I haven't heard any music composed by Hamelin other than what is on this disc, and wouldn't want to make any grand claims for his music, but I might estimate that at the least he belongs among the ranks of Godowsky and Paderewski as a pianist-composer. I certainly got a great deal of pleasure from the CD, and anticipate more, since his works are complex and subtle enough to deserve repeated listening. Great sound from Hyperion doesn't hurt either. The major work on the CD, comprising about 50 minutes of its generous minute time, is a set of "12 Etudes in all the minor keys. Of course, the great sets of etudes by Chopin and Liszt were intended more as deeply thoughtful music to be performed by their composers than as exercises for even the most advanced schoolchildren.
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No downtime is expected, but site performance may be temporarily impacted. Refworks Account Login. Open Collections. UBC Theses and Dissertations. Featured Collection. Mirroring the lost tradition of composer-pianists specific to the 19th century, his music stands nowadays as an exception.
The presentation of this set is tied to the concept of virtuosity in relation to its past meanings. Nathan Hesselink, is an original, unpublished work which stands as intellectual property of its author, Bogdan Claudiu Dulu.
Nathan Hesselink. All other musical examples are in the public domain. Introductory Remarks………………………………………. Introductory Remarks. Virtuosity … Conclusion …. Appendix A. Appendix B. Appendix C. Lullaby by Apollon Nikolayevich Maykov………………………….. Appendix D. Appendix E. Appendix F. La Danza by Carlo Pepoli……………………………………………. Lullaby by Apollon Nikolayevich Maykov ….. La Danza by Carlo Pepoli …. Lullaby by Ap llon Nikolayevich Maykov…………………… ….. La Danza by Carlo Pepoli……………………………………… …. It is all of them that I wish to thank for being in the right place, at the right time: Prof.
Jane Coop, CM, musician of extraordinary stature who has been my mentor and supervisor throughout my doctoral studies — for her seemingly unending patience, dedication, guidance, wisdom, and personal support; Dr.
Nathan Hesselink, my co-supervisor in the preparation of this dissertation — a rare combination of professional probity and altruism in the academic world; Dr. Sara Davis Buechner and Dr. Terence Dawson committee members , as well as Prof. Rena Sharon and Dr. Peters Corporation, for allowing me to reproduce copyrighted materials; Derek Tan — ever-surprising polymath whose influence goes above and beyond what words can paint; My Family — for everything. What has been documented so far on his artistry?
How are the findings presented? He is equally at home with the great works of the established repertoire, recordings of which have been received to great acclaim. Complementing his busy performing and recording careers, the pianist has proven to be a composer — primarily for his instrument — of substantial 1 Schweitzer, Vivien. The New York Times. Published Introductory Remarks2 worth. Although he does not teach at all, it has been my personal experience that he is very happy to share his insights about piano playing.
At the Piano. Interviews with 21st-Century Pianists. The Scarecrow Press, , p. This article is the only scholarly-like writing published in a specialized music journal that I could find. Debenham presents the works from a passive, observational angle. Such a claim is erroneous. As such, none of them aims to address such challenges. The theme stated in the title of this paper does not appear to be addressed anywhere in the document. Instead, the 6 Debenham, Jory.
Notes, Volume 70, Number 1, September , pp. There are many examples of prominent pianist-composers at the turn of the 20th century, with Sergei Rachmaninoff standing very tall both musically and otherwise.
He readily agreed on remaining in touch and generously offered to provide me with any feedback the research might need. Since that time, our e-mail communication has been constant, and remains active to this day.
All the information and performing suggestions that I received directly from the composer found their way into the pages of this dissertation and were instrumental in creating an 5 informed opinion on the compositional process, sources of inspiration, performance, and the many details and challenges that these works possess.
Also for matters related to the concept of virtuosity, as well as performance practice, I approached Mark Ainley, whom I interviewed at his Vancouver apartment in December The possibilities are almost endless.
My research does not claim to be exhaustive in any way; on the contrary, it is a first step in scholarly research on the music of an extraordinary composer-pianist. Special consideration is also given to the concept of virtuosity, as applied to these pieces. I identify a few possible reasons: 1.
Hamelin has thus far not produced an extended body of work, despite having composed more steadily in the last few years. In fact, the largest genre that he has tackled to date is variation form two published sets. It was not until recent years that his music became readily available. Simply put, it is atrociously demanding. I believe there is much to learn from this music.
All the information about the composer which originates from secondary sources is used following the standard norms of academic citation. The information resulted from interviewing the other two subjects of this research Alistair Hinton and Mark Ainley is referenced once, the first time each of their names occurs. Any and all subsequent quotations of Hinton and Ainley are to be attributed to these interviews and are not referenced again.
This dissertation contains four chapters. Hamelin and The Eight. Portland, Oregon: Amadeus Press, , p. In this chapter I present of the set as a whole, with many interesting details conveyed to me by the composer that were never published before. Each presentation follows the same structure: 1.
Printed and chronological order, year of composition, information on the dedicatee; 2. Presentation of the text with explanation of structure; 3. Note that the Peters Edition the only existing edition contains a number of misprints. A comprehensive list can be found in Appendix B. Chapter Four synthesizes, in the form of a Conclusion, some of my thoughts and findings as they gradually took shape during the course of my research. What one sees as a great compliment, another may perceive as unflattering affront.
It is a large and complex notion that has been steadily accumulating different meanings over the course of several centuries. In , the same word appears in the Chronicle of John Hardyng as referring to strength or excellence of character.
Two centuries later, virtuosity is associated with the idea of amateurism, becoming the label for a dilettante a person with an amateur interest in the arts. Oxford English Dictionary Online. March Oxford University Press. Oxford Music Online. Thames and Hudson, , p. From his Music Dictionary Figure 2. Javitch, Daniel, ed. Singleton, Charles S. New York: W. Norton, p.
Thus, to them, an excellent Painter, a skillful Architect, etc. Our language does not have but the word Illustre [illustrious] which could in a certain way respond to the Virtuoso of the Italians, as for Vertueux [virtuous], the usage has not given it this meaning, at least when talking seriously.
If we were to affirm that we have heard many celebrated violinists of various countries, and that Paganini surpasses every thing which their performance had taught us to consider possible on the instrument, we should fall greatly short of the impression we could wish to convey.
If we were to declare, as some of our colleagues have maintained, that Paganini has advanced a century beyond the present standard of virtuosity, the assertion would be equally incorrect — for we firmly believe that all the centuries in the womb of Time will not produce a master-spirit, a musical phenomenon, organized like Paganini.
One cannot talk about Paganini without thinking about Franz Liszt. If the former was the greatest virtuoso violinist of his time, the latter soon emerged as the virtuoso pianist of his century. The piano was the subject of constant experimentations from the leading European instrument makers of the time, and, similarly, the musicians themselves naturally embodied both facets of music creation.
We also have some hilarious yet affectionate sendups of Rossini and Scarlatti, along with a Toccata grottesca that Hamelin realised after its completion was based on a pre-existing work, the name of which Hamelin in his otherwise expansive booklet notes refuses to divulge. I hear the finale of Kreisleriana, but I am prepared to be humbled if wrong. While brashly flaunting his influences Gershwin, Poulenc, Rachmaninov , he sounds utterly individual. Of course, the composer makes all the technical difficulties sound easy to play in these vividly recorded performances.
A Pianist’s ‘Character Pieces’ in 12 Minor Keys
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