Godowsky’s Studies on Chopin’s Etudes have achieved a legendary status among piano enthusiasts. Few areas of the repertoire have such a notorious. Small wonder, then, that Godowsky’s crowning achievement was his 53 studies based on 26 Chopin Etudes, 22 of them for the left hand alone. As Godowsky. 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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Classical Net Review – Godowsky – Studies on Chopin’s Études

In its application to piano playing the left hand has many advantages over the right hand and it would suffice to enumerate but a few of these to convince the student that it is a fallacy to deem the left hand less adaptable to training than the right hand.

Godowsky was probably unequalled in independence of hands, equality of finger and his ability to delineate polyphonic strands. All was arranged accordingly, but at the last moment unavoidable circumstances prevented my accompanying them. Eventually I came to the conclusion that the left hand is easier to develop when given an opportunity.

After numerous experiments I succeeded in finding an entirely new succession of fingers which appeared to me most practical. Chlpin first four measures of Chopin-Godowsky Study No.

However, such writing could only have been achieved by a pianist who had an intimate knowledge of the possibilities and limitations of the instrument and piano technique. Godowsky’s Studies on Chopin’s Etudes have achieved a legendary status among piano enthusiasts. 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.

Many of the variations feature such dense contrapuntal writing. The ‘density’ of the writing gradually increases and a late variation is shown in Figure 3 b.

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. Special remarks on chopib studies for the left hand alone In writing the twenty-two studies for the left hand alone, the author wishes to oppose the generally prevailing idea that the left hand is less responsive to development than the right.

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My brother-in-law and his wife were among the close to one hundred human beings who lost their lives. They wrote me from Niagara Godowsk, where they had stopped overnight, of their enthusiastic appreciation of one of the wonders of the world, and continued to Chicago.

Mindestens ein Pianist bzw. After all, his best-known works today the 53 Studies, Passacaglia, transcriptions are fantastic elaborations on works by other composers, fodowsky than original melodies that he himself composed.

Todowsky eine Nocturne, eine Polonaise, da eine Mazurka? 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 name Leopold Godowsky is rarely mentioned when one talks about favourite composers who wrote piano works. This recording is dedicated to the memory of my father who, as an avid Godowsky enthusiast, was particularly looking forward to the eventual godowsly of this project.

The limited number of compositions which have been written for the left hand alone show a desire on the part of their composers to mostly develop the left hand in the direction of mere virtuosity.

Check out the right hand parts of Figures 2 a and 2 b and compare it to Godowsky’s creation Figure 2 c. Few areas of the repertoire have such a notorious reputation for technical difficulty and audacious compositional invention. First-rate production complements one of the great recordings of the century—and I do mean the 20th century with its whelming backlog of palpable genius.

Studies on Chopin’s Études – Wikipedia

This was republished with nine others in by Schirmer:. Perhaps the task of learning and mastering such a work is too unrewarding, which godowssky be why the Passacaglia is not heard frequently in the concert hall today. It is worth quoting at length: Welcome to Hyperion Records, gidowsky 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.

Certainly on the basis of his dismal Busoni set recorded for Philips some 15 years ago, I would avoid him. 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.

Das wurde auf zweierlei Art erreicht: Before discussing Godowsky’s music proper, some mention of his pianistic abilities should be made.


GODOWSKY Studies on Chopin

Ce sera David Saperton, le gendre de Godowsky, qui enregistra dix transcriptions en avec quelques autres compositions de Godowsky. This provides yet another explanation why these Studies have been neglected over the years: The fifty-three studies are to be considered in an equal degree suitable for concert purposes and private study.

He provided me over the years with many interesting ideas and comments—all stemming from a deep familiarity with the music. The effect is like one’s first encounter with Milton’s earthly paradise. 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.

Another reason why the left hand is more susceptible to training than the right hand is that it is more elastic owing to its being much less employed in daily use in general than the right hand. Godowsky has been accused of sacrilege for writing these Studies, i. Bach violin sonatas, cello suitesSchubert Lieder and other composers for solo piano. Hopefully, receptive listeners new to the Godowsky experience will welcome the kind of prismatic effect he achieved secure in the knowledge that it is produced by a friendly hand.

The theme is in the left hand, while the right hand introduces counter melodies. And who else could do so with such consummate artistry? I then transposed the Study to the left hand to see whether the same fingering could be applied to it: Pianovers Meetup 75 Digest. Which is a pity and a loss to lovers of piano music and the general public because Godowsky’s works are truly fascinating and his compositional skill, astounding.

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 have.