept ‘enharmonic’;
• ostinato;
• informative: damper pedal.

Composers in PIANO FOUNDATION Textbook:
Barók, Gurlitt, Rövenstrunck, Kirby-Mason, Sartorio, Burgmüller, Wilton, Hook, Baumfelder, Beethoven, Köhler, Stravinsky, Strauss, Oesten.

[Official presentation from the publisher]

Is there such a thing as the ideal technique? The past and present of musical performance constantly provide evidence that, among the multiple different ways available of using our body, plenty might prove equally efficient and musically convincing. Among all the possible options, however, one merits special attention: the technique employed by composers themselves while creating their works.

In this book, Italian-born pianist and scholar LUCA CHIANTORE sets out to examine the transformations undergone by piano technique, and how this overall history relates to the performative customs of those pianist-composers whose works we today consider the core repertoire of so-called Western classical music. The author illustrates the diversity of their bodily approaches to the keyboard, exploring their respective biomechanical inquiries amidst increasing hand and arm involvement in piano playing and the emergence of often contrasting pedagogical theories.

The result of intense, rigorous research, Tone Moves contains an impressive amount of documentation, including a vast number of theoretical works which had never before been studied thoroughly. Forty-five images, eight original drawings, and 161 musical examples illustrate the 755 pages of this unique book, whose bibliography spans 710 different references, thus enabling the reader to follow the progressive incorporation of anatomical resources involved in keyboard instrument technique from the 16th century onwards, as well as its relation with construction innovations and changes in musical taste.

Through all this, the author narrates a "history" that uncovers crucial parallels with the past three century's aesthetic revolutions. Chiantore spins a tale of widespread, lasting changes, a searching narrative brimming with strong personalities often steering in opposite directions, all in all an avowal of the stunning diversity of options available when expressing ourselves through an instrument.

Based on an investigation of Chopin's musical education, the education of Parisian »Pianistes Compositeurs« of the 19th century, and a large number of historical sources, this article aims at reconstructing the unwritten parts of Chopin's unfinished »Méthode de Piano«. The first part discusses Chopin's musical education in Warsaw (focusing on music theory, improvisation and composition), his pianistic ideals and his teaching methods. The second part is a an educated guess/a reconstruction of what could have become Chopin's »Méthode de Piano« based on important historical facts and treatises.
It was Chopin's last will that his friends Henri Reber and Charles-Valentin Alkan complete his »Méthode de Piano«. Chopin also hoped that his student Thomas Tellefsen would continue the unfinished work. However, Tellefsen did not get much further than Chopin himself and unfortunately Alkan and Reber never worked to continue the »Méthode«. Taking a closer look at treatises like Reber's »Traité d'Harmonie«, the monumental »Encyclopédie du Pianiste Compositeur« by Alkan's teacher Pierre-Joseph-Guillaume Zimmerman, and other sources of the time, it becomes possible to get a clearer insight into what the training of 19th-century piano virtuosos looked like and what Chopin might have intended when he started to write his own »Méthode«.

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This dissertation introduces the ‘Edna Iles’s Medtner Collection’ (EIMC), held by the
British Library in London, and provides a detailed analysis of her ‘Notes on the
Interpretation of Medtner’s Works’. Nikolay Medtner (1880–1951) was one of Russia’s
leading, early-20th-century composers, who spent the latter part of his life in the UK.
He wrote mainly for the piano, composing 14 piano sonatas, three piano concertos, 108
songs, three violin sonatas, a piano quintet and more than 90 pieces for solo piano.
Although he performed and recorded, and was considered a prominent composer while
he was resident in the UK, his wider renown in the West was limited.
Edna Iles (1905–2003) was an English pianist and Medtner’s last pupil. She took
numerous notes during and immediately following her lessons and, in 1997, donated all
of her Medtner-related materials to the British Library. I am the fourth person to
consult it. The scope of the EIMC is impressive: Medtner manuscripts, newspaper
cuttings, photographs and letters, all of which she carefully organized before donating.
Importantly, her ‘Notes on the Interpretation of Medtner’s Works’ contain unique
information about how he taught and thought his music should be interpreted. She was,
in fact, the only Medtner student to leave systematic written evidence of his pedagogy;
the recordings she made of his music further demonstrate her mastery of his principles.
She became, in effect, his disciple. This dissertation assesses the new light her ‘Notes’
shed on our knowledge of his methods and pianism.
The Introduction provides details of Medtner reception history and introduces all
available sources on Medtner performance practice. Chapter 1 summarizes the lives of
Medtner and Iles, and elucidates the nature of their relationship. Chapters 2 through to
4 discuss the disciplines of Medtner’s approach to playing – basic piano technique,
articulation, practicing, pedaling and memorization – corroborated elsewhere. Chapters
5 and 6 unravel the more intellectual concepts of fil rouge, tempo, phrasing, voicing and
his distinction between energetic and rounded music that form the core of Iles’s ‘Notes’
and represent the EIMC’s most original contribution to Medtner performance practice.
Chapter 7 provides the opportunity to observe and apply Medtner’s interpretive
philosophy to a single work (Sonate-Idylle, Op. 56) by blending the advice conveyed in
his printed scores with the methodology and insights he communicated to Iles. The
Conclusions affirm the importance of the EIMC as a uniquely detailed primary source
on Medtnerian performance practice.
An inventory of the Edna Iles Medtner Collection and transcript of her ‘Notes on
Interpretation of Medtner’s Works’ can be found in Appendices One and Two.
Appendix Three offers a facsimile of exercises Medtner gave to Iles, preserved in her
own handwriting. Appendices Four and Five provide a discography of Medtner piano
works and pertinent contextual photographic evidence.

