Chopin: Études, Op.10 No.02 Etude in A minor 'Chromatique' - 1:38 Godowsky: 03. Study in A minor after Op.10 No.2 - 1st version, for left hand alone - 4:04 Godowsky: 04. Study in A minor after Op.10 No.2 - 2nd version (Ignis Fatuus) - 8:13
Godowsky's left-hand chromatic etude after Chopin inspired to try my hand at arranging the Rach Bumblebee transcription for the left hand in b-minor. Didn't get very far but i imagine Godowsky would've had a field day with it the way Cziffra did with those alternating-octave runs, etc. in his insane arrangement.
Ignis fatuus Study, indeed, presents a mental challenge as well as a physical one. Rightly spoken. Your technique is outstanding, Mr Stanhope. I fear not even 30 years of daily practice would endow me with the same agility, strength, stamina and independence of fingers, which is hugely important to be able to play Chopin Godowsky Studies. At least to play them well. Hopefully, you'll post the entire op 25. It would be a great trove to check out.
Mr. Stanhope, to the best of my knowledge, each of Chopin's etudes is difficult (in both musical and technical terms) in their own way. The existing transcriptions on Chopin Etudes are even more impossible to play. But I'd like to put a question to you: Is Godowsky Winter Wind really the most demanding study in terms of piano technique)? I am very well aware of the fact Chopin's original study in question all by itself presents SOME challenge even for an advanced pianist to do it justice. 25 no 11 has morbid reputation of being fiendishly difficult (I've tried that, too... to the best of my abilities). Godowsky version must be presenting twice as many difficulties to overcome, I'm sure. But the question is, can it be Godowsky Winter Wind Study which is the hardest one in the entire set?
@@alexanderchirozidi4397 There is no such thing as the hardest piece. Difficulty is contextual, and each pianist at a specific moment has some awaiting and demanding improvement. Also, sometimes just a shift in tempo in one piece can change the whole order; or because of the hand size (in relation to the asked chords). This being said, a selection of études may stand out in terms of challenge, eg., 2,3,4,6,13,19,22,25,36,43, etc, and still, through time, the order may change with the pianist's journey or progress and chosen tempi, and desired aesthetics and expressivity. 43 has its challenges of its own, same as 2 and 3 or 6 and 13.
The 'Ignis Fatuus' is one of the biggest hairpulls in Godowsky. Really well done maestro. I wonder if the title is a loose reference to Feux Follets, as they share a bit of a similar character.
Thx for your comment, I quite like the Chamber Concerto myself... if there ever comes a time where you decide to play some of the studies, please post videos here. This series on Godowsky was really special for me, thanks so much.
+Chopin-Godowsky Etudes David Stanhope thank you! I found that keeping my hand level with the keys really helps. Should you always keep your wrist parallel to the keys?
I think the best basic position to aim for is a horizontal line from above the elbow to wrist, parallel with the floor, the fingers falling naturally on to the keys with the wrist a little higher than the knuckles. Obviously this will vary a few degrees from pianist to pianist.
Oooh, looks like the settings for this video didn't save well :/ Ah well, this was still an excellent video! I love that you actually voice what goes on in the minds of anyone who performs these Godowsky studies and these performances are absolutely perfect! I'm so glad to see actual video of the hands (skilled, as they are) at work! Plus, the Ignus Fatuus is one of my favorites, despite its immense difficulty, both mentally and technically. I'm a little concerned though. If you're only doing 12 chapters, does that mean you're only doing the studies over Op. 10? It would be great if you looked at the Op. 25, Nouvelle, and combination studies too! They have much more to offer in my opinion and contain some of the best work in all of piano history! Totally understandable if it's not your cup of tea though.
C'est en travaillant cette étude (celle de Chopin) que je me suis blessé à la main droite... :( Depuis, je travaille ma musicalité avec des morceaux moins techniques pour les troisième et quatrième doigt de la main droite. En gros, j'ai fait mon Schumann... Mais j'ai découvert Schubert! :)
Maestro, I always wondered how the hand physiologically develops when learning etudes? Going to the gym for example, we over exert the muscle in a controlled manner to cause micro tears and thus the muscle gains mass in the long run. Yet in piano practice we do it slowly and always ensure we don’t damage the hand muscles, so what is slow deliberate practice doing to the muscles in the hand exactly? I would love your insight into this matter it’s always left me rather perplexed.
