Godowsky - Passacaglia on Schubert's "Unfinished" Symphony (Part 1/2)

Passacaglia, 44 variations, cadenza and fugue on the opening theme of Schubert's 'Unfinished' Symphony (1927)

Marc-Andre Hamelin writes:

"Although Godowsky's extraordinary Passacaglia has had a number of performances in the last couple of decades, it will be some time before it is recognized for what it is. Some of its daunting reputation stems from an unfortunate and rather silly remark that Vladimir Horowitz once made. A look at the score reveals that, although admittedly greatly demanding, the work is certainly not out of reach pianistically, and more pianists should be encouraged to discover this noble and majestic creation. The range of invention displayed throughout this weighty and reverential tribute is enormous. Godowsky employs a good variety of textures and harmonic activity, as well as some very imaginative counterpoints The composer Kaikhosru Sorabji thought enough of the Passacaglia to write that it deserved a place alongside a work such as Regers Bach Variations, Op 81, even stating that Godowskys opus 'far surpasses [Regers] in sustained pianistic interest and variety of treatment.'"

According to Jeremy Nicholas:

"Schuberts theme remains intact save for the addition of an anacrustic F sharp which facilitates elision between the variations. During the course of these, Godowsky takes the opportunity to pay tribute to several other composers. There is an acknowledgement of Bachs great Passacaglia in C minor in Godowskys choice of this ancient form, and another to Brahms and the passacaglia in his Fourth Symphony. The writing has stylistic references to Brahms himself (variations 31-35, 38, 39), Chopin (9, 27), Rachmaninov (19, 20, 24) and others—Scarlatti, Ravel, Richard Strauss—including a reference to Schuberts Erlkönig in variation 37. The music is dominated by a mood of dark, anguished brooding, reflecting Godowskys pessimistic state of mind at the time. In [a letter] written a few weeks after the Passacaglia's completion he confided:

'I am constantly in a state of depression. I really think there is no purpose that we, mortals, can find in our being here and having all those terrifying puzzling things around us and about us. Why? Wherefore? What do even the sublimest efforts of mortal geniuses amount to in the scheme of Cosmic phenomena?' "

Category:

Music

Tags:

• godowsky
• schubert
• unfinished
• symphony
• busoni
• reger
• brahms
• rachmaninov

[LordCalvinHastings]

I think it's quite obvious that this isn't "mere virtuosity", but the inspired work of a true genius. The melodies and harmonies are so perfectly and beautifully executed; the fortissimo parts are overwhelmingly powerful without losing the charm of their inherent melody. The variations in this piece don't sound repetitious at all. The piece itself wouldn''t sound repetitious, if you listened to it over and over again.

[Gibson29]

The section between 7 1/2 minutes and 8 1/2 minutes is just insane

[FGOthegorini]

Seriously, Schubert's symphony is a billion times better than this... who would even bother playing this useless lump of notes? Bah... Godowsky...

[123snowball]

Who's playing this?

[FlyingBlackAndWhite]

so intense

[Chiu19931993]

7:50-8:30

[newFranzFerencLiszt]

pure nonsense

[19871014]

@lsbrother Hey you got a point there, but possibly Godowsky choose this Schubert theme not because it was so suitable for a passacaglia's bass but because it was famous thus the ts would be famous too.

Maybe he wanted to show off that he could write a passa even from such a simple theme. But he indeed succeeded in doing so nonetheless

[lsbrother]

@19871014 ""Poor Godowsky can twist it all the way around and back, it still always be a bit eventless.""

- Well, that might be your opinion but clearly Godowsky did not think so, or presumably he would have tried a different piece to transcribe - after all he had plenty to choose from!

Personally I agree with Godowsky.

[19871014]

Arright i think the main problem here is that the Schubert-theme, the melody in the left hand is based upon only two harmonic units: one h minor tonic and the dominant.

Poor Godowsky can twist it all the way around and back, it still always be a bit eventless.

[19871014]

Who else thinks it has some similarities with Franck's Prelude choral and fugue?

[19871014]

i find it a bit artificial, unnatural and slightly over-dissonant.

Wish i could write sthing half as good though