M.-A. Hamelin and K.S. Sorabji

[ryguillian]

On August 24 of this year I attended a Marc-André Hamelin concert in Highland Park (a suburb north of Chicago); after the concert Hamelin was signing CD booklets for and talking to people who attended the concert. Hamelin signed two of his CD booklets for me and I asked him, “Do you plan on making any more recordings of Sorabji’s music?” He quickly responded, “Why Sorabji?” He then straightened himself up in his chair and rephrased, “I mean, what do you enjoy about Sorabji’s music?” This really put me on the spot and I half-consciously muttered, “Uh... it’s unique... there's nothing quite like it.” He said, “Sorabji’s music consumes your whole life... there's so much involved... preparation, etc... I’ll leave it to the others.” As I walked away from the table he exclaimed (in a warning fashion), “There’s so much else out there!”

Hamelin seems like he was quite involved in the Sorabji “cause”: he transcribed (by hand) the first eighteen transcendental études, made two recordings of Sorabji’s music (of which the Sonata No. 1 verifies Hamelin as a supreme Sorabji interpreter), and composed an homage to Sorabji. As I was walking away from the signing table I imagined possible reasons why Hamelin might have lost interest (or faith as Sorabji sometimes requires) in Sorabji and I could emphasize: there are times when I feel like I’m wasting my time even listening to Sorabji’s music; I can’t even imagine how it must feel actually performing it and then feeling like it was a wasted experience.

What are we to make of the relationship (if there is one) between the composer Kaikhosru Shapurji Sorabji and the pianist Marc-André Hamelin?

—Ryan

[ahinton]

On August 24 of this year I attended a Marc-André Hamelin concert in Highland Park (a suburb north of Chicago); after the concert Hamelin was signing CD booklets for and talking to people who attended the concert. Hamelin signed two of his CD booklets for me and I asked him, “Do you plan on making any more recordings of Sorabji’s music?” He quickly responded, “Why Sorabji?” He then straightened himself up in his chair and rephrased, “I mean, what do you enjoy about Sorabji’s music?” This really put me on the spot and I half-consciously muttered, “Uh... it’s unique... there's nothing quite like it.” He said, “Sorabji’s music consumes your whole life... there's so much involved... preparation, etc... I’ll leave it to the others.” As I walked away from the table he exclaimed (in a warning fashion), “There’s so much else out there!”

Hamelin seems like he was quite involved in the Sorabji “cause”: he transcribed (by hand) the first eighteen transcendental études, made two recordings of Sorabji’s music (of which the Sonata No. 1 verifies Hamelin as a supreme Sorabji interpreter), and composed an homage to Sorabji. As I was walking away from the signing table I imagined possible reasons why Hamelin might have lost interest (or faith as Sorabji sometimes requires) in Sorabji and I could understand it: there are times when I feel like I’m wasting my time even listening to Sorabji’s music; I can’t even imagine how it must feel actually performing it and then feeling like it was a wasted experience.

What are we to make of the relationship (if there is one) between the composer Kaikhosru Shapurji Sorabji and the pianist Marc-André Hamelin?

—Ryan

I'm not at all sure that there's an easy answer to that - or indeed any meaningful answer at all, for that matter. Marc-André Hamelin has probably gotten as near to answering it as is possible, given what you quote above. It is true that, in the preparation of some of Sorabji's larger works, an unusual degree of patience and hard work is required - but then, of Sorabji's 60 or so piano works, only about one quarter would not fit into a conventional length recital programme and, whilst almost all of them are difficult and challenging, they are not all as hard as O.C. by any means. Then one has to consider how Jonathan Powell in particular has taken on board this music - as a mission, undoubtedly, but not at all to the exclusion of his other repertoire, which embraces a wide variety of music including Liszt, Chopin, Alkan, Skyrabin, Rakhmaninov and a number of his contemporaries and compatriots including Ferneyhough, Dillon and Finnissy - nor, inded, at the expense of his activity as a composer. He has prepared, performed and recorded more of Sorabji's works than any other pianist, having absorbed into his repertoire more than fifteen hours' worth of Sorabji's piano music in less than six years. So it can be done and, one presumes, Mr Powell has accordingly placed himself at the forefront of those "others" to whom Marc-André Hamelin preferes to leave this responsibility.

I realise that this says little about the reltionship about which you ask, but I'm not convinced that there's much more to be said - unless Marc-André himself has anything to add, which would seem somewhat unlikely.

Best,

Alistair

[ryguillian]

[W]hilst almost all of them are difficult and challenging, they are not all as hard as O.C. by any means.

I don't think Hamelin is concerned about difficulty: he seems to have almost unlimited technique.

Jonathan Powell in particular has taken on board this music - as a mission, undoubtedly, but not at all to the exclusion of his other repertoire, which embraces a wide variety of music including Liszt, Chopin, Alkan, Skyrabin, Rakhmaninov and a number of his contemporaries and compatriots including Ferneyhough, Dillon and Finnissy.

I've only heard Powell’s recordings of Sorabji’s music so I can't say anything about his merits interpreting other works. Are there recordings of him playing music composed by any of the above mentioned?

nless Marc-André himself has anything to add, which would seem somewhat unlikely.

In the days following the concert I thought about writing Hamelin a letter asking about this; he seemed like he wanted to say more but also didn't want to be rude to the other people waiting in line for his autograph.

—Ryan

[ahinton]

I've only heard Powell’s recordings of Sorabji’s music so I can't say anything about his merits interpreting other works. Are there recordings of him playing music composed by any of the above mentioned?

Sadly, not yet.

In the days following the concert I thought about writing Hamelin a letter asking about this; he seemed like he wanted to say more but also didn't want to be rude to the other people waiting in line for his autograph.

—Ryan

You could do a lot worse than that...

