Emanuele Delucchi - Godowsky: Complete Studies on Chopin, Passacaglia, Transcriptions '2022

Tracks list

Tracklist

01. Studies after Chopin, Op. 10: I. No. 1 (First Version)
02. Studies after Chopin, Op. 10: II. No. 1 (Second Version - For the Left Hand
Alone)
03. Studies after Chopin, Op. 10: III. No. 2 (First Version - For the Left Hand
Alone)
04. Studies after Chopin, Op. 10: IV. No. 2 "Ignis Fatuus" (Second Version)
05. Studies after Chopin, Op. 10: V. No. 3 (For the Left Hand Alone)
06. Studies after Chopin, Op. 10: VI. No. 4 (For the Left Hand Alone)
07. Studies after Chopin, Op. 10: VII. No. 5 (First Version)
08. Studies after Chopin, Op. 10: VIII. No. 5 "on the White Keys" (Second
Version)
09. Studies after Chopin, Op. 10: IX. No. 5 "Tarantella" (Third Version)
10. Studies after Chopin, Op. 10: X. No. 5 "Capriccio" (Fourth Version)
11. Studies after Chopin, Op. 10: XI. No. 5 "Inversion for the Left Hand" (Fifth
Version)
12. Studies after Chopin, Op. 10: XII. No. 5 "Inversion for the Right Hand"
(Sixth Version)
13. Studies after Chopin, Op. 10: XIII. No. 5 (Seventh Version - For the Left
Hand Alone)
14. Studies after Chopin, Op. 10: XIV. No. 6 (For the Left Hand Alone)
15. Studies after Chopin, Op. 10: XV. No. 7 (First Version)
16. Studies after Chopin, Op. 10: XVI. No. 7 (Second Version)
17. Studies after Chopin, Op. 10: XVII. No. 7 (Third Version - For the Left Hand
Alone)
18. Studies after Chopin, Op. 10: XVIII. No. 8 (First Version)
19. Studies after Chopin, Op. 10: XIX. No. 8 (Second Version - For the Left Hand
Alone)
20. Studies after Chopin, Op. 10: XX. No. 9 (First Version)
21. Studies after Chopin, Op. 10: XXI. No. 9 - Imitation of the Study, Op. 25
No. 2 (Second Version)
22. Studies after Chopin, Op. 10: XXII. No. 9 (Third Version - For the Left Hand
Alone)
23. Studies after Chopin, Op. 10: XXIII. No. 10 (First Version)
24. Studies after Chopin, Op. 10: XXIV. No. 10 (Second Version - For the Left
Hand Alone)
25. Studies after Chopin, Op. 10: XXV. No. 11 (For the Left Hand Alone)
26. Studies after Chopin, Op. 10: XXVI. No. 12 (For the Left Hand Alone)
27. Studies after Chopin, Op. 10: XXVII. No. 5 - Badinage
28. Study No. 44 in F Minor on trois nouvelle études No. 1, B. 130 (Left Hand
Alone)
29. Study No. 45 in E Major on trois nouvelle études No. 2, B. 130 (1st
Version)
30. Study No. 45a in D-Flat Major on trois nouvelle études No. 2, B. 130 (2nd
Version - Left Hand Alone)
31. Study No. 46 in G Major on trois nouvelle études No. 3, B. 130. Menuetto
32. Study No. 48 in F Major, Op. 10 No. 11
33. Study No. 23 in A-Flat Major, Op. 25 No. 1 (1st Version - For the Left Hand
Alone)
34. Study No. 24 in A-Flat Major, Op. 25 No. 1 (2nd Version)
35. Study No. 25 in A-Flat Major, Op. 25 No. 1 (3rd Version)
36. Study No. 26 in F Minor, Op. 25 No. 2 (1st Version)
37. Study No. 27 F Minor, Op. 25 No. 2 (2nd Version. Waltz)
38. Study No. 28A in F Minor, Op. 25 No. 2 (3rd Version)
39. Study No. 28B in F Minor, Op. 25 No. 2 (3rd Version. Octaves)
40. Study No. 28a in F-Sharp Minor, Op. 25 No. 2 (4th Version - Left Hand Alone
41. Study No. 29 in F Major, Op. 25 No. 3 (1st Version)
42. Study No. 30 in F Major, Op. 25 No. 3 (2nd Version - Left Hand Alone)
43. Study No. 31 A Minor, Op. 25 No. 4 (1st Version - Left Hand Alone)
44. Study No. 32 in F Minor, Op. 25 No. 4 (2nd Version. Polonaise)
45. Study No. 32 in F Minor, Op. 25 No. 4 (2nd Version. Trio)
46. Study No. 33 in E Minor, Op. 25 No. 5 (1st Version)
47. Study No. 34 in C-Sharp Minor, Op. 25 No. 5 (2nd Version. Mazurka)
48. Study No. 35 in B-Flat Minor, Op. 25 No. 5 (3rd Version - Left Hand Alone)
49. Study No. 36 in G-Sharp Minor, Op. 25 No. 6 (Thirds)
50. Study No. 38 in D-Flat Major, Op. 25 No. 8 (Sixths)
51. Study No. 39 in F-Flat Major, Op. 25 No. 9 (1st Version)
52. Study No. 40 in G-Flat Major, Op. 25 No. 9 (2st Version - Left Hand Alone)
53. Study No. 41 in B Minor, Op. 25 No. 10 (Left Hand Alone)
54. Study No. 42 in A Minor, Op. 25 No. 11
55. Study No. 43 in C-Sharp Minor, Op. 25 No. 12 (Left Hand Alone)
56. Passacaglia: 44 Variations, Epilogue, Cadenza and Fugue on the Opening Theme
of Schubert's Unfinished Symphony No. 8, D. 759
57. 12 Schubert Song Transcriptions: No. 1, Wohin (Arr. Of "Die schöne
Müllerin", Op. 25, D. 795)
58. 12 Schubert Song Transcriptions: No. 2, Gute Nacht (Arr. Of "Winterreise",
Op. 89, D. 911)
59. 12 Schubert Song Transcriptions: No. 11, Heidenröslein (Arr. Of
"Heidenröslein", Op. 3, No. 3, D. 257)
60. 12 Schubert Song Transcriptions: No. 7, Wiegenlied (Arr. Of "Wiegenlied",
Op. 98, No. 2, D. 498 by Leopold Godowsky)
61. 12 Schubert Song Transcriptions: No. 8, Morgengruss (Arr. Of "Die schöne
Müllerin", Op. 25, D. 795)
62. Piano Transcription of Ständchen, Op. 17, No. 2
63. Piano Transcription of Adagietto from L'arlésienne Suite, No. 2
64. Piano Transcription of Canzonetta from Concerto Romantique, Op. 35 No. 3
65. Piano Transcription of Tango from España, Op. 165
66. 4 Poems: No. 1, Devotion
67. 4 Poems: No. 2, Avowal
68. 4 Poems: No. 3, Adoration
69. 4 Poems: No. 4, Yearning
70. Symphonische Metamorphosen Johann Strauss'scher Themen: No. 3, Wein, Weib &
Gesang
71. Triakontameron: No. 11, Alt Wien

