Hamelin: Études
Marc-André Hamelin
Referring to one of his own compositions on this disc, Marc-André Hamelin writes:
Although Toccata grottesca fortunately ended up having a personality of its own, it is actually modeled closely after a preexisting piece by another composer. This was a pure experiment on my part, and I am quite surprised at how I was able to adhere to the model without making the derivation obvious (at least I don’t think it’s obvious!), considering how similar the texture and form ended up being. Understandably, I don’t wish to reveal the identity of the original, and I am interested to know how skilful I was in masking the source of my inspiration. (Who is it that once said ‘originality is the art of concealing one’s source’?) It is not a terribly well-known work, although someone with a sufficiently broad knowledge of the piano literature might recognize it.I'm not going to guess what this "preexisting piece by another composer" is, but the Twinkle, twinkle little star theme is unmistakeable in this work of Hamelin's (though I'm pretty sure he wasn't intending for us to actually guess this, since it is obvious). I also hear a few bars that sound like something out of the finale of Hindemith's Suite "1922".
That gives you a pretty good impression of this new recording of Hamelin's own compositions: it is a haze in which little snippets and fingerprints of various other composers mesh and dissolve, forming something of a scrapbook of pianophiliac memories. As a listener, you're always thinking, "Hey, haven't I heard that somewhere before?" Among the influences Hamelin credits explicitly are Alkan, Bach, Beethoven, Busoni, Chopin, Godowsky, Liszt, Paganini, Pergolesi, Rossini, Domenico Scarlatti, Tchaikovsky and a French folksong.
Even in the compositions for which Hamelin doesn't credit influences, suggesting that they are entirely original, one does hear influences both in terms of style and actual musical material. In the Music Box from the Con intimissimo sentimento set, for example, I hear the style of a Prokofiev Vision fugitive or a Shostakovich Prelude from the Op. 34 set. And in the Minuetto (the 11th Étude), I hear bits of the theme from the Chopin segment of Schumann's Carnaval. It's hard to tell how much of this is a figment of my imagination and how much isn't. But it is a pleasant and somewhat nostalgic feeling to be in this "Is it really there or is it not?" sort of semi-conscious state.
At some point, the question that doggedly gnaws at those who clamour for new music inevitably rears its head: given that Western classical music is based only on 12 notes, will we ever run out of new music to write? Will we then forever be condemned to hear the same motifs, over and over again? Indeed, Hamelin's own programme notes allude to such a nightmare. Writing about his 12th Étude, the Prelude and Fugue, he says:
I experienced a rather uneasy moment when, some time after completing the piece, I came across Sergei Taneyev’s Prelude and Fugue in G sharp minor, Op 29. I was alarmed to see that there were some startling similarities between the two fugues: same metre, same key (enharmonically), same pianistic terrains, and a very similar fugue subject. Please be assured that if this were other than mere coincidence, I would be honest enough to admit it!Thankfully, there is enough new material (or what sounds like it) on this disc to convince one that the nightmare is just that. And that even if we ever run out of new music to write, rewriting it, à la Hamelin, will always give us new and stimulating things to listen to.








