|Published (Last):||10 May 2008|
|PDF File Size:||14.97 Mb|
|ePub File Size:||15.40 Mb|
|Price:||Free* [*Free Regsitration Required]|
In the three great Strauss transcriptions, Godowsky elevated the art of the piano paraphrase to a higher musical and pianistic plane; however their extreme technical difficulty remains a striking feature and places them out of the reach of ordinary pianists. The last work on this dazzling disc is an oddity—indeed, a rarity. Sometime prior to , Godowsky made a piano roll of his arrangement of The Last Waltz by Oscar Straus — , the Vienna-born composer. The eponymous Waltz is heard throughout the operetta.
It was all but illegible, so Hamelin Snr. Made a fair copy in his own hand: in almost every respect it tallied with the version he had transcribed from the piano roll. His key assets include the most together, impeccably voiced chords in the business, plus octaves, trills and rapid leaps that remain effortlessly even and focused, regardless of tempo.
All of this comes into delightful play over the course of the three big Strauss Symphonic Metamorphoses. Countless inner voices and contrapuntal rejoinders abound in these works, and Hamelin makes them audible and clear without resorting to the pianistic equivalent of red-ink underlining or pop-up windows.
Furthermore, Hamelin is a seasoned and subtle orchestrator at the piano; notice how he achieves such eloquent shading of simultaneous legato and detached phrases with no more help from the sustain pedal than is necessary. Thirty would be a conservative estimate, though the magic of his piano playing lies in his subtlety and flow, never in any shallow brilliance.
They sound symphonic too, deftly worked, complex in structure and emotion. The succulent recording is the cherry on the cake.
GODOWSKY FLEDERMAUS PDF