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Curt (Curtis) Caciopo  American composer and pianist

Born: Ravenna, Ohio, US, 1951

He is of Sicilian ancestry on his father's side, and Anglo-Saxon ancestry on his mother's side.
He received his bachelor's degree from Kent State University, where he majored in piano and also studied composition. He earned an M.A. degree in musicology from New York University in 1976, where he studied with Gustave Reese. He studied at Harvard University with Leon Kirchner, Earl Kim, and Ivan Tcherepnin, earning M.A. (1979) and Ph.D. (1980) degrees in composition. He was also mentored by the ethnomusicologist David P. McAllester.
Cacioppo taught at Harvard University for four years. Since 1983 he has taught at Haverford College. His music is influenced by Native American music, and he teaches courses on Native American subjects at Haverford College.

Beloved Emblem: Left Hand Study for Piano  1983 (Orenda Press)

Photo by Renato D'Agostin

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Elsa Calcagno  Argentinean  pianist and composer

Buenos Aires, 19.10.1910 - 1978

12 Preludios (6 para la mano izquierda) (12 Preludes - 6 for the left hand) 1969 (Ricordi)

Preludios para la mano izquierda, Con aire de estilo, No. 2 from 5 Preludios para Piano  1948 (Ricordi)

Preludios para la mano izquierda, Con aire pampeano,  No. 4 from 5 Preludios para Piano  1948 (Ricordi)  

Variaciónes classicos sobra un temada la lianura  1942 (Ricordi)

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Domenico Caldi  Italian composer and pianist

Born: First half of the 19 century

Melodia. Liberamente transcritta per la  sola mano sinistra da il Trovatore di Giuseppe Verdi op. 35   (F. Lucca, Milano)

His free transcriptions from famous operas very very popular in their time; he undertook transription fra Macbeth, Louisa Miller and Mosé - all Verdi operas but he got round to German opera with  Martha by Flotow. In fact he made two transcriptions on themes from Verd's Trovatore but only this one for left hand.

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Frank Campo  American composer and pianist

Born: New York City, 1927

Campo studied composition with Ingolf Dahl in Los Angeles, Arthur Honegger in Paris and Goffredo Petrassi in Rome while on a Fulbright scholarship.
His many works include an opera, three secular cantatas, four concertos, orchestral music, a wide variety of chamber music and two works for wind ensemble.
Frank Campo has taught at various U.S. universities including California State University at Northridge from 1967-1992. He is currently Adjunct Professor of Composition at the Claremont Graduate University in California.

Three Improvisations for Piano, The Left Hand Alone  1996 (Dario Music, Los Angeles)

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Oscar Camps y Soler  Spanish composer and pianist

Alexandria, Egypt, 1837 -  Manila, 1899?

It was quite a coincidence that he was born in Egypt but the reason was simply that his family lived there and his father was Spanish consul general. He had his first piano training in Trieste and when his family moved to Firenze the talented young man attended the master classes of Theodor Döhler (himself a pupil of Czerny).
He was active in classes with the renowned singers Geremia Sbolci and the composer Teódulo Mabellini. In 1852 he came to the conservatory in Napoli where he studied composition and counterpoint with the great flute player Saverio Mercadante.
Two years later he embarked on a concert tour which took him through Italy, France and Scotland. These "wandering years" ended in 1859 when he settled for good in Spain where he made Madrid his home and where he married. Here he became known as composer, pianist and teacher and here he produced his operetta One duel and a Fiesta til the text of José Gómez-Acebo y Cortina.
In August 1876 he visited Minorca, Navarro, Catalonia and Aragon. In 1879 he emigrated to Manila in The Philippines where he stayed to his death.
Oscar Camps Y Soler composed in many genres: Opera (Il Marinaio Ischia), Zarzuela (Esmeralda), songs, piano pieces, cantatas etc. His works were influenced by Italian music but with  roots in Spain and his great inspiration supported by a more rich and accompaniment than was usual at that time and coloured with counter point.
Beside his work as composer he wrote essays and theatrical treatises not to mention translations of e.g. The book of orchestration by Berlioz and finally Musical Theory (Ill. Madrid, 1870) Musical Philosophy (Palencia, 1864)

Romanza de Luisa Miller. Transcrita liberamente para la mano izquierda sola
(no 2 from 3 transcriptions for piano)   (Eslava, Barcelona)

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No portrait

César Cano Forrat

Born: 1951

Circe sinistra. Piano mano izquierdo op.17  1989 (Polyhymnia Editiones)

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No portrait

Eduardo Caracciolo

Born: 1951

Romanza nell'opera Atala del Butera variata per pianoforte per la mano sinistra op.7  (Lucca, Milano)  

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No portrait

Jacopo Carli

Born: 1951

L'Addio alla famiglia. Melodia per pianoforte da eseguirsi con la sola mano sinistra  (Craut, Verona) 

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Dinorá Gontijo de Cavalho Murici  Brazilian pianist, conductor, music educator and composer.

