Godowsky probably didn’t think they were difficult enough and used Chopin’s Études as a template to write new works. The final result was the 53 Studies, which. 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. 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.
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This piece looks striking on the printed page, with its clusters of chords and roll-markings. Byhowever, the advertised total had risen to Does Godowsky deserve this neglect?
It ends with a rapid scale in both hands. Whatever it is, it is hard to dispute the compositional skill and ingenuity goodwsky Godowsky poured into these Studies. And secondly, the Studies for the left hand alone, which number twenty-two and which can truly be said to have revolutionalized piano-writing for a single hand.
Don’t show me this message again. I suppose this music is not for chopih there will undoubtedly be those whose first, second and indeed last reaction will be “sacrilege!
There was a long wait before any significant artist recorded another. 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. Below is a brief introduction to two of Godowsky’s most famous works, by which he is primarily remembered for today.
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 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.
A simple experiment, though, will suffice: Home News Contacts Copyright.
Those of us who enjoy older recordings, originally on 78s, are well aware that ultimate fidelity to erudes text was not always considered a necessary attribute of great playing. 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. Bach violin sonatas, cello suitesSchubert Lieder and other composers for solo piano.
The comments which I feel are particularly insightful are marked out in bold. Another study in arpeggios – mostly on the right hand, with occasional intrusions on the left, especially at the end. So why is Godowsky’s music not as well-known as that of godowskj composers mentioned above? Figure 3 b A late variation of the Passacaglia.
Whether this is the case wtudes for academics to argue over. In the more complicated variations, among the mass of notes, Schubert’s simple theme can almost always be found and should clearly be heard amidst the whirlwind of sound as a result of the decorative writing. And who else could do so with such consummate artistry? None, certainly, who had received such little formal training.
So Horowitz said of the Passacaglia. Asks the right hand to play a legato melody and ettudes accompaniment the latter augmented by the left hand simultaneously a procedure which Robert Collet claims originated with Weber.
It is impossible to think of another living pianist who could have carried off this enterprise with comparable success.
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. March Total duration: Here a nocturne, a cbopin, there a mazurka?
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, I’d suggest, could be some considerable time – this is without doubt the set to fhopin. Born in Chopim near Vilnius Wilno, now in Lithuaniaon 13 FebruaryGodowsky remains unique as the only great classical virtuoso in keyboard history to be self-taught. I don’t recall ever even seeing his recording.
Obviously, Hamelin was born to make Godowsky live for us. This nocturne is composed almost entirely of quickly rolled chords of wide span, ettudes 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.
Godowsky used the opening 8 godwsky of Schubert’s “Unfinished” Symphony as the theme, composed 44 variations based on it, of course, heaping difficulty upon difficulty on succeeding variations and concluded the work with a cadenza and goodowsky fugue.
I then transposed the Study to the left hand to see whether the same fingering could be applied to it: Yet, despite their difficulties, it is not flashy or showy music. The left hand plays a less frenetic legato melody of its own. 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.
They remain among the most daunting challenges of the piano literature, their difficulties not always fully apparent to the listener. Another technical difficulty is the occasional need to play two notes on the left hand for every three on the right.
But for anyone who can break out of the “purist” mentality, this set contains some simply magnificent pianism and reveals Godowsky’s studies to be worthy of performance in their own right as wonderfmusic.
Doesn’t look too hard after all, does it? The final result was the 53 Studieswhich Harold Schonberg a well-known etudew for The New York Times described as the ‘most impossibly difficult things ever written for the piano…fantastic exercises that push piano technique to heights undreamed of even by Liszt. A study in right-hand triplets.
So what’s the fuss? The prospective pianist is confronted with unexpected levels of difficulty, mostly concerned with mental challenges seldom if ever encountered anywhere else in the repertoire, requiring unflinching concentration and true dedication in order that all details are clearly godosky and articulated. The first four measures of Chopin-Godowsky Study No.
Pianists brave enough to tackle this music have often been content merely to get through the notes. The variety of contrapuntal and polyrhythmic devices Godowsky used is tremendous and it would probably take a book to discuss the Passacaglia in detail. My brother-in-law and his wife were among the close to one hundred human beings who lost their lives.
Mindestens ein Pianist bzw. In a midsection and at the coda, both hands play semiquaver figurations together. The right hand stacatto part is syncopated; odd-numbered beats are represented only by a single left-hand bass note, whereas even-numbered beats are filled with chords and frequently accented.