English Suite for harpsichord or piano. Homage to Dr. Thomas Augustine Arne (1710-1778) (1909)
Calma (a Giramonte) (1910)
Primavera fiorentina: Le nozze di Lisa Ricasoli e di Bocaccio Adimari (da un cassone muriale custodito nel Museo dell'Accademia); Scene musicali (1911)
6 Novellette (1913)
Lucertolina (1916) – became third movement of Sonatina zoologica (Op. 187)
Duo-Pianism:impromptu for two pianos on the names of Hans and Rosaleen Moldenhauer, Op170/19 (1959)
2 Balladen von Schiller. Melodrama für einen Sprecher, zwei Klaviere und Schlagzeug, Op. 193 (1961)
The Importance of Being Earnest. Three Acts after the comedy of Oscar Wilde, Op. 198 (1962), Chamber opera for 8 soloists: 2 soprano, mezzo, contralto, 2 tenor, baritone, bass, two pianos, percussion
Works for two pianos without Opus
Napolitana on the theme of the song "Funiculi, Funicula" (1945) for two pianos
Transcriptions
Valse, from "Serenade for Strings, Op. 48", by Tchaikovsky (1943) for two pianos
"Pavane pour une Infanta défunte" by Ravel (1944) for two pianos
Le Colombe. Words by Arturo Loria (1946) for voice and piano (later became part of Il Bestiario, Op. 188)
De Amico ad Amicam. (Lines from a love letter, c. 1300) (1947) for voice and piano
Ballata dall'Esilio. Text by Guido Cavalcanti (1300) (1956) for voice and guitar
Three Little Songs. Text by Ulric Devaré (1958) for voice and piano
Le Voyage. Text by Joachim du Bellay (1525-1561) (1959) for voice and piano
Transcriptions for voice
"La Pisanella" di Ildebrando Pizzetti: Spartito completo (1916–17) for voice and piano
Three Sephardic Songs (1949) transcribed and harmonized by Mario Castelnuovo-Tedesco. English and French translations by MCT, for voice and piano (or harp), arranged for voice and orchestra (1960)
Vos Toig Mir (A Yiddish Melody) (1963) harmonized by Mario Castelnuovo-Tedesco, for voice and piano
Violin
Signorine. 2 profili for violin and piano, Op. 10 (1918)
Alghe, Op. 12 (1919), transcribed for violin and piano by G. Maglioni (1930)
Ritmi, Op. 15 (1920)
Capitan Fracassa, Op. 16 (1920), orchestrated by Manoah Leide
Sea-Murmurs. An adaption of "Arise" from Shakespeare's "Cymbeline", Shakespeare Songs Book VI, No. 2, Op. 24a (1932), arranged for violin and piano by Jascha Heifetz.
Tango. An adaption of "Two Maids Wooing" from Shakespeare's "The Winter's Tale", Shakespeare Songs, Book VIII, No. 3, Op. 24b (1932) arranged for piano and violin by Jascha Heifetz
Due Danze della rapsodia "Alt Wien", from Alt Wien. Rapsodia viennese, Op, 30 (1923), no 1 and 2 transcribed for violin and piano by Mario Corti (1930)
Notturno e tarantella della Rapsodia napoletana, from Piedigrotta 1924, Op. 32 (1924) transcribed for violin and piano by Mario Corti(1929)
Notturno Adriatico, Op. 34 (1924)
Chant Hébraique: Vocalise., Op. 53 (1928) transcribed for violin and piano by G. Maglioni (1930)
3 Vocalizzi nello stile moderno, Op. 55 (1928) transcribed for violin and piano by Mario Corti (1930)
Sonata quasi una fantasia, Op. 56 (1929)
The Lark: Poem in the form of a Rondò, Op. 64 (1931)
Ritmo di Tango, Op. 65a (1949), transcription of "Tango" by Jascha Heifetz, from Media Difficoltà
Concerto No. 3 per violino e pianoforte, Op. 102 (1939)
Arabesque on the name of Roger, Op. 170/29 (1961) for harp
Second arabesque for harp on the name of Pearl Chertok, Op. 170/45 (1967)
The Persian Prince on the name of David Blumberg, Op.170/51 (1967) for viola and harp
Sonata for Violoncello and Harp, Op. 208 (1967)
The Harp of King David. Rhapsody for harp, Op. 209 (1967)
Transcriptions
Three Sephardic Songs (1949) transcribed and harmonized by MCT. English and French translations by MCT, for voice and harp (or piano), arranged for voice and orchestra (1960)
Double bass
Chant Hébraique: Vocalise, Op. 53 (1928) transcribed for double bass and piano (1964)
Clarinet
Sonata per clarinetto e pianoforte, Op. 128 (1945)
Pastorale and Rondo, Op. 185 (1958) for clarinet, violin, violoncello and piano
Bassoon
Sonatina, Op. 130 (1946) for bassoon (cello) and piano
Oboe
Concerto da camera, Op. 146 (1950) for oboe and strings (three horns and timpani, optional), arranged for oboe and piano as "Sonata for Oboe and Piano" by the composer