Uberaba, Minas Gerais, Brazil, 01. 06. 1905 - Săo Paulo, 28. 02.1980

She began her study of piano at the Conservatorio Musical in Săo Paulo at age six with Maria Lacaz Machado and Carlino Crescenzo. She made her debut as a pianist at age seven playing Mozart and Mendelssohn, and later studied with Isidor Philipp in Paris on a Ministry of Culture scholarship. She continued her studies in Brazil with Lamberto Baldi, Martin Brawnvieser, Ernest Mehelich and Camargo Guarnieri.
After completing her studies, Carvalho worked as a pianist, composer, conductor and music educator. She became the first woman member of the Brazilian Academy of Music and became the first woman Brazilian maestro, founding an all-woman orchestra, the Orquestra Feminina de Săo Paulo. Her work Missa Profundis received first prize for Best Vocal Work of 1977 from the Associaçăo Paulista de Críticos de Arte.

Préludio só para a măo esquerda   

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Photo: Fred Plaut

Robert Casadesus  French pianist, composer and teacher

Paris, 07.04.1899 - Paris, 19.09.1972

Next to the older Alfred Cortot and Isidor Philipp Robert Casadesus was probably the most important French pianist of the 20th century. He cam from a very talented musical family and won the first prize in piano at the Paris Conservatoire at the age of 14 and the Diémer Prize at 21.
The following year he began what was to become an international career of half a century - starting in Europe and later the USA followed as well as some forty countries in Europe, the Middle East, North Africa and Japan. He appeared before the public nearly 3.000 times playing concerts with practically every conductor of renown and giving duo concerts with both his wife Gaby and his son Jean.
Casadesus also was a
teacher of international reputation, teaching for nearly thirty years at the American Conservatory in Fontainebleau and in the USA as professor and director general.
As a composer Casadesus left 69 opus numbers - among these 7 symphonies, concertos for piano, two and three pianos, flute, violin and cello and a number of chamber works and piano pieces.
He was raised to the rank of Commander of the Légion d'honneur, the Order of Léopold (Belgium), and the Order of Nassau (Netherlands).

Main Gauche (nr. 6 from 8 preludes)  1939-1940  (Durand and Schirmer)
The other seven preludes are for both hands featuring thirds, fourths, fifths, octaves and chords. Each prelude carries a dedication; nr. is dedicated to Leland Coon.

Leland Coon (1892-1980), American pianist and teacher and from 1922 
a pupil of Casadesus in Paris.

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(No portrait)

Ronnie-Hobson Neil Cass 


Songs from the Thirties  (Disabled Living Foundation 1978)


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(No portrait)

F. A. Cassanova 

Born: 1924

Pop Song for the left Hand alone  (Willis 1992)

Owed to Czerny (Octave Etude for the Left Hand)  (Willis 1992)   


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(No portrait)

Paolo Castaldi 

Born: 1930

Left. Per pianoforte  (Suvini Zerboni, Milan)


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(No portrait)

Manuel Castillo Navarro Aguilera Lugar 

(1930 - 2005)

Preludio para la mano izquierda  1953 (Fundación  Juan March, Madrid)


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(No portrait)

Pareškev Chadžiev  Bulgarian composer and pianist

(1912 - 1992)

Preljud za ljeva râka (Prelude for the left hand)  (Union of Bulgarian Composers, Sofia)


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(No portrait)

Lena Wheeler Chambers  American pianist, teacher and composer

Late 19th and early 20th century

Today mostly forgotten but for some educational works, salon pieces and charming trifles like The Pickanini March and The Cotton Pickers.

Three Poetic Etudes for the left hand alone  1918 (Gamble Hinged Music Co. Chicago)


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Alice (Ellen) Charbonnet-Kellermann  

Born: Cincinnati, Ohio 12.10.1858 - Paris, France 1914

She was the daughter of a French Judge and she was brought up in a variety countries. Her more serious education was begun in Paris before her family moved to New Caledonia following her father's appointment to Chief Justice there. After his sudden death Alice returned to Paris to begin a two year's study of piano and harmony at the Paris Conservatoire from 1876 to 1878.
Charbonnet-Kellermann gave her first concert in Sydney to much acclaim. She later worked in Melbourne at Allans' Music Warehouse as a demonstration pianist. She married Sydney violinist Frederick Kellermann in 1882, with whom she had four children. Together they established a music school in Philip Street, Sydney, and Charbonnet-Kellermann became a distinguished figure on Sydney's concert scene. She gave many afternoon recitals at gatherings at Philip Street and at her home in Potts Point, and appeared in many larger concerts.
After moving to Melbourne in 1901 without her husband, Charbonnet-Kellermann became a music teacher at Simpson's School, Mentone and In 1907 she retired to Paris still giving concerts.
Charbonnet-Kellermann's compositions include numerous salon works for the piano, a setting of the Ave Maria for voice, piano, and violin obligato, and transcriptions of songs for the piano. Her Gypsy Gavotte appeared in the Australian Musical Album of 1894.
Charbonnet-Kellermann's eldest daughter, Annette Kellermann, became famous as a champion swimmer and diver, and later a vaudeville and film star.

