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49 Videos  
page 1 / 3
     suivant
  leopold godowsky - sonata in e minor, 1s...
pf: marc-andré hamelin pf: marc-andré hamelin pf: marc-andré hamelin
  leopold godowsky plays schubert die scho...
schubert: die schone mullerin, op. 25, d. 795: no. 8. morgengruss (arr. l. godowsky for piano) schubert: die schone mullerin, op. 25, d. 795: no. 8. morgengruss (arr. l. godowsky for piano) schubert: die schone mullerin, op. 25, d. 795: no. 8. morgengruss (arr. l. godowsky for piano)
  leopold godowsky - prelude in c sharp mi...
an early electrical recording an early electrical recording an early electrical recording
  leopold godowsky: alt wien (old vienna)
leopold godowsky: alt wien (old vienna) piano: lars roos leopold godowsky: alt wien (old vienna) piano: lars roos leopold godowsky: alt wien (old vienna) piano: lars roos
  leopold godowsky plays schubert & godows...
schubert & godowsky - gute nacht (from winterreise) leopold godowsky,piano schubert & godowsky - gute nacht (from winterreise) leopold godowsky,piano schubert & godowsky - gute nacht (from winterreise) leopold godowsky,piano
  leopold godowsky - black keys study & bu...
an early electrical recording an early electrical recording an early electrical recording
  godowsky plays chopin nocturne opus 37 no. 2
leopold godowsky (1870-1938) plays frédéric chopin: nocturne nr. 12 in g, opus 37 no. 2, composed in 1839. recorded in 1928. leopold godowsky (1870-1938) plays frédéric chopin: nocturne nr. 12 in g, opus 37 no. 2, composed in 1839. recorded in 1928. leopold godowsky (1870-1938) plays frédéric chopin: nocturne nr. 12 in g, opus 37 no. 2, composed in 1839. recorded in 1928.
  leopold godowsky : etude macabre
marc-andre hamelin, piano very wickedly difficult piece performed by a titan of the keyboard. etude macabre (1929) marc-andre hamelin, piano very wickedly difficult piece performed by a titan of the keyboard. etude macabre (1929) marc-andre hamelin, piano very wickedly difficult piece performed by a titan of the keyboard. etude macabre (1929)
  godowsky plays chopin - heroic polonaise
leopold godowsky plays chopin's heroic polonaise in a-flat major 1842, op.53 by far one of the best recordings i have heard, even for a piano roll! leopold godowsky plays chopin's heroic polonaise in a-flat major 1842, op.53 by far one of the best recordings i have heard, even for a piano roll! leopold godowsky plays chopin's heroic polonaise in a-flat major 1842, op.53 by far one of the best recordings i have heard, even for a piano roll!
  the swan (arranged by godowsky)
the swan from carnival of the animals by saint-saens, freely arranged (complete with minor 9ths) for piano solo by leopold godowsky. the swan from carnival of the animals by saint-saens, freely arranged (complete with minor 9ths) for piano solo by leopold godowsky. the swan from carnival of the animals by saint-saens, freely arranged (complete with minor 9ths) for piano solo by leopold godowsky.
  chopin=godowsky etude op.10-3 ????????????
leopold godowsky - studies on chopin's Études leopold godowsky - studies on chopin's Études played by me. leopold godowsky - studies on chopin's Études leopold godowsky - studies on chopin's Études played by me. leopold godowsky - studies on chopin's Études leopold godowsky - studies on chopin's Études played by me.
  godowsky plays liszt liebestraum no. 3
leopold godowsky (1870-1938) plays this well-known piece of franz liszt (1811-1886). recorded in 1925. liebesträume (german for dreams of love), is a set of three solo piano works (s/g541) by franz liszt, published in 1850. often, the term liebesträume refers specifically to no. 3, the most famous of the three. originally the three liebesträume (notturni) were conceived as songs after poems by ludwig uhland and ferdinand freiligrath. in 1850 two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano two-hands. the third liebestraum can be considered as split into three sections, each divided by a fast cadenza requiring dextrous fingerwork and a relatively high degree of technical ability. the second cadenza in this recording is a leopold godowsky (1870-1938) plays this well-known piece of franz liszt (1811-1886). recorded in 1925. liebesträume (german for dreams of love), is a set of three solo piano works (s/g541) by franz liszt, published in 1850. often, the term liebesträume refers specifically to no. 3, the most famous of the three. originally the three liebesträume (notturni) were conceived as songs after poems by ludwig uhland and ferdinand freiligrath. in 1850 two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano two-hands. the third liebestraum can be considered as split into three sections, each divided by a fast cadenza requiring dextrous fingerwork and a relatively high degree of technical ability. the second cadenza in this recording is a leopold godowsky (1870-1938) plays this well-known piece of franz liszt (1811-1886). recorded in 1925. liebesträume (german for dreams of love), is a set of three solo piano works (s/g541) by franz liszt, published in 1850. often, the term liebesträume refers specifically to no. 3, the most famous of the three. originally the three liebesträume (notturni) were conceived as songs after poems by ludwig uhland and ferdinand freiligrath. in 1850 two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano two-hands. the third liebestraum can be considered as split into three sections, each divided by a fast cadenza requiring dextrous fingerwork and a relatively high degree of technical ability. the second cadenza in this recording is a
  evgeny kissin plays moment musical op.94...
