The Russian school of piano playing has been acclaimed as one of the best in the world since the late 19 th century and has produced countless major artists and teachers. To this day, Russian piano teaching boasts a remarkably high Standard, even on its lower levels. This is due in part to the solidly conceived structure of the pedagogical repertoire which places the emphasis on Russian music. The most outstanding feature of this music is its idiomatic pianistic character, which predestines it for instructional purposes. Although piano music was not always in the forefront their ouvre, Russian composers in the 19 thand 20th centuries were generally superior pianists, and some were even concert artists. Very knowledgeable about the piano's wealth of sounds and virtuoso effects, they often seemed to compose their pieces directly into the player#s hands. It is thus not only instructive to play this music but also, and above all, a great pleasure. It gives one the feeling of possessing a mastery of the instrument and commanding the full extent of its sound potential. This collection or works by a number of important composers seeks to trace the development of Russian piano literature from the early 19th Century to the present, i.e. from the genesis of an independent Russian piano style up to our time. The book contains pieces in the major genres from this period: variations, dances, lyrical and polyphonic pieces, character pieces and etudes (sonatas had to be omitted because of their length and level of difficulty). There are well-known pieces and lesser-known works in equal amounts. As to their technical requirements, the examples were chosen so as to include as many different challenges as possible (use of the entire keyboard, pedal, passage, work, chordal writing, octaves, polyrhythms, polyphonic writing, cantabile, alternating hands, etc.). Unfortunately the restricted scope or the book and the limitation pieces ranging in difficulty from easy to medium meant that some important composers and a number of rewarding instructional pieces had to be omitted (Borodin, Balakirev, Rachmaninov, Medtner, Prokofiev, Glière, Denisov, Schnittke). One can only encourage players continue exploring this domain on their own. Each piece is supplemented by a brief commentary which proposes various ways of mastering the work, in addition to providing information on specific aspects of the work, technical tips, analyses of the piano writing and other elements. The selection reflects years of experience teaching and playing, and supports the aim of addressing general topics applicable to a number of works as well problems specific to the piece in question.