Marc-André Hamelin
The official website of pianist Marc-André Hamelin
Discography
Godowsky: Strauss transcriptions & other waltzes
Label: Hyperion
Released: August 7, 2008
Catalog Num: CDA67626

Symphonische Metamorphosen Johann Strauss’scher Themen

Künstlerleben


Walzermasken

No 2: Pastell

No 14: Französisch

No 22: Wienerisch

No 24: Portrait—Joh. Str.


Symphonische Metamorphosen Johann Strauss’scher Theme

Die Fledermaus


Triakontameron

No 4: Rendezvous

No 11: Alt Wien

No 13: Terpsichorean Vindobona

No 21: The Salon

No 25: Memories


Symphonische Metamorphosen Johann Strauss’scher Themen

Wein, Weib und Gesang


Die letzte Walzer

Theme: Waltz


Marc-André Hamelin’s programme is mostly devoted to Godowsky’s works based on themes by—or directly inspired by—Johann Strauss II. It is not intended to be a comprehensive survey but is, nevertheless, fully representative of Godowsky’s finest reflections on the Waltz King. 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. And Marc-André Hamelin is, of course, no ordinary pianist—in fact his playing on a recent disc was compared to that of Alkan and Liszt.

Triakontameron and Walzermasken are rarely performed examples of Godowsky’s original work, and continue the composer’s love-affair with the waltz—they are written entirely in 3/4 time.

The last work on this dazzling disc is an oddity—indeed, a rarity. Sometime prior to 1925, Godowsky made a piano roll of his arrangement of The Last Waltz by Oscar Straus (1870–1954), the Vienna-born composer. The eponymous Waltz is heard throughout the 1920 operetta. The music of Godowsky’s transcription was never published for some unknown reason—it is a uniquely appealing arrangement. In the early 1970s, Gilles Hamelin, the pianophile father of Marc-André, notated, arranged and edited The Last Waltz from Godowsky’s piano roll, which was then published in 1975. Shortly afterwards, a copy of the negative of Godowsky’s manuscript was sent to Gilles Hamelin. 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.

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Updated: May-7-2015
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