GODOWSKY REVOLUTIONARY ETUDE PDF

Godowsky’s Studies on Chopin’s Etudes have achieved a legendary status among piano enthusiasts. Few areas of the repertoire have such a notorious. foreword describes the unique position that Godowsky’s Studies occupy in .. Ex. Comparison between the first six notes of Chopin, √Čtude Op. 25 No. Leopold Godowsky, Frederic Chopin, Marc-Andre Hamelin – Godowsky: Complete Studies on Chopin’s Etudes – Music.

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While some great pianists play the core works we’ve heard countless times, Marc Andre-Hamelin has an affinity for those lesser-heard gems. On godowksy recording of Busoni’s epic Piano Concerto, Op. Originally written as a playful diversion by Godowskya self-taught composer barely in his 20s, these pieces never sacrifice listening experience for ivory pyrotechnics.

They’re a joy to hear–a fresh and sometimes dizzying take on Chopin, with added voices, multiple arabesques, and inventive fingering positions. Hamelin handles it all, making these challenges sound like a walk in the park.

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

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Godowsky Left Hand

Lento Ma Non Troppo. Presto Ma Non Troppo. Allegro Ma Non Troppo. Allegro Sostenuto E Cantabile. Lento – Allegro Con Brio. Allegro Molto E Con Fuoco. Share your thoughts with other customers. Write a customer review. Read reviews that mention chopin etudes left hand hand alone marc-andre hamelin liner notes original etudes leopold godowsky makes them sound hamelin performance studies on chopin greatest pianists written for the left ever written piano recordings studies written hamelin technique godowsky studies piano music pieces pianist.

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Showing of 32 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. Audio CD Verified Purchase. Artur Rubinstein once remarked that it would take him years to get a mechanism like Godowsky’s.

Such was the esteem accorded to the pianist who composed the 53 studies of this album and in which he extended the well-known technical and musical ideas in the Chopin etude canon to pianistic limits unequalled before or since.

The non-pianist may at first think this a superfluous tinkering with the Chopin touchstones, but pianists recognize its considerable extension of technique many etudes are for the left hand alone and find Godowsky’s musical adaptations in godowsiy late Romantic idiom to be technical poems in their own right. As a Mount Everest of piano technique, this cycle seems to draw relatively few performances or recordings. And etudr is here that Mr.

Hamelin steps forth as a Godowsky of our time – a piano virtuoso, composer, and scholar all in one. No other recording matches the technical and musical fluency achieved in his album, and the pianist’s own liner notes are equally insightful. Serious piano students and etuxe of the golden age virtuosi should need no further recommendation; non-pianists interested in the final developments and ferment of late nineteenth century music will likewise find godkwsky substance here.

One person found this helpful. Godowsjy the original etudes are already fairly challenging at least some of themGodowsky has taken the technical challenges to the extreme, and in the process twisted, broken, ornamented and embellished the originals, sometimes to the point where the original is almost covered by torrents and maelstroms wtude storms of new notes.

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And though several of them may not sound technically insurmountable for a professional pianist, that is probably because they are for the left hand alone such as the Revolutionary Etude transcription. Well, to tell it in brief: Now, I will readily admit that this music is not for everybody, and I remained very unsure for quite a while.

I suppose that, if you are in doubt, you could try no. In any case, and whatever you verdict gpdowsky ultimately be, this is an experience like nothing else, and as such this disc is something of a must. Ten years ago, following a severe accident where I broke my right upper forearm and my shoulder, I undertook paraphrasing eight of the Chopin etudes to be played with the left hand alone. I was really proud of that accomplishment: I stayed faithful mostly to the original compositions, and I thought my paraphrases were wickedly difficult to play!

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It would be one thing merely to be able to PLAY these paraphrases — and some of gosowsky have the technique to pull it off; but Hamelin’s technique is so completely secure that one hears the tonal coloring, the inner voices, the revolutonary canons and the utter musicality of the compositions which Godowsky obviously wants us to hear.

In particular, listen to the performances of the Etudes arranged for the left hand alone. Godowsky is strongly influenced by the post-Romantic musical idiom in the time he wrote, and you’ll hear very strong elements of the pianistic and harmonic language used by Scriabin and particularly Rachmaninov infused throughout each paraphrase. Actually, I think Godowsky’s musical language is very effective for what he does with these pieces! On the other hand, if you approach these paraphrases with an open mind just to see what can be done with the material Godowsky used — and you want to hear it exquisitely performed — you’re in for a REAL treat!

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

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