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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Leopold Godowsky

This nocturne is composed almost entirely of quickly rolled chords of wide span, at a rate of six per hand per measure with the hands close together, creating a harp-like effect – “as if the guitar had been dowered with a soul,” writes Huneker. Godowsky made every effort to make one hand sound like two—many of the Studies actually require two staves for their notation—and in etudrs so he hoped to inspire other composers to extend this principle to both hands to enrich piano-writing even more.

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 chopij chords. 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.

The cbopin technical difficulty is that the long fingers must cross over each other without aid from the thumb to play the scales.

The right hand stacatto part is syncopated; odd-numbered beats are represented only by a single left-hand bass note, whereas even-numbered beats are filled with chords and frequently accented. Taken as a whole, these Studies revolutionized piano writing and expanded the polyphonic and polyrhythmic capabilities of the instrument.

If you are indifferent or worse, offendedthen this music is not for you. The left hand groupings are more stable, so the metrical relations between the two hands is variant.

After numerous experiments I succeeded in finding an entirely new succession of fingers which appeared to me most practical. Here a nocturne, a polonaise, there a mazurka? Obviously a number of the originals feature more than once and one, Op. And who else could do so with such consummate artistry? Das wurde auf zweierlei Art erreicht: 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.


Further complicates the right hand part with a few tricky grace notes. Richard Wagner described Chopin as “a composer for the right hand” and Godowsky would probably have agreed with him. As Abram Chasins, a composer and pianist, recounted in his book Speaking of Pianistshe once watched Godowsky play a very difficult work.

Leopold Godowsky: 53 Studies on Chopin’s Études

Geoffrey Douglas Madge, whose Dante set I have not heard, is a pianist whose technique, I would suggest, simply is not up to the task. Godowxky the E major midsection, the arpeggiated right hand part changes rhythm from duplets to triplets to quadruplets, and the two hands share a melodic inner voice while the left hand plays bass and the right hand plays rapid figurations; this passage has prompted comparisons with Sigismond Thalberg’s favorite compositional trick, the clever simulation of three-handed playing.

The chopjn Leopold Godowsky is rarely mentioned when one talks about favourite composers who wrote piano works.

Godowsky notes, “It is of considerable advantage to practise most of the examples in all keys. I have never heard such playing before. Such difficult music is probably out of reach technically for most of us, but it is nonetheless a fascinating experience exploring, listening to and appreciating the music written by one of the most unique figures in the history of the piano.

Dynamics also vary frequently.

The pianist must have lare reserves of power and endurance. Geoffrey Douglas Madge Dante, became the first pianist to record the entire cycle, followed by Carlo Grante Altarus, — A simple experiment, though, will suffice: The piece is rhythmically challenging, for although the figurations do not change etudrs any substantial way, the right hand quavers are grouped sometimes in three, sometimes in twos, sometimes in syncopated twos, and sometimes in a continual godowskyy stacatto or legato line; these differences of articulation change the melodic line that emerges.

Nor does Grante seem to have quite the same facility with the music; true, there is no sense that he is struggling, but he still doesn’t sound sufficiently at ease to add much interpretively.

Some recast Chopin’s right-hand passagework for the left hand while introducing new contrapuntal ideas; some treat the originals more freely, inverting, imitating or combining two Etudes; others are character pieces or variations based on Chopin’s originals; and twenty-two of the Studies are for the left hand alone. The first four measures of Chopin-Godowsky Study No.


Studies on Chopin’s Études

Chopin is said to have told his friend Gutmann that “he had never in his life written another such melody. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

This amounts to a transformation of harmonic figuration into an effect of dynamic power and energy. This was accomplished in two different ways: Hamelin is, of course, one of the very few living pianists godowskh the technique to play this music as it should be played: 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.

This provides yet another explanation why these Studies have been neglected over the years: Uniquely available on 2CDs, this will surely be etuxes benchmark recording for all time. Many pianists from gofowsky “Golden Age” were particularly fond of “improving” Chopin by, for example, playing tricky passages in thirds Josef Hoffman’s s recording of the “Minute” Waltz is a good example.

Conductor killed by conducting staff: The ‘density’ etuces the writing gradually increases godowsk a late variation is shown in Figure 3 b. In these repetitions, however, changes of accentuation, fresh modulations, and piquant antitheses, serve to make the composition extremely vivacious and effective.

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. 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.