M’appari: transcription de la Romance de Martha, pour la main gauche seule (Fantasy over themes from the opera Martha by Friedrick Flotow  186? (Australia ?)
At head of title: Homage de respectueuse reconnaissance a son Excellence le Gouverneur de Victoria et a Madame la Marquise de Normandy.

Source: National Library of Australia

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(No portrait)

Antonio Chissotti  Italian organist, pianist and composer

Casale Monferrato, Italy, 1814 - Bergentino, 10.1886.


Miserere nell'opera Il trovatore di G. Verdi. Per pianoforte. Variato per la sola mano sinistra  (Canti, Milano)

Quartetto nell'opera Rigoletto di G. Verdi per pianoforte. Variato per la sola mano sinistra op. 3  (Ricordi Milan 1889)

Un Ballo in mascera. Opera del cav. G. Verdi. Fantasia di concerto. Per pianoforte variata per la sola mano sinistra op. 20  1883 (Vismara, Milan) 
All three works are variations (Concert Fantasy) on themes from the three operas mentioned by Giuseppe Verdi, a composer who was major supplier of themes for variations for all kind of instruments and number of hands.

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Gian Paolo Chiti  Italian composer and pianist

Born. Rome,  22.01.1939

Chiti's family came from Toscana and he began to study piano, violin and composition at the age of four. When still only a child he appeared at public concerts as pianist - often with his own works - and at the age of ten he entered the Santa Cecilia Conservatory in Rome studying piano and composition. Later followed studies in piano with Arturo Benedetti Michelangelo and conducting with Carlo Zecchi at the National Academy of Santa Cecilia, earning his degree in chamber music.  He was prize winner in both the Treviso piano- and the Busoni competitions, but he finally decided, that his future was as a composer.
In 1984 he taught composition at the Santa Cecilia Conservatory, where he from 1989 also functioned as assistant director. His master classes in numerous countries have a very wide span - ranging from contemporary music to Gregorian song and polyphony in the 15th and 16th century.
Gian Paolo Chiti has achieved international recognition for the programming of his music in various international festivals and events such as Maggio Musicale Fiorentino in Florence, Biennale in Venice, Edinburgh FestivalLutoslawski FestivalCantiere Internazionale of Montepulciano, Nuova Consonanza, Incontri Musicali Romani, the Chopin Festival in Poland, the Sacred Music Festival in Chartres, France, Teatro Nacional di Caraccas in Venezuela and the Public Season at the Moscow Conservatory.
Among his best known works are a violin concerto, a concert piece for orchestra, A Dylan Thomas ballet, Trivium for voice and orchestra, Nachtmusic, Pilatus e Maria (an Oratorio for Vatican Radio), choral works for several Roman cathedrals and an Artists’ Mass plus solo works for piano, violin, cello, flute, guitar and harp, and many of his most important works have already been recorded.
Beside his work with teaching and composing Chiti has been a member of numerous juries at musical competitions, he has been adviser at festivals, he has published a large number of essays and held a number of lectures beside being a member of the International counsel for Music under UNESCO and The European Music Counsel.

Prelude and fugue  (1993) (MS)
In a mail to this author Gian Paolo Chiti writes:
The work Prelude and Fugue for the left hand arose from the idea to write a fugue concentrated within a brief limited part of the keyboard and to be performed with one hand only, and for reasons tied to the agility of each hand I chose the left.  The Prelude was added according to a centuries' old tradition....The work requires a large hand with great agility between the fingers. (At the premiere the pianist used both hands to play it) When the work is played with only the left hand (especially the fugue) it is much more expressive with a particular legato and the fraseggio changes.
The work is still unpublished but a recording is being issued presently.

Under the Left Hand  (28.11.2008)
In a mail to this author Gian Paolo Chiti writes: On the 28th November 2008 (only one year and two days before Strauss' death), to celebrate the one hundredth birthday of the famous French philosopher and writer Claude Lévi Strauss (November 28.1908 - 30.10.2009) I have been invited by my publisher MUSIK FABRIC (CLASSICALMUSICANOW.COM) to write a work for the left hand.  This has been published in a special anniversary album (with other works which are not for the left hand)  which is bring presented to Lévi Strauss on the 28th November in Paris. My work entitled Under the Left Hand and is made up of three brief works  NOCTURNAL - YEARNING - CADENZA. The entire opus lasts 6 minutes approximately. The composition is inspired by the writings about mythology by Lévi Strauss and evocates  the sense of mystery that night brings and the sensations felt by all living beings. The use of the left hand  adds arcane and nameless feelings.

Maestro Chiti's homepage. 

