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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Asks the right hand to play a legato melody and stacatto accompaniment the latter augmented by the left hand simultaneously a procedure which Robert Collet claims originated with Weber. The unusual mental and physical demands made upon the performer by the above-mentioned work, must invariably lead to a much higher proficiency in the command of the instrument, while the composer for the piano will find a number of suggestions regarding the treatment of the instrument and its musical utterance in general.

Few areas of the repertoire have such a notorious reputation for technical difficulty and audacious compositional invention. The piece is rhythmically challenging, for although the figurations do not change in any substantial way, the right hand quavers are grouped sometimes in three, sometimes in twos, sometimes in syncopated twos, and sometimes in a continual uniform stacatto or legato line; these differences of articulation change the melodic line that emerges.

This amounts to a transformation of harmonic figuration into an effect of dynamic power and energy.

All was arranged accordingly, but at the last moment unavoidable circumstances prevented my accompanying them. Hamelin delivers on every level: The eleven exercises Godowsky supplies include scales and runs for the weak three fingers.

In the E major midsection, the arpeggiated right hand part changes rhythm from duplets to triplets to quadruplets, and the two hands share a melodic inner voice while the left gkdowsky plays bass and the right hand plays rapid figurations; this passage has prompted comparisons godwsky Sigismond Thalberg’s favorite compositional trick, the clever simulation of three-handed playing. Many of the studies are fairly straight transcriptions, particularly the left hand ones, but most of them either add extra subjects in counterpoint, transpose the function of the hands in the original – as in the first of chpoin, a majestic reworking of Op.

Nonetheless, this is a great pianist and, more importantly a great mind, and odd minutes well spent. With the exception of the music of Kaikhosru Shapurji Sorabji, I know of no segment of the repertoire to have achieved such a legendary status, and even a casual perusal of the scores will help understand why.


Studies after Frederic Chopin (Godowsky, Leopold)

Throughout all the harmonies one always heard in great tones a wondrous melody, while once only, in the middle of the piece, besides that chief song, a tenor voice became prominent in the midst of chords. It takes careful tonal balance and phrasing to give the melody its due while maintaining smooth rapid arpeggiation of godoqsky chords that compose it. A simple experiment, though, will suffice: The preparatory exercises included in a number of the studies will be found helpful in developing a mechanical mastery over the pianoforte cgopin applying them to the original Chopin studies as well as to the above-mentioned versions.

The arpeggiated right-hand chords, caught in the pedal, create alternating dissonances increasing to fortissimo and consonances diminishing to forte and build tension climactically. Another technical difficulty is the occasional need to play two notes on the left hand for every three on the right.

Taken as a whole, these Studies revolutionized piano writing and expanded the polyphonic and polyrhythmic capabilities of the instrument.

Hamelin is, of etudex, one of the very few living pianists with the technique to play this music as it should be played: Godowsky himself only recorded some of these Etudes on Hupfeld piano rolls, which to my knowledge have never been transferred to disc. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Godowsky published 53 studies, although there are 54 recorded here there are two versions of the third study based on Op. godwosky

March Total duration: I received the letter in the morning, and in the afternoon newspapers issued extras giving news of an appalling catastrophe, the most terrible railroad accident in the history of America, happening near Battle Creek, Michigan. Certainly on the basis of godowwsky dismal Busoni set recorded for Philips some 15 years ago, I would avoid him.

The all-time greats Read about the artists who changed the world of classical music. The metal masters of these were destroyed by RCA the metal was needed for shell-cases!

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.

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.


This nocturne is composed almost entirely of quickly rolled chords of wide span, at a rate of six per hand per measure with the hands close together, creating a harp-like effect – “as if the guitar had been dowered with a soul,” writes Huneker.

Hamelin’s may not be the only way to play these studies but, until a pianist with a similarly transcendental technique and equal musicianship records them – and that, Godowsjy suggest, could be some considerable time – this is without doubt the set to have.

Not only does Hamelin have the “chops” he has been including various of the studies in his recitals both programmed and as encores for years now and it etydes. This was the first significant body of left-hand piano music and Ravel studied it extensively while composing his Concerto. Eventually I came to the conclusion that the left hand is easier to develop when given an opportunity.

Or perhaps he recorded them too soon. The left hand groupings are more stable, so the metrical relations between the two hands is variant. Special attention must be drawn to the fact that owing to innumerable contrapuntal devices, which frequently compass almost the whole range of the keyboard, the fingering and pedalling are often of a revolutionary character, particularly in the twenty-two studies for the left hand alone.

Being averse to 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. Hopefully, receptive listeners new to the Godowsky experience will welcome the kind of prismatic effect he achieved choppin in the knowledge that it is produced by a friendly hand. Chopon are periodically accented to provide a lower-register melody. In a middle section, a bass melodic line must be traced by the fifth finger of the left hand, with aid from the pedal.

This recording is dedicated to the memory of my father who, as an avid Godowsky enthusiast, was particularly looking forward to the eventual realization of this project. Written by Chopin for Ignaz Moscheles. Further complicates the right hand part with a few tricky grace notes.

Godowsky Studies on Chopin Etudes |

Home News Contacts Copyright. Jedenfalls keiner, der so wenig formale Ausbildung erhalten hatte. The chief etudees difficulty is that the long fingers must cross over each other without aid from the thumb to play the scales.