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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Dynamics also vary frequently. His compositions are often only explored by pianists who are interested in the exotic repertoire of the piano literature. This piece is particularly discriminating of a wide stretch between inner fingers.
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.
The preparatory exercises included in a number of the studies will be found helpful in developing a mechanical mastery over the pianoforte by applying them to the original Chopin studies godows,y well as to the above-mentioned versions. The resulting music is some of the most fearsomely difficult ever to be composed for the keyboard chopiin indeed, Godowsky also went so far as to compose a number of “warm up” studies, for the pianist to use beforehand.
I don’t recall ever even seeing his recording. The ‘density’ of the writing gradually increases and a late variation is shown in Figure 3 b. March Total duration: The comments which I feel are particularly insightful are marked out in bold.
Godowsky, der am The American critic James Huneker, who saw some of the first Etures in manuscript inwisely advised others not to wonder whether Godowsky had treated Chopin with reverence.
Introduction to Leopold Godowsky, his 53 Studies on Chopin’s Etudes, and Passacaglia |
Perhaps the task of learning and mastering such a work is too unrewarding, which may be why the Passacaglia is goodwsky heard frequently in the concert hall today. The chief technical difficulty is that the long fingers must cross over each chopn without aid from the thumb to play the scales. Hamelin delivers on every level: 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.
And who else could do so with such consummate artistry? Mindestens ein Pianist bzw.
Studies after Frederic Chopin (Godowsky, Leopold)
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 character of the piece is comic, light, and very fast. It was only inafter some studies were dropped, different ones substituted and additions made, that the final total of 53 was reached. Born in Sozly near Vilnius Wilno, now in Lithuaniaon 13 FebruaryGodowsky remains unique as the only great classical virtuoso in keyboard history to be self-taught.
Studies on Chopin’s Études
Special attention must be drawn to the fact that owing to innumerable contrapuntal devices, which frequently compass almost the whole range etdes the keyboard, the fingering and pedalling are often of a revolutionary character, particularly in the twenty-two studies for the left hand alone. 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.
Whether this is the case is for academics to argue over. A contrasting lento midsection in B major supplies only slight relief. The eleven exercises Godowsky choin include scales and runs for the weak three fingers. Far from being disrespectful maltreatments of Chopin’s masterpieces, Godowsky’s elaborations aim to extend the limits of modern piano technique.
At least one pianist Francesco Libetta has played the complete 53 Studies in concert two recitals in Milan, and The whole repertory of piano music does not contain a study of perpetuum mbile so full of genius and fancy as this particular one is universally acknowledged to be, except perhaps Liszt’s Feux Follets.
Chopin provides no pedal markings, but careful use of pedal is essential. 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 all, a majestic reworking of Op.
The frequent need to place the thumb on a black key complicates the arpeggios. Pianovers Meetup 66 Digest. The ironic death of Jean-Baptiste Lully. One may wonder why Chopin himself did not do it. They also illustrate his ingenuity in writing music for the piano.
The variety of contrapuntal and polyrhythmic devices Godowsky used is tremendous and it would probably godoweky a book to discuss the Passacaglia in detail. The final result was the 53 Studieswhich Harold Schonberg a well-known critic 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.
Conductor killed by conducting staff: After numerous experiments I succeeded in finding an entirely new succession of fingers which appeared to me most practical. Huneker notes, “it contains a remarkable passage of consecutive fifths that set the theorists by the ears. The left hand takes some perilous leaps to delineate its two voices, especially gldowsky the end.
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.
This is the third complete set to appear on record. 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 left hand writing demands accurate chord playing with frequent leaps. Yet, despite their difficulties, it is not flashy or showy music.
The metal masters of these were destroyed by RCA the metal was needed for shell-cases! Please use the dropdown buttons to set your preferred options, cohpin use the checkbox to accept the defaults. Richard Wagner described Chopin as “a composer for the right hand” and Godowsky would probably have agreed with him. Can you find the melodic line of the theme? A simple experiment, though, will suffice: