Review: Messiaen: Turangalîla-Symphony (Marc-André Hamelin, Nathalie Forget, Toronto Symphony Orchestra, Gustavo Gimeno)
The earth moves for Gimeno in a supremely sexy Turangalîla.
The earth moves for Gimeno in a supremely sexy Turangalîla.
Hamelin colours Fauré’s night music with both light and shade.
Hamelin’s latest deep-sea dive brings striking works to the surface.
Conservative’s music emerges as shapely and consistently engaging.
Hamelin scales Schubert’s heights and plumbs his depths.
Two piano Rite flourishes in four fearsomely good hands.
Hamelin makes a near-silent journey into pristine space.
Shostakovich’s Piano Quintet in G Minor first came into the world as his second string quartet. Then he wrote what we now know as his A Major, No 2 and reworked the G Minor piece into a quintet so that he could join the Beethoven Quartet on piano when the two works were premiered. They therefore sit side by side very comfortably on disc, and they could be in no better hands than those of the Takács Quartet and Canadian pianist Marc-André Hamelin. This excellent Hyperion release marks the Takács’ first recorded venture into Shostakovich territory, and it is most welcome. From the quartet’s densely layered opening moments it’s obvious that the Colorado-based foursome are very much at home here. The Recitative and Romance second movement, which poured out of Shostakovich in a single day and probably with late Beethoven in mind, is perfect for Edward Dusinberre’s distinctive solo violin. The Piano Quintet, on the other hand, gives several nods to JS Bach, especially in the pivotal Fugue. Here Hamelin – a Hyperion regular with 50 albums under his belt – makes an exciting companion for arguably the… Continue reading Get unlimited digital access from $4 per month Subscribe Already…
Although critics tend to single out his marathon Piano Concerto in five movements and his magnum opus, the opera Doktor Faust, like Franz Liszt, the vast majority of the Florence-born Feruccio Busoni’s compositional output is devoted to work for the solo piano. It is indeed appropriate that the Canadian pianist Marc-André Hamelin who specialises in obscure and difficult scores has now turned his gaze on this virtuoso and teacher. Perhaps more than any other composer this side of Henze, Busoni has brought an ingenious balance to bear between Teutonic counterpoint and sunshine and passion from the Mediterranean. Whilst Busoni’s philosophical ideas in the New Aesthetic pair him with the likes of Nietzsche, his musical composition is perhaps not so forward thinking – like Mahler, he still teeters on the edge of tonality whilst suggesting the ideas of Paul Hindemith’s sonatas of the 1930s. Even now pianists, if they approach Busoni, tend to focus on his Bach transcriptions rather than upon original works – though even here we find witty appropriations of English folksong (Greensleeves) and Bizet’s Carmen. Very little of this work has been favoured by modern pianists. The major exception is the Adelaide-born and Dutch-based contrapuntal specialist Geoffrey Douglas Madge…