Godowsky: The Complete Studies on Chopin's Etudes

Track Listings
Disc: 1

1. Study No.1 in C, 1st Version (From Etude in C, Op.10 No.1): Allegro Maestoso

2. Study No.2 in D flat, 2nd Version (From Etude in C, Op.10 No.1): Allegro

3. Study No.3 in a, 1st Version (From Etude in a, Op.10 No.2): Allegro

4. Study No.4 in a 'Ignis Fatuus', 2nd Version (From Etude in a, Op.10 No.2): Allegro

5. Study No.5 in D flat (From Etude in E, Op.10 No.3): Lento Ma Non Troppo

6. Study No.6 in c# (From Etude in c#, Op.10 No.4): Presto

7. Study No.7 in G flat, 1st Version (From Etude in G flat, Op.10 No.5): Vivace

8. Study No.8 in C, 2nd Version (From Etude in G flat, Op.10 No.5): Vivace

9. Study No.9 in a 'Tarantella', 3rd Version (From Etude in G flat, Op.10 No.5): Vivace

10. Study No.10 in A, 4th Version (From Etude in G flat, Op.10 No.5): Vivace

See all 28 tracks on this disc
Disc: 2

1. Study No.25 in A flat, 3rd Version (From Etude in A flat, Op.25 No.1): Allegro Sostenuto

2. Study No.26 in f, 1st Version (From Etude in f, Op.25 No.2): Vivace

3. Study No.27 in f 'Waltz', 2nd Version (From Etude in f, Op.25 No.2): Tempo Di Valse

4. Study No.28 in f, 3rd Version (Version A)(From Etude in f, Op.25 No.2): Allegro Moderato

5. Study No.28 in f, 3rd Version (Version B)(From Etude in f, Op.25 No.2): Allegro Moderato

6. Study No.28a in f#, 4th Version (From Etude in f, Op.25 No.2): Presto Ma Non Troppo

7. Study No.29 in F, 1st Version (From Etude in F, Op.25 No.3): Allegro Moderato

8. Study No.30 in F, 2nd Version (From Etude in F, Op.25 No.3): Allegro Moderato

9. Study No.31 in a, 1st Version (From Etude in a, Op.25 No.4): Allegro Moderato

10. Study No.32 in f 'Polonaise', 2nd Version 9From Etude in a, Op.25 No.4): Allegro Drammatico

See all 26 tracks on this disc

Editorial Reviews
Amazon.com
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 his recording of Busoni's epic Piano Concerto, Op. 38, the pianist revealed abilities that couldn't be overshadowed by the complex composition at hand. But his take on Godowsky's thoroughly challenging studies on Chopin's Études is, quite simply, mind-boggling. Godowsky's 53 studies are some of the most difficult piano pieces ever written, requiring performers to dissect, reverse hand positions, and dramatically change the tempo of Chopin's well-loved compositions (not to mention his 22 transcriptions of the Études to be played by left hand alone!). Originally written as a playful diversion by Godowsky (1870-1938), a 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. A great recording. --Jason Verlinde

Tracks:

Study No.1 in C, 1st Version (From Etude in C, Op.10 No.1): Allegro Maestoso
Study No.2 in D flat, 2nd Version (From Etude in C, Op.10 No.1): Allegro
Study No.3 in a, 1st Version (From Etude in a, Op.10 No.2): Allegro
Study No.4 in a 'Ignis Fatuus', 2nd Version (From Etude in a, Op.10 No.2): Allegro
Study No.5 in D flat (From Etude in E, Op.10 No.3): Lento Ma Non Troppo
Study No.6 in c# (From Etude in c#, Op.10 No.4): Presto
Study No.7 in G flat, 1st Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.8 in C, 2nd Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.9 in a 'Tarantella', 3rd Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.10 in A, 4th Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.11 in G flat, 5th Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.12 in G flat, 6th Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.12a in G flat, 7th Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.13 in e flat (From Etude in e flat, Op.10 No.6): Quaver=108-132
Study No.14 in C 'Toccata', 1st Version (From Etude in C, Op.10 No.7): Vivace
Study No.15 in G flat 'Nocturne', 2nd Version (From Etude in C, Op.10 No.7): Allegretto Espressivo
Study No.15a in E flat, 3rd Version (Etude in C, Op.10 No.7): Allegro
Study No.16 in F, 1st Version (From Etude in F, Op.10 No.8): Allegro Risoluto
Study No.16a in G flat, 2nd Version (From Etude in F, Op.10 No.8): Allegro
Study No.17 in c#, 1st Version (From Etude in f, Op.10 No.9): Allegretto
Study No.18 in f, 2nd Version (From Etude in f, Op.10 No.9): Mesto
Study No.18a in f#, 3rd Version (From Etude in f, Op.10 No.9): Allegretto
Study No.19 in D, 1st Version (From Etude in A flat, Op.10 No.10): Allegro Moderato
Study No.20 in A flat, 2nd Version (From Etude in A flat, Op.10 No.10): Presto Ma Non Troppo
Study No.21 in A (From Etude in E flat, Op.10 No.11): Allegretto Sostenuto
Study No.22 in c# (From Etude in c, Op.10 No.12): Allegro Con Fuoco
Study No.23 in A flat, 1st Version (From Etude in A flat, Op.25 No.1): Allegro Sostenuto
Study No.24 in A flat, 2nd Version (From Etude in A flat, Op.25 No.1): Allegro Sostenuto

