Marc-André Hamelin

Latest release

Busoni Late Piano Music

Ferruccio Busoni
Late Piano Music
Hyperion / CDA 67951/3
iTunes US
iTunes UK

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News

June 2014

NEW RELEASE: Schumann: Kinderszenen & Waldszenen; Janček: On the overgrown path I


Marc's latest disc on Hyperion is the GRAMOPHONE JUNE 2014 RECORDING OF THE MONTH AND BBC MUSIC MAGAZINE RECORDING OF THE MONTH

'In Hamelin's latest disc of music by Janáček and Schumann, he shows himself a virtuoso in a deeper sense, a virtuoso in sound, colour and poetic empathy, one who, to quote Liszt, ‘breathes the breath of life’. Using his prodigious command in music of a transcendental difficulty—the Chopin-Godowsky Études, the major works of Alkan, Albéniz’s Iberia, etc—he displays gifts which show him as first and foremost a musician’s musician' (Gramophone).

The New York Times writes that "The pianist Marc-André Hamelin brings commanding technique, elegant musicianship and imaginination..."

Info on the disc can be found here

February 2014

Balakirev, Khachaturian with Hamelin and London Philharmonic Orchestra


February 19th, 2014
7:30 PM GMT
London Philharmonic Orchestra
Osmo Vänkä, conductor


Click here to live stream the London Philharmonic Orchestra concert featuring Marc-André Hamelin playing:

BALAKIREV: Islamey, Oriental fantasy
KHACHATURIAN: Piano Concerto

February 2014

Hear Marc live with the London Philharmonic - February 19, 2014 2:30pm East Coast time


http://www.worldconcerthall.com/en/schedule/balakirev_khachaturian_with_hamelin_and_kalinnikovs_first_from_london/13076/

Marc-André Hamelin, piano, and the London Philharmonic Orchestra conducted by Osmo Vänskä perform:

BALAKIREV: Islamey, oriental fantasy.

KHACHATURIAN: Piano Concerto.

KALINNIKOV: Symphony No.1.

February 2014

New York Times: A Lively Jaunt With Medtner, Schubert and Chopin


I’m a little ashamed to admit I wasn’t entirely looking forward to the pianist Marc-André Hamelin’s recital on Monday evening at Zankel Hall. The centerpiece was a rare performance of the Sonata in E minor (Op. 25, No. 2) by Nicolas Medtner (1880-1951), a Russian composer — well known neither in his time nor ours — championed by Mr. Hamelin.

I listened to two recordings, took a look at the score and was doubtful. A continuous half-hour movement, the opulent Romantic sonata, written in 1910 and ’11 and nicknamed the “Night Wind,” sounded murky, meandering and pointlessly showoffy: a lot, and yet not very much.

But Mr. Hamelin helped me see the error of my ways. In his hands — international treasures, left and right — the sonata came to life, grand and soulful. It was single-mindedly propulsive but also kaleidoscopic in texture and color, going from lush to stark in a single tumble of notes.
It seems strange to say of this rich sundae of a work but here the “Night Wind” was almost restrained, sensitive without being cloying. Mr. Hamelin’s reputation as a pianist more formidable than feeling — more hands than heart — has never been quite fair, but he certainly doesn’t lay sentiment on thick, a quality that served him well on Monday.
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Marc-André Hamelin in a recital on Monday at Zankel Hall; the centerpiece of the evening was the Sonata in E minor (Op. 25, No. 2) by the composer Nicolas Medtner.Ruby Washington/The New York TimesThe score’s challenges — the swooping runs and punishing length — were barely noticeable. It was a given that Mr. Hamelin, a lover of obscurities who has recorded all 14 Medtner sonatas <http://www.hyperion-records.co.uk/al.asp?al=CDA67221/4> for Hyperion, would play with tremendous technical accomplishment, but his dazzling, tireless fingers were always in the service of emotion; decorations always emphasized the work’s architecture. The difficulties seemed organic, not gratuitous.

The performance’s wit was more of a surprise, from a frisky polonaise-style rhythm in one passage to another, not long after, with quick little Morse code-ish intrusions in the melodic line. By the end, without ever losing his fundamental calm, Mr. Hamelin was in a deep groove, unleashing a sudden burst of volume before just as suddenly dropping back into a misty suavity that also characterized his own Barcarolle (2012), which opened the recital.

In Schubert’s Four Impromptus (D. 935), Mr. Hamelin seemed to be attempting a mercurial, Medtner-like mix of subdued beauty and brassy exclamation: strong, even exaggerated contrasts. It was an interpretation sometimes easier to admire than love, most effective in the Impromptu No. 2, whose spacious beginning allowed a section of flowing triplets to feel like a dam had been broken. When the noble chords of the opening returned at the end they sounded chastened, struggling to conjure their old authority.

Three encores — Debussy’s delicate “Reflets dans l’eau,” Mr. Hamelin’s winking version of Chopin’s “Minute Waltz” and a serene, confident rendition of Paul de Schlözer’s fearsome Etude No. 2 in A-flat — closed an exhilarating evening.

Zachary Woolfe - New York Times - January 28, 2014

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