Marc-André Hamelin plays Szymanowska, Feinberg, Beethoven and Schumann
ฝัง
- เผยแพร่เมื่อ 16 มี.ค. 2017
- A lovely recital with both known and rarely performed works in a fantastic performance by Marc-André Hamelin
Program:
Szymanowska - Nocturne in B flat major 0:30
Feinberg - Sonata no 2 in A minor, op. 2 6:08
Feinberg - Sonata nr 1 in A major, op. 1 14:22
Beethoven - Piano Sonata No. 23 “Appassionata” 21:17
Schumann - Fantasy in C, Op. 17 46:28
- 1st movement: 46:28
- 2nd movement: 59:38
- 3rd movement: 1:07:48
Moszkowski - Waltz in E major 1:23:06
Schubert - Impromptu D.935 no. 2 in A flat major 1:31:44
All credit to Göteborg Symfoniker, no copyright infringement intended. - เพลง
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Hamelin was literally born to play the piano.
No one is. We all become who we are. Including Mozart, Godowsky, Hamelin, Horowitz, Liszt, Chopin, Beethoven...
I love hamelin!
To play Schumann Fantasy's beginning with the right hand: YES!
I love how Hamelin brings light to obscure and lesser-known works. He doing us a great service by digging up these hidden gems! I especially like the Feinberg Sonata No. 1, with its sweet melodies and gorgeous harmonies. Bravo Hamelin!
Just heard the Feinberg sonata again and I completely agree :-)
yes beautiful very delicate and i imagine hard to get the mood right
Right cacophony with a few nice bits but then goes disjointed and scatty
Feinberg's no. 1 Sonata has been a favourite of mine for years now, and to have MAH perform it is a true gift. Hopefully young pianists learn from MAH's willingnes to dig up unusual repertoire.
@@ciararespect4296 no
One of the greatest living pianists at the moment! I have seen him several times live!
In terms of technic, he is on the top since decades but for the "musician soul" he is the perfect example that "growing" is a lifetime quest !
His own compositions /variations show his deep understanding of music on the physical level and on the "metaphysic" level he developped himself to the same top level he is in terms of technic!
bravo!
Fantastic recital, thank you for posting Opus Travels. 👍🌷🌷🌷 ( 2024-Holland)
The Feinberg Sonata no. 2 gives me the impression of ecstatic delirium - heart-wrenching melodies over a complex texture. Wonderful performance, thank you.
I went to one of its recital once and it was magical. There's unfortunately no microphone able to capture the atmosphere and the colors that he can create in a concert hall. He is really something else. A magician of the piano.
Feinberg to me is the most perfect extension of Scriabin
Marc Andre Hamelin, so praised for his technical prowess, is now becoming a sensible poet of the piano! Maestro, congratulations!
He's been that for many, many years already :-D
OpusTravels True, but people haven't been noticing 'till now :D
One of the greatest pianists and compositors of this times.. BRAVO!!!
Hamelin is the best!
He makes me discover new music !
The Schuman: the holiest of holy prayers, intimate and tender, fervent and completely surrendered to the spirits above and within! Sheer beauty divine!
There is 1:37:47 I don’t want back, it was wisely spent and fully enriched. I think I will watch it again. Also what a wonderfully behaved piano, the harmonics are outstanding, all teased out by Mr Hamelin of course.
Feinberg sonata 2 :)!!!! Thank you
I love Daniil and Yuja, but Hamelin is already a legend.
Try Yulianna Avdeeva. Easily fits in this company. (No need to rank!)
@@AnonYmous-ry2jn yes she's good but they all don't have the breadth of repertoire it's because they can't play them simple as
The Feinberg Sonatas are wonderful!!!
So glad to hear Feinberg's First Sonata after all this time :')
Legend
incredible as always
2nd sonata so beautiful: nuances of the modern 20th century, its hopes and frustrations
Muy lindo, gracias señor Hamelin. Bravo! 👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼👏🏼♥️
Great performance and most interesting choice of pieces!
wondrous Marc!
Nice to see that International Piano (a wonderful magazine from the UK) has MAH on the cover in the current issue. IMHO, he is clearly one of the greatest pianists of ALL TIME.
Bravo!
realmente impresionante este recital de Hamelin . esa version de la Appassionata esta lejos de igualarla hoy en día y que refinamiento en la Fantasía de Schumann...exquisito y conmovedor...también muy bellas las versiones de Szymanovska y Feinber...
Hats Off Ladys and Gentleman! here comes Hamelin!
Pura música pura elevación muchas gracias
for me, best pianist ever
27:33 When you pop it in the backdoor
Schumann: fantasie in C, op. 17:
1st movement: 46:28
2nd movement: 59:38
3rd movement: 1:07:48
About Moszkowski's Walz in this concert, comparing MAH with Shura Cherkassy's rendering (also available on TH-cam), I wonder whether you would agree with me on the following: I wonder how different would a girl feel dancing this Walz in the arms of each of the pianists. My (uneducated) guess (being a boy myself!): both would deliver great music to her ears, but Shura would be the seducer, and MAH the one seduced!
I was lucky enough to attend an MAH concert at a Ravinia event years ago: unforgettable Godowsky et al.). MAH is also a great teacher for newcomers at a composer (e.g. Medtner's or Scriabine's sonatas, all through Hyperion).
All of it was great, but that first encore was amazing. If it really is as obscure as Hamelin claims (and I see no reason for him to lie) then that is indeed a tragedy. I am glad he performed it.
It's the Op.34 #1 to be precise, as Moszkowski wrote several Waltzes in E!
The Moszkowski is my favourite, although everything he plays is superb.