"Aria" from the Concerto da camera, Op. 146a (1964) for oboe, cello and piano, also arranged for oboe, cello and guitar
Flute
Divertimento for 2 Flutes, Op. 119 (1943)
Sonatina, pour flute et guitare, Op. 205 (1965)
Eclogues, for flute, English horn and guitar, Op. 206 (1965)
Trumpet
Sonata Pomposa, Op. 179/1 (1955) for trumpet and piano (for open trumpet)
Sonata Leggera, Op. 179/2 (1955) for trumpet and piano (for muted trumpet)
Chamber
1° Trio in G Major for violin, cello and piano, Op. 49 (1928)
String Quartet No.1 in G Major, Op. 58 (1929)
Piano Quintet No. 1in F Major for two violins, viola, cello and piano, Op. 69 (1931-2)
2° Trio in G Major for violin, cello and piano Op 70 (1932)
Concertino per arpa, quartetto d'archi e 3 clarinetti, Op. 93 (1936–37)
Silent Devotion from the "Sacred Service", Op. 122/1b (1943) for two violins, viola, cello and bass
String Quartet No. 2 in F Minor, Op. 139 (1948)
Guitar Quintet, Op. 143 (1950) for guitar and string quartet
"Aria" from the Concerto da camera, Op. 146a (1964) for oboe, cello and piano; also arranged for oboe, cello and guitar
String Trio in D Minorfor violin, viola and cello, Op. 147 (1950)
Piano Quintet No. 2 (Memories of the Tuscan Countryside), Op. 155 (1951)
Choral with Variations in F for four horns Op. 162 (1953)
Songs of the Shulamite (from "The Song of Songs"), Op. 163 (1953) for voice, flute, harp and string quartet
"Nachtstück", Op. 23, No. 4 by Robert Schumann (c. 1913-1916) for orchestra (2fl, 2ob, Engl hn, 2 cl, 4 hn, harp and strings)
"Partita in B Minor for Violin Solo" by J. S. Bach (1942) arranged for string orchestra.
"La Vallée des Cloches" from Miroirs by Ravel (1950) for orchestra
Incidental music
Savonarola. Incidental music for a drama by Rino Alessi, Op. 81 (1935) for solo voices, mixed chorus. and orchestra
I Giganti della Montagna; musiche di scena, per il dramma di Luigi Pirandello, Op. 94 (1937) for orchestra
Morning in Iowa. Incidental Music to a Narrative Poem by Robert Nathan, Op. 158 (1953) for narrator, clarinet, accordion, guitar, bass viol and percussion
La Mandragola (prologue & 2 acts, after Niccolò Machiavelli), Op. 20, (1920–23), Venice, Fenice, May 1926; revision in 2 acts in German, Wiesbaden, Staatsoper, 1928
Bacco in Toscana/Bacchus in Toskana (ditrambo in 1 atto da Francesco Redi), Op. 39 (1925–26)
Aucassin et Nicolette. Chant-fable du XIIe siècle, pour une voix, quelques instruments et quelques marionettes. 12th-century chant-fable, Op; 98 (1938)
Il mercante di Venezia (Versione ritmica dell'autore): 3 acts, from Shakespeare's original play, Op. 181 (1956), Florence, Comunale, 1962 (It.), Los Angeles, Shrine Auditorium, 1966 (Eng.)
All's Well That Ends Well (Gigletta di Narbona): 3 acts after Shakespeare's original play, Op. 182 (1955–58), unperformed
Saùl. 3 atti dalla tragedia de Vittorio Alfieri, Op. 191 (1958–60), unperformed
The Importance of Being Ernest. Three Acts after the comedy of Oscar Wilde, Op. 198 (1961–62). Chamber opera for 8 soloists: 2 soprano, mezzo, contralto, 2 tenor, baritone, bass, two pianos, percussion. RAI, 1972; staged: New York, La Guardia, 22 Feb 1975
Ballet
Pesce turchino: balletto per orchestra da La Sirenetta e il pesce turchino, Op. 18a (1937)
Bacco in Toscana (after F. Redi), Op. 39, 2 solo vv, chorus, orch, 1925-6, Milan, 1931
The Birthday of the Infanta (A Ballet Suite from a tale by Oscar Wilde), Op. 115 (1941–42)
The Octoroon Ball, A New Orleans Ballet (1840), Op. 136 (1947–49)
Spoken/Narration
The Princess and the Pea. A Miniature Overture for orchestra and narrator on a Tale by Anderson. Op. 120 (1943)
Morning in Iowa, Op. 158 (1953) for narrator, accordion, banjo, clarinet, double bass, percussion
Platero y yo para narrador y guitarra. Text by Juan Ramón Jiménez, Op. 190 (1960)
2 Balladen von Schiller. Melodrama für einen Sprecher, zwei Klaviere und Schlagzeug, Op. 193 (1961)
Works without Opus
Noah's Ark, from "Genesis Suite" a collaboration with Shilkret, Toch, Tansman, Milhaud, Stravinsky and Schönberg for narrator and orchestra [2 fl, 2 ob, 3 cl, 2 bn, 4 hn, 2 tpt, 3 tbn, tuba, timp, perc, harp, piano & strings].
