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.

Author: Gardazil Akirn
Country: Austria
Language: English (Spanish)
Genre: Sex
Published (Last): 8 November 2005
Pages: 23
PDF File Size: 15.73 Mb
ePub File Size: 9.74 Mb
ISBN: 339-7-63782-479-3
Downloads: 60666
Price: Free* [*Free Regsitration Required]
Uploader: Vudoshura

In the more complicated variations, among the mass of notes, Schubert’s simple theme can almost ettudes be found and should clearly be heard amidst the whirlwind of sound as a result of the decorative writing.

This was republished with nine others in by Schirmer: It is worth quoting at length: 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 was probably unequalled hodowsky independence of hands, equality of finger and his ability to delineate polyphonic strands. Here a nocturne, a polonaise, there a mazurka? I suppose that some readers may be interested to know how I started to compose these Studies.

I have never heard such playing before. 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. You need six hands to play it.


So what’s the fuss? Mindestens ein Pianist bzw.

Classical Net Review – Godowsky – Studies on Chopin’s Études

The interweaving of the two etudes actually sounds wonderful! And so it continues throughout the entire Chopin set with the exception of Op. In addition to the Opp. Harold Schonberg of the New York Times described this music as “probably the most impossibly difficult things ever written for the piano. I don’t recall ever even seeing his recording. 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.

This provides yet another explanation why these Studies have been neglected over the years: His compositions are often only explored by pianists who are interested in the exotic repertoire of the piano literature.

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. Well, all that were written: 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.

Hyperion Records

Many of the variations feature such dense contrapuntal writing. So Horowitz said of the Passacaglia. Perhaps etuds task of learning and mastering such a work is too unrewarding, which may goodowsky why the Passacaglia is not heard frequently in the concert hall today. The site is also available in several languages. 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.


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.

The comments which I feel are particularly insightful are marked out in bold. Such difficult music is probably out of reach technically for most of us, but it is nonetheless a fascinating experience godoswky, listening to and appreciating the music written by one of the most unique figures in the history of the piano.

One may wonder why Chopin himself did not do it. He provided me over the years with many interesting ideas and comments—all stemming from a deep familiarity with the music.

Doesn’t look too hard after all, does it? Or perhaps he recorded them too soon.

Does Godowsky deserve this neglect? Godowsky, der am