According to Leopold Godowsky (1870–1938), the aim of the Studien über
die Etüden von F. Chopin “is to develop the mechanical, technical and
musical possibilities of piano playing, to expand the peculiarly adapted nature
of the instrument to polyphonic, polyrhythmic and polydynamic work and to widen
the range of its possibilities in tone colouring…” Furthermore, the
studies “are to be considered in an equal degree suitable for concert
purposes and private study”.
Godowsky employs various forms in his Studies on Chopin, including variations on
the études, transcriptions for the left hand, free transcriptions (where the
original is combined with another study, freely treated, inverted, etc.), cantus
firmus (where the original right-hand part is played by the left hand, while the
right elaborates contrapuntally), and metamorphoses (where the melodic and
harmonic outline of the original is considerably modified).
The magnificent C major of Study No.1 (based on Op.10 No.1) opens this
extraordinary set: a mighty chorale (from the thematic lines of the original),
the text of the original study in the left hand and its inversion in the right
hand are all combined in order to create a polyphonic work in full pianistic
tone. In the final pages, the piano seems to express its highest dynamic degree
and, as Godowsky writes, “in the coda the player must not show the
slightest sign of fatigue”. Also based on Op.10 No.1, Study No.2 is a
perfect example of Godowsky’s left hand writing. A revolutionary use of
the fingering and of the right pedal allows a polyphonic effect similar to the
original.
Godowsky wrote three studies (Nos. 23–25) for the left hand alone based
on Chopin’s Op.25 No.1. Of these, No.24 is intended to give the
impression of a piece for four hands: “If it is possible to assign to the
left hand alone the work done usually by both hands simultaneously, what vistas
are opened to future composers, were this attainment to be extended to both
hands!” The rippling texture of No.25 is reminiscent of an Aeolian harp.
The final study (No.43), based on Op.25 No.12, is a tour-de-force for the left
hand alone, covering the entire range of the keyboard by itself in homage to
Chopin's 'Revolutionary' Étude.
Like Delucchi’s album Godowsky: Original piano works and transcriptions,
this set contains a selection of original compositions and transcriptions of
works by composers other than Chopin (disc 3) and was recorded on the Steinway D
1906 (from the collection of Marco Barletta and Alberto Mattarozzi). After
restoration work done by Barletta and Mattarozzi, the mechanical capabilities of
the instrument have been improved, but its characteristically warm and poetic
sound has been preserved. This Steinway still remains one of the best choices
for the music of Leopold Godowsky, the pianistic genius of the golden age.

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