Choral
Lo the Messiah: Ecco il Messia (Lucrezia Tornabuoni de Medici) from "Savonarola", Op. 81c (1940) [aka "Two Songs of Praise (Due Laudi)", pt. 1] for women's chorus (SSA) and piano, arranged for mixed chorus (SATB) and piano (1943), arranged for men's chorus (TTBB) and piano (1943)
Mary, Star of the Sea: Maria, Stella Maris (Girolamo Savonarola) from "Savonarola", Op. 81b (1940) [aka "Two Songs of Praise (Due Laudi)", pt. 2] for women's chorus (SSA), arranged for mixed chorus (SSATTB) and piano (1945)
Lecha Dodi (for the synagogue of Amsterdam). Acrostic poem by Schelomo Halevi Alkabetz, Op. 90 (1936) for unaccompanied male chorus (TTBB) and cantor
Lecha Dodi (for the synagogue of Amsterdam). Acrostic poem by Schelomo Halevi Alkabetz, Op. 90a (1943) for cantor (tenor), mixed chorus (SATB) and organ
Processional Song in Praise of Saint Ephesius Goccius, Op. 96 (1937) for mixed chorus (SATB) with soprano solo
6 Scottish Songs (Poems by Sir Walter Scott), Op. 100 (1939) arranged for mixed chorus (SATB) and piano (1943)
Keats songs, Op. 113 (1942–51) for mixed chorus (SATB) and piano, #4. "On the Grasshopper and the Cricket" arranged for women's chorus (SSA) and piano (1951)
London (Upon Westminster Bridge), Op. 114 (1942) for mixed chorus (SATB) and piano
Le Rossignol. Words by Frère Joseph, François Lecler du Tremblay, Op. 117 (1942) arranged for women's voices (SSA) and piano (1942), arranged for unaccompanied mixed chorus (SATB) (1942)
Sacred Service (for the Sabbath Eve), Op. 122/1 (1943) for baritone (cantor), mixed chorus (SATB) and organ
Addenda to the "Sacred Service", Op. 122/2 (1950) for chorus (SATB) and organ
Shakespeare Sonnets, Op. 125/2 (1945) for mixed chorus (SATB) and piano, #2 (Sonnet Nr. CXXIX) for unaccompanied mixed chorus (SATB)
Shakespeare Sonnets, Op. 125/3 (1945) for unaccompanied mixed chorus (SATB)
Aubade. Poem by William Davenant (1673), Op. 126a (1945) for mixed chorus (SATB) and piano
Carol for Candlemas Day. Anonymous (1661), Op.126b (1945) for mixed chorus (SATB) and piano
To His Son. Poem by Dr. Richard Corbet (1582-1635), Lord Bishop of Norwich, Op. 126c (1945) for mixed chorus (SATB) and piano
Venice (on the extinction of the Venetian Republic 1802). Text by William Wordsworth and Mario Castelnuovo-Tedesco, Op. 132 (1946) for unaccompanied male chorus (TTBB)
Naomi and Ruth: A Small Cantata for Women's Voices, from the Book of Ruth, Op. 137 (1947) for women's voices (SMzA) and piano or organ
The Book of Ruth. A Biblical Oratorio for soloists, mixed chorus and orchestra, Op. 140 (1949) [based on Naomi and Ruth, opus 137] for solo voices [2 sopranos, mezzo, 2 tenors, 2 baritones, bass], mixed chorus and orchestra [3 fl(picc), 2 ob, 3 cl (b cl), 2 bn, 4 hn, 3 tpt, 3 tbn, timp, perc, piano (celesta), harp & strings]
Songs and Processionals for a Jewish Wedding, Op. 150 (1950), Nos. 1 and 2 for mixed chorus (SATB) and piano, or organ
The Book of Jonah. A Biblical Oratorio for male chorus and orchestra, Op. 151 (1951) for tenor, baritone, men's chorus (TTBB), narrator, orchestra [ 2 alto sax, 2 ten sax (2 cl), baritone sax (b cl), 3 tpt, 3 tbn, timp, perc, 2 piano, 2 cello, 2 bass]
Romancero gitano. Poetry by Federico García Lorca, Op. 152 (1951) for mixed chorus (SATB) and guitar
Four Christina Rossetti Settings, Op. 153 (1951) for women's chorus (SSA) and piano
