Art Publication Society Progressive Series of Piano Lessons Copyrighted in 1912
By Leonard South. Saxe
Leopold Godowsky was built-in in the village of Soshly near Vilna (then Russian Poland) on February 13, 1870, and died in New York City on November 21, 1938. He began to compose when he was seven years old. When he first came to New York on October 31, 1884, he had already been before the public equally a pianist Wunderkind for 5 years. He had just run abroad from the Berlin Hochschule fur Musik afterward spending four months in that location. His American debut occurred in Boston on Dec 7, 1884, with the Clara Kellogg Concert Visitor. Early the next year he appeared at the New York Casino, alternating weekly with Teresa Carreno. In 1886, he toured the northeastern Usa and Canada with Ovide Musin, the Belgian Violinist. Later that year he returned to Europe, intending to report with Liszt, only Liszt's expiry led Godowsky to earn his living playing in the salons of London and Paris. There he became a protege of Saint-Sa�ns who wanted to adopt him legally.
When Godowsky returned to the United States in 1890, Alexander Lambert, Manager of the New York College of Music, added him to the faculty at that place. His first pupil was Leonard Liebling. On May 1, 1891, shortly after reaching the age of twenty-ane and the day after he had married a New York girl, Frederica Saxe, Godowsky became a denizen of the United states. In lodge to satisfy the five year residence requirement, the date of his first inflow in this state was plain used.
In 1894-1895 he commuted to Philadelphia where he was Director of the 8 Piano Department of Gilbert Reynolds Combs' Wide Street Conservatory of Music. In 1895 Godowsky moved to Chicago where he remained until 1900 as head of the Pianoforte Department of the Chicago Solarium of Music, succeeding William H. Sherwood. In that location he developed his pedagogic theories of "weight and relaxation" in piano playing and gained repute equally a teacher. His praises, as a pianist and composer were sung with enthusiasm by his friend H.S.B. Mathews in Mathews' magazine, "Music". Late in the nineties, after listening to the get-go set of Godowsky's 'Studies on Chopin�due south Etudes', old Dr. William Mason marched into Schirmer's and insisted that the firm publish them � thus offset that series of 50-iii remarkable, transcendental pieces whose limerick ran over twenty years.
At a concert in Berlin on December half-dozen, 1900, Godowsky presented himself to the test of European stance, and attained such a phenomenal success that he was literally recognized overnight every bit 1 of the wor1d'south neat pianists and composers for the pianoforte. He thereupon settled in Berlin until 1909, education privately and making annual concert tours of Europe and the Near Due east. For those tours, he equanimous during the summers such works as the 'Metamorphoses on Johann Strauss' Themes', the 'Renaissance' transcriptions, and the 'Walzermasken'.
From 1909 to 1914 he was Director of the Klaviermeisterschule of the Imperial Regal Academy of Music in Vienna, succeeding Emile Sauer and Feruccio Busoni. He toured the U.s. during the winters of 1912- � 1913, and 1913-1914, and at the outbreak of Earth War I returned to live in the United States. Because Godowsky thought that by taking the oath as kbnigliche und kaiserliche Professor in Austria he might have forfeited his United States' citizenship, he became naturalized for a second fourth dimension in 1921. Meanwhile in 1912 he had begun his clan equally Editor in Chief of the Progressive Series of Piano Lessons, a piano teaching text for which West.S.B. Mathews had recommended him. That text and the accompanying edited exercises, studies and compositions occupied a substantial part of his fourth dimension for the years ending in 1922, the year in which he gave his last concert in the United States. It was during this menstruum that he equanimous the lyrical 'Triakontameron', which contains 'Alt Wien', the piece of work by which he is best known.
After 1922, Godowsky deliberately devoted himself primarily, to com- posing for his chosen musical instrument, although he made concert tours in Europe and other places that interested him, such as Central and South America, the Nearly and Far Due east. The Far Eastward gave him the inspiration for some of his loveliest music, the 'Java Suite'.
