There are many of these being shared here because there were a lot of them composed and preserved as sheet music. Also because solo keyboard is one of the easier formats to record as a d.i.y. project. A few of the recordings below were done by live musicians, while others were done by using notation software to produce an audio recording. If the title of the compositions in these lists is a “link” printed in blue and underlined, then clicking the name will take you to the video/audio on YouTube. If the title is in black ink, there is probably a play bar – click that to hear the music.
Two piano solos by Orson Pratt, Jr. which were printed in an 1869 magazine on Utah Arts & Culture. Pratt was active as a musician in local concerts & theatres, and as a composer & teacher. Probably some of the earliest classical sheet music (other than hymn books) published in Utah. Here is a set of links to more about this composer. Histories of Orson Pratt Jr.
~~ The Grasshopper –(Click on the name of the piece to hear the piano version.) A fun little exercise with lots of motion, and probably aimed at young players. One commenter around the time of publication even suggested that it was connected with the “Miracle of the Seagulls” incident in Pioneer era history. Upon first hearing this music, my initial thought was that it might also sound great on harp. So I had harpist Obadiah Sharp of Venezuela record this one for me, which may be be heard by clicking below.
~~ Gertrude Mazurka – an elegant “parlor music” or concert selection, from an era when many homes had a piano for entertainment.
Deseret Schottische, by Geraldine Warden – Composed by a touring Australian opera singer who visited Salt Lake City for a short series of concerts in 1868, and wanted to leave this musical gift for the many nice people she met and befriended in Utah. She was considered a major “star” as a singer, but was also a versatile and talented pianist who sometimes accompanied her fellow singers as they performed. A synthesized piano track is used in this recording on YouTube.
President Young’s Funeral Song 1877 by George Careless, the chief composer of the Tabernacle Choir. Yes, this is a second composition attached to the funeral service. Both the March by Daynes and this song by Careless were part of the public funeral services. This one was later published as an instrumental for piano in several LDS Church hymnbooks in 1905 and 1925, and that version is presented here. (audio only – click to play)
Two piano solos by Joseph J. Daynes. Daynes was a celebrated musician of the day, with roles as organist at the Mormon Tabernacle, as a composer of many hymns that still have places in Mormon sacred music, and as a thriving music store merchant, who had multiple shops in the territory.
~~ Brigham Young Funeral March – (video link below) – A somber selection from the 1877, also composed for and played during the funeral services – not just a later “tribute” work. Daynes and Brigham Young knew each other personally as well. “Brother Brigham” recognized the young man’s talent at age 11, and arranged for him to get the best musical education in schools back east. They later shared participation in many services and events in the new Tabernacle for decades. An expert recording of this selection for church organ has been shared by Ben Alder of the St. George, Utah area. His performance of the Brigham Young Funeral March can be heard on his YouTube page, along with other interesting works for organ and piano. This piece was originally for organ but later adapted for piano and sold commercially as sheet music. For this video I think that Ben even reimagined (re-created?) the organ version used in this video from the surviving piano sheet music, adding the many extra voicings available on church organs. (A recording of a piano version is also in the works, to be posted someday, depending on clearing permissions…)
~~ ZCMI March estimated to be from the 1870s or 1880s. A rather routine march, titled after Utah’s first chain of major department stores, the Zion’s Cooperative Mercantile Institution, in the same part of town where Daynes’ largest music store was located. Sorry for the clunky sound quality in this version rendered by synthesized piano. If you want to re-record it with more personality and phrasing, let me know and I’ll be happy to share the sheet music.
Three Piano solos by John M. Chamberlain, who was born in England but relocated to Salt Lake City as his family were Mormon converts in the 1860s. He was active in professional music from the 1870s to the 1920s. He had a music publishing company to make it easier for him to distribute his many songs and piano selections. (There is also sheet music available for an ornate piece titled Pearls of Melody – a piano reverie. Packed with scales and runs. Not sure if I’ll ever get to that one for recording. Anybody else want to tackle a real elaborate “showpiece”?)
~~ Peerless Waltz from 1880 has lots of repeats, in the style of the famous J. Strauss waltzes, reminding me of why playing concert waltzes was, for me, the most tedious part of playing in orchestras. Mercifully, this one adds a touch of variety by playing phrases an octave higher when repeated. (Currently an audio-only recording. Click the play bar below to hear it.)
~~ Ida Waltz of 1887 was another, even simpler piece for entry level pianists. This one seems like it was perhaps just “filler” rather than a real serious composition. Posting it anyway to show the range of quality in the selections printed in LDS church magazines of the 1800s. (audio only – click it to waste 2 minutes.)
~~ Thelma – March From 1924, when he was a respected veteran composer, performer, teacher and music publisher. That’s 44 years after his Peerless Waltz listed above. This short piece for young players was composed late in his life, in his 70s, for his young student who was being cared for in a convalescent hospital in Salt Lake City. The score was then shared in an LDS (Mormon) magazine for youth to encourage musical development in others.
Two piano solos by Edwin F. Parry who managed, edited and printed several magazines and other publications. He had to learn to typeset music scores of other local notable composers for his print business, which inspired him to start writing his own music. His family was from Wales and were influenced by the deep traditions of community singing there. Most of his compositions were vocal/choral works, but here are a few piano pieces.
~~ Juvenile Polka – 1886 – Titled after the magazine “The Juvenile Instructor” which Parry co-edited, and to which he contributed almost 50 musical pieces over the years. Monthly editions usually included a short original sheet music selection, usually a song or a piano solo such as this one. The magazine was devoted to faith promoting content for Mormon (LDS) youth. Social dancing was widely encouraged to keep youth engaged with the community, so new waltzes and polkas were appreciated.
~~ The Cricket Waltz – 1886 – Seems a bit herky-jerky in spots, possibly intended to represent an insect at play. (audio only – click below)
Three piano solos by Henry A. Tuckett — Well, this will be an easy entry to write up. Tuckett was, by trade, a candy maker – the biggest in Utah in the late 1800s. But music was always important in his life, and in his later years he even taught vocal/choral studies at the Deseret College, which later became the University of Utah.
~~ My Sweet Heart’s Waltz by Henry A. Tuckett from 1893. This sweet little waltz was published in an LDS Church (Mormon) magazine for youth.
~~ Campaign March – Possibly my favorite of the Utah marches from the 1800s. My first thought is that this title was likely reflecting a political campaign, but might it be possible that it was titled after the other then-current definition – a military expedition? Triplets akimbo. (Audio only recording — click below.)
~~ Thoughts of Home Another example of Tuckett’s sentimental but repetitive style of music. (Audio only with a few glitches in the notation toward the end – can you spot them? Click to hear it.)
On the Beautiful Salt Lake Waltzes, by Anton Pedersen from approx. 1885. To hear an audio-only recording by a live performer click this link. Another piano solo celebrating recreation at the resorts on the shores of the Great Salt Lake. Pederson was also one of the key figures in organizing a local orchestra which evolved, decades later, into the Utah Symphony. Note that the original sheet music for this one was published by Joseph Daynes, another composer on this list. Sheet music for this was located online in the Library of Congress collections. At nearly 7 minutes playing time it is one of the longest selections on this page.
For Edna by Charles Frederick Stayner – One example from a set of a dozen short piano solos from 1899, each named/titled for a different young lady of his acquaintance. Of related interest, Stayner also composed several much more ambitious piano solos such as “Barcarolle: The Great Salt Lake” and another “Barcarolle Pacifico” which is quite a showpiece. Those will each take time and/or money to capture and eventually be shared here.
Laughing Waves – Ragtime adjacent (?) piano solo from 1904 by Herbert W. Lawrence. He was a music student during his college days in Utah, but later concentrated on a career in mining. Proof that there was fun to be had with music in early Utah. Is this another piece inspired by the Great Salt Lake?