Three Shelley Songs Op. 154 (1951), for women's chorus (SSA) and piano
Six Keats settings, Op. 157 (1952). 1-3 for unaccompanied mixed chorus (SATB), 4-6 for men's unaccompanied men's chorus (TTBB)
The Queen of Sheba: A Small Cantata, Op. 161 (1953) for women's chorus, soprano and piano
The Book of Proverbs. Six choral settings, Op. 168 (1953) for unaccompanied men's chorus (TTBB)
Lament of David for the Death of Jonathan, Op. 169 (1953), for double mixed chorus a cappella and tenor solo
Songs of the Oceanides: from Aeschylus' "Prometheus Bound", Op. 171 (1954) for women's chorus (SSA), two flutes, harp, also arranged for women's chorus (SSA) and piano
The Song of Songs. A Rustic Wedding Idyll, Op. 172 (1955) for soprano, tenor, baritone, mixed chorus (SATB), dancers, and orchestra [fl, 2 ob, 2 cl, bn, tpt, 2 hn, perc, timp, harp & strings]
Three Shelley Songs, Op. 173 (1955) for women's voices (SSA) and piano
Six carols on early English poems, Op. 175 (1955) for unaccompanied mixed chorus (SATB)
The Fiery Furnace. A Small Cantata from The Book of Daniel, Op. 183 (1958), chamber cantata for baritone (narrator), children's chorus, piano (organ), and percussion
Endymion. Text by John Keats, Op. 184 (1958) for unaccompanied mixed chorus (SAATTBB)
Lauda in honore Sanctae Birgittae (Nicolaus Hermansson, 1326-1391), Op. 189/2 (1960) for unaccompanied women's chorus
Memorial Service for the Departed, Op. 192 (1960) for cantor (tenor or baritone), mixed chorus (SATB) and organ
Les Amours de Ronsard. 12 chansons à 4 voix mixtes. Pierre de Ronsard (1524-1585), Op. 197 (1961) for unaccompanied mixed chorus (SATB)
The Book of Esther. A Biblical Oratorio, Op. 200 (1962) for soprano, tenor, baritone and bass soloists. narrator, mixed chorus (SATB) and orchestra [3 fl (picc), 2 ob, Engl. hn, 3 cl (b cl), 2 bn (c bn), 4 hn, 3 tpt, 3 tbn, tuba, perc, xylo, 2 harps, strings]
The Seventh Day. Motet for Mixed Choir from "The Confessions of St. Augustine, Op. 202 (1963) for unaccompanied mixed chorus (SATB)
The Book of Tobit. Tobias and the Angel. A Scenic Oratorio in Three Parts, Op. 204 (1964-65) for soprano, 2 contralto, tenor, baritone, 2 bass, chorus, narrator, mime, dancers and orchestra [ 2 fl, ob, 2 cl, bn, hn, 2 tpt, 2 tbn, timp, perc, harp, piano & strings]
Works without Opus
A Galatea. Due Madrigali dalle Bucolichi di Virgilio (1914) for four voices.
Un Madrigale di Michelangelo (1916) for mixed chorus and orchestra (never orchestrated)
2 Canti greci per coro a 4 voci. Poesie popolari tradotte da Niccolò Tommaseo (1917) for unaccompanied mixed chorus (SATB)
A Lullaby (on Foster's themes) (1942) for soprano, baritone, mixed chorus (SATB) and orchestra [2 fl, 2 ob, 2 cl, 2 bn, 2 hn, 2 tpt, perc, timp, harp, celesta & strings].
Jubilee Songs (1942) for unaccompanied mixed chorus (SATB)
Liberty, Mother of Exiles. Words by Emma Lazarus (1944) for mixed chorus (SATB) and piano
Kol nidrei (1944) for cello, organ, cantor and mixed chorus (SATB)
^ abcdefghiAsbury, David (2005). 20th Century Neo-Romantic Serialism: The Opus 170 Greeting Cards of Mario Castelnuovo-Tedesco (Ph.D. dissertation). University of Texas at Austin.
Except where noted, all information is from the 2005 James Westby work Catalogo delle opere: composizioni, bibliografia, filmografia (Fiesole: Cadmo).
