Leopold Godowsky, Frederic Chopin, Marc-Andre Hamelin – Godowsky: Complete Studies on Chopin’s Etudes – Music. Few, however, went anything like as far as Leopold Godowsky () whose 53 Studies on the Études of Chopin have received a fair amount of bad press. This selection is taken from the 53 studies on Chopin’s Etudes that Godowsky composed between and , during his Berlin and Vienna years. They are.
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In addition to what is etudez above, the left hand, commanding as it does the lower half of the keyboard, has the incontestable advantage of enabling the player to produce with less effort and more elasticity a fuller and mellower tone, superior in quantity and quality to that of the right hand.
Godowsiy is therefore not difficult to understand why these pieces have earned the reputation of requiring Olympian feats of execution, and this helps to explain their general neglect as well as the critical abuse they have received from the time the first few were published.
Stanhope is certainly agile enough, as the punishing speeds of much of the music show clearly enough, but ehudes is also plangently lyrical and fiercely dramatic enough, as many of the etudes show.
Der amerikanische Kritiker James Huneker, der einige der ersten Studien in Manuskriptform zu sehen bekam, erteilte anderen den weisen Rat, sich nicht zu fragen, ob Godowsky Chopin Ehrfurcht erwiesen habe. Stanhope is obviously a pianist one would like to meet again under slightly different circumstances.
At least one pianist Francesco Libetta has played the complete 53 Studies in concert two recitals in Milan, and Those of us who enjoy older recordings, originally on 78s, are well aware that ultimate fidelity to the text was not always considered a necessary attribute of great playing. This was accomplished in two different ways: The more I transcribed, the more I found that the chopkn hand was as adaptable to the mechanical and technical difficulties as the right hand.
Home News Contacts Copyright. After numerous experiments I succeeded in finding an entirely new succession of fingers which appeared to me most practical. Geoffrey Douglas Madge, whose Dante set I have not heard, is a pianist whose technique, I would suggest, simply is not up to the task.
Classical Net Review – Godowsky – Studies on Chopin’s Études
March Total duration: In a midsection and at the coda, both hands play semiquaver figurations together. It is well known that Chopin was very fond of the violoncello and that in his piano compositions he imitated the style of passages peculiar to that instrument. Written by Chopin for Ignaz Moscheles.
Being averse etudea any tampering with the text of any master work when played in the original form, I would condemn any artist for taking liberties with the works of Chopin or any other great composer. Don’t show me this message again. Yet who else among pianists could rise to the challenge?
A contrasting lento midsection in B major supplies only slight relief. Frederic Chopin, one of two extant photos.
This selection is taken from the 53 studies on Chopin’s Etudes that Godowsky composed between andduring his Berlin and Vienna years. Kullak calls it a “bravura study of the very highest order for the left hand. Some recast Chopin’s right-hand passagework for the left hand while introducing new contrapuntal ideas; some treat the originals more freely, inverting, imitating or combining two Etudes; others are character pieces or variations based on Chopin’s originals; and twenty-two of the Yodowsky are for the left hand alone.
This piece looks striking on the printed page, with its clusters of chords and roll-markings. Godiwsky any other composer ever produced works of such a revolutionary nature for the piano at such an early age? The left chopjn is favoured by nature in having the stronger part of the hand for the upper voice of all double notes and chords and also by choipn having the strongest fingers for the strongest parts of a melody.
The resulting music is some of the most fearsomely difficult ever to be composed for the keyboard – indeed, Godowsky also went so far as to compose a number of “warm up” studies, for the pianist to use beforehand.
Leopold Godowsky: 53 Studies on Chopin’s Études
Another study in arpeggios – mostly on the right hand, with occasional intrusions on the left, especially at the end. Requires the right hand to play stacatto notes in the thumb and index finger and legato notes in the remaining fingers simultaneously.
Godowsky made every effort to make one hand sound like two—many of the Studies actually require two staves for their notation—and in doing so he hoped to inspire other composers to extend this principle to both hands to enrich piano-writing even more. Leopold Godowsky Composer Ian Hobson pf. It was rather an undulation of the A flat major chord, here and there thrown aloft anew by the pedal. The frequent need to place the thumb on a black key complicates the arpeggios.
Perhaps it was this independence of mind, unencumbered by the academic notions and traditions of Conservatoire professors, that led Godowsky to rethink certain pianistic problems without inhibition.
Niecks writes, “The composer seems fuming choppin rage; the left hand rushes impetuously along and the right hand strikes in with passionate ejaculations. The fifty-three studies are to be considered in an equal degree suitable for concert purposes and private study. The eleven exercises Godowsky supplies include scales and runs for the weak three fingers.
The American critic James Huneker, who saw some of the first Studies in manuscript inwisely advised others not to wonder whether Godowsky had treated Chopin with reverence.
The inventiveness displayed in these particular Studies in the areas of polyphony, counterpoint, physical configurations and fingering, is nothing short of staggering, and was a source of great inspiration to Ravel when he came to write his Concerto for the left hand.
Any one of these Studies may, for example, pit together two or even three strands of counterpoint, each with its own etudex and demanding to be clearly differentiated.
It is worth quoting at length:. There is some controversy over the best fingering of these interlocking chromatic thirds, often centered around the question of whether one can use the thumb on two successive white keys as Chopin’s fingering requires and still play an effective legato certainly an easier task on Chopin’s favorite Pleyel pianos than on modern instruments.
Born etudee Sozly near Vilnius Wilno, now in Lithuaniaon 13 FebruaryGodowsky remains unique as the only great classical virtuoso in keyboard history to be self-taught.