fel,

/^

y
'6,
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L 650329 hands.

J3ii2^g$: Mu y8b.4i Goao Miniatures. Pxano, ^ hands, belections.

MY
^.50 +
NY PUBLIC LIBRARY THE BRANCH LIBRARIES

.foi?

3 3333 05859 0130

THE NEW YORK PUBLIC LIBRARY

AT LINCOLN CENTER

MY

Books circulate for four weeks (28 days) unless otherwise. stamped

No
A

renewals are allowed.

of ten

fine

cents per calendar day

will

be charged for

each overdue album.

Records

must

be

returned

to

the

branch

from

which

they were borrowed.

GODOV^SKY MINIATVReS
In

3ixVolume5

C7Kr^^ v^^H'^.A
Price ^
2,-50

n^

Carl S'isch^r
Cooper5quare

PREFACE
dimensions, distinctive in its delicate and exquisite workhas done in these little compositions justifies title and definition, x,uiioiuv.icii.iu>u> Schumann, Tschaikowsky and others of the great composers have written charming little pieces, ostensibly intended for young students that is, music conceived from the art standpoint, yet with an underlying educational purpose in mind. But what they have created in this field is of an unevenly distributed difficulty it lacks
is

MINIATURE
manship.

an art expression

in small

What Leopold Godowsky

the continuity, the gradual sequence of development so necessary for the acquisition of balanced technical, as well as interpretative results. And passing mention is all that need be made of the mass of inferior four-hand music available for teaching In these Miniatures we find musical beauty within small dimensions, expressed in exquisitely finished workmanship; purposes.

and

in

novel form whose underlying educational importance

is

hardly implied by their

title.

"I have given a great deal of thought and smaller and considerably less complicated I<J^3" than anything I have ever written, they represent the best there is in me. The experience and assimilated knowledge, the aims and aspirations, the hopes and ideals, the disappointments and yearnings of a sensitive nature and an artist's soul are all to te found in this series of simple five-finger pieces. Working within such

"

/\ ^ THE composer himself writes in a letter to the publisher: /"% loving care to the Miniatures and though the pieces are

self-imposed limitations has convinced me that economy of means leads to a superior form of concentration, and the resulting The resourcefulness needed in concentrated effort produces the quintessence of human endeavor, materially and spiritually. dealing frugally with the means at our command often opens up unexplored and unsuspected regions of imagination. In workI have done my utmost to ing on the Miniatures I have been amazed at the possibilities created by the adopted restrictions. give the same attention to melody, harmony and counterpoint. I have tried my best to make the pieces as simple and as easy as was compatible with the intrinsic value of the inspiration and idea. I could have made them simpler and easier for the

teacher, but the result would have been artistically less satisfactory, and much of their attractiveness would have been wish to inaugurate a new era in pedagogy, particularly as regards the earliest and early grades."

lost.

^
I

AHE MELODIES

Advantages

in the prima parts of the Miniatures are based on a five-tone compass. This furthers the acquisition of a permanently correct position of the hand, as the hand is thus kept in a stable fiveThe finger position, each finger playing throughout the entire composition the one key allotted to it.

result is an equalization of the fingers which no other method offers. The fixed position of the hand compels the frequent use of the weaker digits, as the passing under of the thumb does not take place. (This gives the Miniatures a special value for the rtiore advanced player who wishes to strengthen the more neglected fingers.) Their genuine musical interest and rich harmonic texture will encourage a more rapid progress towards proficiency than would any number of dry mechanical exercises. It is owing to imperfect control of the normal keyboard position of the hand and to finger inequality that students, as a rule, are unable to play expressively with the weaker fingers. For purposes of prima vista reading the Miniatures offer manifold advantages. Their interesting and scholarly workmanship will be appreciated by the teacher, so often bored by the triviality and monotony of the four-hand part assigned him. Every detail of fingering, pedalling, phrasing, tempo and expression, dynamic light and shade, etc., has been indicated with meticulous care by the composer and should be accepted as authoritative. The composer specifies that "Of the forty-six numbers, twenty-two are easy, eleven moderately easy, and thirteen rather advanced for the teacher, while the pupils' parts are all accessible to beginners and at the same time equally useful to advanced players. The more ambitious pupils can ultimately play the teachers' parts."
:

,,

TT would
I
reflect so

Advantages

not be just, perhaps, to deny that the easy four-hand collections of a Low, a Loeschhorn or a Spindler, as well as some others, have their place in the pedagogic scheme. Yet in many ways they represent abandoned standards and antiquated ideas. And present-day ideals of piano playing and teaching

as well as the technical advantages of such compositions as these

notable an advance, they so emphatically insist that the best is none too good, that the musical Godowsky Miniatures are only too apparent. In them, a The fuller, more practical measure of technical benefit goes hand in hand with a stressing of the musical and artistic elements. In place of the banal simplicity of some sixty or eighty Miniatures are healthily modern in idea and harmonic treatment.
(still
;