In June 1930 while Godowsky was in a London studio making a phono- graph recording, he suffered a stroke. He never played the piano again. Until his death, although his colleagues and pupils and myriads of personal friends worshipped him and his genius, he was a cleaved man and a tragic figure - a concert pianist who could no longer play the piano, a composer for the piano whose works were not widely appreciated. Yet Godowsky believed that after his death his compositions would be heard with growing frequency and that with those hearings would come appreciation and love for them. As a first step to the appreciation of Godowsky's music, information technology is my privilege to present a complete listing of all his published compositions. Godowsky's composing may be divided roughly into four periods - the first, to 1893, juvenilia and developing years; from 1893 to 1912, a menstruum of virtuosity and concert works; from 1912 to 1922, years in which his educ- ational works were stressed, including as such the 'Miniatures'; and finally the years from 1922 to 1930, the period of his reflective maturity. Throughout much of his life, Godowsky made many arrangements of piano pieces that appealed to him as of great beauty, but which he felt must be redone to accept full reward of the modern piano. Many were transcriptions of songs and orchestral works. He ofttimes wrote both original works1 and arrangements with a view to their add-on to the literature for the ' concert pianist.
In composing, Godowsky was a traditionalist. Only he developed tradition to the nth degree in its awarding to music for the piano. Completely familiar with all schools and styles he developed his ain singled-out idiom, including a new counterpoint for piano music. "Bach and Chopin", said Huneker. Although the intellectual mastery of his compositions has long been recognized, their poetic qualities remain virtually unmentioned. And even so in everything he composed, Godowsky created beauty in music. I fervently hope that my list will help accelerate the inevitable recognition of that great and cute music.
Listing OF PUBLICATIONS
(The publications have been bundled in three main groups, plus two smaller appendages.)* The main groups consist of Godowsky'due south Original Compositions, his Concert Paraphrases, Studies, Transcriptions and Arrangements, and finally his Educational Materials that he edited for the Fine art Publication Society in Saint Louis. A grouping of Cadenzas volition be plant at the end of the second main group, and the listing ends with a section of Arrangements by others of works by Godowsky.
With only a few exceptions, the dates when the works were registered for copyright have been supplied. With the early English publications, these dates are those when the work was entered at Stationers' Hall in London, but later on 1891 they are the dates of copyright registration in the United States Copyright Role. In only a few instances has it been necessary to requite only the year of publication.
In the group of Original Compositions, the works accept been arranged chronologically, except where a part of parts of a serial appeared at a subsequently appointment, and in such instances the parts have been reassembled and entered under the appointment when the series was started. In the other groups, the dates of publication have been disregarded, and the works arranged alphabetically nether the names of the composers on whose compositions Godowsky based his own. Within the terminal two main groups, there are pocket-sized modifications of this general dominion which will become obvious on consulting the listing. All compositions are for piano solo unless otherwise indicated. Unpublished compositions take non been included, except where their titles were entered as part of a series on the covers of published works, and in such instances information technology has seemed best to give the title, if but to specify that the prospective publication did not in fact appear.
