University of Miami Scholarly Repository Open Access Dissertations Electronic Theses and Dissertations 2010-10-14 The Eight Transcriptions of Chopin's "Black Key" Etude Op 10 No 5 by Leopold Godowsky Gregory Scott Taylor University of Miami, gregpiano1@aol.com Follow this and additional works at: http://scholarlyrepository.miami.edu/oa_dissertations Recommended Citation Taylor, Gregory Scott, "The Eight Transcriptions of Chopin's "Black Key" Etude Op 10 No 5 by Leopold Godowsky" (2010). Open Access Dissertations. 964. http://scholarlyrepository.miami.edu/oa_dissertations/964 This Open access is brought to you for free and open access by the Electronic Theses and Dissertations at Scholarly Repository. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of Scholarly Repository. For more information, please contact repository.library@miami.edu.
UNIVERSITY OF MIAMI THE EIGHT TRANSCRIPTIONS OF CHOPIN S BLACK KEY ETUDE OP 10 NO 5 BY LEOPOLD GODOWSKY By Gregory Scott Taylor A LECTURE RECITAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida June 2010
2010 Gregory Scott Taylor All Rights Reserved
UNIVERSITY OF MIAMI A lecture recital essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts THE EIGHT TRANSCRIPTIONS OF CHOPIN S BLACK KEY ETUDE OP 10 NO 5 BY LEOPOLD GODOWSKY Gregory Scott Taylor Approved: Ivan Davis Professor of Keyboard Performance Terri A. Scandura, Ph.D. Dean of the Graduate School J. Robert Floyd, D.M.A. Paul Wilson, Ph.D. Professor of Keyboard Performance Professor of Theory and Composition Frank Cooper Research and Harpsichord Professor
TAYLOR, GREGORY (D.M.A., Piano Performance) The Eight Transcriptions of Chopin s (June 2010) Black Key Etude Op. 10 No. 5 by Leopold Godowsky Abstract of a lecture recital essay at the University of Miami. Lecture recital essay supervised by Professor Ivan Davis. No. of pages in text. (75) The focus of this lecture recital is to discuss and perform Godowsky s eight transcriptions of Chopin s Etude op. 10 no. 5 in a clear and illuminating manner. These eight transcriptions are representative of the various forms of transcription Godowsky employs. Focusing on only one etude of Chopin will bring a cohesive format to the lecture recital. The purpose of this lecture recital is to clarify the issues of ostensible over abundance of difficulties and textures that have caused the studies to be misunderstood and neglected. It is the author s goal to present comprehensive examples and testimonies pertaining to the merits and ingenuity of these works.
TABLE OF CONTENTS Page LIST OF EXAMPLES... vi Chapter 1 INTRODUCTION... 1 Background.. 1 Biography. 5 Origins of Studies 8 Forms of Transcription. 8 Method of Analysis.. 9 2 THE TRANSCRIPTIONS... 10 Study No. 7, First Version... 10 Study No. 8, Second Version... 18 Study No. 9, Third Version, Tarantella 24 Study No. 10, Fourth Version, Capriccio. 32 Study No. 11, Fifth Version, Inversion for the Left Hand... 40 Study No. 12, Sixth Version, Inversion for the Right Hand. 47 Study No. 12a, Seventh Version, For the Left Hand Alone. 56 Study No. 47, Studies Op. 10 no. 5 and Op. 25 no. 9 combined, Badinage. 62 BIBLIOGRAPHY... 72 Appendix A Analysis of Chopin Etude op. 10 no.5 74 Appendix B Lecture Recital Program.. 75 v
LISTOFEXAMPLES ExampleNumber/TitlePage 2.1Chopin Godowsky,Studyno.7,mm.18.....11 2.2Chopin Godowsky,Studyno.7,mm.17 22.........12 2.3Chopin Godowsky,Studyno.7,mm.23 32.........13 2.4Chopin Godowsky,Studyno.7,mm.33 41.........14 2.5Chopin Godowsky,Studyno.7,mm.57 67.....15 2.6Chopin Godowsky,Studyno.7,mm.67 72.....16 2.7Chopin Godowsky,Studyno.7,mm.79 85..... 17 2.8Chopin Godowsky,Studyno.7,mm.Ossia...17 2.9Chopin Godowsky,Studyno.8,mm.1 4...19 2.10Chopin Godowsky,Studyno.8,mm.9 10 19 2.11Chopin Godowsky,Studyno.8,mm.14 15.20 2.12Chopin Godowsky,Studyno.8,mm.17 18.20 2.13Chopin Godowsky,Studyno.8,mm.21 24.21 2.14Chopin Godowsky,Studyno.8,mm.29 30.21 2.15Chopin Godowsky,Studyno.8,mm.32 33.22 2.16Chopin Godowsky,Studyno.8,mm.40 43.23 2.17FranzLiszt,TarantellafromVeneziaeNapoli,mm.38 45.24 2.18GioachinoRossini,LaDanza,mm.1 9 25 2.19Chopin Godowsky,Studyno.9,mm.1 5..26 2.20Chopin Godowsky,Studyno.9,mm.18 21 27 2.21Chopin Godowsky,Studyno.9,mm.24 32 28 vi
2.22Chopin Godowsky,Studyno.9,mm.63 70.29 2.23Chopin Godowsky,Studyno.9,mm.75 76 30 2.24Chopin Godowsky,Studyno.9,mm.77 80 30 2.25Chopin Godowsky,Studyno.9,mm.89 95 31 2.26Chopin Godowsky,Studyno.10,mm.1 4 33 2.27Chopin Godowsky,Studyno.10,mm.5 8 33 2.28Chopin Godowsky,Studyno.10,mm.9 11.34 2.29Chopin Godowsky,Studyno.10,mm.12 14..35 2.30Chopin Godowsky,Studyno.10,mm.17 20...36 2.31Chopin Godowsky,Studyno.10,mm.21 22..37 2.32Chopin Godowsky,Studyno.10,mm.23 24..37 2.33Chopin Godowsky,Studyno.10,m.29..38 2.34Chopin Godowsky,Studyno.10,mm.33 34..38 2.35Chopin Godowsky,Studyno.10,mm.40 43..39 2.36Chopin Godowsky,Studyno.11,mm.1 4 41 2.37Chopin Godowsky,Studyno.11,mm.17 22..42 2.38Chopin Godowsky,Studyno.11,mm.23 26..43 2.39Chopin Godowsky,Studyno.11,mm.57 60..44 2.40Chopin Godowsky,Studyno.11,mm.64 72...45 2.41Chopin Godowsky,Studyno.11,mm.79 85...46 2.42Chopin Godowsky,Studyno.12,mm.1 4 47 2.43Chopin Godowsky,Studyno.12,mm.17 20..48 2.44Chopin Godowsky,Studyno.12,mm.23 26..49 vii
2.45Chopin Godowsky,Studyno.12,mm.33 40..50 2.46Chopin Godowsky,Studyno.12,mm.45 48..51 2.47Chopin Godowsky,Studyno.12,mm.57 60..52 2.48Chopin Godowsky,Studyno.12,mm.63 66..53 2.49Chopin Godowsky,Studyno.12,mm.67 70..54 2.50Chopin Godowsky,Studyno.12,mm.79 85..55 2.51Chopin Godowsky,Studyno.12a,mm.1 4.58 2.52Chopin Godowsky,Studyno.12a,mm.17 20...59 2.53Chopin Godowsky,Studyno.12a,mm.25 32...60 2.54Chopin Godowsky,Studyno.12a,mm.79 85...61 2.55FredericChopin,Etudeop.25no.9,mm.1 8 64 2.56Chopin Godowsky,Studyno.47,mm.1 4 65 2.57Chopin Godowsky,Studyno.47,mm.7 10.66 2.58Chopin Godowsky,Studyno.47,mm.13 16..67 2.59Chopin Godowsky,Studyno.47,mm.25 28..68 2.60Chopin Godowsky,Studyno.47,mm.45 48..69 2.61Chopin Godowsky,Studyno.47,mm.49 52..70 2.62Chopin Godowsky,Studyno.47,mm.53 62..71 viii
