- Master School of Modern Piano Playing and Virtuosity Complete!
- Book I
- Book II
- Book III
- Book IV
- Book V
- Book VI
- Book VII
- Toccata Op.14
- In Memoriam Domenico Scarlatti Op.19
- No.1 Pastorale
- No.2 Capriccio
- Nocturne Op.21 No.3
- Concert Etude Op.22 No.1
Master School of Modern Piano Playing and Virtuosity
It is during his period in New York when Jonás had the unprecedented idea of starting a correspondence with all of the great musicians and pianists he had met throughout his life as a wandering musician, asking them personally to collaborate with their own ideas on pianism towards the publication of a treatise on piano playing that would include the main currents in modern virtuosity. The pianists even agreed to write their own technical exercises specifically for Jonás book, as well as sharing their own ideas on technique, pedalling, fingering, practicing methods, phrasing, memorizing, etc., and also taking exclusive photographs of themselves and their hands playing in order to illustrate some points.
In the early 1920s he started putting together all the material he had amassed from the correspondence and began writing what he would later title Master School of Modern Piano Playing and Virtuosity, in seven volumes. It took him seven years to complete the vast undertaking (1922–1929), which in its final formed featured the unique distinction of having the collaboration of practically all the greatest living piano virtuosi. The final contributors were Arthur Friedheim, Ignaz Friedman, Vasily Safonov, Ferruccio Busoni, Katharine Goodson, Leopold Godowsky, Alfred Cortot, Rudolph Ganz, Wilhelm Backhaus, Fannie Bloomfield Zeisler, Ernő Dohnányi, Ossip Gabrilowitsch, Josef Lhévinne, Isidor Philipp, Moriz Rosenthal, Emil von Sauer, Leopold Schmidt, and Zygmunt Stojowski, and included excerpts from more than one thousand examples drawn from the entire piano literature in order to illustrate specific points.
In breadth of scope, originality, and clearness of execution, the book is unprecedented. It was finally published in 1929 by Carl Fischer Music in New York. Busoni considered it “the most monumental work ever written on piano playing”. Lhévinne called it “the greatest and most valuable work on the subject”, and Rosenthal called it a “Master-Work” (meisterarbeit). It was also admired by Sergei Rachmaninoff, who mentioned it in some of his letters.