To economise on space, the publishers actualization most frequently accept been indicated past their surnames simply. These surnames stand for the following firms:
Ascherberg = E. Ascherberg & Co., London. Durand = A. Durand & Fils, Paris. Fischer = Carl Fischer, Inc., New York. Kleber = H. Kleber and Bro., L't'd., Pittsburgh. Schirmer = G. Schimer, Inc., New York. Schlesinger = Schlesinger'sche Buch-und Musikhandlung (Robert Lienau), Berlin. Schmidt = Arthur P. Schmidt, Boston. ORIGINAL COMPOSITIONS Moto perpetuo. Ascherberg. Februaiy six, 1888. Grande Valse�Romantique. Dedicated to Albert Weber Esq. Ascherberg. July xi, 1888. Valse-Scherzo. Dedicated past special permission to H.R.H. The Princess of Wales. Ascherberg. July11, 1888. Harchen (Fairy Tale). Dedicated to Mlles Douste de Fortis. Ascherberg.July xi, 1888. Moto Perpetuo. A mon Oncle Fifty�on Sachse. Durand. 1889; (Reissued:) Moto perpetuo. Dedi� 5. mon cher oncle L�on Sachse. London; E.Donajowski. Jan. 3, 1890. (See also 0p.thirteen below.) Polonaise. A monsieur Eugene D'Albert. Durand. 1889. Twilight Thoughts, Suite des Morceaux pour pianoforte. Paris, Privately printed,1889. ane. Impressions sur le fleuve de Hudson; Hudson River. A Madame Walden-Pell. (Revised and reissued as Op.14,no.ane.) 2. Une Nuit de printemps. A Madame Theron C. Crawford. (Announced, simply non published, as Op.fifteen,no.2. Revised and published, every bit: Fruhlingsnacht (A nighttime in spring), Nocturne. St. Louis: Art Publication Society, Jan.25, 1915.) 3. Au jardin des fleurs. a Madame L�on Meunier. iv. Devotion (Unpublished). five. Serenade. a Madame la Comtesse Ferdinand de Lesseps. 6. R�verie du soir (Unpublished). Menuet, no.1, Due east major. Dedicated to Oscar J.Saxe Esq. Cincinnati: The John Church building Co. Oct.19,1891. (Included also in musical supplement to The Keynote, issue 122,Sept.one, 1891.) 'Twas Eve and May; song, voice and piano, words by Lord Lytton. Dedicated ._ to Miss Stella D.Hays. Kleber. July 9, 1894. Does the harp of Rosa slumber? vocal, voice and piano, words by Lord Lytton. Dedicated to Miss Ida Kleber. Kleber. Dec.iii, 1894. Op.11: Three Concert Studies. Schirmer. Aug.14, 1899. No.i. C major (grottesco). To Mr. Edward MacDowell No.2. C minor (Unpublished). � N0.3. E flat major. To Mr. Rafael Joseffy. Op.12: Schirmer. Aug.l4, 1899. No.1. Sarabande, C sharp minor. To Mr. W.S.B. Mathews. No. 2. Menuet, A apartment major. To miss Blanche Dingley. No.3. Courante, E small. To Mr. Thousand.H. Gittings. Op.thirteen: Toccata (Perpetual Motion), 1000 flat major. To Mr. Moriz Rosenthal. Schmidt. April.5, 1899. (First published every bit Moto Perpetuo in 1890.) Op.14: Schirmer. Aug.12�14, 1899. No.l. Ein Dammerungsbild (Twilight Musing) E apartment major. To Mr. Arthur Foote. (Revised from Twilight Thoughts, no.1.) No.2. Mazurka melancolique (Unpublished). No.3. Valse-Idylle, Due east major. A Madame la Comtesse Enrica Rozwadowska. No.4. Scherzino, C sharp minor. To Mr. Due east.R.Kroeger. Op.15: Schmidt. Aug.29, 1899. No.l. M�lodie meditative, E flat major. To Mrs. Frederica Godowsky (nee Saxe). No.ii. Nuit de printemps (Non published in this opus, but see Twilight Thoughts, No.ii, in a higher place.) No.3. Capriccio, C pocket-size. To Mr. Richard Burmeister. Op.16: Schmidt. Aug 29, 1899. No.1. Due south�r�nade (Unpublished in this Opus, but see Twilight Thoughts, no.5, above. No.two. Arabesque, F major. A Mr. Adolph Devin-Duvivier. No.iii. Reverie Russe (Unpublished in this Opus, as in Twilight Thoughts, No.six, higher up.) . No.iv. Barcarolle-Valse, F major - A major. A Madame la Comtesse _ Ferdinand de Lesseps. Sonate in E moll fur das Klavier. Meiner lieben Frau gewidmet. Schlesinger. June 15, 1911. Walzermaskenz 24 Tonfantasien im Dreivierteltakt fur Klavier. Herrn