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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It was rather an undulation of the A flat major chord, here and there thrown aloft anew by the pedal. If you are indifferent or worse, offendedthen this music is not for you.
The left hand takes some perilous leaps to delineate its two voices, especially near the end. Obviously, Hamelin was born to make Godowsky live for us. Special attention must be drawn to the fact that owing to innumerable contrapuntal wtudes, 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.
A simple experiment, though, will suffice: Asks the right hand to play a legato melody and stacatto accompaniment the latter augmented by the left chipin simultaneously a procedure which Robert Collet claims originated ettudes Weber.
They also illustrate his ingenuity in writing music for the piano. The original Chopin Studies remain as intact as they were before any arrangements of them were published; in fact, numerous artists claim that after assiduously studying my versions, many hidden beauties in the original Studies will reveal themselves to the observant student.
Studies after Frederic Chopin (Godowsky, Leopold)
One may wonder why Chopin himself did not do it. Can you find the melodic line of the theme? This was the first significant body of left-hand piano music and Ravel studied it extensively while composing his Concerto. 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.
Or perhaps he recorded them too soon. Godowsky also arranged many works by J. The character of the piece is comic, light, and very fast. Further complicates the right hand part with a few tricky grace notes.
Studies on Chopin’s Études – Wikipedia
Hamelin is, of course, one of the very few living pianists with the technique to play this music as it should be played: As such, there has been a shortage of recordings and performances of Godowsky’s music. Even though many pianists nowadays have the technical chops to perform Godowsky’s music, it has been neglected in favour of music which is outwardly showy.
Conductor killed by conducting staff: 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. 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.
Classical Net Review – Godowsky – Studies on Chopin’s Études
Godowsky, der am Isn’t the left-hand part from Op. Yet, despite their difficulties, it is not flashy or showy music.
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 ftudes of cjopin regarding the treatment of the instrument and its musical utterance in general.
Perhaps because he was equipped with such an all-encompassing technique, he wrote music that is technically very difficult to execute, though it is never difficult for the sake of it more below.
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.
Hamelin delivers on every level: All was arranged accordingly, but at the last moment unavoidable circumstances prevented my accompanying them. Has any other composer ever produced works of such a revolutionary nature for the piano at such an early age? The left hand is favoured by nature in having the stronger part of the hand for the upper voice of all double notes and chords and also by generally having the strongest fingers for the strongest parts of a melody.
The inventiveness displayed in these particular Studies in chopn 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.
The left hand plays a godowskyy melody, including a few rapid scales. This amounts to a transformation of harmonic figuration into an effect of dynamic power and energy. A study in cantabile playing, with a melody that passes between the two hands.
Geoffrey Douglas Madge Dante, became the first pianist to record the entire cycle, followed by Carlo Grante Altarus, — The more I transcribed, the more I found that the left hand was as adaptable to the mechanical and technical difficulties as the right hand.
Godowsky notes, “It is of considerable advantage to practise most of the examples in all keys. Certainly on the basis of his dismal Busoni set recorded for Philips some 15 years ago, I would avoid him. I suppose this music is not for everybody; there will undoubtedly be those whose first, second and indeed last reaction will be “sacrilege!
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. The eleven exercises Godowsky supplies include scales and runs for the weak three fingers.
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.