CHAPTER1 INTRODUCTION Background LeopoldGodowskywrotefifty fourstudiesbasedontwenty sixofthetwentysevenetudesofchopinbetweentheyearsof1893and1914.sincetheirfirst publicationtheyhavereceivedtremendouspraisefromadvocatessuchas AmericanwriterandcriticJamesHunekerwhoconsidered hispiano compositionsthetranscendentalismofthefuture, 1 Rachmaninoff, Godowskyis theonlymusicianofthisagewhohasgivenalasting,arealcontributiontothe developmentofpianomusic, 2 andjoseflhevinne,whosaidtogodowsky, You know,lep,igetaphysicalpleasureinplayingyourmusic.itfitsthehandso comfortably,justlikeawellmadeglove. 3 JosefHoffmannwasinsightfulinhis descriptionofhislong timefriendandcolleague, IfChopinisregardedasthe spiritofpianocompositiongodowskyrepresentsthespiritofpianistic expression. 4 Unfortunatelythestudieshavealsobeenhighlycriticizedand neglected.thisispartlyduetotheirtranscendentaldifficultiesofpolyphonic, polyrhythmic,andpolydynamictexturesmakinggreatdemandsonthepianist thatarenotalwaysoutwardlyapparentorunderstoodbyaudiencemembers.a greatamountofpatienceandconcentrationisrequiredtoassimilatethese 1 Nicholas, Jeremy, Godowsky, The Pianists Pianist: A Biography of Leopold Godowsky (Great Britain: Appian Publications and Recordings, 1989), xxiv. 2 Ibid., xxiii. 3 Ibid., xxiii. 4 Ibid., xix. 1
2 studiesintothepianist smindandbody.thementalrequirementsare formidableandrequire,asgodowskydescribes, apolyphonicbrain,andfingersthatworkinco operationwiththebrain.my pianomusicislikeanorchestra,withdifferentindependentvoicesplayedby differentinstruments.itrequirestonaldiscrimination.hunekerwroteofmy compositionsthattheywereaunionofbachandchopin;hewantedtosaythat theyhadmanyvoices(likebach)andthegenuinepianoquality(likechopin). Ifyoubearthisinmindyouhavethekeytotheirinterpretation.Astheyareallof apianisticquality,theyyieldeasilytopractice,andoncemastered,seemeasy. 5 Whilebeingfarfromeasy,thephysicaltasksdemandedofthepianistvary fromtheglove likepassagesdescribedbylhevinnetohighlyunusualand uniquepassagesthatcanbequitemystifyingintheirsolutionbuthighly rewardingintheirstudy.thebritishpianistlesliehoward,whohasan extensiverepertoire(whichincludesallofthestandardpianoliterature)anda formidabletechnicalfacility,saidtomethatonecouldlearnanentirebeethoven sonatainthetimethatittakestolearnoneofthegodowskystudies.mark Andre Hamelin,whohasrecordedthecompletestudies,alsoattributestheirneglectto thefactthattheytakeagreatamountofpatiencetolearnandanunflinching concentrationtoperform. 6 Atfirstglanceorhearingtheostensible overabundanceofdetailandtheamplificationoftexturehasledtomany questionsandmisconceptionsoftheirmusicalmeritaswellasagreatnumberof accusationsofmusicalsacrilegecommittedupontheoriginalchopinetudes. Godowskydefendedhimselfonlyninemonthsbeforehediedinanarticle entitled Pedagogicalexperimentsatthetwoextremesofpianism. 5 Letter from Leopold Godowsky to Maurice Aronson, Berlin, July 21, 1931, in 42 years with Godowsky, Maurice Aronson (unpublished). 6 Manildi, D., Marc-Edly Different, Piano and Keyboard 199 (1999): 23-29.
3 Tojustifymyselfintheperennialcontroversywhichexistsregardingthe aestheticandethicalrightsofonecomposertouseanothercomposer sworks, themes,orideasasafoundationforparaphrases,variations,etc.,idesiretosay thatitdependsentirelyupontheintention,nature,andqualityoftheworkofthe socalled transgressor. SincetheChopinetudesareuniversallyacknowledged tobethehighestattainmentinetudeformintherealmofbeautifulpianoforte musiccombinedwithmechanicalandtechnicalusefulness,ithoughtitwisestto buildupontheirsolidandinvulnerablefoundationtofurthertheartof pianoforteplaying.beingaversetoanytamperingwiththetextofanymaster workwhenplayedintheoriginalform,iwouldcondemnanyartistfortaking libertieswiththeworksofchopinoranyothergreatcomposer. TheoriginalChopinStudiesremainasintactastheywerebeforeany arrangementsofthemwerepublished;infact,numerousartistsclaimthatafter assiduouslystudyingmyversions,manyhiddenbeautiesintheoriginalstudies willrevealthemselvestotheobservantstudent. 7 Godowskywascertainlynotthefirsttomakearrangementsofother composers music.itwascommonpracticeduringthenineteenthcentury.in 1869,BrahmswasthefirstcomposertopublishanarrangementofaChopin Etude.Inhisarrangementofop.25no.2theright handmaterialisdoubledin thirdsandsixths.thisstudywaspublishedalongwithanarrangementof Weber srondofromthesonataincmajor,op.24,wheretheoriginalmaterialis exchangedbetweenthehands.thelefthandplaystherunningsixteenth note passagesthatgivethismovementthenicknameperpetuummobile,whilethe righthandplaystheaccompaniment.in1879brahmspublishedthreestudieson violinworksofbach.thefirsttwoarere workingsofthelastmovementoftheg minorsonata.inthefirststudythesixteenth notepassagesareplayedbythe righthand,whilethelefthandsuppliescontrapuntalmaterial.inthenextstudy thisprocessisreversed.thethirdisanarrangementofthechaconneindminor forthelefthandalone.severalothernineteenth centurycomposersmade 7 Godowsky, Leopold, Pedagogic Experiments at the Two Extremes of Pianism, Overtones (March 1938).
4 arrangementsofchopin spianomusic,includingthefrenchpianistand pedagogueisidorphilipp.inhisarrangementofop.25no.2theleft handand right handpartsarereversed.inop.10no.5theright handpassagesare doubledinthirds,fourths,sixths,andoctaves.op.10no.2istransformedintoa chordstudy,andinoneofhistwoarrangementsofop.25no.6thematerialis exchangedbetweenthehands.inexercicesetetudestechniques,publishedin 1895,PhillipdrawsuponcompositionsofChopin,Weber,Czerny,and Mendelssohnwithdifficultright handpartstocreateexercisesforthelefthand alone.adolphhenseltwrotethirtyexercisesbasedonworksofchopinin167 FinishingStudies.BothTausigandJoseffy,twoofLiszt sgreatestpupils, recommendedtotheirstudentsthattheypracticetheright handpassagesofthe ChopinEtudeswiththelefthand.Thisisonlyabrieflistofnineteenth century pianist/composers fascinationwithandre workingsofthechopinetudes. Chopinelevatedthegenreoftheetudetoanartform,creatingworkswithequal amountsofartisticbeautyandtechnicalusefulness.godowskyfollowschopin s leadbycreatingstudiesthatnotonlyadvancethemechanicsofpianotechnique butalsoattempttoelevatemusicalexpressiontonewheights.thesepiecesare notattemptstoimproveontheoriginaletudesnoraretheymeanttoaugment theirtechnicaldifficulties.godowsky sintentionswereanefforttoadvance pianoplayingandmusicalcomposition,usingtheacknowledgedpinnaclesof thisgenreasstructuralandharmonicmodels,thesamesetofpiecesthatholda secureplaceintheestablishedcanonofpianoworks.godowsky sworkcouldbe consideredtobeamonumenttothecomposerwhomhesolovedandadmired.
