Cover image for American piano trios : a resource guide
American piano trios : a resource guide
Drucker, Arno.
Personal Author:
Publication Information:
Lanham, Md. : Scarecrow Press, 1999.
Physical Description:
xvi, 404 pages ; 23 cm
Format :


Call Number
Material Type
Home Location
Item Holds
ML128.C4 D78 1999 Adult Non-Fiction Grosvenor Room-Reference-Music

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The piano trio has been a favorite medium for composers since its inception with Franz Joseph Haydn's compositions for violin, cello, and piano. There have been numerous compositions by many composers since that time, and the piano trio continues to interest composers today. In the United States composers began writing for this combination in the nineteenth century, following European traditions. In the twentieth century, the number of composers and compositions has seen a phenomenal increase. American Piano Trios: A Resource Guide provides information about works for piano trios (violin, cello, and piano) by American composers, including naturalized United States citizens. The information includes a brief biographical sketch of each composer, occasional comments by the composer, and notable information that might lead to a further exploration of his or her work and possible performance. Two appendixes provide contact information about active performers of piano trios and a list of classical music websites.

Author Notes

Arno P. Drucker served as faculty member and head of the Music Department of Essex Community College in Baltimore, Maryland. He was the Principal Pianist of the Baltimore Symphony Orchestra for over twenty years, and has performed as a soloist in the United States and Europe.

Reviews 2

Library Journal Review

Pianist and professor Drucker (Baltimore Symphony, Peabody Conservatory) presents a welcome reference for those seeking information on the American piano trio repertoire. He includes alphabetical entries for both well-known and more obscure composers ranging from the early 19th century to currently active artists. He provides both a short biography of the composer and annotations on the pieces, including where they can be acquired, extant recordings, and some descriptive phrases or quotes. Also valuable are appendixes listing performing trios with contact information and a list of classical music web sites. There is some overlap between this book and Ellen Grolman Schlegel's Catalogue of Published Works for String Orchestra and Piano Trio by Twentieth-Century American Women Composers (Colonial, 1993); Drucker's entries are more complete, but Schlegel includes several composers he does not. As a model of exhaustive research, this is highly recommended for all music reference collections.√ĄBarry Zaslow, Miami Univ. Libs., Oxford, OH (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Drucker brings together a great deal of information from a number of sources, adding notes of his own. His major sources are his own master's thesis (Peabody Conservatory, 1970) and Nancy Ping-Robbins's The Piano Trio in the 20th Century (1984), with more up-to-date material from reviews, liner notes, and writings by the composers themselves. Drucker aims both to address the needs of performers and to help publicize the music of composers who are less well known. The book includes works from about the middle of the 19th century to the present by both men and women, white and of color. Most entries include dates of birth and death, current addresses, short biographies, titles of trios, dates, timings, location of scores in selected US libraries, publishers, comments about the pieces, and recordings. Books like this are likely to contain some errors. Some material is out of date (e.g., Borroff no longer lives in Binghamton; Nancy Van de Vate records her music on her own Vienna Modern Masters label.) The bibliography is far from current. Some missing information would have been easy to find (e.g., current addresses of Dorothy Rudd Moore or Robert Muczynski, or the publisher of a piece cited only with a list of "principal publishers"). Major sources for information about women composers are omitted from the references cited for specific works. Despite these flaws, this book is very useful and deserves a place in any music library. K. Pendle; University of Cincinnati