pi-a-nism (n.): technical skill or artistry in playing piano, or in composing piano music. (Oxford Dictionaries)
Canadian pianist Marc-André Hamelin has pianism in spades. That’s abundantly clear. At times, the sound he coaxes from the 1,000-pound behemoth known as a concert grand piano seems to defy the physical limits of both the instrument and the 10 human fingers applied to its keys. He also composes his own original music for the piano, which is highly virtuosic and impressive. It is easy to understand why he is considered one of the most formidable pianists of his time.
On Nov. 4, when the hall of Vancouver’s Chan Centre is dimmed and Hamelin steps out for his appointment with the new Steinway "D" at centre stage, many people will surely expect the technical fireworks to fly. But to frame a performance by Hamelin simply in terms of pianism would do a disservice to both him and the music.
CBC Music explored Hamelin’s people-powered pianism during a phone interview with him from Boston, the city he now calls home.
Q: How do you feel about having your reputation for spectacular keyboard skills precede you whenever you step out in front of an audience to perform?
A: The most important thing is to reach and touch your listeners. To me, a recital is an act of sharing and not to show how wonderful I am. I want people to trust me as a channeler of composers’ intentions and good music. If people come away with that, I’m so happy.
Q: Let’s not deny the technical gift. Do you feel you have a duty to share that?
A: Yes, very much.
Q: Some people have called your technique diabolical. Do you think there’s something of the devil’s influence when someone has been given diabolical technique?
A: Well you have to believe in the devil, which I don’t [laughs]. But the devil has always been an instrument of control, and we’re now in danger of getting into a religious discussion [laughs].
Q: I’ve heard that you were a little concerned about breaching the boundaries of good taste with your set of variations on a theme by Paganini. Could you elaborate on that?
A: There’s one variation where I felt “Oh no, I can’t do this.” It’s a variation with a basic discourse but it keeps being interrupted by other music as if you’re flipping radio channels. And I really thought I had gone too far, but it turns out to be the variation that people like the most, apparently, because that’s where I always get laughter.
Q: You seem to be drawn to unusual and challenging repertoire. Is that because of a dislike for more standard choices of music?
A: People tend to be quick to judge my repertoire choices because they only look at my discography. But my recital programs are often quite a different picture.
Q: May I get your impressions on a few composers and their contributions to the catalogue of piano music?
A: Sure.
Q: OK, let’s start with Busoni.
A: Busoni was a giant. There are no ifs and buts about it. He doesn’t touch everyone equally, and some people find him a little bit impenetrable. But if you take time to penetrate his world, it is a fascinating thing and there is definite genius there. I have just completed a three-disc project of his late piano works, and that is going to be out within a year or so. And I hope it will be instrumental in opening up people’s perception of what a unique mind he was.
Q: How about J.S. Bach?
A: Well, the master of them all. I don’t play him a lot but there’s no reason why that wouldn’t change.
Q: Scarlatti?
A: [Laughs.]
Q: I ask because of the Scarlatti attribution in your 12 Études in all the minor keys.
A: They say you only spoof the things you love. It was an affectionate tribute. I wouldn’t say he’s the composer I love the most, but there’s a definite originality there and a great deal of charm. If I have any qualms with him it is that he is often too virtuosic for his own good, and I guess that’s what got me to lampoon his style.
Q: Haydn?
A: Ahh. When you explore his music it’s one marvel after another. It’s full of surprises, full of delights and little twists and turns. He’s just playing with you. It’s delightful from beginning to end.
Q: Medtner?
A: Medtner is one of the great undiscovered ones. He rarely makes the best impression at first, but if you spend some time with him you won’t be able to get rid of him because he will take hold of you. He’s got some wonderful stories to tell and he tells them very well.
Q: How about Marc-André Hamelin? What does he bring to the table?
A: [Laughs] Whatever he can! I write out of a basic need for writing. I won’t force anything. I write if I feel I’ve got some kind of original idea. I just leave everything to fate. My pieces have mostly been promoted by me. But I heartily welcome anyone else who wants to play them. I wouldn’t keep these to myself.
The Vancouver Recital Society presents Marc-André Hamelin performing the music of Berg, Fauré, Debussy, Hamelin and Rachmaninoff at the Chan Centre for Performing Arts on Nov. 4. For more information visit the VRS website.
Related:
Disc of the week: Marc-André Hamelin plays Haydn Sonatas