Dr. Wilhelm Stekel gewidmet. Feb.12, 1912. (Besides the 4 fascicles, the works marked* were also issued separately.) nb Heft1: *1, Karneval, E major; 2, Pastell (Fr.Sch.) A major; iii, Skizze (Joh.Br.), E major; 4, Momento capriccioso, C abrupt minor; *5, Berceuse, D flat major; half-dozen, Kontraste, B flat pocket-size. at Heft2: 7, Profil (Fr.Ch.), B flat minor; 8, Silhouette (Fr.L.), F sharp minor-major; 9, Satire, B major; 10, Karikatur, Chiliad major; 11, Tyll Ulenspegel, F precipitous major; 12, Legende, E flat small-scale. Heft 3: 13, Humoresque (uber 4 noten), B flat major; *14, Franzgsisch, D major; *fifteen, Elegie, B minor; *xvi, Perpetuum mobile, Yard major; *17, Menuett, Due east apartment major; *18, Schuhplatter, C major. Heft 4: nineteen, Valse macabre, C minor; 20, Abendglocken (Angelus), A flat major (Zum 25 Todesdag von Franz Liszt, 31 Juli, 1911. Ischl.); 21, Orientale, F small-scale; *22, Wienerisch, F major; 24, Portrait (Joh.Str.) G fiat major. Twelve Impressions for Violin and Piano. To my dear friends Harriet and Fritz Kreisler. Violin parts fingered and phrased by Fritz Kreisler. Fischer. No.1. Larghetto lamentoso, B minor. April.14, 1916. (Arranged from the fifth motility of Sonate in Due east minor; besides used as one of the iv cello arrangements below.) No.2. Contour (Chopin), B minor. Oct.7, 1916. (Arranged from No.7' of Walzermasken.) nb: 10 of the "Twelve Impressions for Violin and Piano" and 3 of the Four Impressions for Violoncello and Pianoforte" are based on these pieces. See also the concluding section of "Arrangements by others on the works of Godowsky" for orchestral arrangements of No.19. No.iii. Legende, Due east minor. May 25, 1916. (Arranged from No.l2 of Walzermasken.) No.iv. Tyrolean (Schuhplatter), C major. (Arranged from No.18 of Walzermasken.) No.v. Poeme, (Andante Cantabile), C major. February.15, 1917. (Arranged from 2nd motility of Sonate in E minor.) No.6. Perpetuum mobile, G major. Oct.7, 1916. (Arranged from No.sixteen of Walzermasken.) No.7. Elegie, B minor. Oct.7, 1916. (Arranged from No.15 of Walzermasken; also used equally i of the iv cello pieces below.) No.viii. Valse, D major. May 25, 1916. (Arranged from No.14 of Walzermasken.) No.9. Valse macabre, B small-scale. May 25, 1916. (Arranged from No.19 of Walzermasken; also used as 1 of the four cello arrangements below. For orchestral arrangements past Rapee, meet final section of this list.) No.x. Orientale, Eastward minor, Oct. xix, 1916. (Arranged from No. 21 of Walzermasken; likewise used every bit i of the four cello arrangements below.) No.xi. Saga, A minor. Oct.7, 1916. (Bundled from No.23 of Walzermasken.) No.12. Wienerisch, F major. May 25, 1916. (Arranged from No.22 of Walzermasken.) Four Impressions for Violoncello and Piano. To my Dear Friends Harriet and Fritz Kreisler. Violoncello parts phrased and fingered by Hans Kindler. Fischer, Sept.15, 1917. (Arrangements of pieces in Twelve Impressions for Violin and Piano, which see.) Largetto lamentoso, B modest (1) Elegie, B minor (7) Valse Macabre, B pocket-size (nine) Orientale, E pocket-size (x) Miniatures, for piano, iv hands, for teacher (secondo) and pupil (primo), with preface and descriptive comments. In six volumes. Fischer. Unless otherwise indicated: Aug.22, 1918. nb First Suite: No.1, In Church; No.two, At night; No.3, Lullaby; No.iv, Rustic dance. Second Suite: No.i, Arietta; No.2, Sarabande; No.3, Cradle song; No.4, Bagatelle (Valsette). 