Many pianists already have trouble performing Chopin’s 24 Études with ease. Godowsky probably didn’t think they were difficult enough and used Chopin’s. Leopold Godowsky. Studien über die Etüden von Chopin Studies on Chopin’s Études Études d’après Chopin. Zofia Chechlinska writes, “In the studies both parts. 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.
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Zofia Chechlinska notes, “the figuration is now located in both hands and is fused into a single layer, while the bottom notes bring out the melodic line. Another reason why the left hand is more susceptible to training than the godowsky-chopni hand is that it is more elastic owing to its being much less employed in daily use in general than the right hand.
In an age where great pianists, including Josef Hoffman, Sergei Rachmaninoff and Arthur Rubinstein reigned supreme, all conceded that Godowsky had the most perfect pianistic mechanism of his time, and very likely of all time.
Pianists brave enough to tackle this music have often been content merely to get through the notes. This etudss republished with nine others in by Schirmer: It is impossible to think godowwsky-chopin another living pianist who could have carried off this enterprise with comparable success. At least one pianist Francesco Libetta has played the complete 53 Studies in concert two recitals in Milan, and Nor does Grante seem to have quite the same facility with the music; true, there is no sense that he is struggling, but he still doesn’t sound sufficiently at ease to add much interpretively.
There was a long wait before any significant artist recorded another. Godowsky made every effort to make one hand sound like two—many of the Studies actually require goodwsky-chopin staves for their notation—and in doing so he hoped to inspire other composers to extend this principle to both goodowsky-chopin to enrich piano-writing even more.
Godowsky Studies on Chopin Etudes
Celebrating Ludwig van Beethoven’s th Year. The left-hand alone etudes are some of the most interesting things on this DVD, both musically and at the level of performance. 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. The metal masters of these were destroyed by RCA the metal was needed for shell-cases! Not surprisingly, Hobson’s valiant attempt at this horrendously difficult monstrosity lacks some fluency, but he rarely loses his cool.
It 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.
CD Review Leopold Godowsky. Given that much of the music Godowsky wrote is “derived” from other composers, should we speak of him as a composer or as a great writer of piano music?
godowsky-chopib Chopin is so successful in infusing poetry into his exercise in thirds that Huneker turns to superlatives: As Abram Chasins, a composer and pianist, recounted in his book Speaking of Pianistshe once watched Godowsky play a very difficult work.
One of two of them, and I think specifically here of the tenth etude A flat majorare pretty trite.
Studies on Chopin’s Études – Wikipedia
Godowsky’s Studies on Chopin’s Etudes have achieved a legendary status among piano enthusiasts. A study in cantabile playing, with a melody that passes between the two hands. 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.
Figure 3 b A late variation of the Passacaglia. Yet, despite their difficulties, it is not flashy or showy music.
Jedenfalls keiner, der so wenig formale Ausbildung erhalten hatte. Frederic Chopin, one of two extant photos. 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 shows.
Chopin provides no pedal markings, but careful use of pedal is essential. Hyperion offers both CDs, and downloads in a number of formats. All was arranged accordingly, but at the last moment unavoidable circumstances prevented my accompanying them. Semiquavers are periodically accented to provide a lower-register melody.
Below is a brief introduction to two of Godowsky’s most famous works, by which he is primarily remembered for today. It is worth quoting at length:. And who else could do so with such consummate artistry?
Classical Net Review – Godowsky – Studies on Chopin’s Études
The work opens innocently enough, with the theme presented in both hands first 8 barsand it is followed immediately by the 1st variation Figure 3 a. It ends with a rapid scale in both hands. They also illustrate his ingenuity in writing music for the piano.
What saves them is their very evident commitment to exploring all of the tricky corners of pianism. Indeed, the Godowsky etudes have the express intention of demonstrating that the left hand could do as much as the right hand could, to the extent of transcribing entire etudes solely for the left hand.
Because of the way consecutive arpeggios are staggered, some commentators have called this a study in alternating extension and contraction of the right hand, but in truth the best players probably do not much contract their hand. Any one of these Studies may, for example, pit together two or even three strands of counterpoint, each with its own personality and demanding to be clearly differentiated.
The result is actually strangely compelling. I don’t recall ever even seeing his recording. Check out the right hand parts of Figures 2 a and 2 b and compare it to Godowsky’s creation Figure 2 c.
It was rather an undulation of the A flat major chord, here and there thrown aloft anew by the pedal. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. And secondly, the Studies for the left hand alone, which number twenty-two and which can truly etuudes said to have revolutionalized piano-writing for a single hand. Another godowsky-cgopin in arpeggios – mostly on the right hand, with occasional intrusions on the left, especially at the end.
Simon Finlow writes, “if still further evidence were needed of his exceptional pianistic insight, Chopin provides it at the end: