It's by Godowsky so much as anyone would imagine. An entertaining pot -pourri of the 1st movt's themes dressed up in pianistic extravaganza and rich sonorities such as are found in some of Busoni and Liszt. Fun to play, hear, but not in a performance of the concerto where the luxuriance, opulence, brilliance, display, grand manner are so out of character with the serious, poetic, philosophical nature of the concerto.
It is not right to criticize this cadenza as trash without considering the historical background. Remember that this cadenza was composed 100 years ago. The performance customs of 100 years ago were clearly different from today, and we must not forget that the custom of mixing other people's works here and there and performing them in one's own way was prevalent. In the early 20th century, the separation between composers and performers was not yet established, and the performance customs and atmosphere of the 19th century still remained.
It might then be worth comparing it to other cadenzas written around the same time. For example, many people here are bringing up Busoni's one as much better. Not having heard that one, I can't really comment, but I'd argue it's still relevant that Godowski's is perhaps not as good as that of one of his contemporaries.
@jason5880-b9g it's worth seeing what Godowsky wrote about his opinion on cadenzas: (written as a forward to his 2 cadenzas for Mozart's concerto for 2 pianos (no. 10)) "In composing cadenzas for the first and third movement of the Mozart Concerto for two pianos, my principal aim has been to utilize the thematic material and passages of the concerto, at the same time allowing myself the liberty of a more modern application of harmony, counterpoint, sonotity, and keyboard idioms. Provision for the interpolation of a free cadenza in a concerto may be considered as a privilege granted the performer to supply a personal commentary on the thematic material of the original work. It is a fallacy to assume that the executant is obligated to imitate the style, construction or even the idiosyncrasies of the composer, for the cadenza allows the player an opportunity to reveal his musical, intellectual, emotional, and spiritual qualities- to reveal the scope of his knowledge, the calibre of his logic, and the range of his inspiration. It is obvious that an extravagant and disproportionate display of any one of these attributes would be in bad form, jeopardizing the harmoni- ous relation of the cadenzas to the concerto. But there exists as little aesthetic reason for a servile imitation of the composer's style as there can be an ethical objection to a free functioning of the performer's imaginative faculties. Finally, in the cadenza, the player is expected to impart his subjective interpretation of the composer's work, in contrast to the more objective presentation required in the body of the composition." (1921)
Thanks for posting this -- it took time to set up with the score and realized sound! It is a novelty and also truly obvious why nobody plays this cadenza. It is ghastly, bloated, and totally out of character for the most sublime of Beethoven's piano concertos. Beethoven's several cadenzas are of course appropriate choices. I don't object to cadenzas that diverge stylistically diverge from the concerto (Beethoven's own cadenza to the 2nd concerto is an example!), but this is monumentally inappropriate for this profound piano concerto!
@alessandroalberto6431 Ah, giusto! Una vera indulgenza in stile Godowsky-complessa e un po' esagerata, ma è proprio quello che la rende fantastica, almeno secondo me!
The cadenza is bloated and insensitive even though it’s mechanically perfect in execution. But I will put in a good word for Godowsky by saying that his Java Suite and Triancantmeron collection should be heard more often.
I agree. I was thinking of learning this cadenza instead, but after this... nope. Busoni sounds much better if one wants to learn something other than Beethoven's original. This just sounds like an arrangement of the original concerto with many more extra notes.
@@PogouldangeliwitzI have a recording of almost all Brahms’ work so you could call me a fan but yes his cadenza is not great. I actually like a lot of the material here, it is essentially a more flashy version of the themes we’ve heard and doesn’t, like some other examples, introduce new ideas.
@@danielhornby5581 As cufflink said, this cadenza totally misunderstands the character of the concerto. While the latter is lyrical, flexible, filigrane and subtle, the former is bombastic, rigid, heavily pumped up on chords and obnoxiously in one's face. I'd add that it's full of harmonic banalities and that its structure doesn't go anywhere - it just lines up motif after motif, aimlessly.
That's what I understand.... to "rape" the music! Mr Godowsky misunderstood the message. Beethoven used to hate show- -offs and never gave emphasis to self-promoters. This is really awkward!!! Sorry for being so impolite....
3:04 the classic "two themes at the same time" Godowsky
A reminiscense of whole movement. In the manner of Alkan.
It's by Godowsky so much as anyone would imagine. An entertaining pot -pourri of the 1st movt's themes dressed up in pianistic extravaganza and rich sonorities such as are found in some of Busoni and Liszt. Fun to play, hear, but not in a performance of the concerto where the luxuriance, opulence, brilliance, display, grand manner are so out of character with the serious, poetic, philosophical nature of the concerto.
It is not right to criticize this cadenza as trash without considering the historical background. Remember that this cadenza was composed 100 years ago. The performance customs of 100 years ago were clearly different from today, and we must not forget that the custom of mixing other people's works here and there and performing them in one's own way was prevalent. In the early 20th century, the separation between composers and performers was not yet established, and the performance customs and atmosphere of the 19th century still remained.
It might then be worth comparing it to other cadenzas written around the same time. For example, many people here are bringing up Busoni's one as much better. Not having heard that one, I can't really comment, but I'd argue it's still relevant that Godowski's is perhaps not as good as that of one of his contemporaries.