5 Biography LeopoldGodowskywasborninSolzny,PolandtheancientcapitalofLithuania, onfebruary13 th,1870.hisfather,arespectedphysician,diedtreatingcholera victimswhenleopoldwaseighteenmonthsold.thisforcedleopoldandhis mother,anna,tomovetoherparents houseinshwirwinty,aneighboringtown ofwilno. Godowsky sfirstmusicalmemorywasuponhearingamarchingbandthat playedselectionsfromflotow smartha.godowsky,3yearsoldatthetime,was soenamoredbythesoundthathefollowedthemwelloutoftownmarching alongsideofthem.hewaseventuallyreturnedtohisfamilyexcitedlyhumming thetuneshehadheard.ayearlaterhewasabletoplay,frommemoryonthe piano,themelodieshehadheardwithoutanyinstruction. SixmonthslaterAnna sfriends,louisandminnapassinockinvitedthemto Wilno.LouisPassinock,anamateurviolinist,ranasecondhandpianoshopto supplementminna sincomeasamidwife.unclelouis,asgodowskywastocall him,was anextremelygoodamateurviolinist,notamateurinthesensewehave here,meaningmediocre,butamanwhoplayedwithprofessionaldistinction, beingapupilofferdinandlaub,ferdinanddavid,andwieniawsky. Louiswaspassionateaboutmusicanddreamedofhavingasonwhowould becamethenextwieniawskyorapaganini,thesewerehisplansforyoung Leopold.Hediscouragedthechild snaturalinclinationforthepianowiththe
6 beliefthatpianistsweretooplentiful.sobeganleopold smusicaleducationon theviolin,attheageofthree. Whilestudyingtheviolin,Leopoldsecretlypursuedhistruepassion,the piano,withthelimitedhelpofminna.sheplayedthepianoenoughtoshow Godowskysomeofthebasicsbutthelessonssoonturnedintoquestionand answersessions.godowskyisoneofthefewgreatpianistsinhistorytobeselftaught.hereceivedalmostnoformaltrainingandstudiedforonlythreemonths attheberlinhighschoolformusicwithernstrudorffwhomhefoundtoo pedanticandlefttheschoolinthemiddleofthenight. WhenGodowskywassixteenhespentsometimeinParisandplayedfor CamilleSaint Saens.Therelationshipwasoneofmutualrespect,notof student/teacher.whenheplayedforsaint Saenshewouldreceivetremendous praisebutnocriticismatall.saint SaensbecamesofondofGodowskythathe expressedthedesiretoadopthim.godowskyrefusedwithsaint Saens insistencethathetakehisname.godowskylivedinparisuntilhewas21, playinginthehighestcirclesandmeetingmanyimportantpeople,including Tchaikowsky. Pariswasoneofthemostimportantmusicalcapitalsoftheworld,butit wasn tuntilhisdebutinberlinondecember6,1900thatgodowskywould achievetherecognitionthatwouldmakehimoneofthehighestpaidofall instrumentalists.assembledatthebeethoven Saalonthateveningwasawho s whoofimportantpianistsandconductors.hissuccesswassogreatthathewas askedtoplayanotherconcertaweeklater.includedontheprogramsweresome
7 ofhischopinetudetranscriptions.theywerereceivedwithtremendous approvalborderingonhysteriafromtheaudience. Godowskyheldseveralteachingpositionsduringthecourseofhiscareer including,in1909,thedirectorofthepianoschooloftheimperialacademyof MusicinVienna.In1914GodowskyandhisfamilyfledEuropeduetothewar. LivinginNewYork,Godowskycontinuedtocomposeandperform.Hishome wasanopendoortomusicians,intellectuals,actors,playwrights,scientistsand anyonewholovedmusic.godowskycontinuedtoconcertizeacrosstheglobe.he traveledtochinaandjavain1923wherehefoundtheinspirationforhisjava Suite,TonalJourneysforthePianoforte. OnJune17 th,1930godowskysufferedastrokeduringarecordingsession. ThelastpieceherecordedwastheEMajorScherzoofChopin.Heneverplayed inpublicagain.hediedonnovember21 st,1938atlennoxhillhospitalinnew Yorkafteranoperationforstomachcancer. 8 8 Nicholas, Jeremy, Godowsky, The Pianists Pianist: A Biography of Leopold Godowsky (Great Britain: Appian Publications and Recordings, 1989), 1-162
8 OriginsofStudies Godowskybeganthecompositionofthestudieswithanexperimental fingeringforchopin setudeinthirds,op.25no.6.hewassearchingfora fingeringofthechromaticscalesthatwouldeliminateanysuccessiverepetition offingersandachieveapurelegatosound.afterfindingthisnewfingering,he transposedittothelefthandandfoundthatitworkedequallywell.hethen transposedtheentirepiecetothelefthandandfoundthelefthandwas completelyadaptable.godowskythenbegantranscribingotheretudesforthe lefthandandconcludedthatthelefthandwaseasiertodevelopthantheright whengiventheopportunity. 9 FormsofTranscription StrictTranscription Studiesinwhichthetextoftheoriginalisasclosely followedasthelefthandwouldallow. FreeTranscriptions Studiesinwhichthetextis Freelytreated Inverted Combinedwithanotherstudy Isbeingimitatedthroughthemediumofanotherstudy 9 Nicholas, 36-37.
9 CantusFirmusVersions Studiesinwhichthetextoftheoriginalstudyinthe righthandisstrictlyadheredtointhelefthandoftheversionwhiletheright handisfreelytreatedinacontrapuntalway. VersionsinformofVariations Studiesinwhichthetextoftheoriginaletudeis usedasabasisforfreevariations. Metamorphosis Studiesinwhichthecharacter,designandrhythmofthe originaltextarealteredwhilethearchitecturalstructureremainsintact althoughthemelodicandharmonicoutlineisoftenconsiderablymodified. 10 MethodofAnalysis DuringthecourseofthislecturerecitalIwillattempttopresentthestudiesina mannerthatwillclarifytheirmusicaltexturewhilesuggestinganapproachthat willbringtheperformercloserto(facilitate)godowsky sintentionofartistic andexpressivevirtuosity.throughoutmydiscussionofthegodowskystudiesi willbereferringtomotifsandsectionslabeledaccordingtomyownanalysisof theoriginalchopinetudeprovidedinappendixa. 10 Godowsky, Leopold, The Godowsky Collection Vol. 3 53 Studies on Etudes of Frederic Chopin and Other Chopin Arrangements, (New York: Carl Fischer, 2002), 10.
CHAPTER2 TheTranscriptions StudyNo.7 FirstVersion Thefirstarrangementofop.10no.5isoneofthefirsttranscriptionswritten in1893whengodowskywasonlytwenty threeyearsoldandpublishedbyg. Schirmerin1899.Thisstudyisintheformofastricttranscriptioninwhichthe right handpassagesaretransferredtotheleftandtheleft handmaterialisgiven totherightinanalteredform. Godowsky singeniousreworkingofthismaterialchangesthesurfacedetails andcharacterwhileretainingthestructuralformandharmonicprogressionsof theoriginal.inchopin setude,thebrilliantpassagesintherighthandembellish themusicalfoundationoftheharmoniesplayedbythelefthand.ingodowsky s arrangement,thesepassagesbecomeaccompanimenttothemelodicmaterial giventotherighthand.theopeningdynamicmakingischangedtopwithan expressionmarkingofgraziosoeleggierissimo.thisgivesusaclearindicationof thelightheartedandgracefulcharacterofthistranscription.thelefthandisto beplayedverylightlywithsparinguseofthesustainpedaltocreateadelicate yetbrillianttexture.inafootnotetothescoregodowskytellsusthatthisstudy couldbeplayedalmostentirelywithouttheuseofthedamperpedal. InthefirsttwobarsoftheAsection,theoriginalharmonicprogressionis alteredthroughtheinversionofthechordpatterns,givingthemusicahumorous 10
11 tone.chromaticappoggiaturasandresolutionsalterthesurfacetextureofthe harmonicprogressionsofmotivea 2,addingcontrapuntalembellishment(Ex. 2.1). Example2.1LeopoldGodowsky,Studyno.7,sectionAmotivesA 1 anda 2,mm. 1 8. Thesepassagesdoindeed fitlikeawellmadeglove, aslhevinnestated,and respondeasilytocarefulpractice.thethumbactsasapivot,connectingshifting passageworkthatliescomfortablyunderthehandineachposition.