3rd Suite: No.1, Prelude (The organ betoken); No.2, Chorale; No.three, Hymn; No.4, Epilogue (Retrospect). Seven Ancient Dances: No.1, First Minuet (C major); No.two, 2nd Minuet (Chiliad major); No.3, Rigaudon (encounter likewise below, arr. for 2 hands.); No.iv, Gavotte; No.5, Bourr�eastward. Sep.22, 1918; No.half dozen, Siciliana; No.7, Irish Jig. Vii Modern Dances: No.1, Polka; No.2, Tyrolean (Landler); No.3, Valse El�giaque; No.4, Tarantella (Italy); No.5, Czard�s (Hungary); No.6, Mazurka (Chopinesque); No.7, Polonaise (All black keys). Miscellaneous: No.50, Serenade; No.2, The Miller'south vocal (besides arr. for ii hands, run into below); no.three, Meditation; No.four, Pastorale (Angelus); No.five, The exercise; No.6, Processional march. Aug.16, 1918 (besides arr. for 2 hands, see below); No.7, Scherzo; No.8, Arabian dirge (Orientals). Sept.22, 1918 (also arr. for 2 hands, see beneath); No.9, Albumblatt (Intermezzo); No. x, Funeral march; No.xi, Plaintive melody. Aug.16, 1918; No.12, Ballade; No.13, Nocturne; No.14, Barcarolle; No.15, Homoresque (too arr. for 2 hands, run across below); No.16, Toccatina, Aug.16, 1918; No.17, Impromptu (In days of Yore). Aug.16, 1918; No.18, The Scholar (Fughetta). Aug.xvi, 1918; No.xix, Thee hunter'south telephone call (Woodland mood). Aug.16, 1918; No.20, War machine March. Aug xvi, 1918. nb: See Maurice Aronson: A primal to the Miniatures of Leopold Godowsky (New York: Carl Fischer Inc., 1935), for analytical essays on these 46 pieces. The first three suites were issued in three fascicles; the remaining suites have the proper noun on the title page to distinguish them, but each number was printed separately. At some later engagement, but earlier 1927, the 'Miniatures� were made available in an edition in six volumes. Miniatures for piano solo. Fischer. No.fifty, Homoresque. To Alexander Lambert. Sept.14, 1918. (From Miscellaneous, No.15.) No.2, Rigaudon. Sept,14, 1918. (From Seven Ancient Dances, No.3.) No.3, The Miller'due south song. Aug.xvi, 1920(From Miscellaneous No.2.) No.4, Processional march. Aug.26, 1920. (From Miscellaneous N0.half-dozen.) No.5, Arabian Chant (0rientale). Aug.26, 1920. (From Miscellaneous No.8.) Triakontameron, Thirty moods and scenes in triple measure. In 6 vo1umes*. Schirmer, May 19, 1920. Book I: No.l, Nocturnal Tangier+ (See terminal section of list under Arrangements); No.2, Sylvan Tyrol+ (Come across final department of listing under. Arrangements); No.3, Paradoxical Moods; No.4, Rendezvous`; No 5, Twilight Phantasms. Volume II: No.6, The Pleading Troubador; No.7, Yesteryear; No.8, A Watteau Paysage; No.9, Enchanted Glen; No.10, Resignation. Volume 3: No.xi, Alt-Wien ("Whose yesterdays await backwards with a smile through tears") (Come across concluding section of list under arrangements); No.12, Ethiopian Serenade; No.xiii, Terpsichorean Vindobona+ (See final section of listing nether arrangements); No.fourteen, Whitecaps; No.15, The Temptress. Volume IV: No.16, An Old Ballade; No.17, An American Idyll; No.18, Anachronisms; No.19, A Lilliputian Tango Rag; No.20, Whirling Dervishes (See final section of list under arrangements). Book 5: No.21, The Salon; No.22, An Epic; No.23, The Music Box; No.24, Lullaby (Run across final section of listing under arrangements). No.25, Memories. Volume VI: No.26, The Cuckoo C1ock+; 'No.27, Complaining+; No.28, Quixotic Errantry; No.29, Poems Macabre; No.30, Requiem (1914-1918) Epilogue.nb Triakontameron, N0.11: Alt Wien (Old Vienna) arr. for two pianos. To Vera Brodsky and Harold Triggs. Schirmer. June 21, 1935. Phonoramas, Tonal Journeys for the piano. (Series title for:) Java Suite, Twelve pieces in 4 parts, with preface, addendum, and descriptive notes. To my friend J. Cambell Phillips. Aug.xx, 1925. Part I: No.50, Gamelan; No.2, Wayang Purwa (Puppet shadow plays); No.3, Hari Besaar (The Great Day.) Part II: No.4, Chattering Monkeys at the Sacred lake of Wendit; No.v, Boro Budur in Moonlight; No.vi, Bromo Volcano and the Sand Sea at Daybreak Part III: No.vii, Three Dances; No.8, The Gardens of Buitenzorg; No.9, In the Streets of Old Batavia. Office IV: No.10, In the Kraton; No.11, The Ruined Water Castle at Djokja; No.12, A Court Pageant in Solo. Poems for the Piano. Fischer. Devotion (Verse form No.1). Dec.21, 1927 Avowal (Verse form No.2). December.21, 1921 Adoration (Poem No.three) Dec.21, 1927 Yearning (Poem No.four) January. 