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Frédéric Chopin  Polish-French composer and piano virtuoso

Zelazowa Wola near Warsaw, 01.03.1810 - Paris, 17.10.1849 

Beside having a thorough academic education from the Warzaw Lyceum (Gymnasium) where his French-born father taught, the young Chopin also took piano lessons from Adalbert Zywny, who probably could not learn the mostly self-educated young man much. But at the same time he was educated in harmony and counterpoint by the director of the Warsaw Conservatory Jósef Elsner.

The earliest Daguerreotype portrait of Chopin
and until recently extremely rare

In 1829 he made his Vienna debut and in 1831 he came to Paris to stay for the rest of his life. Much has been written about Chopin's inspiration from Hummel and Paganini whom he heard in Warzaw and from Bellini and Liszt - the latter becoming his intimate friend but the truth is - that Chopin was one of the great original creators of music making his own laws.

  The "famous" daguerreotype of Chopin taken only
months prior to his death of Tuberculosis

He is the most unique 'piano composer' in that sense that he did not write anything without the piano: 2 concertos, concert pieces, a piano trio, a cello sonata, 3 piano sonatas, etudes, polonaises, mazurkas, nocturnes, preludes, scherzos, impromptus variations - and songs.

Delacroix's famous portrait of Chopin.
Most interesting to compare with the photo taken shortly before he died.

Unfortunately Chopin did not write anything for the left hand alone, but many composers and arrangers have used his works for everything from large-scaled paraphrases to simple arrangements: Godowsky, Chavez, Meinders, McEwen, Matuszewski and others. See also under Kalkbrenner.

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Louise Chouquet  French composer

Born: 1823 - 1911

She was born leroux as one of Nine sisters and brothers among which were Victor Louis Leroux and  8 more. She married a man called Chouquet whose main contribution to history was that she had Louise Alexandrine Mercier (née Chouquet) og navne pĺ 7 mere břrn. Composer of piano music e.g. Chants du pays op. 6 and Mariquita op. 7

Sérénade pour le main gauche seule  ca. 1851 (Fiot, Philadelphia)
A charming but not very significant piece in waltz tempo with a nice trio part "ben marcato".


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Ove (Christian) Christensen  Danish pianist, violinist and composer

Copenhagen, 18.08.1856 - Copenhagen, 05.11.1909

Ove Christensen showed remarkable musical talents already as a child and got his first education from the Ramsře brothers (piano and violin). At he age of 13 he came to the renowned Danish pianist (and close friend of Grieg) Edmund Neupert who was forming a kind of Danish School in Denmark at that time, and Ove Christensen was soon regarded as one of Neupert's  most talented pupils.

Edmund Neupert

From 1876 he spent a year at the Royal Danish Conservatory as pupil of J. P. E. Hartmann and Niels W. Gade - and then went back to Neupert and Valdemar Tofte (violin) before he settled in St. Petersburg as Imperial Chamber Musician - first as violinist and then as pianist. 
But - due to poor health - he had to give up this position after a period of ten years, after which he returned to Copenhagen becoming a very sought-after teacher. At the same time he was very active in the local musical life as soloist and chamber music player - known for his very intelligent performances. Ove Christensen also founded a musical society Vor Forening (Our Union) in which a great number of the finest musicians and composers of Copenhagen met.

Ove Christensen

His last years were marked by his bad health but in 1900 he was awarded the honorary title of Professor (NB. the title of Professor - like the one of Doctor has quite another meaning in Denmark than it has in countries with which we normally compare ourselves. To be called a doctor you would have to have written a doctor's dissertation with success, and only after that you might be elected professor - meaning the highest rank of teacher at a university - but I guess that is the only point where we don't have inflation in Denmark). Ove Christensen was not and easy man; he was charming and made a lot of friends  - but also some enemies. He would through parties of extreme lavishness with Beluga caviar and other delicacies from all over the world - nothing was spared. But even very close friends withdrew from him by time.
Eight years after Ove Christensen death his daughter Vera and her husband Ernst Michaelsen created a foundation for the support of talented Danish musicians. One of the most famous receivers from this foundation was the composer, pianist and accompanist Hermann D. Koppel in 1956. Koppel was by Carl Nielsen (of whom he also was a pupil) considered the best interpreter of his piano music. This fund does not exist any more but is joined with other funds of similar purposes - administered by the Danske Bank, and no one has heard of it since.

Ove Christensen's signature. 

3 Pianoforte Etüden für die linke hand allein  1907 (Schmidt, Leipzig) 

Photos of Ove Christensen: Det kongelige Bibliotek (Royal Library), Copenhagen  

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Artur Cimirro  Brazilian pianist and composer

Born: Bagé, Rio Grande do Sul,  Brazil, 30.09.1982 

Cimirro started his musical studies alone with the guitar (1995). His first contact with piano was in 1996, and after 2001 he dedicated himself to this instrument.
 Between the years 2003 and 2004, he had classes with Maestro Leandro Menezes Faber as well as with other different pianists.

