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Miniatures. Pxano, ^ hands,
belections.
MY
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NY PUBLIC LIBRARY
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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
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
is
title.
"
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
,,
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
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
musical sentences
free,
biit
they give
Frederick H. Martens.
AlUlgi^ tli-&
PBOPERTT OV
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KW YORK
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LEOPOLD GODOWSKY
[miniatures
FOR PIANO FOUR -HANDS.
A
in
series
a variety
of
original
of classic and
melodies,
5^-/-
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musical form, developed from five tone combinations and based upon essential
quirements of five-finger positions.
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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
^
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SECOND SUITE
1.
Arietta
2.
Sarabande
3.
Cradle Song
Bagatelle ( Valsette)
4.
r.h.
B-FJ
r.h.,
B-Fj
THIRD SUITE
2.
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
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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)
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
.^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
Melody
12.
Ballade
13.
Nocturne
14.
Barcarolle
15.
Humoresque
16.
Toccatina
17.
18.
19.
20.
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.,
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
BOSTON
380-382 Boylston Street
CARL
FISCHER,
NEW YORK
COOPER SQUARE
Chicago
335-339 So.
Wabash Ave.
^>^^^-T
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