January 9, 2025
Teatro Chiasso, Centro Culturale Chiasso
Chiasso, Switzerland
Marc-Andrè Hamelin, piano.
Wolfgang Amadeus MOZART: Rondò in A minor, K511
Ludwig van BEETHOVEN: Sonata no. 3 in C major, op. 2 no. 3
Nikolai MEDTNER: from 3 Morceaux, op. 31, no.1: “Improvisation. Andantino, gracile”
Nikolai MEDTNER: from Forgotten Melodies, Op. 38, no. 3: “Danza Festiva”
Sergei RACHMANINOFF: Etude-Tableau, op. 39 no. 5
Sergei RACHMANINOFF: Sonata n. 2 in B♭ minor, op. 36 (1931)
Giorgio Koukl | 11 JAN 2025
This past Thursday at Centro Culturale Chiasso, the world-famous pianist Marc-Andrè Hamelin gave a recital with some well-known pieces and some of his “pet project” composers like Medtner. We could listen to a classical opening, in the form of Rondò in A minor K.511 from Wolfgang Amadeus Mozart. A Sonata no. 3 in C major op. 2 no. 3, an early sonata of Beethoven. After a short break, some Nicolai Medtner was played. From Three Morceaux, op. 31, no. 1: “Improvisation. Andantino, gracile,” and from Forgotten Melodies, op. 38, no. 3: “A Festive Dance.” The concert finished with real fireworks by Sergei Rachmaninoff: Etude-Tableau op. 39 no. 5 and the ponderous Sonata no. 2 in B♭ minor, op. 36 (1931).
In my eyes, any form of introduction of the Canadian pianist Marc-Andrè Hamelin is unnecessary. Due to his worldwide activities and more than 50 discs, mainly on the Hyperion label, he is one of the most well-known pianists today. There might be other glamorous names, but none of them can beat his steady performance of the last decades, remaining firmly anchored in the musically excellent level and a “nearly superhuman technique,” as it was described by the legendary critic Harold C. Schonberg. So, the expectations were quite high for the evening.
The choice to start this recital with Mozart’s Rondò, K.511 and its delicate colors was a wise one. Under the hands of Mr. Hamelin, real magic happened. Suddenly, there were no more sorrows, no more problems; everything dissolved in this apparently easy music, but in its simplicity, extremely difficult to render, overcoming the repetitive structure of this score.
Op. 2 No. 3 is one of Ludwig van Beethoven’s early sonatas, composed in 1795 and dedicated to his teacher Joseph Haydn. It is a virtuoso and dynamic piece that showcases Beethoven’s evolving style and mastery of the classical form. The first movement, “Allegro con brio,” is vibrant and energetic, contrasting lyrical themes and powerful chords. It requires great technical skill, featuring fast runs, broken chords, and sudden dynamic changes.
Mr. Hamelin produced a well-paced, well-planned rendering with a profound knowledge of the structure. The second movement, “Adagio,” a serene and expressive slow movement, has a lyrical, song-like quality and is known for its emotional depth. Once again, the pianist showcased his enormous capacity for control, using a magnificent dynamic array. A playful and lively scherzo follows, characterized by sudden dynamic shifts and syncopation. The last movement, “Allegro assai,” is fast and dramatic, demanding agility and precision. It was played at a breathtaking speed, never lacking a fully controlled touch. Maybe some more agogic liberty would’ve been helpful.
After a short break, the real realm of Marc-André Hamelin followed.
The two short pieces of Nikolai Medtner, a composer not played so often, were a nice opportunity for the pianist to finally display his famous steel-like technique — a real treat for the numerous public and truly appreciated.
Sergei Rachmaninoff composed his Piano Sonata No. 2 in B♭ Minor, Op. 36 in 1913, during a particularly productive period in his life, shortly after finishing his Choral Symphony “The Bells.” This work is one of his most challenging and masterful compositions, embodying the emotional intensity and technical brilliance characteristic of his late Romantic style. Until today, its destiny has not been a brilliant one. Usually, interpreters prefer his preludes or etude-tableaux. That might be the reason why Rachmaninoff revised the sonata in 1931, making substantial cuts to the original score to streamline the piece and improve its overall coherence. Both versions are performed today, though some pianists prefer a hybrid version that combines elements of both.
Mr. Hamelin wisely has chosen the short version, which is far more compact and coherent. The sonata requires a wide dynamic range, from thunderous fortissimos to delicate pianissimos. The performer must capture the emotional breadth of the work, from despair and struggle to triumph and transcendence.
All this was perfectly delivered by Mr. Hamelin, maybe not at the same speed as Vladimir Horowitz used to play, but nevertheless always well-controlled and spectacular.
Two short encores of Debussy followed. Here, the pianist, finally fully relaxed, literally played with the notes, using far more agogic liberty than before, much to the public’s liking. ■
Pianist Marc Andrè Hamelin takes a bow at Teatro Chiasso. (credit: Edmondo Canonico)
EXTERNAL LINKS:
- Marc-Andrè Hamelin: marcandrehamelin.com
- Chiasso Cultural Center: centroculturalechiasso.ch
- Municipality of Chiasso: chiasso.ch
Read more by Giorgio Koukl.
