GODOWSKY ETUDES PDF

Study in D-flat major after Op. Study in A minor after Op. Study in C-sharp minor after Op. Study in G-flat major after Op.

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The name Leopold Godowsky is rarely mentioned when one talks about favourite composers who wrote piano works. His compositions are often only explored by pianists who are interested in the exotic repertoire of the piano literature.

Does Godowsky deserve this neglect? Perhaps not. He might have been the most unique writer of piano music after Chopin, and that's not forgetting Liszt, Debussy and Rachmaninoff. So why is Godowsky's music not as well-known as that of the composers mentioned above?

Before discussing Godowsky's music proper, some mention of his pianistic abilities should be made. In an age where great pianists, including Josef Hoffman, Sergei Rachmaninoff and Arthur Rubinstein reigned supreme, all conceded that Godowsky had the most perfect pianistic mechanism of his time, and very likely of all time. Godowsky was probably unequalled in independence of hands, equality of finger and his ability to delineate polyphonic strands.

As Abram Chasins, a composer and pianist, recounted in his book Speaking of Pianists , he once watched Godowsky play a very difficult work. 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.

Yet, despite their difficulties, it is not flashy or showy 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. As such, there has been a shortage of recordings and performances of Godowsky's music.

Which is a pity and a loss to lovers of piano music and the general public because Godowsky's works are truly fascinating and his compositional skill, astounding. Below is a brief introduction to two of Godowsky's most famous works, by which he is primarily remembered for today. They also illustrate his ingenuity in writing music for the piano.

The final result was the 53 Studies , which 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.

Chopin-Godowsky Study No. Doesn't look too hard after all, does it? So what's the fuss? In case you didn't watch the video, the Study is supposed to be played by the left hand only! Out of the 53 Studies, 22 are for the left hand alone and Godowsky's comments on these Studies are worth quoting in full. The comments which I feel are particularly insightful are marked out in bold.

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 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.

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.

An even more amazing Study is No. Check out the right hand parts of Figures 2 a and 2 b and compare it to Godowsky's creation Figure 2 c. Hamelin again, "It seems quite plain to me that such a fantastically clever feat of combinatorial wizardry could only have been achieved by somebody with a truly profound knowledge and love of his chosen material. To me it can only inspire admiration. The interweaving of the two etudes actually sounds wonderful! One may wonder why Chopin himself did not do it.

Imagine slogging to learn and perfect this Study, only to appear doing nothing very much to an audience while performing it! Godowsky has been accused of sacrilege for writing these Studies, i.

Whether this is the case is for academics to argue over. Whatever it is, it is hard to dispute the compositional skill and ingenuity which Godowsky poured into these Studies. You need six hands to play it.

So Horowitz said of the Passacaglia. The above statement is certainly not true but it still remains a formidable work which requires a pianist of an unusually fine technique to execute. 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 variations and concluded the work with a cadenza and a fugue.

The work opens innocently enough, with the theme presented in both hands first 8 bars , and it is followed immediately by the 1st variation Figure 3 a.

The theme is in the left hand, while the right hand introduces counter melodies. The 'density' of the writing gradually increases and a late variation is shown in Figure 3 b.

Many of the variations feature such dense contrapuntal writing. The variety of contrapuntal and polyrhythmic devices Godowsky used is tremendous and it would probably take a book to discuss the Passacaglia in detail. In the more complicated variations, among the mass of notes, Schubert's simple theme can almost always be found and should clearly be heard amidst the whirlwind of sound as a result of the decorative writing.

Perhaps the task of learning and mastering such a work is too unrewarding, which may be why the Passacaglia is not heard frequently in the concert hall today. Godowsky also arranged many works by J.

Bach violin sonatas, cello suites , Schubert Lieder and other composers for solo piano. He also composed a number of original works. Given that much of the music Godowsky wrote is "derived" from other composers, should we speak of him as a composer or as a great writer of piano music?

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. However, such writing could only have been achieved by a pianist who had an intimate knowledge of the possibilities and limitations of the instrument and piano technique. 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.

Please contact us at yongmeng thepiano. I came into music just because I wanted the bread. It's true. I looked around and this seemed like the only way I was going to get the kind of bread I wanted.

Skip to main content. Submitted by ThePiano. Figure 2 c. The first four measures of Chopin-Godowsky Study No.

Isn't the left-hand part from Op. Figure 3 b A late variation of the Passacaglia. Can you find the melodic line of the theme? A performance of the Passacaglia is shown in the embedded YouTube Video below:. You Might Also Like. Music and Artificial Intelligence. The Healing Powers Of Sound. Music Therapy In Hospitals. What Is A Leitmotif. Video Game Music - a Primer on the best loved tunes. What is a Pianica. History of the Metronome.

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Hyperion Records

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. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Godowsky's Studies on Chopin's Etudes have achieved a legendary status among piano enthusiasts.

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Studies on Chopin's √Čtudes

The arpeggiated right-hand chords, caught in the pedal, create alternating dissonances increasing to fortissimo and consonances diminishing to forte and build tension climactically. Because of the way consecutive arpeggios are staggered, some commentators have called this a study in alternating extension and contraction of the right hand, but in truth the best players probably do not much contract their hand. James Huneker writes, "Here is the new technique in all its nakedness, new in the sense of figure, design, pattern, web, new in a harmonic way. The nub of modern piano music is in the study, the most formally reckless Chopin ever penned. Godowsky notes, "It is of considerable advantage to practise most of the examples in all keys.

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Leopold Godowsky

Follow us on. 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. Many pianists from the "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. Richard Wagner described Chopin as "a composer for the right hand" and Godowsky would probably have agreed with him.

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