12 AtthebeginningoftheBsection,staccatochordfiguresintherighthand preservechopin soriginaltextureoftwo notemelodicmotifs(ex.2.2). Theleft handpassagesofmotiveb 1 areeasilynegotiatedusingthefingeringof 3 2 3 5 1 5,keepingthesixnotesofeachgroupunderthehandineachposition. Example2.2Bsection,MotiveB 1 andb 2,mm.17 22. Theoriginalchromaticbasslineofthedevelopmentisadaptedtotheright handandbeginsamelodicphrasethatwillspantheentirebsection.aseamless legatoandflowingmelodicshapemustbemaintainedwhilekeepingthe underlyingaccompanimentinthebackground.thesecondarymelodicfragment ofmotivec 2 inthelefthandmustbeheardclearlywithinthisframework(ex. 2.3).
13 Example2.3MotivesC 1,C 2,andC 3,mm.23 32. Attheclimaxofthedevelopmentsection,thelongmelodiclineofC 1 andc 2 continueswhiletheaccompanimentofthebroken chordarpeggios(motived) fillthebasswiththeirharmony(ex.2.4).thisideamirrorschopin soriginal intentionofexpandingtheharmonyacrossseveraloctavesthroughtheuseof thesustainpedal.
14 Example2.4MotivesD 1 andd 2,mm.33 41. Themelodicmotifcontinuestothefinaltransitionalmaterial,whichmodulates backtothetonicandleadstotherecapitulationoftheasection. IntheclimacticsectionoftheoriginaletudeChopincreatesabeautifully expressivetexturethroughsimplicityofharmonicmovementandexpressive melodicsuspensions.theexpressivelydissonantmelodiclineofmotivef 1 gives thesebarsauniquebeautyandleadstotheclimaxthroughrhythmicdiminution andharmonicaugmentation(ex.2.5).godowsky svariationofthistexture expandsontheharmoniesintheaccompaniment,addingseventhsand
15 embellishingwithchromaticpassingtonesthatresolvetothetonic.thechords ofthetrebleandthesinglenotesinthebassareplayedbytherighthandalone. Thisisaccomplishedwithaquickcrossingoftherighthandfromthetrebleto thebass.inthetwomeasuresbeforetheclimax,thedoublingofthehandsin motivef 2 thickensthetextureofthesuspensions. Example2.5MotivesF 1,F 2,G 1 andg 2,mm.57 67.
16 Additionalcounterpointiswrittenintotheaccompanimentfiguresofthe coda,addingcomplexitytothemelodicmaterial(ex.2.6).theonlyalterationof theoriginalmaterialistheregistrationchangeinmotiveb 3,whichisanecessary adjustmentthatenablestheclosingpassagestobegininthecorrectregister. Example2.6MotivesB 3 andb 4,mm.67 72. Astrikingfeatureoftheclosingpassages(motiveI)istheembellishmentof theascendingarpeggioswithdoublenotesintherighthand(ex.2.7).thiscan bedifficultforasmallhand.godowskygivesasimplifiedalternateversionfor thispassageintheossiaversion(ex.2.8).
17 Example2.7MotiveIandJ,mm.79 85. Example2.8MotiveI,ossiaversion. Thefinaloctaverunisplayedincontrarymotion,abrilliantvariationofthe originalthatisactuallyeasiertoplay,duetothemirroredmotionofthehands.
18 StudyNo.8 SecondVersion StudyontheWhiteKeys ThesecondversionistransposedtothekeyofCMajor.Itisanexampleof cantusfirmusandmetamorphosisstyleoftranscription.thetimesignatureis changedtofour fourandtheright handpassagesaretransferredtothelefthand playingonlyonthewhitekeys.theright handpassagesareaseriesof superimposedvariantsoftheleft handpassagesresultinginadensepolyphonic texture.thisstudyis,ineffect,asimultaneousvariationonitself. Intheopeningmeasurestheright handpassagesarefreeinversionsofthe left handmaterialwithadditionalcounterpointwrittenintothesixteenth note figurationsofbothhands(ex.2.9).theprincipaldifficultyistoprojectthe syncopatedmelodiccounterpointsothatitstandsoutinrelieffromthe sixteenth notepassages.themelodyisrhythmicallydisplacedtofitthecontours ofthesixteenth notepassages,creatingsyncopationsthatneedtobebrought outclearlywhilemaintainingtherhythmicclarityofthesixteenth notepassages.
19 Example2.9Studyno.8,MotivesA 1,A 2, anda 3,mm.1 4. IntheBsection,motiveB 2 issuperimposedontotheleft handpassages (Ex.2.10).Thismotiveiscomposedofdiminishedanddominantsonoritiesthat createacolorfulanddelicateshimmeringsound. Example2.10MotiveB 1 andb 2,mm.9 10. Inthedevelopment,contrapuntalvariantsalternatingwithstatementsofmotive B 2 replacetheoriginalchromaticbasslineoftheoriginalmotivec(ex.2.11).
20 Thisisaccompaniedbythetrillandtremolo likepatternsofthelefthand.these passagesrequirecarefulcoordinationbetweenthehands.withfewrhythmic referencepointstoprovidestability,carefulsynchronizationisrequired. Example2.11MotiveC 1,mm.14 15. AttheclimaxofthedevelopmentmotivesB 1 andb 2 arelayeredontothe extendedarpeggiosofthelefthand(ex.2.12). Example2.12MotiveD 1,mm.17 18. Inthetransitionsection,motiveA 1 isreintroducedintherighthandwhilethe lefthandplaysmotivee(ex.2.13).thisgivestheimpressionofafalse recapitulation.theactualreturnoftheasectiontakesplacefourbarslater.
21 Example2.13MotiveE 1 ande 2,mm.21 24. InmotiveF 1 oftheclimacticmeasures,thetextureisthickenedconsiderably withharmonicallyrichandexpressivecounterpointintherighthand(ex.2.14). Double notechromaticscalepassagesanddouble notetrillsembellishmotivef 2 leadingtotheclimax(ex.2.15). Example2.14MotiveF 1,mm.29 30.
22 Example2.15MotiveF 2,G 1 andg 2,mm.32 33. Thedifficultyisconsiderableinthesemeasuresandabalanceoftextureis crucialforclarity.thehandsshouldbeinafan likepositionwiththeelbows closetothebodyforthemosteconomicalexecutionofthesepassages.economy ofmotionandrelaxedarmweightwerethefoundationforgodowsky sapproach tothemechanicsofpianoplaying.godowskyconsideredmechanicsand techniquetobeseparateissues.theartoftechniqueinvolvedtheintellectual sideofpianoplayingandinvolvesrhythm,tempo,nuance,phrasing,dynamics, agogics,touch,pedaling,tone,etc.themechanicsofpianostudyinvolvesfinger trainingandgymnasticexercisestodevelopthehandfromthemachine standpoint. 11 InmotiveIoftheclosingmaterial,double notearpeggiopassagesembellished withchromaticpassingnotesareplayedbytherighthand,enrichingthetexture ofpassagesinthelefthand. Thefinaloctaverunisplayedincontrarymotion,therighthandoutliningaC majorarpeggiowithchromaticappogiaturaswhilethelefthandplaysa descendingpentatonicscale(ex.2.16). 11 James Francis Cooke, Great Pianists on Piano Playing: Godowsky, Hofmann, Lhevinne, and 25 Other Legendary Performers (New York: Dover Publications, 1999), 133-140.
23 Example2.16MotivesIandJ,mm.40 43. Thedissimilarpatterns,coupledwiththeblindnessofplayingthepentatonic scaleinoctavesonthewhitekeysinthelefthand,demandagooddealof practicetomakethispassagefeelcomfortable.itishelpful,asinalloctave passages,topracticewiththethumbsalone,rhythmicvariation,andaccents.