Considering just the Schumann, the first two movements in particular are really special. No one conveys the emotional ebbs and flows in the first movement as well as this, ranging from exquisite tenderness to violent passion. One revelation is how he manages to communicate a depth of feeling through the chords from bar 77 to the fermata, which nearly always sounds meaningless - it's actually reminiscent of some short recitatives in Beethoven from the Tempest sonata onwards, which can be very expressive in the right hands. I do like a more pronounced staccato in the bars from 141 to 148, and he takes other liberties with dynamics, such as reversing the crescendo in bar 75, and again in bar 267. The section from bar 195 is spectacularly virtuosic at this speed, but there are a couple of small note mistakes after the triplets cease, from bar 204, presumably because of the fast tempo. From bar 245 through to 253 is also virtuosic. I'm not struck on the slight rubato he puts into the An die ferne Geliebte quotes, and it's a curiosity that he rattles through the spread chord notes in bar 305, contrary to every other performer. The massive chords at the start of the second movement are impressively crisp and firmly in tempo, giving no hint of how it will change when the march theme gets underway - he chooses to stretch the quaver of the dotted rhythm nearly every time, which is disconcerting, as it's a march. He also introduces slight rubato in places through the long dotted-rhythm sections. The passage from bar 92, with its huge LH low lunges, is completely secure, and you just know he'll catch the correct note each time. He observes the dynamics through the scherzando section better than most, and again brilliantly negotiates the huge chords from bar 193, though here he begins the spread LH at the start of bar 198 too early. The Coda is magnificent; not only is it equal in speed and bravura to that of Horowitz, but he has actually structured it to ease off somewhat in bars 247 & 248 in order to build again, to the most triumphant and exhilarating of all renditions at the very end. At this point, I was convinced that this performance would topple my four favourites. The introduction to the final movement seemed perfectly judged, but then rubato started to creep in again, to spoil the flow. It became more pronounced through the sections of 2s against 3s, destroying the sense of line and calm horizontality, and with occasional staggering of LH before RH when they should be synchronised - which is a bit of a habit of Annie Fischer's too. He also takes far too many liberties with the markings leading to the crashing chords of bars 68 and 119. Having shown such impeccable judgment previously, he rather blows it in this movement. I'm afraid his penchant for rubato also wrecks the intensity of the magical build-up in the Coda. It's a shame his fussiness in this movement tarnishes what is otherwise the equal of the very best interpretations.
Good to see someone analaysing a performance in detail rather than merely throwing down an off-the-cuff remark, but hard to follow without the score to hand; timings would be helpful. Anyway, Nick, you're clearly more worried about Hamelin's "rubato" than his tone, which is what bothers me. His quiet playing is gorgeous, but when he gets above forte it all hardens up, and occasionally it degenerates into bashing (e.g. at 53.53 and towards the end of the second movement). I also find his Schubert dreadfully saccharine. Apart from that, amazing playing; and the Feinberg pieces were a revelation to me. Thanks for posting.
Nick con Brio,........Good Grief!
I actually don’t know if you enjoined this performance or else you were judging all the time and didn’t . Hamelin is great for his personal way of playing the piano , as all artists should do.
21:17
My mistake, with reference to the dancing pianistsI just launched a comparison about: the one to compare to MAH was Nikita Magaloff, and not Shura Cherkassy.
Listen to the "seducing" LH accents of the Magaloff version here:
th-cam.com/video/aCQ3KkMAuT4/w-d-xo.html
How could the girl -any girl - resist?
... Finally, did MAH realize he lost it to the girl, eventually? Perhaps: see how he "dropped his defenses", forgetting actually to double the last E octave on both hands to conclude the Spiel?
Anyway, IMHO, another bright and convincing version of this M. Walz!
20:19 OMG
The Jesus Christ of the contemporan era.
To Seel the Strength.
I'm not sure I understand what you mean.
To seek the strength !
Oh, but that seems like only half a sentence, what are you trying to say?
The recital makes me to seek & renews my strength. thanks!
Interesting programming….MAH ….superb Artistry
Man, the Appassionata is trivially easy for him, he almost seems a little bored at some parts. His playing is superb however!
+brian boru Well the szymanowska he played is a relatively simple pre-Chopin piece, I found it quite adoring. As far as Feinberg goes, I find his 2nd sonata to be rather exceptional and not nearly as difficult to understand than his other pieces. The Feinberg 1st sonata however I'm still struggling to fully understand and enjoy but it's growing on me.
I liked them both very much, appassionata was the least interesting piece for me in this recital. People sure are different :-)
Funnily, I found Feinberg 1 more accessible than Feinberg 2. Opposite experience.
@@dalcassian8351 The Szymanowska nocturne is beautiful! What's wrong?
He struggles during the coda of the Fantasy's 2nd movement, haha. But then, so did Richter, Horowitz, and countless others.
6.07 throw out the person with the mobile phone flashing
Must be early, EARLY, "baby" Szymanowski...because that sounds nothing like what he's commonly known for. Unless, of course, it's a different person.
It's Maria Szymanowska en.wikipedia.org/wiki/Maria_Szymanowska
@@fredericfrancois18 Ah, I see...well, that explains it. Thanks for clarifying.
@@tfpp1 what do you mean ??
@@pilouetmissiou Listen to his early music vs. his later music. Sounds totally different. But it's not even his music, it was Maria's music, which is why it sounds so different.
My mistake, with reference to the dancing pianistsI just launched a comparison about: the one to compare to MAH was Nikita Magaloff, and not Shura Cherkassy.
Listen to the "seducing" LH accents of the Magaloff version here:
th-cam.com/video/aCQ3KkMAuT4/w-d-xo.html
How could the girl -any girl - resist?