noticeable in much instructive four-hand music of the hour) we have real constructive imagination, an art a quality of appeal which none truly musical can CN-ade. Not only do the charming creations of Godowsky's fancy guide aright the pupil's first half-conscious steps toward interpretation and esthetic expression of a musical idea the acquisition of color by touch gradation, dynamic and agogic emphasis, light and shade in playing, correct phrasing and articulation of

years ago

beyorid cavil

musical sentences
free,

and modern, strict and though condensed manner. The short annotation which accompanies every number helps the student to understand form and character in musical composition, while it offers the teacher material for elaboration in an analysis of the Miniature in question. Though the above considerations aim to give some idea of the purpose and scope of these four-hand Miniatures, there is one thing which it is beyond their power to do to coi vey to the reader with approximate accuracy the spark of genius which illuminates these happy offspring of Godowsky's muse, their absolute musical charm which cannot well be described or defined. The inti-insic worth of the Miniatures may be
biit

they give

him

as well a clear conception of most of the musical formSj ancient

their contrasting characteristics being presented in a concrete

appreciated only by actual acquaintance.

Frederick H. Martens.

AlUlgi^ tli-&

PBOPERTT OV
IttB

TTTP rrr?

0?

KW YORK

/J

S^S^

Ol ^ /O

LEOPOLD GODOWSKY
[miniatures
FOR PIANO FOUR -HANDS.
A
in
ciful

5^-/-

..,^7

series

a variety

original of classic and

of

melodies,

modern dance forms,

including thirty -four compositions and three suites as well as others in established and fanre-

musical form, developed from five tone combinations and based upon essential quirements of five-finger positions.

*THREE SUITES
FIRST SUITE

FIRST SUITE
N91
In Church
SECONDO
Andante
(J

LEOPOLD GODOWSKY

=76-88)

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York

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FIRST SUITE
N9
1

In Church

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MCMXVIII by

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New York

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N9

At Night
SECONDO
LEOPOLD GODOWSKY
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N?

At Night
PRIMO
LEOPOLD GODOWSKY
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20914 - 10

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MCMXVIII

bi/

Carl Fischer,

New York

International Copyright Secured

N9

Lullaby
SECONDO
LEOPOLD GODOWSKY
Andante
(J
=

112 - 120)

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i.i/

Carl Fischer,

X'evi

York

20914 - 10

International Copyright Secured

N9

Lullaby

PRIMO
LEOPOLD GODOWSKY
Andante
r.h.

(J =

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Copyright

JO.

MCMXVIII d.i/ Carl Fischer, New York International Copyright Secured

SECONDO

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10

N9 4
Rustic Dance
SECONDO
LEOPOLD GODOWSKY
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(J =

los - 120)

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11

N9 4
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Dance

PR I MO
LEOPOLD GODOWSKY
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b.i/

Carl Piacher, Neto York

International Copyright Secured

13

SECOND SUITE
N9
1

Arietta

SECONDO
Andante cantabile
i.d=r,Q

_63)

LEOPOLD

GODOWSKY

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Copyright MCMXVIII by Carl Fischer, New York International Copyright Secured

13

SECOND SUITE
N91
Arietta
PRIMO
Andante cantabile
r.h.

(J

56-63)

LEOPOLD

GODOWSKY

i
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t
ii

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d-*-

l.h.

n:

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f
4

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1
3
3

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espressivo 4 3 6

cc
30915 -10

Copyright

MCMXVIII by Carl Fischer, New York International Copyright Secured

14

N9 2 Sarabande
SECONDO
LEOPOLD
Largo
(<J

GODOWSKY
31:

73-8o)
6-S
i
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15

N9 2 Sarabande
PRIMO
LEOPOLD
Largo
r.h.

GODOWSKY

(J

73 - 80)
lS
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4 5

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CC
30915-10

Copyright MCMXVIII by Carl Fischer, Netv York International Copyright Secured

16

N9

Cradle Song
SECONDO
LEOPOLD
Moderate J
(

GODOWSKY

52 - 56)

4t:

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MGMXVIII b.t/ Carl Fischer, New York International Copyright Secured

17

N9

Cradle Song
PRIMO
LEOPOLD
Moderate
^r.h

GODOWSKY

(J

63 -56)

'I

is

5 3 2

5 3

4 4

3 3

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20915-10

Copyright

MGMXVril dj/ Carl Fischev, New York International Copyright Secured

18

N9 4
Bagatelle
(Valsette)

SECONDO
Allegretto grazioso
(J

46 -58)

LEOPOLD

GODOWSKY

P
s=

una corda

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30915-10
Copyright

MCMXVIII by Carl Fischer, New York International Copyright Secured

19

N9 4
Bagatelle
(Valsette)

PRIMO
LEOPOLD
Allegretto
grazioso'J=

GODOWSKY

46 -58)

a tempo

l ^rfTFT ^^^^
3

2
3

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*
cc
;20915-10

.fest

Copyright MGMXV7II hy Carl Fischer, New York International Copyright Secured

30

SECONDO

r ^

"SSx

r <^

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PRIMO

m ^M
1

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3

^
dim.
5

I
4
1

3 rail.

5 o

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a tempo

if

espr.

espr.