24 StudyNo.9 ThirdVersion Tarantella Tarantella,thethirdversion,isanotherexampleofcantusfirmusand metamorphosisstyleoftranscription.itisinthekeyofaminor,andtherighthandpassagesaretransferredtothelefthand,becomingtheharmonic foundationforthenewpiece.thetimesignatureischangedtotwelve eight,the notevaluestoeighthnotes.themelodicmaterialintherighthandhasthe distinctcharacteristicsofatarantella,atraditionalitalianfolkdance. RepresentativeexamplesoftypicalTarantellascanbefoundinLiszt starantella fromveneziaenapoli(ex.2.17)androssini sladanza(ex.2.18). Example2.17FranzLiszt,Tarantella,fromVeneziaeNapoli,mm.38 45.
25 Example2.18GioachinoRossini,LaDanzamm.1 9. Thefast movingmelodiclineofgodowsky starantellaisderivedfromthe harmonicframeworkoftheleft handfiguration(ex.2.19).thesesimple harmonicprogressionssuittheclassicharmonicstructureofthetarantella.
26 Example2.19Studyno.9,MotivesA 1 anda 2,mm.1 5 Themelodiclineoftherighthandisintwo partcounterpointwiththematerial fromtheoriginaletudeusedasaccompanimentinthelefthand.forharmonic variationgodowskychangestheiichordinmotivea 2 toafrenchaugmented sixthchord. TheBsectionmodulatestotherelativemajorandemploysthetypicaljagged rhythmicpatterncharacteristicofthedanceattheshifttothemajormode(ex. 2.20).Bassnotesareaddedtotheleft handpassages,providingharmonic foundation.
27 Example2.20MotivesB 1 andb 2,mm.18 21. Intheplayfulmeasuresofthedevelopmentsection,impressionisticcolors embellishmotivec 2 andbrilliantdouble notepassagesdecoratethetextureofc 3 (Ex.2.21).Godowsky suniquefingeringsofthedouble notepassagesarequite effective.
28 Example2.21MotivesC 1 andc 2 andc 3 mm.24 32. Fastrepeatednotesareatypicalfeatureofthetarantella.Godowskyreserves thiselementfortheclimacticbars(ex.2.22).addedrepetitionsofmotivee createanopportunityforvariationoftexture.thesemeasurescontainsomeof themostsublimebeautiesinthisarrangement.therolesofthehandsare reversedbrieflywhentherepeated notemotiveisplayedbythelefthandand themelodicpassagesoftheoriginalareplayedbytherighthand.thefinal
29 repetitionandvariationisadornedwithadifficultdoublenotepassageplayed bythelefthand. Example2.22MotiveF 1,mm.63 70. Attheclimax,thesinglenotesoftheoriginalpassagesarereplacedbyoctaves alternatingwithsinglenotes(ex.2.23).thesinglenotesareaneffectivemeans toalleviatesomeofthetechnicaldifficulty.
30 Example2.23MotivesG 1 andg 2,mm.75 76. Thecodaismarkedpdolce,unacordaandconsistsofanexpressivemelodyin therighthandaccompaniedbythematerialfromtheoriginaletudeintheleft handslightlyalteredtosuittheshapeofthemelody(ex.2.24). Example2.24MotivesB 3 andb 4,mm.77 80. Intheclosingpassages,thetextureofmotiveIisalteredwiththeadditionof melodicchromaticdoublenotesinthelefthand,creatingatwo voicetexture undertherepeatednotesoftheright(ex.2.25).thefinalpassageofdissipating octavesalternatingwithsinglenotesandthechromaticallyalteredcadence createaneerilyeffectiveending.
Example2.25MotivesIandJ,mm.89 95. 31
32 StudyNo.10 FourthVersion StudyonBlackandWhiteKeys Capriccio Thefourthversion,Capriccio,isinthekeyofAMajorandisanotherexample ofcantusfirmusandmetamorphosis.asinthetarantellaandthesecond version,godowskycreatesanentirelynewpiecefromtheharmonicstructureof theoriginal.theright handmaterialfromtheoriginaletudebecomes accompanimentandharmonicfoundationforgodowsky snewcreation.the originaletudeisalmostunrecognizable.whatemergesisacapriciouscharacter pieceinthestyleofaviennesewaltz.thetimesignatureischangedtotwelveeight.thetripletsixteenth notepatternsarechangedtodupletsshiftingthe rhythmicemphasistofourgroupsofthree.theoriginalright handpassagesare transferredtothelefthandplayingonboththeblackandthewhitekeys.the twelve eighttimesignature,thedottedrhythmofthemelodicpassages,andan expressionmarkingofleggierissimoescherzandoallcontributetogivethisstudy thecharacteristicsofafastwaltz.themelodicfiguresoftherighthandarein two partcounterpointplayedaslightlydetachedchords(ex.2.26).
33 Example2.26Studyno.10,MotivesA 1 anda 2,mm.1 4. Theflowingsixteenth notepatternsinmeasure5areavariationoftheopening motifwithfurtherelaborationsatmeasure7,whereadditionalcounterpointis addedforvariationoftexture(ex.2.27). Example2.27MotivesA 1,A 2,andA 3,mm.5 8.
34 IntheBsection,markedpgrazioso,themelodicdotted rhythmmotive outlinestheharmonyofthesixteenthnotepatternswithaddedchromatic neighbornotesandchordalappoggiaturasinthesecondstatement(ex.2.28). Example2.28MotivesB 1 andb 2,mm.9 11. AtmotiveC 2 inthedevelopmentsection,ahemiolaoccursasaresultofthe groupingofthesixteenthnotesinthelefthandastriplets,whichfollowsthe contouroftheoriginalmelodicfragment(ex.2.29).
35 Example2.29MotivesC 1 andc 2,mm.12 14. Intheclimaxofthedevelopment,thesixteenthnotesofmotiveDarebeamed ingroupsoffour,resultinginanotherhemiolaofsixbeatstoameasure,while theexpansivemelodiclineintherighthandretainsthetwelve eightgrouping (Ex.2.30).Theresultisapolymeteroffour fourintherighthandandsix fourin thelefthand.
36 Example2.30MotivesD 1 andd 2,mm.17 20. AtthetransitionalsectionGodowskyenrichestheharmonybylayeringthirds onthedominantsonority(ex.2.31).inmeasure21thefsharpcreatesa dominantninthchord,andinmeasure22theg naturalanda sharpaddfurther chromaticalterationsoftheinnervoices,creatingharmoniccounterpointwithin thechordstructure.
37 Example2.31MotiveE 1,mm.21 22. AcharacteristicrhythmicfeaturefoundintypicalViennesewaltzesleadstothe recapitulationoftheasection(ex.2.32). Example2.32MotiveE 2,,mm.23 24. MoreVienneseflairisaddedtotheexpressiveharmonicsequencesofmotiveF 1 particularlyintheossiapassage(ex.2.33).
38 Example2.33MotiveF 1,m.29. Theclimaxismarkedffincontrasttotheoriginalppanddoubledwithoctaves inthelefthandwithchordsintherighthandplayingarichmelodicline(ex. 2.34). Example2.34MotivesG 1,G 2,andcoda,mm.33 34. ThebeginningofthecodaisreminiscentoftheBsection,duetothesimilarity ofmaterial(ex.2.34).thetripletgroupingoftheascendingdoublenotearpeggiofiguresofmotiveiresultsinanotherhemiola(ex.2.35).thefinal octavepassageisplayedindescendingmotioninthelefthand,whiletheright
39 handplaysascendingquintupletthirty secondnotes,abrilliantvariationofthe original(ex.2.35).thefinalcadencewiththesuspensionofthedominantovera tonicpedalisanelegantandplayfulconclusiontothiscaprice. Example2.35MotivesIandJ,mm.40 43.