I don't really know, but adding bulk to the muscles might reduce flexibility. It may be more like a long-distance runner gaining stamina through constant training.
separately, then slowly together with accents on the strong beats, then divide the fours into two with accents on the 1st and 3rd notes (so that you are thinking of playing 3 against 2). You could also try tapping 4 against 3 on a table until you get it!
Just tried it - works well! Thanks! Btw, your Ignis Fatuus is terrific. I'm amazed that "pianist" comes as something of an afterthought in the mini-biography on your website. You must be some conductor/composer/trombonist!
You should look into Alkan’s “Le Vent” Op.15 No.2, edition by Isidor Phillip. He has some pretty great fingering for fast, stand-alone chromatic scales.
I never commented before on any youtubevideo, but this is both totally crazy and amazing! How long did it take to practice this all? And when did you start? I think I'm even late as a 19-year old first years conservatorystudent!
Sander Lekkerkerk A couple of pretty solid years for the lot. Not sure if I'll ever have time to do the 0p.25 set (certainly not at the moment), but you never know, maybe, assuming my fingers don't become arthritic...
For ignis fatuus, it was asked leggierissimo and for the RH staccato and pianissimo, which is not implemented here; maybe a "finger staccato", rather than a "hand staccato" would help achieve that and also reach higher speed with more comfort. So, my point is that the aethetic that L Godowsky was asking is not implemented here, and developed technique (by LG) was not sollicited by the pianist.
@@davidrichardstanhope Oui, bien sûr ! Il y a aussi les noires tenues tout au long de la pièce, qui dans une certaine mesures devraient sortir, si l'on choisit de jouer sans pédale (ce que je fais). Peut-être un jour proposerez vous une nouvelle version augmentée d'Ignis fatuus ? C'est néanmoins remarquable et très appréciable ces vidéos que vous avez fait. Bravo et merci.
I think the point is that most pianists naturally put too much dependence on their stronger fingers, that their weaker fingers lose out on the benefits. It’s unfortunate, but barely anyone would spend the time, energy, and mental faculties developing a technique that they don’t deem worthy (i.e. Amedee Mereaux, Etude Op.63 No.24. Fantastic etude for hand-jumps and crossings, but 99% of the music world disregards the piece as circus olympics theatrics with no musical value and minuscule technical value). This is to say, barely anyone would incorporate fingers 4 and 5 in chromatic scales if 1, 2, and 3 get the job done fine in 99% of pieces. Chopin provided a great, fun piece - especially for pianists seeking to develop their technique but don’t wanna die of boredom - with a focus on proving that the weaker fingers are worth practicing and investing in. Most beginner pianists see a piece like Op.10 No.2 and think “how the hell will I do that?” before learning that efficient fingering and piano ergonomics matters and goes a long way.
Once you get to the middle part you wished youd have stayed home, love it. Great stuff, clearly the mark of a great pianist
Chopin: Études, Op.10 No.02 Etude in A minor 'Chromatique' - 1:38
Godowsky: 03. Study in A minor after Op.10 No.2 - 1st version, for left hand alone - 4:04
Godowsky: 04. Study in A minor after Op.10 No.2 - 2nd version (Ignis Fatuus) - 8:13
Finally someone else who's played the left hand only one!
I hope you get through all the etudes, this is quite the undertaking.
so admirative of your work... awesome, crazy... congrats and THANKS from heart.
And thanks to you! I'm working on opus 25...maybe next year they will make it onto youtube.
this series is very interesting, thanks for sharing
Godowsky's left-hand chromatic etude after Chopin inspired to try my hand at arranging the Rach Bumblebee transcription for the left hand in b-minor. Didn't get very far but i imagine Godowsky would've had a field day with it the way Cziffra did with those alternating-octave runs, etc. in his insane arrangement.
Thank you for your sharings!! Great performances!!
You are welcome! Thank you.
Wow. Just wow
Ignis fatuus Study, indeed, presents a mental challenge as well as a physical one. Rightly spoken. Your technique is outstanding, Mr Stanhope. I fear not even 30 years of daily practice would endow me with the same agility, strength, stamina and independence of fingers, which is hugely important to be able to play Chopin Godowsky Studies. At least to play them well. Hopefully, you'll post the entire op 25. It would be a great trove to check out.