Throughout his studies Artur Cimirro developed an nterpretative technique which is called "Scientific Interpretation System" where the works are analyzed taking into consideration their historical factors involving composer and work, with a faithful reading of the score in the compositional context (contrapuntal/harmonic/analytic). Resulting in the book "Scientific Interpretation System or Musical Hermeneutics".
Walter Aiub produced in 2013 the documentary https://www.youtube.com/watch?v=n6YJ_w6Qfbc ) with a rare footage, concert videos, rehearsals and a long interview with the composer/pianist.
Cimirro published with the label "Acte Prealable" the CDs "Karol Tausig - Complete Original Piano Works" (AP0359) with the first part of Tausig's complete works, the CD "Aleksander Michalowski - Piano Works 1" (AP0365), the complete works and transcriptions by the left-hand romantic virtuoso Geza Zichy in 2 CDs (AP0371/AP0372), the complete compositions by Tivadar Szántó (AP0386/AP0387), the Etudes Op.44 by Jozéf Wieniawski (AP0406) and a first volume with his own original compositions "Artur Cimirro - Piano Works 1" (AP0400).
 Apart from the left hand works below Artur Cimirro's output consists of works for piano (both hands), piano and orchestra and orchestral pieces.
His repertoire of works for solo piano and piano with orchestra is so startling that I advice you to visit his home page  home page .

Original works

Toccata, Intermezzo & Romance op. 9  (MS)
Composed in September 2007. In fact this is somewhat similar to de dedication of Beethoven's Eroica (!).

With some of his own comments

Albeniz: Asturias (Leyenda) (2006) (MS)
Albeniz - Asturias was a challenge of a great friend, a French pianist, he asked me why don't you play Asturias with left hand only  and I said: why not?.

Bach: Toccata and Fugue in D minor BWV 565  (2006) (MS)
The Toccata and Fugue in D minor is my favourite work by Bach and Carl Tausig's transcription was the first complete piece I played in my life (and first I played it in public in 1997). 
In my transcription for the left hand I was trying to keep the organ atmosphere with the great sound. It is very difficult to play. (By the way it is also a favourite of this author and the first piece I performed on the organ in Copenhagen).

Bach: Prelude BWV 999  (2007) (MS)
The Prelude BWV 999 I did for one of my private students (to develop his left hand technique)

Beethoven: Symphony no.7, A-major op. 72: 2. movement; Allegretto  (MS)
Transcribed August 12 2007.
The dedication to me of this transcription was a great surprise and a very happy and gratifying moment for me since it one of my favourite movements among Beethoven's symphonic movements  with its melancholic beauty. Originally intended for his Rasumoffsky Quartet in C (op. 59 no. 3) it is close - but only close to funeral march with a steady rhythm of a dactyl and a spondee:
Ɩ - u u Ɩ - - Ɩ and then Beethoven suddenly adds a most lovely legato melody which has been concealed under this incessant pulse. Genial - indeed - and Cimirro brings this out in his wonderful transcription - and to great effect. 

Brahms: Symphony No.1 Op.68 (2006) (MS)
The Brahms Symphony for the left hand was an internet joke some years ago. Someone asked on April 1
st in a forum for a left hand version made by Godowsky. I heard this joke in 2005, and decided to make it and show it in April 1st 2006 in the same forum. But I gave up uploading it because some people were selling scores uploaded in these forums.
(With people like Mozart and Beethoven there are no copyrights  - but there is a group of people who like vermin and parasites prey on living composers and sell their scores on the Internet - thus depriving these great artists of their legally rightful income. I cannot warn you enough against these persons who have neither ethics nor any respect for international law. Many of these are placed in "high" positions and I am surprised at their doings - but no one seem to be able to touch them. If I were to judge they should be forced to be playing Steibelt works for the rest of time - since they are no more worth -
authors comment).

Chopin: Fantaisie-Impromptu Op.66  (2007) (MS)
Artur Cimirro wrote to me about this piece: I decided to make 2 different transcriptions of this piece; one as a study in fourths and the other with inversion of the hands - but after working with the second for some time I saw it would be possible to play it with one hand - and this is it; dated December 2007 -
authors comment.

Liszt: Études Transcendantales no. 1, 2, 3, 4, 5, 6, 7, 9, 10, 11& 12  (MS)

Liszt: Mephisto Waltz No.1

Liszt: Hungarian Rhapsody no. 2  (MS)

Rachmaninoff: Symphony No.2 Op.27 (3. Movement: Adagio) (2007) (MS)
The 3
rd Movement of Rachmaninoff's 2nd Symphony was transcribed by a friend for 4 hands, and this friend made also a composition to me, so I made this transcription in return.

Rachmaninoff: Prelude Op.23 No.5

Rachmaninoff: Sonata No.2 Op.36

Ravel: Alborada del gracioso

Rimsky-Korsakov: Flight of the Bumble-bee (2006) (MS)
Artur Cimirro wrote to me about this piece: The Flight of the Bumble-bee was made as my first virtuoso transcription, but in a version more difficult than György Cziffra's, with lots of thirds, fifths and octaves. The left hand  version was made in less than one hour - it was just the time to write all the notes -
authors comment.