7, 1932. (There are a farther ii poems, unpublished. The composer had intended issuing the six with a dedication to Paul Howard. Ed.) Avowal (Poem No.2 ), for violin and piano. The violin role phrased and fingered by Leo. Godowsky, Jr. For Mischa Elman. Fischer. Apr.24, 1929. Passacaglia. (40-four variations, Cadenza and Fugue, based on the outset viii measures of Schubert's Unfinished Symphony; tribute on the ane hundredth anniversary of the death of Schubert). Fischer, Jan.six, 1928. {Each number also available separately. The numbers with a cross (+) take been arranged for orchestra by Hans Bernstein, and the parts bachelor for rental. nb: The "Epilogue" is an elaborate version of "The Star Spangled Banner", and with a repose introductory phrase added, is identical to the Concert Version of the canticle published the following twelvemonth. *Waltz, Poem No.1, G Major, for violin and pianoforte, phrased and fingered for violin by Leo Godowsky, Jr. For Jascha Heifetz. Fischer. April.17, 1929. Flit Poem No.ii, A major, for violin and piano, phrased and fingered for violin by Leo Godowsky Jr. For Paul Kochanski. Fischer. Apr.17, 1929. Waltz Poem No.i, G major, for piano, two easily. To Edward W. Burnshaw, Jr. Fischer. Apr.24, 1929. Waltz Poem Iv, E major, for pianoforte, ii easily. To Saumel E. Stein. Fischer. June 7, 1930. Flit Verse form No.2, A major, for pianoforte, ii hands. To Dorothy Wanderman. Fischer. April.24, 1929. Waltz-Poems for the left hand alone. To Carl Engel. Fischer. June 7, 1930. Waltz�Poem I, G flat major. Waltz-Poem II, B apartment major. Flit-Poem III, G major Waltz-Poem 4, E flat major Waltz-Poem V, A flat major. Waltz-Poem Vi, C major. Prelude and Fugue (B.A.C.H.) for the left mitt lone, F major. To Arthur Loesser. Schirmer, Mar.18, 1930. Meditation, for the left hand lonely, E flat major. To Dimitri Tiomkin. Schirmer. May 27, 1930. Meditation, for two hands. To Dimitri Tiomkin. Schirmer. June xx, 1930. Etude macabre, for the left paw alone, D minor. To Emile R. Blanchet. Schirmer. June xx, 1930 . Etude macabre, for both easily. To Emile R. Blanchet. Schirmer. June 20, 1930. Impromptu, for the left hand alone, E apartment small-scale. To Josef Lhevinne. Schirmer. June xx, 1930. Impromptu, for both hands. To Josef Lhevinne. Schirmer, June 20, 1930. Suite for the Left Hand Alone, D major and minor. (Allemand, Courante, Gavotte, Sarabande, Bourree, Sicilienne, Menuet, Gigue.) To Isidore Philipp. Schirmer. June 20, 1930. Gigue, from the 'Suite for the Left Hand Alone', arr. for both hands. To Isidore Philipp. Schirmer. April.12, 1937. Menuet, from the 'Suite for the Left Paw Alone', arr. for both hands. To Isidore Philipp. Schirmer. Apr.l2, 1937. Intermezzo (Melanconico), for the left hand alone, E major. To Alexander Siloti. Schirmer. May 26, 1931. Intermezzo (Melanconico), for both easily. To Alexander Siloti. Schirmer. May 26, 1931. Elegy, for the left hand alone, B small-scale. To Gottfried Galston. Schirmer. December. 24, 1931. Elegy, for both hands. To Gottfried Galston. Schirmer. December.24, 1931. Capriccio (Patetico), for the left hand alone, C sharp minor. To Ernest Hutcheson. Schirmer, December. 24, 1931. Capriccio (Patetico),for both hands . To Ernest Hutcheson. Schirmer. Dec.24, 1931. *When the series of Waltz-Poems was extended the following year in versions for the left manus alone, the music of Waltz-Poem No.1 was used for Waltz-Poem1I, but the Waltz-Poem No.2 became Waltz-Verse form V. At this same\ subsequently date, the above version of the Waltz-Poem Four ` for pianoforte was issued. *************************** *Only the original compositions are being included in this Newsletter � . the other groups will be included in following issues. Ed.colosimofitionly1986.blogspot.com
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