According to Leopold Godowsky (1870–1938), the aim of the Studien über die Etüden von F. Chopin “is to develop the mechanical, technical and musical possibilities of piano playing, to expand the peculiarly adapted nature of the instrument to polyphonic, polyrhythmic and polydynamic work and to widen the range of its possibilities in tone colouring…” Furthermore, the studies “are to be considered in an equal degree suitable for concert purposes and private study”.

Godowsky employs various forms in his Studies on Chopin, including variations on the études, transcriptions for the left hand, free transcriptions (where the original is combined with another study, freely treated, inverted, etc.), cantus firmus (where the original right-hand part is played by the left hand, while the right elaborates contrapuntally), and metamorphoses (where the melodic and harmonic outline of the original is considerably modified).

The magnificent C major of Study no.1 (based on op.10 no.1) opens this extraordinary set: a mighty chorale (from the thematic lines of the original), the text of the original study in the left hand and its inversion in the right hand are all combined in order to create a polyphonic work in full pianistic tone. In the final pages, the piano seems to express its highest dynamic degree and, as Godowsky writes, “in the coda the player must not show the slightest sign of fatigue”. Also based on op.10 no.1, Study no.2 is a perfect example of Godowsky’s left hand writing. A revolutionary use of the fingering and of the right pedal allows a polyphonic effect similar to the original.

Godowsky wrote three studies (nos. 23–25) for the left hand alone based on Chopin’s op.25 no.1. Of these, no.24 is intended to give the impression of a piece for four hands: “If it is possible to assign to the left hand alone the work done usually by both hands simultaneously, what vistas are opened to future composers, were this attainment to be extended to both hands!” The rippling texture of no.25 is reminiscent of an Aeolian harp.

The final study (no.43), based on op.25 no.12, is a tour-de-force for the left hand alone, covering the entire range of the keyboard by itself in homage to Chopin's 'Revolutionary' Étude.

Like Delucchi’s album Godowsky: Original piano works and transcriptions, this set contains a selection of original compositions and transcriptions of works by composers other than Chopin (disc 3) and was recorded on the Steinway D 1906 (from the collection of Marco Barletta and Alberto Mattarozzi). After restoration work done by Barletta and Mattarozzi, the mechanical capabilities of the instrument have been improved, but its characteristically warm and poetic sound has been preserved. This Steinway still remains one of the best choices for the music of Leopold Godowsky, the pianistic genius of the golden age.

Italian pianist Emanuele Delucchi has the rare ability to conquer the immense difficulties of these works and still make music of them. His Godowsky recordings received rave reviews: “Its palette of warm colours remained intact but gained a more incisive attack, allowing Delucchi’s voicing and extraordinary digital facility to be heard at its best…Delucchi is in a class of his own”, Jed Distler of Classicstoday.com wrote: “9/9: every inch a viable contender to the reference versions”.

Previously issued separately on the Piano Classics label, now available as a budget 3-CD set on Brilliant Classics.