Saint-Saens: Dansa Macabre - Symphonic Poem Op.40

Scriabin: Etudes Op. 2, 1, Op.8, 5, 11 & 12 Op.11, 8 & 14 Op.22,1 & Op.42,3, 5 &7

Schubert: Erlkönig (d'aprčs Géza Zichy) (2005) (MS)
Artur Cimirro wrote to me about this piece: This was my first work for the left hand - and almost a revision of Géza Zichy's version, only more pianistic and resonant.

Schubert: Ständchen (Serenade) D. 957/4 (From Schwanengesang(MS)
This both charming and very effective piece was transcribed January 21 2008 as a present for Cimirro's grandmother, Maria Diva Moreira Cimirro.

Wagner: Walkürenritt (from the opera Die Walküre)  (MS)
Watch and listen  with the greatest awe to Artur Cimirro staggering playing this transcription on YouTube: https://www.youtube.com/watch?v=x9DFLyCMgvQ


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(No portrait)


T. L. Clemens 

Born: ? 

Oktavetude (Chapell)

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(No portrait)


Neil Clifton 

Melbourne, 03.02.1956 - Heidelberg, Melbourne07.03.1986

Clifton started of on a violin in Geelong 1967 and even began composing without formal training. His first attempts were musicals which were performed with success in his home town from 1972 - 1973. In spite of his musical success Clifton began studying mathematics and physics but finally decided upon a musical career and completed the B.Mus (Hons) at the University of Melbourne in 1980 with a double major in composition and musicology.
In 1981 he was a joint prize-winner in the Victoria State Opera's music theatre competition, along with Mark Foster and Peter Chaplin. The prize-winning work, Hunger to a libretto by the composer and based on the novella by the controversial (nazi/non nazi) Norvegian author Knut Hamsun, achieved considerable popular and critical success when it was performed in early 1982 at the Universal Theatre in Melbourne.
In 1983, Clifton was given a Composers' Fellowship by the Australia Council to enable him to continue his work as a composer, particularly in the areas of music theatre and vocal composition, he was also a fellowdhip holder at the 4th Sydney Summer School for Australian and New Zealand composers.
In 1984, Clifton took up the position of Composer-in-residence with the Victoria State Opera. This particular project, assisted by funding from the Australia Council, was to produce a full-length opera based on Evelyn Waugh's novel The Loved One. The piece remained unfinished at the time of the composer's death, although nearly complete, and has not been performed to date.

Fantasy. A piano piece for the left hand 
(Australian Music Centre)

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(No portrait)


Coba  Japanese accordion player and composer

Born: 1959

Coba began his musical education at the age of three and when he was 18 he moved to Venice, Italy to study at the Scuola di musica luciano fancelli. He graduated at the top of the class.
Since then he has won many prizes: First prize at the Alassio  International accordion competition 1980: First prize at the 30th C.M.A world accordion competition.

Coba is today more than a name - he is identical with music which crosses thematic boundaries and which has a world-wide influence.
Coba is a prodigious composer who is currently working on sound tracks for films, traditional and modern Japanese theatre, TV and TV advertisements. His role is composer, producer and performer, including working with orchestras. He is based in Tokyo, Paris and London and is continually working internationally.                     

Albero di memoria  2008
Composed for the Japanese-Finnish pianist Izumi Tateno, who after a stroke could play with his left hand "alone".

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Willem Coenen  Dutch pianist and composer

Rotterdam, 17.11.1837 - Lugano, 18.03,1918

The Coenen family is - like that of Andriessen - a family which includes many musicians and composers. Willem's brother Franz (1826-1904) was a well-known violinist and composer. Their father was organist in Rotterdam and Franz's son Louis (1856-1905) became known as a notable (but rather academic) pianist. 
Willem Coenen was trained in Holland  - by all evidence by his father, but after touring America for some years he finally settled in London in 1862 where he lived as a well-esteemed piano teacher.
Among his compositions are the oratorio Lazarus, songs and music for piano. As for his style, it has been described as majestic, ambitious and of pianistically adventurous romanticism. Then - one wonders - why is he not played more often?. 

Fantasia on The Last Rose of Summer 1864 (Ewer & Co. London)

Fantasia on God Save the Queen  1864 (Ewer & Co. London)

Home Sweet Home. Etude for the left hand  (Novello)

Photo of Coenen by courtesy of Nederlands Muziek Instituut

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Felix De Cola  See under catalogue D

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John Corigliano  American composer

Born: New York, 16.02.1938

Corigliano comes from a very musical family. His father was concertmaster of the New York Philharmonic Orchestra from 1943 to 1966 and his mother was an accomplished pianist.
Corigliano first came to prominence after winning the chamber music prize at the 1964 Spoleto Festival, Italy for his Sonata for Violin and Piano. Then other important commissions followed from the New York Philharmonic (Concerto for Clarinet and Orchestra, Fantasia on an Ostinato), Chamber Music Society of Lincoln Center (Poem in October), New York State Council on the Arts (Oboe Concerto), the Boston Symphony Orchestra (Promenade Overture) and flutist James Galway (Pied Piper Fantasy).

