GODOWSKY-CHOPIN ETUDES PDF

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. 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. 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.

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Occasionally, the thumb is asked to play both a black grace note etdes the white key that follows it; it is difficult etudrs suppress wrong accents. The sleeve-note states that many are recorded for the first time, though it is not true that the left-hand version of the Revolutionary has never appeared before: You need six hands to play it. There was a long wait before any significant artist recorded another. Frederic Chopin, one of two extant photos. 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.

Leopold Godowsky: 53 Studies on Chopin’s Études

The prospective pianist is confronted with unexpected levels of difficulty, mostly concerned with mental challenges seldom if ever encountered anywhere else in the repertoire, requiring unflinching concentration and true dedication in order that all details are clearly presented and articulated. 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 etudew deem the left hand less adaptable to training than the right hand.

Jede einzelne dieser Studien kann zum Beispiel zwei oder sogar drei kontrapunktische Linien zusammen ansetzen, deren jede einen eigenen Charakter hat und die klare Differenzierung erfordern.

Dynamics also vary frequently. They remain among the most daunting challenges of the piano literature, their difficulties not always fully apparent to the listener.

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The study has an unusual look on the page, as most of the notes are printed smaller than is ordinary, with the accented notes printed at full size. Simon Finlow writes, “if still further evidence were needed of his exceptional pianistic insight, Chopin provides it at the end: In a middle section, a bass melodic line must be traced by the fifth finger of the left hand, with aid from the pedal. Assuming you can find it that is: And in places the notes of the figuration create motives that counterpoint the main melody.

Hamelin delivers on every level: My brother-in-law and his wife were among the close to one hundred human beings who lost their lives.

Those of us who enjoy vodowsky-chopin recordings, originally on 78s, are well aware that ultimate fidelity to the text was not always considered a necessary attribute of great playing. 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.

He also composed a number of original works. 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. A study in cantabile playing, with a melody that passes between the two hands. After numerous experiments I succeeded in finding an entirely new succession of fingers which appeared to me most practical.

Godowsky was probably unequalled in independence of hands, equality of finger and his ability to delineate polyphonic strands. Godowsky published 53 studies, although there are 54 recorded here there are two versions of the third study based on Op.

Godowsky Studies on Chopin Etudes

Godowsky himself only recorded godowsku-chopin of these Etudes on Hupfeld piano rolls, which to my knowledge godoqsky-chopin never been transferred to disc.

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. The piece is rhythmically challenging, for although the figurations do not change in any substantial way, the right hand quavers are grouped sometimes in three, sometimes in twos, sometimes in syncopated twos, and sometimes in a continual uniform stacatto or legato line; these differences of articulation change the melodic line that emerges.

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The metal masters of these were destroyed by RCA the metal was needed for shell-cases! 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. Obviously, Hamelin was born to make Godowsky live for us. His compositions are often only explored by pianists who are interested in the exotic repertoire of the piano literature.

The pianist must have godowsky-chkpin reserves of power and endurance. I received godkwsky-chopin letter in the morning, and in the afternoon newspapers issued extras giving news of an appalling catastrophe, the most terrible railroad accident in the history of America, happening near Battle Creek, Michigan. Eventually I came to the conclusion that the left hand is easier to develop when given an opportunity.

The final result was the 53 Studieswhich 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.

Don’t show me this message again. Check out the right hand parts of Figures 2 a and 2 b and compare it to Godowsky’s creation Figure 2 c.

Introduction to Leopold Godowsky, his 53 Studies on Chopin’s Etudes, and Passacaglia

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 etudse. An even more amazing Study is No. Special attention must be drawn to the fact that owing to innumerable contrapuntal devices, 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.