(While Leopold Godowsky may be lesser known today, in his ...)
While Leopold Godowsky may be lesser known today, in his lifetime he was considered one of the great pianists and is arguably most famous for his transcriptions which displayed his dazzling virtuosity. This collection features pianist Emanuele Delucchi in a selection of Godowskys original works along with a selection of some of his transcriptions including his 44 variations on Schuberts Unfinished Symphony, considered one of the most complicated piano pieces ever written.
(Perhaps it's true that Vladimir Horowitz claimed Leopold ...)
Perhaps it's true that Vladimir Horowitz claimed Leopold Godowsky's 1928 Passacaglia "impossible to play." That hasn't stopped brilliant, note-gobbling supervirtuosos from taking up its uncommon cause. The work treats the opening measure's of Schubert's "Unfinished" Symphony as a ground bass from which 44 variations and a gigantic fugue evolve. The increasingly elaborate, upholstered textures and harmonic purple prose often suggest Max Reger huffing and puffing his way through the Gershwin songbook, leaving little time to relax or breathe. Fortunately, Marc-André Hamelin channels his envious technique toward the most effective musical ends, taking more time with transitions than he did on his first recording of the work in 1988 and lingering just enough over lyrical passages. He unleashes intense heat in the demanding cadenza, yet keeps his scurrying fingers cool and controlled. Hamelin's unflinching proficiency and ability to handle the most taxing keyboard figurations with utter nonchalance brilliantly serve Godowsky's rambling, five-movement behemoth of a Piano Sonata. His only significant competition comes from Konstantin Scherbakov on Marco Polo, whose phrase inflections and dynamic surges tend to soften the music's grip. This is particularly telling in the Andante Cantabile, which contrasts with Hamelin's swifter, more fluid dispatch. Hamelin also keeps things moving by wisely forgoing Godowsky's superfluous repeats in the first and third movements, while Scherbakov observes them, to less convincing musical effect. It is churlish to say that no pianist need record these works again, yet future Godowsky players will have to practice to the bone in order to match, let alone surpass, Hamelin's reference versions. --Jed Distler
Leopold Godowsky was a Polish-American virtuoso pianist, composer, and teacher.
Background
Godowsky was born on February 13, 1870, in Žasliai, Lithuania, the older of two children and the only son of Mathew Godowsky, a physician, and Anna (Lewin) Godowsky. His father died in 1871, and it was to his mother that Leopold owed the quick recognition of his musical talent and the careful guidance of his musical development.
Education
Although Godowsky studied violin and then piano with marked success from the age of four and began composing at seven, he was not hurried into a public career as a child prodigy. Paradoxically, Godowsky had almost no formal training after childhood. A brief session at the Berlin Hochschule für Musik in 1884 and a rather desultory arrangement with Saint-Saëns at Paris during the years 1886-90 provided his only advanced lessons; his sole degree was an honorary Doctor of Music awarded years later (1934) by the Curtis Institute of Music in Philadelphia.
Career
Godowsky's debut as a pianist was at Vilna in 1879, and it was not until two years later that he was allowed to tour in recitals through the nearby provinces. He first visited the United States in 1884-1886, playing in concerts with the American singers Emma Cecilia Thursby and Clara Louise Kellogg and the Belgian violinist Ovide Musin. In 1891 he was back again, to marry and settle down to a decade of touring, teaching (New York, Philadelphia, the Chicago Conservatory), and maturation. It was during these years that he developed his theory of "weight and relaxation" in piano playing, the idea that pianistic power should come not through muscular force but by a relaxed use of arm weight, and his preoccupation with left-hand technique. This maturation period ended abruptly with Godowsky's first recital in Berlin (December 6, 1900), a phenomenally successful performance that overnight put him among the top-ranking pianists of the world. For nine years he made his headquarters in Berlin, touring extensively and teaching. From 1909 to 1914 he was director of the Piano Master School of the Viennese Academy of Music. Then in 1914 he returned once more to the United States, this time for good (he was naturalized in 1891 and again in 1921), except for recital tours in Europe and around the world. In the early 1920's he gave up most of his public playing, turning more to composition, transcription, and editing of piano music, but continuing the master classes through which he taught selected pupils in the West and in New York. A paralytic stroke in 1930 slowed down his activities; he never played the piano again. Death came to him at New York, long his nominal home, after an operation for an intestinal obstruction on November 21, 1938. Godowsky's compositions and transcriptions for piano tend to be rather like their creator: short but pithy, full of pedagogic zeal hidden beneath a witty exterior. The pieces are grouped under such exotic titles as Triakontameron ("30 moods and scenes in triple measure"), Walzermasken, Renaissance, Miniatures, Java Suite. Best known is his group of "53 Studies on Chopin Etudes, " paraphrases in which the originals are dressed richly but reverently in the harmonic and polyphonic garb of Godowsky's own imagination. Progress and improvement, whether of the individual pianist or of the whole musical world, were very present concerns of Godowsky throughout his life; for years he worked in behalf of a United States Department of Fine Arts that would sponsor a national conservatory, opera house, and symphony orchestras.
Achievements
Godowsky was a renowned virtuoso pianist and composer, known for his exceptional piano technique. His outstanding contribution to piano playing lay in his extraordinary development of the ordinarily weaker and subordinate left hand.