fel,

/^

y L 650329'6, l\. hands.

Mu y8b.4i GoaoJ3ii2^g$:

Miniatures. Pxano, ^ hands,belections.

^.50 + .foi?

MYNY PUBLIC LIBRARY THE BRANCH LIBRARIES

3 3333 05859 0130

THE NEW YORK PUBLIC LIBRARY

MYAT

LINCOLN CENTER

Books circulate for four weeks (28 days) unless

stamped otherwise.

No renewals are allowed.

A fine of ten cents per calendar day will be charged for

each overdue album.

Records must be returned to the branch from which

they were borrowed.

GODOV^SKYMINIATVReS

In 3ixVolume5

C7Kr^^ v^^H'^.APrice ^ 2,-50 n^ t

Carl S'isch^rCooper5quare

PREFACE

A MINIATURE is an art expression in small dimensions, distinctive in its delicate and exquisite work-

manship. What Leopold Godowsky has 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

the continuity, the gradual sequence of development so necessary for the acquisition of balanced technical, as well as interpre-

tative results. And passing mention is all that need be made of the mass of inferior four-hand music available for teaching

purposes. In these Miniatures we find musical beauty within small dimensions, expressed in exquisitely finished workmanship;and in a novel form whose underlying educational importance is hardly implied by their title.

• /\ ^ THE composer himself writes in a letter to the publisher: "I have given a great deal of thought and^ "

/"% loving care to the Miniatures and though the pieces are smaller and considerably less complicatedI<J^3" than anything I have ever written, they represent the best there is in me. The experience and assimi-

lated 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

concentrated effort produces the quintessence of human endeavor, materially and spiritually. The resourcefulness needed in

dealing frugally with the means at our command often opens up unexplored and unsuspected regions of imagination. In work-

ing on the Miniatures I have been amazed at the possibilities created by the adopted restrictions. I have done my utmost to

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 lost. I

wish to inaugurate a new era in pedagogy, particularly as regards the earliest and early grades."

_ , . , ^ AHE MELODIES in the prima parts of the Miniatures are based on a five-tone compass. This furthers

I the acquisition of a permanently correct position of the hand, as the hand is thus kept in a stable five-

Advantages finger position, each finger playing throughout the entire composition the one key allotted to it. Theresult 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 drymechanical 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, tempoand expression, dynamic light and shade, etc., has been indicated with meticulous care by the composer and should be acceptedas 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 equallyuseful to advanced players. The more ambitious pupils can ultimately play the teachers' parts."

,, . , TT would not be just, perhaps, to deny that the easy four-hand collections of a Low, a Loeschhorn or a

I Spindler, as well as some others, have their place in the pedagogic scheme. Yet in many ways they rep-

Advantages resent abandoned standards and antiquated ideas. And present-day ideals of piano playing and teachingreflect so notable an advance, they so emphatically insist that the best is none too good, that the musical

as well as the technical advantages of such compositions as these Godowsky Miniatures are only too apparent. In them, a

fuller, more practical measure of technical benefit goes hand in hand with a stressing of the musical and artistic elements. TheMiniatures are healthily modern in idea and harmonic treatment. In place of the banal simplicity of some sixty or eighty

years ago (still noticeable in much instructive four-hand music of the hour) we have real constructive imagination, an art

beyorid cavil;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

musical sentences—biit they give him as well a clear conception of most of the musical formSj ancient and modern, strict and

free, their contrasting characteristics being presented in a concrete 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

appreciated only by actual acquaintance.Frederick H. Martens.

AlUlgi^ tli-& PBOPERTT OV TTTP rrr? 0? KW YORK /J / S^S^ Ol ^ /OIttB

LEOPOLD GODOWSKY[miniatures

FOR PIANO FOUR -HANDS. 5^-/- , ..,^7

A series of original melodies, including thirty -four compositions and three suites

in a variety of classic and modern dance forms, as well as others in established and fan-

ciful musical form, developed from five tone combinations and based upon essential re-

quirements of five-finger positions.

*THREE SUITESFIRST SUITE

FIRST SUITE

Andante (J =76-88)

N91In Church

SECONDO LEOPOLD GODOWSKY

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20914-10 Copyright MCMXVIII by Carl Fischer, Mw YorkInternational Copyright Secured

J.

FIRST SUITE

Andante (J -- to-hs)

N9 1

In Church

PRIMO LEOPOLD GODOWSKY

1 a :i 4 5

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20914 - 10Copyright MCMXVIII by Carl Fischer, New York

International Copyright Secured

N9 2

At Night

SECONDO

J-LEOPOLD GODOWSKY

Moderate ( J = so - 93 )

5«- 5^ 5^ 5

r -.^ P M. -H. M^ Ji ^I^

7/w« corda

p dolce

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20914-10 Copyright MGMXVIII by Carl Fischer, New YorkInternational Copyright Secured

N? 2

At Night

PRIMO

Moderate (J =so-93)

LEOPOLD GODOWSKY

r.h.