Thank you! Maybe Op.25, not sure I have the energy for the Godowsky "Winter Wind"...
Mr. Stanhope, to the best of my knowledge, each of Chopin's etudes is difficult (in both musical and technical terms) in their own way. The existing transcriptions on Chopin Etudes are even more impossible to play. But I'd like to put a question to you: Is Godowsky Winter Wind really the most demanding study in terms of piano technique)? I am very well aware of the fact Chopin's original study in question all by itself presents SOME challenge even for an advanced pianist to do it justice. 25 no 11 has morbid reputation of being fiendishly difficult (I've tried that, too... to the best of my abilities). Godowsky version must be presenting twice as many difficulties to overcome, I'm sure. But the question is, can it be Godowsky Winter Wind Study which is the hardest one in the entire set?
@@alexanderchirozidi4397 There is no such thing as the hardest piece. Difficulty is contextual, and each pianist at a specific moment has some awaiting and demanding improvement. Also, sometimes just a shift in tempo in one piece can change the whole order; or because of the hand size (in relation to the asked chords). This being said, a selection of études may stand out in terms of challenge, eg., 2,3,4,6,13,19,22,25,36,43, etc, and still, through time, the order may change with the pianist's journey or progress and chosen tempi, and desired aesthetics and expressivity. 43 has its challenges of its own, same as 2 and 3 or 6 and 13.
Absolutely tremendous!
perfect! Your performance was reminiscent of the hamelin. it's a great performance which is not to be bought.
G Yuiop Not quite perfect, but thanks for your kind comment!
The 'Ignis Fatuus' is one of the biggest hairpulls in Godowsky. Really well done maestro. I wonder if the title is a loose reference to Feux Follets, as they share a bit of a similar character.
I expect Godowsky had F.F. in mind, however loosely!
i love coming back to your videos, you are such a beast, your technique is godlike, last etude was INSANE
My technique is definitely not godlike at the moment...
thankyou for your videos, Maestro.
Dieu merci ...il y a des fous sur cette terre!!!!!!
Jean Paul Jourdan Vraiment
Love this series... would love to see something like this on Ligeti studies.
I have never played any Ligeti but I have conducted the Chamber Concerto - fantastic piece.
Thx for your comment, I quite like the Chamber Concerto myself... if there ever comes a time where you decide to play some of the studies, please post videos here. This series on Godowsky was really special for me, thanks so much.
Ignus Fatuus is so absurdly hard. Kudos for even trying it LOL
I'm practicing the original Chopin Etude for this one. It seems my right hand fingers can't last longer than 4 bars at speed..
Maybe some practice with dotted rhythms might help.
+Chopin-Godowsky Etudes David Stanhope thank you! I found that keeping my hand level with the keys really helps. Should you always keep your wrist parallel to the keys?
I think the best basic position to aim for is a horizontal line from above the elbow to wrist, parallel with the floor, the fingers falling naturally on to the keys with the wrist a little higher than the knuckles. Obviously this will vary a few degrees from pianist to pianist.
Thank you very much! I'll keep that in mind for my next practice.
Oooh, looks like the settings for this video didn't save well :/ Ah well, this was still an excellent video! I love that you actually voice what goes on in the minds of anyone who performs these Godowsky studies and these performances are absolutely perfect! I'm so glad to see actual video of the hands (skilled, as they are) at work! Plus, the Ignus Fatuus is one of my favorites, despite its immense difficulty, both mentally and technically.
I'm a little concerned though. If you're only doing 12 chapters, does that mean you're only doing the studies over Op. 10? It would be great if you looked at the Op. 25, Nouvelle, and combination studies too! They have much more to offer in my opinion and contain some of the best work in all of piano history! Totally understandable if it's not your cup of tea though.
Yes, not sure why. I may have to upload it again.
Ok, think I fixed it. I'm a bit new to this and internet where I live is so SLOOOOW
C'est en travaillant cette étude (celle de Chopin) que je me suis blessé à la main droite... :( Depuis, je travaille ma musicalité avec des morceaux moins techniques pour les troisième et quatrième doigt de la main droite. En gros, j'ai fait mon Schumann... Mais j'ai découvert Schubert! :)
+Serge Bayet Bon!