@jason5880-b9g it's worth seeing what Godowsky wrote about his opinion on cadenzas: (written as a forward to his 2 cadenzas for Mozart's concerto for 2 pianos (no. 10))
"In composing cadenzas for the first and third movement of the Mozart
Concerto for two pianos, my principal aim has been to utilize the thematic material and passages of the concerto, at the same time allowing myself the liberty of a more modern application of harmony, counterpoint, sonotity, and keyboard idioms.
Provision for the interpolation of a free cadenza in a concerto may be
considered as a privilege granted the performer to supply a personal commentary on the thematic material of the original work. It is a fallacy to assume that the executant is obligated to imitate the style, construction or even the idiosyncrasies of the composer, for the cadenza allows the player an opportunity to reveal his musical, intellectual, emotional, and spiritual qualities- to reveal the scope of his knowledge, the calibre of his logic, and the range of his inspiration.
It is obvious that an extravagant and disproportionate display of any
one of these attributes would be in bad form, jeopardizing the harmoni-
ous relation of the cadenzas to the concerto. But there exists as little aesthetic reason for a servile imitation of the composer's style as there can be an ethical objection to a free functioning of the performer's imaginative faculties.
Finally, in the cadenza, the player is expected to impart his subjective
interpretation of the composer's work, in contrast to the more objective presentation required in the body of the composition." (1921)
@klop4228 busoni one is uploaded :)
It's excellent, extravagant, and intense.
Godowsky could string together all of Beethoven's Concertos in one piece if he wanted.
Thanks for posting this -- it took time to set up with the score and realized sound! It is a novelty and also truly obvious why nobody plays this cadenza. It is ghastly, bloated, and totally out of character for the most sublime of Beethoven's piano concertos. Beethoven's several cadenzas are of course appropriate choices. I don't object to cadenzas that diverge stylistically diverge from the concerto (Beethoven's own cadenza to the 2nd concerto is an example!), but this is monumentally inappropriate for this profound piano concerto!
don't much like this - not surprised no-one chooses to play it!
“What is needed are not cadenzas that are long or short, but of the right length.” And I might add, the right spirit. Me NO LIKE! PWG
Out of curiosity, who are you quoting?
@ Plato wrote: “What is needed are not speeches that are long or short, but are of the right length.” PWG
Secondo me questa cadenza ha il pregio di riprendere molti temi di questo grande concerto, tuttavia mi sembra un po' troppo ... godereccia !!!
Anzi Godowskereccia !!!
@alessandroalberto6431 Ah, giusto! Una vera indulgenza in stile Godowsky-complessa e un po' esagerata, ma è proprio quello che la rende fantastica, almeno secondo me!
Vero, ha il suo ... perché ( così come usa dire oggi ) !
Chissà se sarebbe piaciuta al Grande Maestro !
¯\_(ツ)_/¯
The cadenza is bloated and insensitive even though it’s mechanically perfect in execution. But I will put in a good word for Godowsky by saying that his Java Suite and Triancantmeron collection should be heard more often.
It sounds like an arrangement of the concerto.
Нужно было в левой руке провести какой-нибудь этюд Шопена.
Quel tapage ! C’est affreux et beaucoup trop long. Les cadences de Beethoven sont irremplaçables.
Awful. Circus music.
really horrible; absolutely out of Beethoven's style
Well, I think this is awful! Stylistically inappropriate and, the worst sin, unmusical!
That is truly awful. It totally misunderstands the character of the concerto.
I agree. I was thinking of learning this cadenza instead, but after this... nope. Busoni sounds much better if one wants to learn something other than Beethoven's original. This just sounds like an arrangement of the original concerto with many more extra notes.
Pretty bad, but after having ruined my hearing with that ghastly Brahms cadenza this is like heaven.
@@PogouldangeliwitzI have a recording of almost all Brahms’ work so you could call me a fan but yes his cadenza is not great.
I actually like a lot of the material here, it is essentially a more flashy version of the themes we’ve heard and doesn’t, like some other examples, introduce new ideas.
@@danielhornby5581 As cufflink said, this cadenza totally misunderstands the character of the concerto. While the latter is lyrical, flexible, filigrane and subtle, the former is bombastic, rigid, heavily pumped up on chords and obnoxiously in one's face.
I'd add that it's full of harmonic banalities and that its structure doesn't go anywhere - it just lines up motif after motif, aimlessly.
It totaly misunderstands the purpose of the qadenza.
No no no. Absolutely not. It’s horrible. Totally out of touch with the piece.
Agreed! It's just a lot of big chords making the cadenza sound difficult for the sake of being difficult without much finesse....
If only you had written the piece and could actually decide that...
This is music. Each person has a different liking and different opinions. Just don't go spreading your opinions as facts. To each his own.
@davishoshan5991, the composer is the one person who cannot decide if their piece is good or bad lol
That's what I understand.... to "rape" the music! Mr Godowsky misunderstood the message. Beethoven used to hate show- -offs and never gave emphasis to self-promoters. This is really awkward!!! Sorry for being so impolite....
Bloated and devoid of any sense of improvisation