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,2 S 4 5

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dim.

^ -^{jLi ^ //oco piu sosienuio

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cc20914 - 10

Copyright MCMXVIII bi/ Carl Fischer, New YorkInternational Copyright Secured

N9 3

Lullaby

SECONDO

Andante (J = 112 -

LEOPOLD GODOWSKY120)

ll 3 ^ 4' =1=

I

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p dolce

una corda

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International Copyright Secured

N9 3

Lullaby

PRIMO

LEOPOLD GODOWSKY

Andante (J = 112 - 120)

r.h.

m 345

Compass

6 4321

^ 1 2 3

^^^

4 3

il.h.

la dolce-'^

4 3 2

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4 3 2

2 1

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c c20914 - 10

Copyright MCMXVIII d.i/ Carl Fischer, New York

International Copyright Secured

8SECONDO

J n4 ^ .41 p 2

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9

PRIMO

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fc^ ^20914 - 10

10

N9 4Rustic Dance

SECONDO

Allegro con brio (J = los - 120)

LEOPOLD GODOWSKY

'> i* i rp t ? ? "C i ? «^i «F of^i:£

/" grott'esco

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C C30914-10

Copyright MCMXVIII b.v Carl Fischer, Kew York

Internationa] Copyright Secured

11

N9 4Rustic Dance

:i

r. h.

12 3 4 5

Compasa4 3 3 1

il.h.

PR IMO

Allegro con brio(J =108-120)

^^-rrrrrrr^ A 4 5

/* grottesco•A 4 :^ 3 1

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3 4 3 3

f f f mW

LEOPOLD GODOWSKY

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1 333 13

• # f # m P

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m I

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3

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c c20914-10

Copyright MCMXVJIJ b.i/ Carl Piacher, Neto York

International Copyright Secured

13

SECOND SUITEN9 1

Arietta

SECONDO

Andante cantabile i.d=r,Q _63) LEOPOLD GODOWSKY

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2 3 4

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* ^. *

13

SECOND SUITEN91

Arietta

PRIMO

ir.h.

\*^ '133* 5

Compass

5 4 3 2 1

ifd-*-

l.h.

Andante cantabile (J = 56-63)

i

LEOPOLD GODOWSKY

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i n: EI

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6 3 4 3

3 3

5 3 2 3 4 3 3 2

2 3

4 3 3 4 5 3 4 3

3 'Z

6 3 3 3

^ ^ ? t

cc30915 -10

Copyright MCMXVIII by Carl Fischer, New York

International Copyright Secured

14

N9 2

Sarabande

SECONDO

Largo (<J = 73-8o)

;^

LEOPOLD GODOWSKY

331 6-S O- ^~o *>"" -6-«- 31:2 l/J t r- i /r;^ *»' ig< «* ^ ~TT la <>Z

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^' "Jdu).^. 1. ^^ Mwa corda

k\' r

15

N9 2

Sarabande

r.h.

1 13 '3 4 5

Compass4 3 3

^^

PRIMO

Largo (J = 73 -

LEOPOLD GODOWSKY80)

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5 4 5

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3 ^ 3 4 -i

i ii-Ji'i ^^a melodia marcato

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3 4

^^ +iS^ »-o- t-« l-O^3-«^ 3-»- 4^ 4Ty

marcato

CC30915-10 Copyright MCMXVIII by Carl Fischer, Netv York

International Copyright Secured

16

N9 3

Cradle Song

SECONDO

Moderate (J r 52 - 56)

LEOPOLD GODOWSKY

4t: .^ rjs2

mp4534 2 3 4

^ ffM«rt corda ^ "Sb. ^ -S^ ^ ^. ^ ^ ^. ^.

i ^ -«^ ?z: *i»- ^ z^: ^B1 3

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30915-10 Copyright MGMXVIII b.t/ Carl Fischer, New YorkInternational Copyright Secured

^r.h

C 'I 3 3 4 5

Compaas5 4 3 2 <.

i;.A.

17

N9 3

Cradle Song

PRIMO

Moderate (J = 63 -56)

LEOPOLD GODOWSKY

is

*

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E^ ?

3 5 4 3

5 3 4 1

?

ll O

3 3 3 1

-d—^

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5

=^ tmarcato

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4 4 3

poco cresc.

4 14 3

2 3 4

2 1 3

r? # ^mareata

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5 5 4

3 3 3 3

3 2

1 I

seniprep

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3 13

3 1 3

? ?SF?

