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. 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, Frederic Chopin, Marc-Andre Hamelin – Godowsky: Complete Studies on Chopin’s Etudes – Music.
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Byhowever, the advertised total had risen to Does Godowsky deserve this neglect? 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.
He provided me over the years with many interesting ideas and comments—all stemming from a deep familiarity with the music. Few areas of the repertoire have such a notorious reputation for technical difficulty and audacious compositional invention. This was republished with nine others in by Schirmer:. 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.
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.
Yet, despite their difficulties, it is not flashy or showy fodowsky. 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.
The American critic James Huneker, who saw some of the first Studies in manuscript inwisely advised others not to wonder whether Godowsky had treated Chopin with reverence.
Or perhaps he recorded them too soon. Given that much of the music Godowsky wrote is “derived” from other composers, should we speak of him as a composer or as a teudes writer of piano music? Godowsky was probably unequalled in independence of hands, equality of finger and his ability to delineate polyphonic strands. Imagine slogging godowskky learn and perfect this Study, only to appear doing nothing very much to an audience while performing it!
Studies on Chopin’s Études – Wikipedia
You need six hands to play it. Blumenfeld’s Etude for the Left Hand spectacularly recorded by Simon Barere and Georges Cziffra’s transcription of Flight of the Bumble Bee are two of the most demanding works for the left hand 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. After all, his best-known works today the 53 Studies, Passacaglia, transcriptions are fantastic elaborations on works by other composers, rather than original melodies that he himself composed.
Godowsky’s Studies on Chopin’s Etudes have achieved a legendary status among piano enthusiasts.
Introduction to Leopold Godowsky, his 53 Studies on Chopin’s Etudes, and Passacaglia
Far from being disrespectful maltreatments of Chopin’s masterpieces, Godowsky’s elaborations aim to extend the limits of modern piano technique. In addition to what is stated above, the left hand, commanding as it does the lower half of the keyboard, has the incontestable advantage of enabling the player to produce with less effort and more elasticity a fuller and mellower tone, superior in quantity and quality to that of the right hand.
Isn’t the left-hand part from Op. Essential for those who love Chopin and etufes art of playing the piano. The theme is in the left hand, while the right hand introduces counter melodies.
Bach violin sonatas, cello suitesSchubert Lieder and other composers for solo piano. I have never heard such playing before. Many of the studies are fairly straight transcriptions, particularly the left hand ones, but etydes 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. Godowsky used the opening 8 measures of Schubert’s “Unfinished” Symphony as the theme, composed 44 variations based on it, of course, heaping difficulty upon difficulty on succeeding efudes and concluded the work with a cadenza and a fugue.
Doesn’t look too hard after all, does it? As such, there has been a shortage of recordings and performances of Godowsky’s music. This provides yet another explanation why these Studies have been neglected over the years: These and a further twenty-two studies were published in by Schlesinger and Schirmer, re-engraved with little change to the music but with commentary and, occasionally, revised fingerings and ossia readings.
Well, all that were written: This was the first significant body of left-hand piano music and Ravel studied it extensively while composing his Concerto. 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.