40 StudyNo.11 FifthVersion InversionfortheLeftHand Thefifthversion,aninversionforthelefthand,isintheformofafree transcriptionandmetamorphosis.godowskyusesseveraltypesofinversion techniquestosuithiscompositionalpurposes.astrictintervallicinversion woulddestroyanyharmonicrelationshiptotheoriginal.whilepreservingthe basicharmonicfoundationoftheoriginal,godowsky scompositionbecomesa newcreationfullofinventivemelodiccounterpointandharmonicvariation.the firsttwomeasuresoftheleft handpassagesareanexactmirroredinversionof theoriginalright handmaterial.thepatternbeginsonb flat(themirrorofthe originalstartingnoteg flat).thepassagebeginsinthebassregisterandmoves upwardincontrarymotiontotheoriginal.inamirroredimageonthepiano keyboard,theinvertedintervallicrelationshipsaremaintainedwhileremaining equaldistancefromd naturalanda flat,thetwocentersofthemirrored keyboard.thesetonesarealwaysatthecenterandremainthesamewhilethe invertedtransposedtonescanbefoundbyplayingachromaticscaleincontrary motionfromeitherofthesetwopoints.eachofthesescaledegreesisamirrored imageoftheother.amirrorimageofapassagewillalwaysresultinaharmonic shiftfromtheoriginalpassage. Intheopeningpassageofthisstudytheperceivedharmoniceffectis transformedminimallyduetothepentatonicsequenceofblackkeys(ex.2.36).
41 ThesustainedharmonyofG flatwithanaddedsixthisheardforthefirsttwo measures.thefirstnoteinthebass,g flat,servesasapick upnoteandhelpsto definethetonalityofg flatmajor.quicklyplayedgrace noteappoggiaturasgive theright handchordsawhimsicalcharacterandaidinemphasizingthe descendingmelodiccontourofagflatmajortriad.halfdiminishedchordsbuilt ontheleadingtoneofthedominantalsocontributetotheharmonictexture, addingcolorwhileresolvingtothefifthofthetriad.inmotivea 2 Godowsky adjuststhenotesoftheinvertedpassagestopreservetheharmonicprogression oftheoriginal. Example2.36Studyno.11,MotivesA 1 anda 2,mm.1 4.
42 AttheBsection,acontrapuntalmelodiclineavoidingprimarychordtonesat downbeatsandresolvingonlyonthesecondhalfofbeatsisplayedbytheright hand(ex.2.37).tonalambiguityandcolorfulsonoritiesaretheresultof chromaticalterationofchordsthroughtheconstantuseofappoggiaturasand chromaticpassingtones.thisisavariationoftheoriginaltwo notemelodic phrases. Theaccentedappoggiaturasandsyncopationsaddmelodictensionandgivethe harmonicrhythmafeelingofsuspension. Example2.37MotivesB 1 andb 2,mm.17 22. Inthedevelopmentthedirectionofthetrill likefigureofmotivec 1 is reversed,givingmoreemphasistothebflat,underliningtheharmonyofv/vi replacingthev/voftheoriginalstudy(ex.2.38).thisisadirectresultofthe mirroredinversionoftheoriginalpassage.
43 Example2.38MotiveC 1,mm.23 26. Anotherinterestingandcolorfulresultoftheinversionprocessistheascending basslineinthedevelopment.thisistheinversionofmotivec 2.Theexpressive melodiclineandthedescendingchromaticchordprogressionoftherighthand createacolorfulandhumorouseffect. Attheclimaxofthedevelopment(motiveD)aplayfultwo voicecounterpoint issupportedbytheenvelopingsoundoftheexpandedharmoniesoftheinverted lefthandarpeggios. Attheclimacticsectioninmeasure57Godowskyadjuststheintervalsofthe invertedmotivef 1,creatingaharmonicsubstitutioninthechordsequences, substitutingavichordfortheiichordoftheoriginal.theintervalsofthe ensuingleft handpassagesareadjustedtomaintaintheoutlineoftheoriginal
44 harmonicprogressionwhileaddingchromaticpassingtonesandharmoniesthat createacolorfulvariationoftheoriginal(ex.2.39). Example2.39MotiveF 1,mm.57 60. Theclimaxisreachedthroughthediminutionoftheharmonicmovement, culminatinginanascendingscalepassageplayedbytherighthand. Theinversionoftheoriginalclimacticpassage(motiveB 1 )isplayedbytheleft handwhileabrilliantdescendingarpeggiatedchordpassagemarkedffquickly diminishestopponebarlater(ex.2.40).thecadenceembellishedwithaseries ofsuspensionsandmarkedmoltodiminuendoeritardandoseemstomeltinto thetextureofthecoda.
45 Example2.40MotivesF 2,G 1,G 2,andcoda,mm.64 72. Melodiccounterpointweavesaroundtheharmonicsubstanceofthecodawith melodicappoggiaturasineverybar(ex.2.40).inmotiveioftheclosingmaterial theactualinversionoftheoriginalmaterialisplacedintherighthandwiththe thirdonthefinalsixteenthnoteofeachtriplet(ex.2.41).inthelefthand
46 accompanimentthethirdisplacedonthesecondsixteenthcreatingasmooth, flowingsound.thefinaloctaverunmarkedffsubitoisag flatmajorarpeggio withanaddedsixthandisplayedfromthebasstothetreble. Example2.41MotivesIandJ,mm.79 85.
47 StudyNo.12 SixthVersion InversionfortheRightHand Thesixthversionisaninversionfortherighthand.Thetextoftheinverted materialoftheoriginalisalmostidenticalwiththatofthepreviousleft hand version.afewminoralterationsaremadeduetoharmonicandregistration issues.theleft handaccompanimentiscompletelytransformed.fromthe openingmeasuresthechordsoftheoriginalarecompletelyliquidatedwithno changeofharmonyinthefirsttwomeasures.thelefthandplaysagflatmajor arpeggiowithdominantleadingtonescontributingtothisaquaticsound(ex. 2.42). Example2.42Studyno.12MotivesA 1 anda 2,mm.1 4.
48 InmotiveA 2 Godowsky soriginalpedalmarkingssuggesttheharmonicoutline ofadominantninthsonorityresolvingtothedominantseventh(ex.2.42).the restatementofmotivea 2 hasadditionalmelodiccounterpoint.godowskyalters thefigurationsintherighthandtoharmonicallyfitthemelodicshapeoftheleft handmaterialbydelayingthedflattothepenultimatesixteenthnote. IntheBsection,theleft handmelodiclinecomposedmainlyofappoggiatura figuresisavariationoftheoriginalmotive(ex.2.43).athree voicepolyphonic textureconsistingoftwomelodicfragmentsandbasslineaccompaniesthe invertedpassagesb 2 intherighthand. Example2.43MotivesB 1 andb 2,mm.17 20.
49 Acontrapuntalmelodiclineweavesabeautifultexturethroughthe developmentsectionoverana flatpedalpoint(ex.2.44).theinverted secondarymelodicfragment(motivec 2 )makesanappearancefourbarslater, addingtothecounterpoint. Example2.44MotiveC 1,mm.23 26. Thisbringsustothemulti layeredfabricintheclimaxofthedevelopment (motived)(ex.2.45).withtheuseofthepedalandimpliedcounterpoint,the effectofathree voicecontrapuntaltextureiscreatedoutofwhatvisuallyseems
50 tobeonlytwovoices.thisisanexampleofhowgodowskyusesthepedalfor polyphoniceffect.thepedaltakestheplaceofathirdhand. Example2.45MotivesD 1 andd 2,mm.33 40.
51 Themelodicleft handpassagesofthetransitionareanaugmentationofthe originalleft handmelodicmaterial(ex.2.46). Example2.46MotiveE 2,mm.45 48. Theclimacticsectionconsistsoftheinterweavingcontrapuntaltextureof motivef 1 andtherhythmicdiminutionoff 2,leadingtothebrilliantculmination ofthetremoloattheclimax(ex.2.47and2.48).dr.millansachania,inhis introductoryessaytovolume3ofthecompleteworksofgodowsky,referstothe climacticmeasuresasaquotefrommauriceravel sjeuxd eau. 12 Example2.47MotiveF 1,mm.57 60. 2 Godowsky, Leopold The Godowsky Collection, vol. 3 (New York: Carl Fischer, 2002) xviii.