Nephite Lamentation by Thomas Durham of Parowan (in SW Utah) appeared as an organ solo published in several LDS hymnbooks from 1905 to 1930. Durham was known for seeking inspiration in and out of the usual musical channels, and in at least one other composition he claimed to have been aided by “receiving” a musical message of sorts from ancient Native American sources, specifically the ancient Nephite people chronicled in the Book of Mormon. Perhaps this one also worked that way? However he made his music, his legacy also includes generations of talent still working in classical music circles in several Utah Universities to this day. (audio only recording – click below)
(** Below is a new teaser/preview addition posted for this entry – a recording of the first theme of “Wandamere”, and it is a fun piece! The rest is coming by mid-2026. Click the link at the end of this entry to hear the audio preview… )
Wandamere Two-Step 1906 by William C. Clive.Showcasing the fun to be had at “Wandamere”, a small resort just a few miles south-east of downtown Salt Lake City, making it a bit more convenient than a trip out to Saltair for many. It drew thousands of revellers each day during warm weather to enjoy concerts, amusement park style rides, a lake with boats, bicycle races on a steep-banked oval track, etc. The park specialized in various themed days for groups, such as “German Day”, where thousands of people who identified with a group might attend. This music was transcribed from the hand-written original score by the composer, found in the archives of a local university. The score uses the title “Wandamere March or Two-Step by Piano”, but newspaper mentions of this music from the time it was first played uniformly referred to it as “Wandamere Two-Step.” The composer was also the designated leader of the resident orchestra/band which played at the major events for the park. There are indications in the score that the piece was sometimes played as a piano solo, and sometimes as part of a band, with instructions for performing it each way. (Transcription and recording is in progress, but the hand written notation is a tough read in spots, so it will probably not be available until sometime in mid 2026.)
Saltair March by Godfrey Buglione, 1910 – This was composed to be played by concert bands, but there was also a solo piano version of sheet music available for this piece. Now a professional recording by a “live” player is finally available! (Thanks to Tim at Fiverr, who is available for quality recordings and demos.) Click the link below this paragraph to hear it. However, I will also post a recording with a video in early 2026, since the visual possibilities are endless for this subject. For additional artsy interest, the cover image for one edition of the commercial sheet music of this piece was by the famous Utah-born artist John Held, Jr, whose father was leader of an active concert band around the same time as this was composed. For further background notes, please see the listing lower on this page for the “band” version.
Two piano solos in quite contrasting styles by Gustav Schuster (a.k.a. Edw. Herman):
~~ Wizard of the Wasatch March by Gustav Schuster – Composed around 1913 for a short-lived festival in Salt Lake City that included Mardi Gras style parades and many other features, but with local and pseudo Native American themes. The festivities were designed both for fun and funds, with the stated goals of stimulating local tourism & shopping — until the onset of WWI put a damper on this and many other non-essential events. But while it lasted, the festival was heavily promoted, and the sheet music for this frisky “circus band” style march was even printed in local newspapers. He also composed a march titled “Bronco Buster” which was the theme song for a big annual rodeo event in Denver. (Coming someday?) Here is a recording from my YouTube channel.