Oh god the 2nd version sounds like a clusterfuck
(I am TheExarion's other account.) I don't think you have to reupload it. Just edit the title/description.
Maestro, I always wondered how the hand physiologically develops when learning etudes?
Going to the gym for example, we over exert the muscle in a controlled manner to cause micro tears and thus the muscle gains mass in the long run.
Yet in piano practice we do it slowly and always ensure we don’t damage the hand muscles, so what is slow deliberate practice doing to the muscles in the hand exactly? I would love your insight into this matter it’s always left me rather perplexed.
I don't really know, but adding bulk to the muscles might reduce flexibility. It may be more like a long-distance runner gaining stamina through constant training.
I think Godowsky is some form of divine torture send by the Muses to punish piano students who won't practice.
How can I practice 3 against 4
separately, then slowly together with accents on the strong beats, then divide the fours into two with accents on the 1st and 3rd notes (so that you are thinking of playing 3 against 2). You could also try tapping 4 against 3 on a table until you get it!
@@davidrichardstanhope thanks I'm try to practice godowsky macabre the two handed version
Hi David, what fingering were you using for the 5th finger "fastest possible" chromatic scale?
In the example given, only the Ab with the fifth finger, but it allows fewer groups over the two octaves.
Just tried it - works well! Thanks!
Btw, your Ignis Fatuus is terrific. I'm amazed that "pianist" comes as something of an afterthought in the mini-biography on your website. You must be some conductor/composer/trombonist!
You should look into Alkan’s “Le Vent” Op.15 No.2, edition by Isidor Phillip. He has some pretty great fingering for fast, stand-alone chromatic scales.
Would it be possible to learn to play these etudes with one’s toes?
I never commented before on any youtubevideo, but this is both totally crazy and amazing! How long did it take to practice this all? And when did you start? I think I'm even late as a 19-year old first years conservatorystudent!
Sander Lekkerkerk A couple of pretty solid years for the lot. Not sure if I'll ever have time to do the 0p.25 set (certainly not at the moment), but you never know, maybe, assuming my fingers don't become arthritic...
i think the ignis fatuus is the only godowsky etude which is better than the original chopin
Oh no, many are really interesting: 2,9,13,25,33,34...
I am pretty sure a lot of them are
For ignis fatuus, it was asked leggierissimo and for the RH staccato and pianissimo, which is not implemented here; maybe a "finger staccato", rather than a "hand staccato" would help achieve that and also reach higher speed with more comfort. So, my point is that the aethetic that L Godowsky was asking is not implemented here, and developed technique (by LG) was not sollicited by the pianist.
Oh dear. Never mind - perhaps you should remember the last line in the film "Some Like It Hot".
@@davidrichardstanhope Oui, bien sûr ! Il y a aussi les noires tenues tout au long de la pièce, qui dans une certaine mesures devraient sortir, si l'on choisit de jouer sans pédale (ce que je fais). Peut-être un jour proposerez vous une nouvelle version augmentée d'Ignis fatuus ? C'est néanmoins remarquable et très appréciable ces vidéos que vous avez fait. Bravo et merci.
Why practice properly to develop an even finger action when you can just rush the weak fingers over the keys?
I think the point is that most pianists naturally put too much dependence on their stronger fingers, that their weaker fingers lose out on the benefits.
It’s unfortunate, but barely anyone would spend the time, energy, and mental faculties developing a technique that they don’t deem worthy (i.e. Amedee Mereaux, Etude Op.63 No.24. Fantastic etude for hand-jumps and crossings, but 99% of the music world disregards the piece as circus olympics theatrics with no musical value and minuscule technical value). This is to say, barely anyone would incorporate fingers 4 and 5 in chromatic scales if 1, 2, and 3 get the job done fine in 99% of pieces.
Chopin provided a great, fun piece - especially for pianists seeking to develop their technique but don’t wanna die of boredom - with a focus on proving that the weaker fingers are worth practicing and investing in. Most beginner pianists see a piece like Op.10 No.2 and think “how the hell will I do that?” before learning that efficient fingering and piano ergonomics matters and goes a long way.
You just disregard note values or lack of pedal marks to make it easier to play the piece.