52
53 Example2.48F 2,G 1,andG 2,mm.63 66. Thecodaconsistsofthree partcounterpointweavingbetweenthehands(ex. 2.49).
54 Example2.49MotivesB 3 andb 4,mm.67 70. Themeltingharmoniesoftheclosingmaterialbringustoastrikingly beautifulvariantofthedescendingarpeggiofiguresofmotivei(ex.2.50).the finaloctaverunisreplacedbyapolyrhythmicarpeggiofigurecreatingablackkeyglissandoeffect.thelefthandplaysag flatmajorarpeggiowhiletheright playsapentatonicscaleusingallfivefingerswithafingeringof1 2 3 4 5.The finalcadencehasacharmingeffectwithappoggiaturagracenotesaddedtothe widelyspacedrolledchords. Example2.50MotivesIandJ,mm.79 85.
55
56 StudyNo.12a SeventhVersion FortheLeftHandAlone Theseventhstudyisforthelefthandalone.Ofthefifty threestudies,twentytwoarewritteninthisgenre.godowsky,opposingthegenerallyprevailingidea thatthelefthandislessresponsivetodevelopmentthantherighthand,lists severaladvantagesofthelefthandinhisprefatoryremarkstothestudies: 13 1.Thelefthandisfavoredbynatureinhavingthestrongerpartofthehand fortheuppervoicesofalldoublenotesandchords,andalsobygenerallyhaving thestrongerfingersforthestrongestpartsofamelody. 2.Thelefthandcommandsthelowerhalfofthekeyboardwiththe incontestableadvantageofenablingtheplayertoproduce,withlesseffortand moreelasticity,afullerandmellowertone,superiorinquantityandqualityto thatoftherighthand. 3.Itismoreelasticowingtoitsbeingmuchlessemployedindailyusein generalthantherighthand. Healsowasoftheopinionthattheexistingleft handrepertoireshowedadesire ofthecomposerstodevelopthelefthandinthedirectionofmerevirtuosity. Godowsky saimwastodevelopthemechanical,technical,andmusical possibilitiesofpianoplayingwhileadvancingtheevolutionofpianocomposition 13 Godowsky, Leopold, The Godowsky Collection Vol. 3 53 Studies on Etudes of Frederic Chopin and Other Chopin Arrangements, (New York: Carl Fischer, 2002), 10
57 throughtheuseofavastlyextendedrangeinmoderncounterpoint.hestatesin hisintroductoryremarks, Ifitispossibletoassigntothelefthandalonethe workdoneusuallybybothhandssimultaneously,whatvistasareopentofuture composers,werethisattainmenttobeextendedtobothhands! 14 Godowsky attainedthisgoalinseveralofhischopinarrangements,creatingtheeffectofa four handcomposition. Registrationisakeyfactorinsolvingthecompositionalchallengeof transferringmusicwrittenfortwohandstoonehand.thepolarityofthehands inthetrebleandbasscreatesasignificantproblemwhenwritingfortheleft handalone.onehandcannotbeintwoplacesatonce.lessercomposershave reliedonusinggracenotesandbrokenchordstosolvethisproblem.godowsky revolutionizedthegenrebyre thinkingthepianistictexture,thuscreating piecesofgreattonalbeauty,complexity,andtechnicaladvancement. Godowskyusesthetechniqueofre registrationthroughoutthisstudy.agood examplecanbeseenintheopeningbars;thepassagesassignedtotherighthand intheoriginalstudyareplayedtwooctaveslower,enablingtheoriginallefthandchordstobeinterwovenintothesixteenth notepassagesintheoriginal register,creatingarich,fullsound(ex.2.51). 14 Ibid., 9
58 Example2.51StudyNo.12a,MotivesA 1 anda 2,mm.1 4. Melodicandbassdelayand/oranticipationisacompositionaldevice frequentlyusedintheleft handstudies,enablinggodowskytosuperimpose longermelodicnotesandbasslinesontothebackdropoffaster moving passages.intheopeningmeasureasixteenth notedelayofthefirstmelodic accompanimentchordallowsforthefirstthreenotesoftheoriginalright hand materialtospeakwithoutinterference.throughoutthisstudygodowsky incorporatesthechordsoftheaccompanimentintothetextureofthesixteenth notepassageswithoccasionalharmonicandmelodicvariation(ex.2.52,2.53, 2.54).
59 Example2.52MotivesB 1 andb 2,mm.17 20. Godowskysuccessfullyachievesaunityofsoundbetweenthetwoelements ofleft handmelodicaccompanimentandright handpassagesthrough adjustmentsofregistration,convenientlyrelocatingeachelementandthereby satisfyingthephysicaldemandsofplayingwiththelefthandalonewhile creatingthedesiredtonaleffectofactuallyplayingwithtwohandswithno missingelements.
60 Example2.53MotivesC 1,C 2,andC 3,mm.25 32. Godowskyshowsusthatthelefthandcanactuallybeintwoplacesatonce.
61 Example2.54MotivesIandJ,mm.79 85.
62 StudyNo.47 EtudesOp.10No.5andOp.25No.9 Combinedinonestudy Badinage TheAmericancriticandwriterJamesHuneker,anearlyadmirerofthe studies,writes, Hatsoffgentlemen!Atornado!IsthecapricecalledBadinage. Butifitismeanttobadinage,itisnosportforthepianistofeverydaytechnical attainments.thetwostudiesgolaughingthroughtheworldlikeoldfriends; brotherandsistertheyaretonally,trailingbehindthemacloudofiridescent glory.godowskyhascleverlycombinedthetwo,followingtheirmelodiccurves asnearlyaspossible.insomeplaceshehasthickenedtheharmoniesandshifted theblackkeyfiguretotherighthand.itistheworkofaremarkablepianist. 15 MoritzRosenthaltoldGodowskythathewouldhaveneverpublishedasingle studyonthechopinetudesuntilhewouldhavehad,formanyyears,thewhole worldpuzzledastohowhemanagestoplaytwostudiesatatimeandhowhe makessuchelaboratecombinations. Badinage,acombinationoftheBlackKey,op.10no.5andButterflyop.25 no.9,isoneoftheeightstudiesfirstpublishedbyschirmerin1899.bothofthe originalstudiesareinthekeyofg flatmajor,havethesameform,andsharethe sametimesignatureoftwo four.eachstudymodulatestothedominantkeyof 15 Nicholas, 39.
63 D flatmajoratthebsectionandsharessomeofthesameharmonicprogressions intheircodas. TheBlackKeystudyismarkedvivacewithametronomeindicationofaquarter note=116.itconsistsoffourbarphrasesandiseighty fivemeasuresinlength. TheButterflyismarkedallegroassaiwiththequarternoteequaling112.It consistsoffour barphrasesandhasonlyfifty onemeasures.aperformanceof theblackkeylastsapproximately1 40 whilethebutterflyisusuallycompleted in50.godowsky sbadinageismarkedvivacegiovialewithametronome indicationof92 104tothequarternote.Itissixty twomeasuresinlengthand takesaboutthesameamountoftimetoperformastheoriginalblackkeystudy. InBadinage,Godowskycombinestheoriginalright handpassagesofeach etudebyassigningthebutterflytotherighthandandtheblackkeytotheleft, alternatingthematerialduringthecourseofthestudy.mr.hunekerwascorrect inhisobservationthatgodowskythickenstheharmonies.however,tocombine twoseparatestudies,eachwiththeirownharmonicidentity,godowskyalters theharmonywhilekeepingthemelodicoutlineandgeneralcharacteristicsof eachpieceintact.theopeningmeasuresandmainmotiveofthebutterflystudy haveamorecomplexharmonicprogressionthanthecorrespondingmeasuresof theblackkeystudy(ex.2.55).