~~ Meditation “Oh, My Father” an instrumental (piano only) selection published around 1914, but based on a well-known Mormon (now LDS) hymn tune from the late 1800s. However, it is not that simple. This music has a multi-faceted origin, starting as a tune in the British Isles in the mid 1800s, (sources differ as to whether it was Welsh or Scottish), then the melody was adopted by James McGranahan into a hymn tune titled “My Redeemer” with different lyrics. It migrated into the world of Utah/LDS music when it was reworked yet again in the late 1800s with lyrics from prolific poet Eliza R. Snow, whose poem is notable for raising the question that since God is a Father in Heaven, doesn’t that also mean that there is a Mother in Heaven? This page often presents piano solos rendered by synthesized keyboards, but for this selection it is a pleasure to link to a video on YouTube by the talented player and teacher Stefanie Struhs Kiester of the Denver, CO. area, who had already posted her solo piano recording of this piece a few years ago. Link shared here with her permission. (In addition to performing, she is a sometimes composer, and is available as a piano teacher.) Note on the composer’s name — Gustav Schuster composed these variations, but for some of his published sheet music, including this one published by his own company, he opted to use the pseudonym Edw. (Edward or Edwin?) Herman. Sheet music for this one shows up occasionally on EBay, but is also free online on at least two sites — one at BYU, and another in a century old LDS Church magazine archived at Google Books.
Prelude and Postlude by Leroy J. Robertson, one of the best known and respected composers in Utah history. Most of his mature works came after 1930, making them still likely in copyright status and thus unavailable for this site. But this very short pair of piano solos, designed to open and close a religious service, was published in an LDS Church magazine in the 1920s during a period when various composers contributed a set almost every month. Robertson had a wide-ranging influence as a composer, including the landmark “Book of Mormon Oratorio”, and also as the head of the music departments at both BYU and at the University of Utah in mid-century preparing dozens of talented musicians of the future. (Click to hear the audio – less than a minute total.)
Along the Navajo Trail by Seldon Heaps – This entry sees a style change to a much more modern sound. Impressionistic piano solo from around 1937 by a versatile composer who worked in classical, popular and religious music. There was likely an orchestral version as well, since the composer used the same title for one movement of his “Bryce Canyon Suite” for orchestra. (This piece also shares a name with an unrelated classic “Western Swing” song, but this local one is in a very different style.) This solo piano recording is by Tim via Fiverr. He is available for music projects and demo recordings and is great to work with.
... plus a few vintage “Utah related” pieces by non-local composers …
Utah March by Emanuel Marquis, 1850s. A short, basic march piece. The title screams “Utah”, but beyond the title there is nothing particularly connecting either the composer or the music to the region. From a time when composers churned out volumes of sheet music for a music-hungry public, this is what it is – a simple, but unremarkable addition.
The Mormon War – A Grand March by Peter Ricksecker from 1858. The title is striking, but maybe not as dramatic as it teases. There was certainly a series of troublesome conflicts around 1858 which became widely known as the “Mormon War.” Actually, it was more of a diplomatic power struggle, as the leaders in Washington DC did not like the way the Mormon (now LDS) leaders in the Utah Territory were running things in ways that the Feds did not approve of. (Particle dangled.) Troops were sent to Utah as a show of force, however despite the tensions cooler heads prevailed, and little happened other than posturing and taunting, and the establishment of several forts and bases, which continued until Utah was finally granted statehood in the 1890s. But the name “Mormon War” was catchy, so composer Peter Ricksecker of the musically minded Moravian Church movement in Pennsylvania wrote this piece to capitalize on the news of the day. While it is clearly tied to Utah by subject and title, the composer himself probably had no serious connection to Utah. While not by a Utah Composer per se, it is welcome here as a relative. Shots fired, but War settled. Another recording by Tim on Fiverr, but for this one he not only played and recorded it, he also solved a musical mystery by extracting a playable score from the original which had several pages of inky notes smudged together due to water damage.
Brigham Young – Grand March – from 1873 by Edward Mack. Again, not a Utah composer, but shared here because of the subject. Tuneful rather than “Grand”, but still a pleasant if rather repetitive march. The composer is lesser known now, but was quite prolific in his day, publishing more than 100 pieces as sheet music in the late 1800s despite having lost his eyesight as a Young adult. (Get it? Young? … oh, nevermind …)
Note that there are additional recordings of piano music in the list/page for “ensembles”, as long as a piano is included in the group. Or even if it is an ensemble or theatre piece recorded in a version available only as a piano reduction.