Tracks:

Study No.25 in A flat, 3rd Version (From Etude in A flat, Op.25 No.1): Allegro Sostenuto
Study No.26 in f, 1st Version (From Etude in f, Op.25 No.2): Vivace
Study No.27 in f 'Waltz', 2nd Version (From Etude in f, Op.25 No.2): Tempo Di Valse
Study No.28 in f, 3rd Version (Version A)(From Etude in f, Op.25 No.2): Allegro Moderato
Study No.28 in f, 3rd Version (Version B)(From Etude in f, Op.25 No.2): Allegro Moderato
Study No.28a in f#, 4th Version (From Etude in f, Op.25 No.2): Presto Ma Non Troppo
Study No.29 in F, 1st Version (From Etude in F, Op.25 No.3): Allegro Moderato
Study No.30 in F, 2nd Version (From Etude in F, Op.25 No.3): Allegro Moderato
Study No.31 in a, 1st Version (From Etude in a, Op.25 No.4): Allegro Moderato
Study No.32 in f 'Polonaise', 2nd Version 9From Etude in a, Op.25 No.4): Allegro Drammatico
Study No.33 in e, 1st Version (From Etude in e, Op.25 No.5): Allegro Ma Non Troppo
Study No.34 in c# 'Mazurka', 2nd Version (From Etude in e, Op.25 No.5): Tempo Di Mazurka
Study No.35 in b flat, 3rd Version (From Etude in e, Op.25 No.5): Allegro Moderato
Study No.36 in g# (From Etude in g#, Op.25 No.6): Allegro
Study No.38 in D flat (From Etude in D flat, Op.25 No.8): Allegro Sostenuto E Cantabile
Study No.39 in G flat, 1st Version (From Etude in G flat, Op.25 No.9): Allegro Vivace
Study No.40 in G flat, 2nd Version (From Etude in G flat, Op.25 No.9): Allegro
Study No.41 in b (From Etude in b, Op.25 No.10): Allegro Con Fuoco
Study No.42 in a (From Etude in a, Op.25 No.11): Lento - Allegro Con Brio
Study No.43 in c# (From Etude in c, Op. 25 No.12): Allegro Molto E Con Fuoco
Study No.44 in f (From Nouvelle Etude No.1 in f): Allegretto Con Moto
Study No.45 in E, 1st Version (From Nouvelle Etude No.2 in A flat): Allegretto
Study No.45a in D flat, 2nd Version (From Nouvelle Etude No.2 in A flat): Allegretto
Study No.46 in G 'Menuetto' (From Nouvelle Etude No.3 in D flat): Allegretto Grazioso
Study No.47 in G flat 'Badinage' (From Etudes in G flat, Op.10 No.5/Op.25 No.9 Combined): Vivace...
Study No.48 in F (From Etudes in E flat, Op.10 No.11/in F, Op.25 No.3, Combined): Allegretto...

Amazon.com

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 his recording of Busoni's epic Piano Concerto, Op. 38, the pianist revealed abilities that couldn't be overshadowed by the complex composition at hand. But his take on Godowsky's thoroughly challenging studies on Chopin's Études is, quite simply, mind-boggling. Godowsky's 53 studies are some of the most difficult piano pieces ever written, requiring performers to dissect, reverse hand positions, and dramatically change the tempo of Chopin's well-loved compositions (not to mention his 22 transcriptions of the Études to be played by left hand alone!). Originally written as a playful diversion by Godowsky (1870-1938), a 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. A great recording. --Jason Verlinde

Customer Reviews:

The real deal.......2007-03-03

I wrote elsewhere that Hamelin is probably one of the greatest pianists ever. Aside from the obvious technical prowess, which is always employed thoughtfully and without any hint of histrionics, what strikes me the most about his playing is the seriousness with which he approaches every single piece he decides to study and perform. While he was still a little child, his father, himself a very talented non-professional pianist, got him interested in Godowsky and piano music in general; they'd both sit together on the couch and gape in awe at the seemingly unfathomable pages of the Godowsky's Études, which had long been out of print. This little kid would eventually grow up to become one of the very finest musicians in the whole world and the greatest champion and interpreter of Godowsky's music. His amazing cd with the complete Godowsky's Études features some of the most compelling piano recordings you're ever likely to hear in your life. This music will haunt you forever and you'll soon realise that there's no way you can possibly get rid of it - most of the piano repertoire will look rather tame, poor and thin when compared to such a thunderous re-criation of the Chopin's Études.

