Te MASTERPIECE oe ZodnosiA NOTE By Paul Bekker (Author of The Changing Opera, The Story of Music, Wagner, Beethoven, ete.) To many, Leopold Godowsky’s name suggests “arrange- ments” and “adaptations” for the pianist with great tech- nical equipment, Less skilled approach the difficult compositions, in spite of their mu- sical value, But Godowsky does not compose for the advanced pianist alone. His keen interest in the problems of the younger student has been shown in his “Miniatures.” Since the music world is justly convinced of the value of Godowsky’s contribution to piano literature, his work for the younger pianist will be especially weleome. The un- precedented thoroughness that Godowsky applies to his writing will be a great help to both teécher and pupil. In my chats with this great man and musician, I have recognized his outstanding versatility and his undivided interest in all the different phases of music. “A musician who knows only the literature of his own instrument can- not be a great artist,” he has said. “One must know and love every type of good music, whether it be Bach or Johann Strauss.” ‘This is the spirit which tempted Leopold Godowsky to dapt and edit the most beautiful and interesting musical pieces from a number of well-known operas. They are written for “The Growing Pianists’ Repertoire,” and are meant for serious students with an understanding of the finer points in music. ists are often afraid to In this collection Godowsky again shows the great musicianship and finesse with which he can approach a task of this nature. We can well understand why Rach- maninoff has called him “the only musician of this age who has given a lasting contribution to the development of piano music.” Erratum: On the back cover of this edition, FraNcots Gouxov should read Cuanurs Francots Gouxon.PRELUDE—FATE MOTIVE Chorus of the Street Boys ee: giocoso , 4. 116-126 4 44 4 3 a egba gta mista a_i ze 2 Sf non legato 7 ae 5 i 4 cf of * fa. a. aa a ee seen) | cans 50 t eee * 2 3 t io s&s 101p leggiero 7 Ba. Sa. ga. Ta Sa. ta. fa. e fa ———. a Srfa. ta. Fa fa. ta fa. Fa. & Andante moderato 4.88 -100 24 is is mf quasi tremolo S, — T fa ga FO ga 5° ga is is fa is S&S 10sia 7 molto(Chorus of Street Boys) Allegro 4.. 104-112 a ta12e 4 p non legato senza Pedale Liistesso tempo 4. 104-112 4 4 32a 4 ait te 2 ten. 1 2 ten. ee Bp sempre |ben ritmato s pten|. poco meno DP S&S 1013A ist ten, 3 3 Se eee ns s&s 101,S$ & 8 101HABANERA (Carmen) Allegretto, quasi Andantino J.72- 64 PpDUET OF MICAELA AND DON JOSE Andantino non troppo 4-80-92 28 b “es 32 1tse4 P molio espr. 5p a - ie ? : fa fa fa fa fa fa fa Fa anes ts ane ga Sm SQ gf fa fa fa fa S&S 101Fa Sa sa Allegro moderato J-92-100 § § : fis: ga, fp ts pe ees S&S 1014 Poco meno mosso_:81-92 : an Te ee 2 eee, sempre legato 7 — Pe re, 1F ae? F217. A eeteet set gf sete eget get fo fa ta fa ta Ba” as Baya eg ee rey (psubito estes —| -— fa taga ta f wt da o fa Allegro moderato 4 Ctr —TT—r——————U “Dp dolce Pugs16 S&S 101TOREADOR SONG (ESCAMILLO) Allegro moderato ¢. 100-112 3 2 4 2 a ee 4 sd ; = i i 53234 912 pees, 922 De op a18 13 Ss2a1 212 $3284 23 Eg SE Lf mare19 e545CASTANET DANCE (Carmen) Allegretto 112 bat P s&s 101at smorzand S&S 101Andantino 4-49 -s4 Pea da 2 (a) Za fa ta Za asa ””™~CO 4 1a 3 a, 5 . as OBA thea aay 2 des,23 poco animato e cresc sts Guar 2 8, 1 23 S 5 F = ee sempre pi cresc. ie . a4 fa fa fa fa fa ga rs ee —_———[7 7h § molto cresc. stringendo S&S 10124 S&S 101