64 Example2.55FredericChopin,EtudeinG flatmajor,op.25no.9,mm.1 8. GodowskyadjuststheharmonyoftheButterflystudy,addinginnervoicestofit thepassagesoftheblackkeystudy.theresultisnotsimplyanadherencetothe harmonicprogressionoftheblackkeybutavariationoftheoriginalwithnew chromaticvoiceleadingandinnercounterpoint(ex.2.56).
65 Example2.56Badinage,SectionA,mm.1 4. GodowskyfollowstheAsectionoftheBlackKey,whichiseightmeasureslonger thanthebutterfly s,necessitatingarestatementofthebutterfly sopeningmotive. Atthispoint,ahumorousstatementofbothstudiesisplayedbythelefthand alone,whiletherightplaysacharmingchromaticaccompaniment(ex.2.57).
66 Example2.57SectionA,mm.7 10. ThelaststatementoftheButterflyintheAsectionisplayedbythelefthand whiletheblackkeyisplayedintherighthand(ex.2.58).
67 Example2.58SectionA,mm.13 16. ThecoincidingpassagesoftheBsectionwouldfittogetherperfectlyifnotforthe orderoftheirharmonicpatternoftonic dominant.thebutterflystartsonthe tonicandmovestothedominantwhiletheblackkeydoestheopposite.thisis remediedbyshiftingthebutterfly spatternstodominant tonictofittheblack Keyharmonicpatterns.ThroughouttheBsectionGodowskyfollowsthemelodic outlineandformofthebutterflyetudewhilefittingcharacteristicpatternsofthe BlackKeyforaccompaniment,creatingtheillusionofcontinuity(Ex.2.59).
68 Example2.59SectionB,mm.25 28. AtthereturnoftheAsection,bothstudiesarebroughtbackwithvariationof textureinthepassagesofthebutterfly.godowskycreatesatwo voicecanonic figurefromthemelodicmaterialofthebutterfly.thelowervoiceisplayedwith thethumbandtheuppervoicewiththefourthandfifthfingers.thebutterfly s melodicsequenceisfollowedwithadjustedpassagesoftheblackkeyintheleft handforaccompaniment.
69 Inthecodathetwostudiesarecompletelycompatibleharmonicallyforeight measures.forfourbarstheblackkeyisplayedbytherighthandwhiletheleft playsthebutterfly(ex.2.60). Example2.60Coda,mm.45 48.
70 Inthenextfourbarsthesepatternsarereversedwithaddedcounterpointgiven totherighthand(ex.2.61). Example2.61Coda,mm.49 52. IntheclosingbarsGodowskylayerselementsofbothstudies,faithfully followingtheblackkeytocompletion.thefinaloctaverunissuperimposedonto avariationoftheclosingascendingarpeggiofigures(motivei)(ex.2.62). Example2.62Closingmaterial,mm.53 62.
71
BIBLIOGRAPHY Chen,Tzu Yun. ACenturyofSchubertLiederTranscriptionsforPiano. DMAdiss.,UniversityofMichigan,AnnArbor,2003. Cloutier,David. AComparisonofTranscriptionTechniquesofGodowsky andlisztasexemplifiedintheirtranscriptionsofthreeschubertlieder. DMAdiss.,TexasStateUniversity,1987. Cooke,JamesFrancis.GreatPianistsonPianoPlaying:Godowsky,Hoffman, Lhevinne,Paderewskyand24otherLegendaryPerformers.Mineola,NY:Dover, 1999. Edel,Theodore. PianoMusicfortheLeftHandAlone. DMAdiss., ManhattanSchoolofMusic,1980. Edel,Theodore.PianoMusicforOneHand.Bloomington,IN:IndianaUniversity Press,1994. Godowsky,Leopold.TheGodowskyCollectionvol.3,53StudiesonEtudesof FredericChopinandotherChopinArrangements.CompilationandIntroductory NotesbyDr.MillanSachania.NY,NY:CarlFischer,2002. Godowsky,Leopold.StudiesonChopinEtudes.EditedbyRobertLienau.Berlin: Schlesinger,1914 Isaacson,CharlesD.FacetoFacewithGreatMusicians.NY:LondonD.Appleton AndCo.,1921. Jonas,Alberto.MasterSchoolofModernPianoPlayingandVirtuosity:AUniversal Method Technical,EstheticandArtistic forthedevelopmentofpianistic Virtuosity.6 th ed.ny:carlfischer,1922 1929. Jones,StevenDonald. AComprehensivePerformanceProjectinPianoLiterature AndanEssayonLeopoldGodowsky s53studienuberdieetudenvon Chopin. DMAdiss.,UniversityofIowa,1978. McKeever,James. LeopoldGodowskyandhisStudiesonChopin setudes. DMAdiss.,UniversityofCinncinati,1975. McKeever,James. GodowskyStudiesontheChopinEtudes. Clavier19,no.3 (1980):21 28. 72
Manildi,D. ConqueringEverest(Marc AndreHamelinConquersthe Chopin GodowskyStudies;interview). InternationalPianoQuarterly4 (Summer,2000):50 52. Manildi,D. Marc EdlyDifferent. PianoandKeyboard199(1999):23 29. Neuhaus,Heinrich.TheArtofPianoPlaying.NY:PraegerPublishers,Inc.,1973. Nicholas,Jeremy.Godowsky,thePianists Pianist:ABiographyof LeopoldGodowsky.Hexam,Northumberland:AppianPublicationsand Recordings,1989. Rimm,Robert.TheComposer Pianists:HamelinandtheEight. Portland,Or.:AmadeusPress,2002 Rivera,Lino. Transcriptions,Arrangements,Paraphrases,andMetamorphoses ForSoloPiano. DMAdiss.,UniversityofMaryland,1997. 73
APPENDIXA AnalysisofChopin setudeing flatmajorop.10no.5 Subsection Measures Keys(harmonic progression) ThemeI,Asection MotiveA 1 2 G flat:i IV I MotiveA 3 4 V ii V 9 7 MotiveA 1 5 6 I IV I MotiveA 3 7 8 ii 6 III,Phrygianhalf cadence MotiveA 1 9 10 I IV I MotiveA 2 11 12 V ii V 9 7 MotiveA 1 13 14 I IV I MotiveA 4 15 16 V 6/5 /V V(I) modulationtod flat ThemeII,Bsection MotiveB 1 17 18 D flat:v 7 I MotiveB 2 19 20 V 7 I MotiveB 1 21 22 V 7 I Development, modulationtothetonic issetupwith I6 4(B) MotiveC 1 MotiveC 2 secondary melodicfragment MotiveC 3 23 26 27 28 29 32 V 6/5 chromatic sequence:v IV 6/5 IV 6/5 ii IV 4/2 vi 6/4 IV 7 vii o /V IV 6/4 ii o 6/4 V 7sus4 3 Climaxofdevelopment MotiveD 1 33 36 V 7sus4 3 (B) MotiveD 2 37 40 V 7 (ofv) TransitiontoA MotiveE 1 MotiveE 2 41 44 45 48 I I 7 (V 7 /G flat) Modulation:Gflat ThemeI,Aprime MotiveA 1 49 50 G flat:i IV 6/4 I MotiveA 2 51 52 V ii V 9 7 MotiveA 1 53 54 I IV 6/4 I MotiveA 5 55 56 Ii 6 III 6/4 Phrygian GoldenSection(A) Climacticarea MotiveF 1 57 60 ii 6 I 6/4 V 4/2 I 6 repetition MotiveF 2 61 64 ii 6 V 6/5 /V V sus4 3 Climax,(A) MotiveG 1,G 2 65 66 V sus4 3 V 11 13 Coda MotiveB 3 67 68 I V 7 (repetition) MotiveB 4 69 70 I (V 7 I) (repetition) MotiveB 3 71 72 I V 7 MotiveB 4 73 74 I (V 7 I) Closingmaterial MotiveH 75 78 I V 7 I Ascendingarpeggio passage MotiveI 79 82 I,added6 74