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1

i
3

^
1

f^
4

^
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2

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3

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2 4

30915 - 10

23

THIRD SUITE
N91
Prelude
(The Organ Point)

SECONDO
LEOPOLD GODOWSKY
Maestoso
(J z 112 -126)

^
13 1^^ 3 3
1

_
3
1

^w
3

13

13 12

13

^^
sempre

"F

non legato

ben articolato

9-

23

THIRD SUITE
N91
Prelude
(The Organ Point)

PRIMO
LEOPOLD GODOWSKY
Maestoso
(J r

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30

N9 4
Epilogue
(Retrospect)

SECONDO
Andante cantabile
(J r

LEOPOLD GODOWSKY

76

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Epilogue
(Retrospect)

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New York

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T/^/IirSCJ^PT/OUS

o/jeopo/d

Godoa/sAy
Moment Musical
Serenade
(Stdndchen)

(Jran%.Sc/\u6ert)
(Qo. 34 Ao.

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(/{.Strauss)

net.

73

JcxT\^o

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/<] y/oa/er
(j)u h'-it

(Chopin)

to

me k7/\ou jeen\e5t
{l^bt.

wid e/ne s^utne)

Schumann)

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(6ti// urie die

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iillllllliliiiiiiiliiliiililliaglM

BOSTON
380-382

CARL FISCHER, NEW YORK

ST.

CHICAGO
WABASH
AVE.

BOYLSTON

COOPER SQUARE TOKYO, JAPAN THE KYOEKI SHOSHA

430-432 SO.

LEOPOLD GODOWSKY
MINIATURES
For Piano Four-Hands
A series of oriEinal melodies, including thirty-four conij>ositions and three suites in a variety of classic and modern dance forms, as well as others 'm established and fanciful musical form, developed from five tone combinations and based upon essential requirements of five-finger positions.

SUITES
1.

In Church

2.

At Night
Lullaby Rustic Dance

3. 4.

FIRST SUITE \ f ^ r- r- Compass C-Gf

^
i

net,

.75

"ir

SECOND SUITE
1.

Arietta

2.

Sarabande
Cradle Song Bagatelle ( Valsette)

3.

4.

Compass l.h. C-G, Compass A-E Compass C-G Compass l.h., C-G,

r.h.

B-FJ
.net.
.75

r.h.,

B-Fj

THIRD SUITE
1.

2.
3.

Prelude (The Organ Point) Chorale

)
f
I

Hymn
Epilogue (Retrospect)
(for
left

^ tj t7j. Compass B-Ff

net,

.75

tc

4.

hand alone)

.1

ANCIENT DANCES
1.

2.
3.

4. 5.
6. 7.

Minuet (C Major). .^ Second Minuet (G Major)! Rigaudon (also for piano solo) Gavotte Bourree
First
Siciliana Irish Jig

Compass Compass Compass Compass Compass Compass Compass

C-Gt G-Df G-Dt D-Af Eb-Dbf Ab-Gbf F-Gf

(-"Ml

black keys)

(All black keys)

net, net, net, net, net, net, net,

.50 .50 .50 .50 .50 .50 .50

MODERN DANCES
1.

2.
3. 4.
5.

Polka Tyrolean (Laendler) Valse filegiaque

Tarantella (Italy)

6.
7.

Csardas (Hungary) Mazurka (Chopinesque)

Polonaise

Compass Compass Compass Compass Compass Compass Compass

.G-Df

G-Df A-Ef .VEf A-Ef

B-pf

Db-Bbf

(All black keys)

net, net, net, net, net, net, net,

.50 .50 .50 .50

.^5

.50 .50

MISCELLANEOUS
1.

Serenade

2. 3. 4.
5.

The

Miller's

Song

6.

7. 8.
9.

Meditation Pastorale (Angelus) The Exercise Processional March Scherzo

10. 11. 12. 13.

Arabian Chant (Orientale) Albumblatt (Intermezzo) Funeral March

Plaintive

Melody

Ballade

Nocturne
Barcarolle

14.
15.

Humoresque
Toccatina

(also for piano solo)

16. 17. 18.

19.

20.

Impromptu (In Days of Yore) The Scholar (Fughetta) The Hunter's Call (Woodland Mood) Military March

Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass Compass

C-Gf C-Gt C-Gf C-Gf

G-Df G-Df G-Df A-Ef

B-Ff

D-Af D-Af
E-Bf Gb-Ebf Bb-Abf
l.h.,
l.h.,

(All black keys) (All 'black keys)

r.h., r.h.,

D-A,
F-C,

Bb-F

D-A
G-D
E-B E-B

Ab-Ebf
l.h.,
l.h.,

C-G, G-D,

r.h., r.h.,
r.h.,

l.h.,

G-D,

net, net, net, net, net, net, net, net, net, net, net, net, net, net, net, net, net, -net, net, net,

.50
.75

.50 .50 .50 .50 .75 .50 .50 .50 .50 .50 .50 .50 .75 .50 .50 .50 .50 .50

fidentical notes for both hands, one octave apart.

BOSTON
380-382 Boylston Street

CARL

FISCHER,

NEW YORK
335-339 So.

Chicago
Wabash Ave.

COOPER SQUARE

^>^^^-T

-M