P m T f m

^P/^/^>^ /joco rail.

# =frJ f i^ « St »<-*

C C20915-10

Copyright MGMXVril dj/ Carl Fischev, New York

International Copyright Secured

18

N9 4

Bagatelle(Valsette)

SECONDO

Allegretto grazioso (J • = 46 -58)LEOPOLD GODOWSKY

una corda

P

s=

^. * '^. ^ ^*

^ * ^. * ^. * '^. *

^. ^

^. e^ ^. * ^7i.

f c30915-10 Copyright MCMXVIII by Carl Fischer, New York

International Copyright Secured

X: t

19

N9 4

Bagatelle(Valsette)

PRIMO

Allegretto grazioso'J- = 46 -58)

LEOPOLD GODOWSKY

a tempo

\l ^rfTFT ^^^^

*e>^pr.

.fest

"if3 2 4

3

3 3 2 4

5 ^#

cc;20915-10

Copyright MGMXV7II hy Carl Fischer, New York

International Copyright Secured

30SECONDO

r r^ "SSx <^ ^. 'Slli). ^i&. ^ -Seb. 'Seii. '^.

expr.

piupatempo1 1

^- ? N J

M«a corda

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30915 - 10

21

PRIMO

I 5 4 5m ^M1 4 1 -J 1 4

y

ieapr.

3 4

"4

dim.

5 4 5 3

3 2 4 1 3 2 4 3 o 4 5

Prail.

i ^ :S S ^

ia tempo

f ± ^

^espr.

3 4

espr.

1

i i ^ f^4 1

#3 4 3 1

g4 3 4 3 4

I ^

•7 r r rf P ^rail.

2 3 2 4 2 3 2 4

S

30915 - 10

23

THIRD SUITE

N91Prelude

(The Organ Point)

Maestoso (J z 112 -126)

SECONDO

^

LEOPOLD GODOWSKY

1^^ 13 4 3 8 4 13 3

£_ ^w

1 3 3

sempre "F non legato e ben articolato

3 1 4 3 3 3 1 38 13 12 3 13

^^ ?9-

23

THIRD SUITE

ir. A.

*^'i 'a 3 4 5

Compass

4 3 2 1^ml.h.

N91Prelude

(The Organ Point)

PRIMO

Maestoso (J r 112-136)

E

sempre /* ?ion legato

1 2

E

LEOPOLD GODOWSKY

^^^

^^ Pf2 3 3

4332? ^f=^ i. i i""^

s/"

^ f

i

'1 2

molto cresc.

^^P ^^tt

y"

20741-10Copyright MCMXVIII by Carl Fischer, New York

International Copyright Secured

34SECONDO

s^

3 '^-^ l3 4 3 -

3

i ?9-

25

PRIMO

tI2Z

i

$

ff

3 3

^m?

^

20741-10

N92Chorale

SECONDO

^Adagio (J I 88-96)

4 a 5/^ 4^ •3 a"^te i3Ey ^

LEOPOLD GODOWSKY

^^

nti^^:-+« -4« :^:2

^ ^"5^5»

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International Copyright Secured

'^. ^

27

N9 2

Chorale

^m,234 5

Compass

5 4 3 3 1

iI. h.

d-*

PRIMO

Adagio (J z 88-96)

LEOPOLD GODOWSKY

^m m fzn

f

t

rail.

p a tempo3 4 3 4

m ^ ^

i

•—#

-o- -o-

fftj "J :<

P'3

3 4

5^^ ^^ ttl TT~

c c20741-10

Copf/right MCMXVin b.t/' Carl Fischer, New York

International Copyright Secured

38 N9 3

HymnSECONDO

Maestoso (J : 63 -72)

LEOPOLD GODOWSKY

esp7'essitm

^^ ^ ^I

f^S

* « *l.*l^«

IS!*-WS"

f-:;fc

f1f '. a

-t- -•-^;:24j

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^. ^. '^^. ^. ^. ^.

espr.

'^. '^. '^. ^. ^.

C C30741-10

'^. -Sb. %b. ^. '^.^. ^. -Scli. ^. ^!^.'^.e&

Copyright MCMXVIII by Carl Fischer, Kew YorkInternational Copyright Secured

29N9 3

Hymn

PRIMO

Maestoso (J z 63-72)

LEOPOLD GODOWSKY

mr.h. _ -

2 3 4 5

Compass

5 4 3 8m ¥

l.h.

i

^f^ ^ f^^ ^

4 5

SI

M4 3

3 3 4

3 3

3 4

P

^ ^

4 4^^

T P^ ^^ ^±L

t

3 4 3 3

dim. poco rit.