evgeny kissin plays moment musical op.94 no.3 in fis-minor,arr by leopold godowsky. evgeny kissin plays moment musical op.94 no.3 in fis-minor,arr by leopold godowsky. evgeny kissin plays moment musical op.94 no.3 in fis-minor,arr by leopold godowsky.
  godowsky plays grieg ballade opus 24 (1/2)
part i edvard grieg (1843-1907): ballade in the form of variations on a norvegian folk song, in g minor, op.24 (1875-1876) leopold godowsky, piano recorded in 1929. paintings by eilif peterssen (portrait of grieg, 1891) and edvard munch (1863-1944) leopold godowsky (1870-1938) was the most original transcriber and arranger of piano music since liszt. his reputation as a great pianist, however, has been eclipsed by the subsequent fame of those arrangements. such was not always the case. to contemporaries, it was his piano playing that impressed. josef hofmann exclaimed, he is the master of us all, while the astute piano journalist james gibbons huneker wrote, he is the superman of piano playing. his ten digits are ten independent voices. godowsky made a sensation at his first concert appearance in berlin on 6 december 1900, perhaps the most astonishing debut of any pianist in history, and was immediately thrown into the spotlight, acknowledged as a great pianist, the equal of d'albert and busoni. his career as a pianist then took him around the entire world. but godowskys reputation as a pianist never really soared. although he was widely heard, he never gained the popularity or universal appeal of colleagues such as josef hofmann, ignace jan paderewski, and vladimir de pachmann, though he was certainly their equal and in certain ways, their superior. he became the quintessential connoisseurs pianist. his recitals attracted musicians who were sympathetic, while the wider public stayed away. he felt that most listeners were beneath him, and observed that there were only a few who could really appreciate him. the multitudes did not understand, he was quoted saying. godowsky evolved from a traditional romantic virtuoso into a nearly unique figure, whose playing was unlike every other pianists save pachmann. these two played in a way totally different from other pianists of their era, eschewing the lisztian orchestral grand manner then prevalent, substituting instead a more abstract and perhaps purer form of pianism, sometimes divorced from the emotional content of the music. in pachmanns case, it was the beauty of his seductive touch that hid the abstraction of the notes. with godowsky the abstraction was less hidden. he delighted in intellectualizing technique, producing inner voices, contrapuntal melodies, hidden bass lines, and touches of color that no one else thought possible, all achieved with a herculean mastery of the instrument, which would stun his listeners. he never compromised in his playing, and some found it lacking in warmth and poetry. defenders would reply that his playing went beyond emotion. despite his restraint, godowsky could not be called a modern pianist, and was very much of his time, reflecting the ideal of beauty of tone. the depth and richness of his chord playing, for instance, is utterly beyond most of todays players. godowsky subordinated everything to his concept of beauty of sound. like pachmann, he often sectionalized works to bring out a particular tonal image in specific sections. but when he forgot these obsessions in his recordings and let go, he transcended all, as in chopins fourth scherzo and the grieg ballade. the extreme finish of his art represents idealized perfection in piano playing, from which all pianists could learn. apart from any question of emotion, godowsky remains one of the greatest of all recorded pianists because of the imperial grandeur of his playing, almost as if his perfection were above all earthly comparison. (edward blickstein) part i edvard grieg (1843-1907): ballade in the form of variations on a norvegian folk song, in g minor, op.24 (1875-1876) leopold godowsky, piano recorded in 1929. paintings by eilif peterssen (portrait of grieg, 1891) and edvard munch (1863-1944) leopold godowsky (1870-1938) was the most original transcriber and arranger of piano music since liszt. his reputation as a great pianist, however, has been eclipsed by the subsequent fame of those arrangements. such was not always the case. to contemporaries, it was his piano playing that impressed. josef hofmann exclaimed, he is the master of us all, while the astute piano journalist james gibbons huneker wrote, he is the superman of piano playing. his ten digits are ten independent voices. godowsky made a sensation at his first concert appearance in berlin on 6 december 1900, perhaps the most astonishing debut of any pianist in history, and was immediately thrown into the spotlight, acknowledged as a great pianist, the equal of d'albert and busoni. his career as a pianist then took him around the entire world. but godowskys reputation as a pianist never really soared. although he was widely heard, he never gained the popularity or universal appeal of colleagues such as josef hofmann, ignace jan paderewski, and vladimir de pachmann, though he was certainly their equal and in certain ways, their superior. he became the quintessential connoisseurs pianist. his recitals attracted musicians who were sympathetic, while the wider public stayed away. he felt that most listeners were beneath him, and observed that there were only a few who could really appreciate him. the multitudes did not understand, he was quoted saying. godowsky evolved from a traditional romantic virtuoso into a nearly unique figure, whose playing was unlike every other pianists save pachmann. these two played in a way totally different from other pianists of their era, eschewing the lisztian orchestral grand manner then prevalent, substituting instead a more abstract