Marguerite Long se refirió a Ravel en una ocasión como un “hidraulicien de génie” (un hidráulico genial), hablando sobre su obra Une barque sur l’océan. Esta obra, precisamente, ha sido la que ha inspirado este trabajo de investigación, a través de su lenguaje de sonidos, nos describe un paisaje acuático que cobra vida en las manos de los pianistas, quienes realmente consiguen hacernos sentir el océano a través de la interpretación de tan bella pieza.

El agua en la música es un tema recurrente, ha servido tanto como para composiciones clásicas y contemporáneas como temática para programas de conciertos y grabación de discos.

Los objetivos de este trabajo de investigación consisten en conocer en profundidad la pieza de Ravel Une barque sur l’océan. Observar cuáles son sus influencias y origen de este lenguaje, analizar cómo han usado Ravel y otros compositores los recursos del lenguaje musical para transmitir la idea del agua a través de la música, determinar cuáles son los nexos que tienen en común las obras con contenido acuático y descubrir si existe una conexión directa entre la imagen del agua y nuestra forma de interpretar. Si la imaginación influye en nuestra gestualidad como intérpretes, en la búsqueda de un sonido en particular.

Ejercicios complementarios a Obras y Metodologías Pianísticas. Anna Hirzel-Langenhan (Franz Liszt). Edith Picht – Axenfeld. Versión al Castellano de Armando Viesca Segura.
"Greifen und Begreifen", "Aprehender y Comprender"
"Comprender y Aprender". "Un Camino a la Cultura de la Pulsación en el Piano" "Ein Weg zur Anschlagskultur"
Editores Pina Pozzi y Franzpeter Goebels (versión en alemán)
con "Observaciones sobre el »Methode A. Hirzel-Langenhan“ de
EDITH PICHT-AXENFELD. „Reflexiones sobre el Arte de la ejecusión en la Literatura Pianística“. Armando Viesca Segura y Aurelio León.

Este trabalho tem como principal objetivo examinar o pianismo do compositor e multi- instrumentista brasileiro Egberto Gismonti. Após uma investigação sobre a utilização do termo pianismo dentro da literatura musical, são apurados seus principais significados e áreas com as quais ele se relaciona. A partir desta reflexão, é realizada a delimitação deste conceito, e também a elaboração de uma proposta sobre quais seriam seus elementos, ou parâmetros que assim o definem. Ao final, tais premissas são aplicadas ao disco Alma (1987), onde são levantados os aspectos estruturais, texturais, estilísticos e interpretativos empregados por Gismonti, assim como suas possíveis influências e inovações pianísticas. Para isso, foram analisadas as partituras fornecidas no encarte de Alma pelo compositor, os variados textos musicais obtidos através de transcrições do disco, os registros fonográficos de Alma e de outras performances ao vivo de Gismonti como pianista solista neste mesmo repertório, além da experimentação das obras mencionadas ao piano pela autora. Propõe-se, assim, uma compreensão da obra gismontiana a partir do ponto de vista do intérprete, que se justifica pelas amplas possibilidades de análise que decorrem do estudo do pianismo e do campo da interpretação musical. Justifica-se, também, por ressaltar com veemência o original e importante métier de Egberto Gismonti em relação à criação pianística e, destarte, procurar mostrar, com o trabalho, a importância capital, para executantes e músicos, de Alma dentro do repertório pianístico da música brasileira do século XX.