Best,

Alistair

[superstition2]

I don't think Hamelin is concerned about difficulty: he seems to have almost unlimited technique.

Yet, his Scriabin set is banal.

[ryguillian]

You could do a lot worse than that...

I don't know what you mean.

Yet, his Scriabin set is banal.

Having good technique doesn't imply musical brilliance and I don't recall Scriabin being mentioned; that's right, because I didn't. To put more succinctly what Alistair has posted on misc. topics on the Piano Street Forum: STAY ON TOPIC! This topic is about Hamelin's relationship to Sorabji and nothing else.

—Ryan

[ahinton]

I don't know what you mean.

Dear me! What I mean - quite simply - is that you could "do a lot worse" than write to Marc-André Hamelin himself (as you had suggested youmight) in order to see if you can elicit some more enlightening information from him by so doing; in other words, that seems like a reasonable idea to me so, if you are so disposed, why not go ahead and do it?

Best,

Alistair

[stevie]

:doctored:

why not call him instead? 

[ryguillian]

M A  Hamelin
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why not call him instead?

Apparently nobody from the SDC can be trusted; Skepto is a fool. You morons have no respect for anything; utterly and completely tasteless.

—Ryan

[BoliverAllmon]

You are just figuring this out? They all suck.

[stevie]

Apparently nobody from the SDC can be trusted; Skepto is a fool. You morons have no respect for anything; utterly and completely tasteless.

—Ryan

im just handing you a gun, youre the one who can pull the trigger

[stevie]

You are just figuring this out? They all suck.

well, at least jesus loves them

[JCarey]

The number was not Marc Andre Hamelin's, I take it. Did somebody actually call it?

[stevie]

The number was not Marc Andre Hamelin's, I take it. Did somebody actually call it?

no, the number can be found by anyone who uses a little inginuity on the net

it is his address and phone number, i was posting it for the sake of amusement, but i could remove it if it causes offense...

[ryguillian]

could remove it if it causes offense...

You realize what people are going to use this for.

—Ryan

[ahinton]

You realize what people are going to use this for.

—Ryan

Whilst I cannot speak for Marc-André Hamelin as his agent, I would be surprised were he to be other than annoyed at the inclusion of his personal contact details in a public forum such as this one without his prior written consent; accordingly, it would indeed be a wise move for it to be withdrawn immediately, although the damage is now done (if damage there be).

Best,

Alistair

[pabst]

Apparently nobody from the SDC can be trusted; Skepto is a fool. You morons have no respect for anything; utterly and completely tasteless.

—Ryan

untru, i haff respect fo da pokey

[stevie]

You realize what people are going to use this for.

—Ryan

you realise anyone with half a brain can find the information anyway....the post was made as a joke, i edited it , and now youre the evil one with youre quote! 

[steinwaymodeld]

the first ever recorded disc of Hamelin is Sorabji (none other than the 1st sonata)

it was rumored that he learnt and performend Sorabji OC when he was 17, but later on dropped it from his repotire as reportly told that 'what's the point of preparing a piece for more than a year and perform it only twice a year.'

As seen from his discography, Hamelin started to slowly drop the number of sorabji recordings, and transisted to other composers.

He didn't 'transcribed' the no.1-18 of the 100 Transcendental Etudes of Sorabji, he was the editor for the publish company. He didn't change anything, he just edited it for publishing.

Just like Alkan (as asked by another musical fan in a different occasion), Hamelin has outgrown it. (even though the recent release of re-recorded Alkan etudes on Hyperion) for better or worse, he has already done his part. And it is Hamelin, a true artist, that should only follow his own feeling on the path of music. As we the audience should be applauding and cheering him on the side, appreciate the hardwork and sophistication of his future discoveries.

[BoliverAllmon]

well, at least jesus loves them

indeed

[ryguillian]

He didn't 'transcribed' the no.1-18 of the 100 Transcendental Etudes of Sorabji, he was the editor for the publish company.

Before criticizing another's use of a word, read its definition:

"To make a full written or typewritten copy of (dictated material, for example)."

—Ryan

[steinwaymodeld]

Before criticizing another's use of a word, read its definition:

"To make a full written or typewritten copy of (dictated material, for example)."

—Ryan

You are an ass, you know that?

Main Entry: 1ass
Pronunciation: 'as
Function: noun
Etymology: Middle English, from Old English assa, probably from Old Irish asan, from Latin asinus
1 : any of several hardy gregarious African or Asian perissodactyl mammals (genus Equus) smaller than the horse and having long ears; especially : an African mammal (E. asinus) that is the ancestor of the donkey
2 often vulgar : a stupid, obstinate, or perverse person -- often compounded with a preceding adjective

--Jeff

[BoliverAllmon]

hahahahaha

[ryguillian]

You are an ass, you know that?

I'm an ass because you incorrectly corrected me?

—Ryan

[ahinton]

I have no idea (and wish to have less) what all this fuss and apparent flaming is about, but I can confirm that Ryan is correct in suggesting that what Marc-André Hamelin has done with Sorabji's 100 Transcendental Studies for piano is to make a handwritten edition of nos 1-18 of this cycle quite a few years ago - the  remaining 82 have subsequently been edited in typescript format by Simon Abrahams (nos. 19 & 21) and Alexander Abercrombie (all the others); the Swedish pianist Fredrik Ullén, who has so far performed almost half of the 100, is committed to recording the entire cycle for BIS in his home country and the first CD (containing nos. 1-22) should be out some time next month with the others to follow over the next few years..

This is one of four Sorabji works that Marc-André Hamelin has edited by hand, the others being Gulistan, the song l'Heure Exquise and the Suggested Bell-Chorale for St Luke's Church, Germantown (Philadelphia).

Best,


Alistair