Amazin'.......2006-10-14

This set is testament to Mr. Hamelin's technique. For those who want greater understanding, read not only the liner notes, but all the copious notes and annotations in The Godowsky Collection, Vol. 3 (Paperback)
by Millan Sachania (Compiler.) I arranged the music on my Ipod so Iwould listen to the original etude, and then the studies after it. Kind of like a "piece and variations". I won't add what others have already said about how great Hamelin is, but I do want to clarify something said in one of the poorest reviews. The reviewer criticizes Godowsky for saying that there are deficiencies in the Chopin etudes, and the reviewer took offense. The "deficiencies" that Godowsky are referring to are in terms of technique, not the writing. Godowsky adored the etudes. He wanted to clear up "left-hand technique" deficiencies (if I read the book correctly). THat's why the tricky right hand parts are switched to the left hand, become the accompaniment, and a newer (and sometimes harder) part is added for the right hand. Please check out the score above which contains warmup exercises by Godowsky to prepare you to learn the studies for yourself.

Dull compositions generally, with one brilliant exception.......2006-05-06

The very first piece in the set (in C) is the standout. Unlike most of them, which seem muddled compositionally or pointlessly embellished, this track is musically impressive, not just technically so. Hamelin's playing shows tremendous dexterity and accuracy, but if there's a way to make poetry out of most of this collection, it's not here. This set is for performance gurus, but not for listeners who are more interested in beautiful melodies.

Incredible! BUY THESE DISCS!.......2005-09-19

I bought these discs expecting pure pianism - which is there in plenty, for sure! What I did not expect was to be bowled over by the pure musicality. I expected embellishment of the wonderful etudes but here we get added insights!

I copied the disc to my computer and interspersed it with the original etudes. The result was a constant joy of discovering new aspects to these well loved pieces.

As for the pianism - it is flawless! I only wish it were a three disc set with the originals included played by Hamelin.

If you have any interest in romantic piano music - or any pianism for that matter - BUY THESE DISCS! You won't regret it. I am sure Chopin would have approved!

If I could, I'd give this SIX stars! It's that good!.......2005-03-12

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!

After listening to Hamelin's performance of the Godowsky Paraphrases on the Chopin Etudes, I have concluded:

1) Godowsky's paraphrases leave mine in the dust, both technically and musically.
2) Hamelin's performance of Godowski's paraphrases is nothing short of amazing.

These paraphrases are FIENDISHLY difficult to play -- but Hamelin makes them sound almost *easy*. It would be one thing merely to be able to PLAY these paraphrases -- and some of us 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 occasional 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. A good left hand transcription (or composition) should give the effect of two hands playing the instrument -- Godowsky (and Hamelin) often give the impression of *three* hands playing.

Note: if you are a Chopin "purist", you're probably not going to like these paraphrases. 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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1. Study No.1 in C, 1st Version (From Etude in C, Op.10 No.1): Allegro Maestoso
2. Study No.2 in D flat, 2nd Version (From Etude in C, Op.10 No.1): Allegro
3. Study No.3 in a, 1st Version (From Etude in a, Op.10 No.2): Allegro
4. Study No.4 in a 'Ignis Fatuus', 2nd Version (From Etude in a, Op.10 No.2): Allegro
5. Study No.5 in D flat (From Etude in E, Op.10 No.3): Lento Ma Non Troppo
6. Study No.6 in c# (From Etude in c#, Op.10 No.4): Presto
7. Study No.7 in G flat, 1st Version (From Etude in G flat, Op.10 No.5): Vivace
8. Study No.8 in C, 2nd Version (From Etude in G flat, Op.10 No.5): Vivace
9. Study No.9 in a 'Tarantella', 3rd Version (From Etude in G flat, Op.10 No.5): Vivace
10. Study No.10 in A, 4th Version (From Etude in G flat, Op.10 No.5): Vivace

1. Study No.25 in A flat, 3rd Version (From Etude in A flat, Op.25 No.1): Allegro Sostenuto
2. Study No.26 in f, 1st Version (From Etude in f, Op.25 No.2): Vivace
3. Study No.27 in f 'Waltz', 2nd Version (From Etude in f, Op.25 No.2): Tempo Di Valse
4. Study No.28 in f, 3rd Version (Version A)(From Etude in f, Op.25 No.2): Allegro Moderato
5. Study No.28 in f, 3rd Version (Version B)(From Etude in f, Op.25 No.2): Allegro Moderato
6. Study No.28a in f#, 4th Version (From Etude in f, Op.25 No.2): Presto Ma Non Troppo
7. Study No.29 in F, 1st Version (From Etude in F, Op.25 No.3): Allegro Moderato
8. Study No.30 in F, 2nd Version (From Etude in F, Op.25 No.3): Allegro Moderato
9. Study No.31 in a, 1st Version (From Etude in a, Op.25 No.4): Allegro Moderato
10. Study No.32 in f 'Polonaise', 2nd Version 9From Etude in a, Op.25 No.4): Allegro Drammatico