Sir James Galway

Today Corigliano is internationally celebrated as one of the leading composers of his generation. In orchestral pieces, chamber music, opera and film work, he has won global acclaim for his highly expressive and compelling compositions and his kaleidoscopic, ever-expanding technique and he holds the position of Distinguished Professor of Music at Lehman College, City University of New York and, in 1991, was named to the faculty of The Juilliard School.
Awards, prizes and commissions have come in plenty to Corigliano and his works have been performed world-wide. Among these are his two symphonies, the opera The Ghost of Versailles, the Red violin Chaconne (extracted from his music to a motion picture) and The Dylan Thomas Trilogy.
His chamber music ranges from large-scale solo piano works Etude Fantasy to Poem in October for tenor and chamber ensemble to his String Quartet, commissioned by the Cleveland Quartet for their valedictory performance. Corigliano's honors include the Composer of the Year from Musical America in 1991, the President's Medal awarded by the president of Georgetown University, and the Boston Symphony's Horblit Award for Distinguished Composition by an American Composer. He is a member since 1991 of the American Academy and Institute of Arts and Letters.

(Etude-Fantasy)  1976 (Schirmer)
This lengthy piece is included although it can hardly be described as a genuine left-hand piece. It is in five part and only the first part is for the left hand - but already during the transition from the first to the second the right hand suddenly joins in  pianissimo at the top of the keyboard. Pity - since the left hand part of the work is very effective and well-written for the left hand alone. The inspiration to the left hand part of the work came, when Corigliano attended a recital by the pianist James Tocco who gave Blumenfeld's Etude as an encore.

Etude no. 1. Forthe left hand alone  2007 (Schirmer)

Photo of Corigliano: Christian Steiner

Etude-Fantasy is recorded by Stephen Hough, Hyperion CDA 67005

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(No portrait)


Constantin Corpus 

Wilde Flucht vor Rübern op. 39  (Berlin: Hoffheinz)
Mentioned in Hofmeisters Handbuch der Klavierliteratur, 1898-1903 p. 154

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(No portrait)


Carl (Johannes Otto) Cortzen  Danish organist, pianist and composer

Copenhagen, 18.08.1828  - Odense, 1899

Cortzen's father was a rather unsuccessful farmer, who finally chose to move to Copenhagen to find another job. As a boy Carl of ten years he learned to play the piano all by himself, but in Copenhagen the composer C. F. E. Weyse heard him and saw to it that he had proper instruction in piano and in theory with Carl Helsted.

Carl (Adolph) Helsted
Christoph Ernst Friedrich Weyse

In 1846 he gave a concert at the Court Theatre, (which is now more or less a part of the governmental building Christiansborg in Copenhagen with the status of a museum) and the same year he played Hummel's concerto in A minor (nr. 2 op. 85) at the Royal Theatre and during the following years he gave concerts in many cities of Denmark, Schleswig, Holstein, Sweden and Norway - often together with the cellist Kellermann.

Christian Laurentz Kellermann
A cello-virtuoso of extreme
gifts who travelled most of
Europe as another Paganini
of the cello.

In 1863 Cortzen settled in Odense on Funen (the town where Hans Christian Andersen was born) and in 1876 he was appointed organist at St. Knud's Cathedral in Odense.

St. Knud's Cathedral
in Odense
St. Knud is King Canute who once ruled over England - but just try and make them pronounce "Knud"!

He published some piano pieces, Trois Pičces melodiques, some song and a funeral march for organ and brass. Very few of these pieces have been published.

Serenade  (Norwegian Music Edition 1517) 

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(No portrait)

Caroline H. Crawford  

Born: ?

A Summer Shower (A Study in Broken Octaves) op. 5  1919 (Wood)

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(No portrait)

Ernest L. Crawford  

Born: ?

Silent technical exercises for the piano  1967 (Los Angeles)

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(No portrait)

William Mentor Crosse  

(1866 - 1955)

Standard Studies for the left Hand, Vol. I - VII  1918-20 (The John Church Company, Cincinatti)

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Ferdinand de Croze  

Born: 1828


Étude cromatique on a march from Bellini's opera I Puritani  (C. Fischer)

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(No portrait)

Zulema de la Cruz  

Born: 1958

Púlsar  1989 (SGAE, Madrid)

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Boldizsár Csiky  Romanian composer and pianist

Born: 03.10.1937 - 

Etude for the left hand  (MS)

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Curtis (Otto Bismarck) Curtis-Smith  American composer, pianist and teacher 

Walla Walla nr. Seattle WA, 1941 -

Mr. Curtis-Smith took both his BM and MM at the Northwestern University School of Music. He has since been the recipient of more than 100 grants, awards and commissions, including a Guggenheim Fellowship, the Tanglewood Koussevitzky Prize, the Medaglia d’Oro from the Concorso Internazionale di Musica e Danza, the Prix du Salabert, the American Academy and Institute of Arts and Letters, the Concorso Internazionale de Composizione, 26 consecutive ASCAP Awards, and grants from the Rockefeller Fund, the National Endowment for the Arts, the New York State Council for the Arts, the Arts Foundation of Michigan, the State of Michigan Governor’s Award, and in 2000, an award from the Barlow Endowment. Presently Curtis-Smith is a faculty member of the Michigan University. 