4 3 3 4

5 3

J» « tevipo

1 3—|S ^—

4 5

2 1

4 3 3

3 3

3 8

3 4

3 1

1 3 5

m±t ^ ^

^ ^^ ffl^ #: f f:. tf:

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Copyright MCMXVTIT by Carl Fischer, New York

International Copyright Secured

30

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Epilogue(Retrospect)

SECONDO

Andante cantabile (J r 76 - 84)

LEOPOLD GODOWSKY

CC ^. -Seb ^20741-10

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Copyright MCMXVIJT by Carl Fischer, Xew YorkInternational Copyright Secured

31

N9 4

Epilogue(Retrospect)

PRIMO

Compass

Left Hand a/one

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Andante cantabile (J z 7H-84)

LEOPOLD GODOWSKY

ELeft. Hand ji.espressivo

2 1 2 3 4

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£ i432 43 a 1 2 3 *

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International Copyright Secured

T/^/IirSCJ^PT/OUS

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Godoa/sAyMoment Musical (Jran%.Sc/\u6ert) _,

(Qo. •34 Ao. 3 ) net./o

Serenade (/{.Strauss) net. 73(Stdndchen)

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BOSTON380-382 BOYLSTON ST.

CARL FISCHER, NEW YORK CHICAGO

COOPER SQUARE 430-432 SO. WABASH AVE.

TOKYO, JAPAN—THE KYOEKI SHOSHA

LEOPOLD GODOWSKYMINIATURESFor Piano Four-Hands

.net. .75

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

FIRST SUITE

1. In Church \2. At Night f ^ r- r-± "ir

3. Lullaby ^Compass C-Gf net, .75

4. Rustic Dance i

SECOND SUITE

1. Arietta Compass l.h. C-G, r.h. B-FJ2. Sarabande Compass A-E3. Cradle Song Compass C-G4. Bagatelle ( Valsette) Compass l.h., C-G, r.h., B-Fj

THIRD SUITE

1. Prelude (The Organ Point))

2. Chorale f ^ tj t7j. » tc3. Hymn I

Compass B-Ff net, .75

4. Epilogue (Retrospect) (for left hand alone) .1

ANCIENT DANCES1. First Minuet (C Major). .^ Compass C-Gt net, .50

2. Second Minuet (G Major)! Compass G-Df net, .50

3. Rigaudon (also for piano solo) Compass G-Dt net, .50

4. Gavotte Compass D-Af net, .50

5. Bourree Compass Eb-Dbf (-"Ml black keys) net, .50

6. Siciliana Compass Ab-Gbf (All black keys) net, .50

7. Irish Jig Compass F-Gf net, .50

MODERN DANCES1. Polka Compass .G-Df net, .50

2. Tyrolean (Laendler) Compass G-Df net, .50

3. Valse filegiaque Compass A-Ef net, .50

4. Tarantella (Italy) Compass .VEf net, .50

5. Csardas (Hungary) Compass A-Ef net, .^56. Mazurka (Chopinesque) Compass B-pf net, .50

7. Polonaise Compass Db-Bbf (All black keys) net, .50

MISCELLANEOUS1. Serenade Compass C-Gf net, .50

2. The Miller's Song Compass C-Gt net, .75

3. Meditation Compass C-Gf net, .50

4. Pastorale (Angelus) Compass C-Gf net, .50

5. The Exercise Compass G-Df net, .50

6. Processional March Compass G-Df net, .50

7. Scherzo Compass G-Df net, .75

8. Arabian Chant (Orientale) Compass A-Ef net, .50

9. Albumblatt (Intermezzo) Compass B-Ff net, .50

10. Funeral March Compass D-Af net, .50

11. Plaintive Melody Compass D-Af net, .50

12. Ballade Compass E-Bf net, .50

13. Nocturne Compass Gb-Ebf (All black keys) net, .50

14. Barcarolle Compass Bb-Abf (All 'black keys) net, .50

15. Humoresque (also for piano solo) Compass l.h., D-A, r.h., Bb-F . . . net, .75

16. Toccatina Compass l.h., F-C, r.h., D-A net, .50

17. Impromptu (In Days of Yore) Compass Ab-Ebf net, .50

18. The Scholar (Fughetta) Compass l.h., C-G, r.h., G-D -net, .50

19. The Hunter's Call (Woodland Mood) Compass l.h., G-D, r.h., E-B net, .50

20. Military March Compass l.h., G-D, r.h., E-B net, .50

fidentical notes for both hands, one octave apart.

BOSTON CARL FISCHER, NEW YORK Chicago380-382 Boylston Street COOPER SQUARE 335-339 So. Wabash Ave.

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