and perhaps purer form of pianism, sometimes divorced from the emotional content of the music. in pachmanns case, it was the beauty of his seductive touch that hid the abstraction of the notes. with godowsky the abstraction was less hidden. he delighted in intellectualizing technique, producing inner voices, contrapuntal melodies, hidden bass lines, and touches of color that no one else thought possible, all achieved with a herculean mastery of the instrument, which would stun his listeners. he never compromised in his playing, and some found it lacking in warmth and poetry. defenders would reply that his playing went beyond emotion. despite his restraint, godowsky could not be called a modern pianist, and was very much of his time, reflecting the ideal of beauty of tone. the depth and richness of his chord playing, for instance, is utterly beyond most of todays players. godowsky subordinated everything to his concept of beauty of sound. like pachmann, he often sectionalized works to bring out a particular tonal image in specific sections. but when he forgot these obsessions in his recordings and let go, he transcended all, as in chopins fourth scherzo and the grieg ballade. the extreme finish of his art represents idealized perfection in piano playing, from which all pianists could learn. apart from any question of emotion, godowsky remains one of the greatest of all recorded pianists because of the imperial grandeur of his playing, almost as if his perfection were above all earthly comparison. (edward blickstein) part i edvard grieg (1843-1907): ballade in the form of variations on a norvegian folk song, in g minor, op.24 (1875-1876) leopold godowsky, piano recorded in 1929. paintings by eilif peterssen (portrait of grieg, 1891) and edvard munch (1863-1944) leopold godowsky (1870-1938) was the most original transcriber and arranger of piano music since liszt. his reputation as a great pianist, however, has been eclipsed by the subsequent fame of those arrangements. such was not always the case. to contemporaries, it was his piano playing that impressed. josef hofmann exclaimed, he is the master of us all, while the astute piano journalist james gibbons huneker wrote, he is the superman of piano playing. his ten digits are ten independent voices. godowsky made a sensation at his first concert appearance in berlin on 6 december 1900, perhaps the most astonishing debut of any pianist in history, and was immediately thrown into the spotlight, acknowledged as a great pianist, the equal of d'albert and busoni. his career as a pianist then took him around the entire world. but godowskys reputation as a pianist never really soared. although he was widely heard, he never gained the popularity or universal appeal of colleagues such as josef hofmann, ignace jan paderewski, and vladimir de pachmann, though he was certainly their equal and in certain ways, their superior. he became the quintessential connoisseurs pianist. his recitals attracted musicians who were sympathetic, while the wider public stayed away. he felt that most listeners were beneath him, and observed that there were only a few who could really appreciate him. the multitudes did not understand, he was quoted saying. godowsky evolved from a traditional romantic virtuoso into a nearly unique figure, whose playing was unlike every other pianists save pachmann. these two played in a way totally different from other pianists of their era, eschewing the lisztian orchestral grand manner then prevalent, substituting instead a more abstract and perhaps purer form of pianism, sometimes divorced from the emotional content of the music. in pachmanns case, it was the beauty of his seductive touch that hid the abstraction of the notes. with godowsky the abstraction was less hidden. he delighted in intellectualizing technique, producing inner voices, contrapuntal melodies, hidden bass lines, and touches of color that no one else thought possible, all achieved with a herculean mastery of the instrument, which would stun his listeners. he never compromised in his playing, and some found it lacking in warmth and poetry. defenders would reply that his playing went beyond emotion. despite his restraint, godowsky could not be called a modern pianist, and was very much of his time, reflecting the ideal of beauty of tone. the depth and richness of his chord playing, for instance, is utterly beyond most of todays players. godowsky subordinated everything to his concept of beauty of sound. like pachmann, he often sectionalized works to bring out a particular tonal image in specific sections. but when he forgot these obsessions in his recordings and let go, he transcended all, as in chopins fourth scherzo and the grieg ballade. the extreme finish of his art represents idealized perfection in piano playing, from which all pianists could learn. apart from any question of emotion, godowsky remains one of the greatest of all recorded pianists because of the imperial grandeur of his playing, almost as if his perfection were above all earthly comparison. (edward blickstein)
  godowsky piano - virtual instrument museum
the the the
  bach-godowsky siciliano bwv 1001 (piano)
siciliano from bach sonata for solo violin no. 1 in g minor, bwv 1001, transcribed for piano by leopold godowsky. i'm sorry for clicks and gaps in the last section, i had troubles in capturing from minidv. siciliano from bach sonata for solo violin no. 1 in g minor, bwv 1001, transcribed for piano by leopold godowsky. i'm sorry for clicks and gaps in the last section, i had troubles in capturing from minidv. siciliano from bach sonata for solo violin no. 1 in g minor, bwv 1001, transcribed for piano by leopold godowsky. i'm sorry for clicks and gaps in the last section, i had troubles in capturing from minidv.
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