The Straits Times: Pianist Marc-Andre Hamelin shows mastery of wide repertoire
August 10, 2026
The Straits Times
Canadian super-virtuoso pianist Marc-Andre Hamelin made his fourth appearance with the Singapore Symphony Orchestra (SSO) since 2005 in a sold-out concert directed by German conductor Sebastian Weigle.
Hamelin’s legend as “the pianist’s pianist” was borne out by his complete mastery of the widest repertoire, and the art of making the most complex of works (by Charles Alkan, Leopold Godowsky, Ferruccio Busoni, Nikolai Medtner, Charles Ives, K.S. Sorabji, et al) sound like child’s play.
All this seems to have overshadowed his true love and deep understanding of the core repertoire classics, set right in a masterly performance of Johannes Brahms’ monumental Second Piano Concerto In B Flat Major (Op. 83).
Cast like a four-movement symphony, its demanding piano part is so well-integrated into the musical fabric as to render its virtuoso presence moot.
Hamelin’s role was to stand out like a soloist yet be part of the general ensemble, a task far easier said than done. His mission was helped by excellent orchestral players, opening with fellow Montrealer Marc-Antoine Robillard’s pitchperfect horn solo, whose theme returned like an idee fixe (fixed idea) at pivotal moments.
In the Andante slow movement, Ng Pei-Sian’s cello sang the concerto’s most memorable melody, its congeniality reciprocated by Hamelin’s mellowness of touch.
At the Scherzo’s treacherous development section where lesser pianists fall short, Hamelin’s transcendental technique held sway. Playing very fast, very soft and very smooth all at once was what pianophiles marvel about.
The finale’s lightness saw Brahms at his most mercurial, with the Viennese waltz and Hungarian influences referenced, and a sprightly tarantella rhythm to close brought down the house.
Hamelin’s encores, two riotous Earl Wild transcriptions of George Gershwin songs – Liza and Fascinatin’ Rhythm – were icing on the cake.
Antonin Dvorak’s Seventh Symphony In D Minor (Op. 70), the Bohemian composer at his most Brahmsian, completed the concert. The burnished quality of strings and warmth of excellent woodwinds distinguished the performance.
Conductor Weigle ensured the Scherzo’s vigorous Slavonic Dance and dramatic finale were not rhythmically straitjacketed, allowing the music to breathe and stride to a thrilling conclusion.
On Aug 8, Hamelin was joined by SSO musicians for a fully subscribed chamber concert that will be long remembered for the quality of playing.
Newly appointed concertmaster Andrew Beer on violin and French horn principal Austin Larson were his partners in Brahms’ Horn Trio In E Flat Major (Op. 40).
Larson’s exceptional tone quality, intonation and breath control were exemplary, with the lively spirit of the hunt leaping into action in the second and fourth movements. Hamelin’s rocksteady pianism and Beer’s excellent articulation supported him to the hilt.
Franz Schubert’s Piano Quintet In A Major (D. 667), better-known as the Trout Quintet, was the ultimate Hausmusik, a collegial house party of musical friends. Despite just having met within the week, Hamelin with violinist Beer, violist Chen Li, cellist Christopher Mui and double bassist Yang Zhengyi played and sounded like long cherished colleagues.
From the opening chord, the music radiated the sunshine of an Austrian summer. The exposition repeats just doubled the pleasure of hearing and seeing men at work. And was not everyone waiting for the fourth movement’s variations on Schubert’s lied Die Forelle (The Trout)? The joy of this familiar melody will never grow old.
This delightful outing also highlighted the universality of chamber music, where world-renowned soloists and rank-and-file musicians dined at the same table.