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J3ii2^g$:
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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.

fine

of ten

cents per calendar day

will

be charged for

each overdue album.

Records

must

be

returned

they were borrowed.

to

the

branch

from

which

GODOV^SKY
MINIATVReS
In

3ixVolume5

C7Kr^^ v^^H'^.A
Price ^

2,-50

n^

Carl S'isch^r
Cooper5quare

PREFACE

MINIATURE

an art expression

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

manship.

is

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

novel form whose underlying educational importance

in

is

hardly implied by their

title.

/\ ^ THE composer himself writes in a letter to the publisher:

/"% loving care to the Miniatures and though the pieces are

"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

"

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."

AHE MELODIES

lost.

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

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

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.
reflect so

as well as the technical advantages of such compositions as these

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

(still

beyorid cavil

him

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

musical sentences
free,

biit

they give

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

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KW YORK

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LEOPOLD GODOWSKY
[miniatures
FOR PIANO FOUR -HANDS.
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in

series

a variety

of

original
of classic and

melodies,

5^-/-

..,^7

including thirty -four compositions and three suites

as well as others in established and fan-

modern dance forms,

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

ciful

*THREE SUITES
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13

SECOND SUITE
N9

Arietta

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SECOND SUITE
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14

N9 2
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N9 4
Bagatelle
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N9 4
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THIRD SUITE
N91
Prelude
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Prelude
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Chorale

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N9 2
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Hymn
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Epilogue
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SECONDO
Andante cantabile

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31

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Epilogue
(Retrospect)

PRIMO
LEOPOLD GODOWSKY
Compass
Left
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T/^/IirSCJ^PT/OUS

o/jeopo/d

Godoa/sAy
Moment Musical

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(Qo. 34 Ao.

Serenade

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iillllllliliiiiiiiliiliiililliaglM

CARL FISCHER, NEW YORK

BOSTON
380-382

BOYLSTON

ST.

COOPER SQUARE
TOKYO, JAPAN THE KYOEKI SHOSHA

430-432 SO.

CHICAGO
WABASH

AVE.

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

3.

Lullaby
Rustic Dance

4.

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

"ir

net,

.75

.net.

.75

^
i

SECOND SUITE
1.

Arietta

2.

Sarabande

3.

Cradle Song
Bagatelle ( Valsette)

4.

Compass l.h. C-G,

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

r.h.

B-FJ

r.h.,

B-Fj

THIRD SUITE
2.

Prelude (The Organ Point)

Chorale

3.

Hymn

1.

4.

)
f
I

Epilogue (Retrospect)

(for

left

hand alone)

^
tj t7j.
Compass B-Ff

tc

net,

.75

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

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

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

.50
.50
.50
.50

.1

ANCIENT DANCES
1.

2.
3.

4.
5.
6.
7.

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

Compass
Compass
Compass
Compass
Compass
Compass
Compass

First

Siciliana
Irish Jig

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

(-"Ml

black keys)

(All black keys)

MODERN DANCES
3.

Polka
Tyrolean (Laendler)
Valse filegiaque

4.

Tarantella (Italy)

5.

6.

Csardas (Hungary)
Mazurka (Chopinesque)

7.

Polonaise

1.

2.

Compass
Compass
Compass
Compass
Compass
Compass
Compass

.G-Df

G-Df
A-Ef
.VEf
A-Ef
B-pf

Db-Bbf

(All black keys)

.^5

.50
.50

MISCELLANEOUS
1.

Serenade

2.

The

3.

Meditation
Pastorale (Angelus)
The Exercise
Processional March
Scherzo

4.
5.

6.

7.
8.
9.

10.
11.

Miller's

Song

Arabian Chant (Orientale)

Albumblatt (Intermezzo)
Funeral March
Plaintive

Melody

12.

Ballade

13.

Nocturne

14.

Barcarolle

15.

Humoresque

16.

Toccatina

17.

Impromptu (In Days of Yore)

The Scholar (Fughetta)
The Hunter's Call (Woodland Mood)
Military March

18.
19.

20.

(also for piano solo)

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

(All black keys)

(All 'black keys)

l.h.,

D-A,

l.h.,

F-C,

r.h.,

D-A
G-D

Ab-Ebf
C-G,
G-D,

r.h.,

l.h.,

l.h.,

G-D,

r.h.,

l.h.,

Bb-F

r.h.,

r.h.,

E-B
E-B

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

COOPER SQUARE

Chicago
335-339 So.

Wabash Ave.

^>^^^-T

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