Tio OPERATIC MASPREFACE Having been for many years actively interested in the scientific development of pianoforte pedagogy, I deem it my privilege to present this series of “Operatic Masterpieces"—a collection of excerpts from standard operas—transcribed and ed- ited for thé use of budding pianists with the prime object of widening their horizon, Every music student should acquire a comprehensive knowledge of the other departments of his art outside of the literature of his chosen instrument, All will agree that to the vast field of orchestral and chamber music with which every serious music student must be acquainted, the cultivation of operatic masterworks should be added. Unfortunately, piano scores of operas are not idiomatic of the instrument, It was, therefore, my purpose to transcribe’ these selections in a way to make them sound as if they had been written originally for the pianoforte Asin all transcriptions of a creative character, Uhad to avail myself of harmonic, contrapuntal and constructive devices of my own, whenever I found them indis. pensable to the furtherance of the idiom of the pianoforte. The selections vary in difficulty, due to the diversity of the material used. Some are easy, others more difficult; some adhered to the text, others necessitated freedom of treatment. However, the melodies were left intact. The student should study carefully the fingering, the pedaling, the dynamics, and all the other interpretative indications given. I stress emphatically the advantage to be derived from observing them with analytical attention. T hope that these simple transcriptions will benefit and interest the student and that the progressive teacher will welcome them with discriminative approval, New York Crry Marcu, 1936THE STORY house is filled with towns tch the changing of the guard. The square near the gua people to ite gil, sing bout love +s. Only the indifferent, Carmen tries to arouse to the group of aclmiving soldiers and villager corporal Don Jos him by chrowing a rose at hit, He picks it up in ment and keeps it. His th heart, Micaela, who sare only for his sweet ames to see him and brings him a is involved in 4 quarcel ith the other giels in the cigarette fuctory. and is sentenced to be taken prison. in charge guidilla of Don José, In her enticing song, "S pe. He is punished far his eatelessness by imprison: As souin as he is released, he meets Carmen at an inn. Alter her vaptivating Castanet Dance. he confesses his ABOUT GE Geurges Bizet was han in Paris on Detuber 25, 1838, Aca pupil of the Paris Consersatoire, he was honored by winning the Pris de Rom asa prize in 4 competi: Gon arganized by the compaser Offenbsely Hee simed ty ereaty a new type af Fren Hwa pe af French opera at the tie He ante simple. vital artion, so danees, anil no pomp, His ideal was and Ia Mérimée 1 "Carmen he found the proper OF “CARMEN” love, She induces him to leave the regiment, where he is al nnder a eloud, and join « band of smugglers wit ve together. Escamillo, & toreador, follows Carmen to the smug, glers' retreat. Hi sl lt-confident and vietorious manner Toreador Sor (expressed in the popular has en chanted Carmen before this, Now she forsukes Don Jos for Eseamill Don Jose is ruined. He has lost hi his betrothed, Micaela mother is him: and now he has lost Carmen,” He threatens vevenge by killing her, but she does not listen to him. He follows her. and in front of the arena where Escamillo hus just been triumphant, stabs hee, and falls dead over her body al “Toend pH ORGES BIZET tidied ater his death, The first performance, in 1875, was a failure, [Lis generally maintained that Bizet's Jeath that year was the result of his great disappointment He was a prolilie composer, He wrote symphonies. a i Les P L'Arlesienne Perles” |The Pratl Fishers) ev His now am tthe its originality, has m 4 perfect opera ofA NOTE By Paul Bekker ‘Aur of The Changing One, Phe Soy of Mase, Wagner Beethoven ‘To many, Leopold Godowsky'sname suggests “arrange- ments” and “adaptations” for the pianist with great tech nical equipment. Less skilled pianists are often afraid to 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 musie world is justly convinced of the value of Godowsky’s contribution to piano literature, his work for the younger pianist will be especially welcome. The un- precedented thoroughness that Godowsky applies to his writing will be @ great help to both teacher 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 ean: 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 isthe spirit which tempted Leopold Godowsky to adapt and edit the most beautiful and interesting musical pieces from a number of well-known operss. They are written for “The Growing Pianists’ Repertoire,” and are meant for serious students with an understanding of the finer points in music. In this collection Godowsky again shows the great musicianship and finesse with which he ean approach a tusk of this nature, We can well understand why Rack: maninoff has called him “the only musician of this age ‘who has given # lasting contribut ‘of piano music.” n to the development Erraium: On the back cover ofthis edition, Francois Gouxon should reod Cuaatrs Francots Govsoo.PRELUDE—FATE MOTIVE Chorus of the Street Boys Hf non legato Ses 101DP molto crese a oye te ft os —— — Sas fa fa, Sa Sm Sa aa e fa a apt ait tet | SS 7 === = fae - = ta S48 10at ee SSS x : Se of oa a = tte x(Chorus of Street Boys) Allegro 4..104-12 2 fasepoco sempre poco a S&S 1015 2 i Bin 9, fon a } Bota tie hes pitt orese. 34510a Pp erst setDUET OF MICAELA AND DON JOSE Andantino non troppo 489-12 Das 1326 i Ton PP neato copAllegro moderato J.02-100 a) te ea Dp leggiero ma\espressivoi“ CaP Tae aaa TES ta, aad p sempre legato Poco meno mosso_4si-92 is __1 Bats = er = da th Dp subito yP; val i Oot8te It 4 Ix IN VIN Sylle-a is a AWM. g si ye i eins @ a l= aye atl. alte ahh a s&s wrTOREADOR SONG. (ENCAMELLO) Allegro moderato 4. 100 - ae——— j Se SSS ais dee! BY ETP Th=. re La NGS poe23 poco animato & crese gett ae re he t c sempre pit crese. rte le # Fy 1p “Oe ER fa fa fo tA fH Se ee el ooh . SS = =e = = £ = = | stringendo24 > ws I oh 2s ie ie a= (=e Ya tempo a Sper Siete A ra Se da aa fa ta fH Sa, Sasi