Concerto for piano (left hand) and orchestra; (Three movements: 1. Lento agitato - Allegro con fuoco, 2. Larghetto, 3. Moto Perpetuo)
This work was commissioned by the Irving S. Gilmore Keyboard Festival for Leon Fleisher and premiered there by him in 1991.
Leon Fleisher has also performed the work with the Detroit Symphony, the New Japan Philharmonic, and with the American Composers Orchestra in Carnegie Hall.

Leon Fleisher
Photo © SONY Music Entertainment

Curtis-Smith seems - like Rachmaninoff - to have been fascinated by bells. This is demonstrated from the very beginning of the work, and - according to the composer - the 3rd. movement is supposed to be Brilliant and ringing.

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(No portrait)

Richard Cummings  

Born: 1928

Prelude for the left hand. No. 22 from 24 Preludes  1971 (Boosey & Hawkes)

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Carl Czerny  Austrian pianist, teacher and composer

Vienna, 20.02.1791 - Vienna, 15.07.1857

In different books you will find his first name spelled both Karl and Carl (even Grove's fifth edition has Karl), so let's have this mystery solved once and for all:

Here is his own signature on a contract from 1855

Carl grew up in a family with a father who was an accomplished musician and who taught the boy to play piano very early - so he was soon able to play many of the great composers' master pieces by heart. Among his parents' friends was the violinist Wenzel Krumphollz (1750 - 1817)  whose influence on the boy was of great importance since he was not only a great admirer of Beethoven but also one of the (already famous) composer's very close friends. 
So in 1801 he took the boy to meet Beethoven who at once offered to teach him and during the next three years Czerny made immense progress both in piano playing in general but also in the interpretation of his master's works. The relationship between teacher and student became more or less paternal and Czerny also profited from the meeting with other famous musicians with whom Beethoven came in contact - such as Hummel and Clementi, whose teaching method he studied closely. Before long Czerny was one of Vienna's most sought-after teachers himself - so much indeed that he could afford only to take those pupils which he thought were of special talent.

He had very little ambition of performing in public himself and therefore he withdrew almost completely from public life but he did play the premiere of the Emperor concerto (11th February 1812) as Beethoven - who had premiered the first four concertos himself - had realized that his days of public performance were over due to his progressing deafness. But Czerny also studied composition with great ardour. His first composition was published in 1805 and after being introduced to the publishers Cappi and Anton Diabelli his works became so popular that he often had to work at night after a day with up till twelve students to satisfy the demands.
Beethoven was also introduced to Czerny's parents in whose house there was given matinees every sunday by the best of his pupils and the peaceful orderly family life he witnessed here made such an impact on him, that he even proposed to move in there. (One wonders what Mrs. Czerny thought of that idea). Czerny's three most famous pupils were Theodor Döhler, Franz Liszt and Theodor Leschetizky the latter giving a very affectionate and intimate picture of his great teacher:
Czerny was a great musician, an unequalled teacher and a very sensitive person. The Viennese have never appreciated him justly - they didn't know what they had in him. But he was an old man and even though we stood at the beginning of a new era in music his roots were so firmly planted in the old one, to which he belonged with body and soul that he had very little understanding of the new. Chopin's passionate and moving music with its free tempo rubato and its glowing romantic ecstasy was alien to the old man and left him cold. "Go ahead and play him, children" he said to us "for it is good piano music" - but it was only a succčs d'estime.
Czerny's productivity was fabulous - just the part which has been published amounts to more than 1000 pieces and many of the opus numbers contain up till 50 pieces each. But besides this there is an enormous amount of manuscripts stored in the archives of Gesellschaft der Musikfreunde in Vienna containing 24 masses, 4 requiems, 300 graduals and offertories, symphonies, concertos, chamber music and songs. In 1851 he published a book on the history of music Umriss der ganzen Musikgeschichte and he even found time to write an autobiography.
His educational works for piano have been standard works for nearly 150 years and if studied in the right way they can produce pianists of the very highest standard and his etudes range from the very simplest exercises to virtuoso pieces that even Horowitz included in his repertory.
About Carl Czerny's relationship to Beethoven and their first meeting see appendix

2 Etudes op. 735  1846 (Meschetti)

 Etude for one hand alone in A flat major

(Etuden für die linke Hand op. 718)  Three volumes with 24 studies
These are not works for the left hand alone but studies where the composer puts all the difficulties in the left hand.

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