I'm particularly keen on promoting this [Nikolai] Medtner piece, Night Wind, because I feel it is a fantastic work that hasn't been given its due yet. Admittedly, it's difficult for both the performer and the listener. The work is quite dense, comparatively long, as these things go, and demands rather active listening. But it's gripping, and I believe it should be heard much more than it has been.

Marc-Andre Hamelin

Categorized in : Believe Night Wind

Whenever I record something, I always believe that it's worthy of inclusion in the pantheon, and I would certainly like pianists to pay more attention to it. I think it's ridiculous now, because the range of repertoire - or what's considered 'safe' - is so narrow, even though there are pianists who are really trying to push the envelope. There is still a lack of attention, and there's no reason for it. The piano repertoire is so rich, with so many wonderful things that still are not given their due.

Marc-Andre Hamelin

piano believe thinking

My father ran the gamut: a favorite of his was Josef Hofmann, but there was also Friedman, Rachmaninoff, Godowsky, Lhevinne, Moiseiwitsch, Paderewski, etc.

Marc-Andre Hamelin

etc rachmaninoff father

From [Nikolai] Medtner himself, who I do not think was the best possible advocate of his own works. But that's my opinion: I find him a little uninteresting and cold, sometimes. Also, at first, the thematic material is not of a kind that makes the greatest appeal, but if you keep with Medtner, I think he will take hold of you, and you're very likely to become a fan.

Marc-Andre Hamelin

fans littles thinking

As far as the style, I can't say there is one definite style. I probably feel most comfortable writing in a tonal idiom, with considerable, if not extreme chromaticism.

Marc-Andre Hamelin

idiom style writing

The process of putting intangible thoughts into an imperfect system of notation - which is difficult enough, depending on your ideas - acquaints you with how best to express your ideas so that it is as clear as possible to the performer.

Marc-Andre Hamelin

imperfect enough ideas

Every composer understands and uses the system of notation differently, and that's what makes you appreciate the trouble they go through in doing so.

Marc-Andre Hamelin

appreciate trouble use

It's the vision of the composer that we have to determine, and not the absolute mathematical adherence of the score. In my experience, there have been occasions where I feel that a composer has not notated something as they meant to have it represented.

Marc-Andre Hamelin

score adherence vision

I don't listen to recordings very much now, to be perfectly honest. I listened to them a lot when I was younger.

Marc-Andre Hamelin

honest

I think one of the reasons [Nikolai] Medtner hasn't had a chance is that his music needs very, very committed performances. If you play his works passively, the juice of his music is really not going to be extracted - it's simply not going to come out.

Marc-Andre Hamelin

play needs thinking

I think anybody who's willing to really sink their teeth into a work like the Hammerklavier, which is a very interesting, different experience, should look instead at something like the Sonata by Paul Dukas, which, in my opinion, is a real marvel.

Marc-Andre Hamelin

different-experiences real thinking

A mission that comes from the heart to promote these things and to encourage composers to write, then of course they should do it. And there are more than a few pianists these days who do this, fortunately.

Marc-Andre Hamelin

should heart writing

I don't record for my own glory.I mean, of course part of it is for career advancement, but more importantly, I want some of that repertoire - as much of it as possible - to remain and enter pianists' consciousness and, hopefully, into the standard repertoire.

Marc-Andre Hamelin

advancement careers mean

There's a substantial portion of my recorded repertoire that was learned for the recording sessions, and then basically forgotten. I wouldn't say it's the majority, but it's a fairly good chunk of it.

Marc-Andre Hamelin

portions majority forgotten

That is my way of doing things, and I wouldn't necessarily recommend this to anybody else; if you need to do technical exercises, you do them. The whole point of practicing is to get to know yourself, to know your weaknesses and to zero in on them and target them. It's not really about employing anybody else's formulas, because you really have to find what is best for you and what you need.

Marc-Andre Hamelin

weakness zero exercise

Very rarely do I work on mechanics now. I tend to solve problems within the music itself.

Marc-Andre Hamelin

mechanic solve problem

My father was a very good amateur pianist, and he had a collection of books on technique. One of the things he had was a small volume of exercises by Rudolf Ganz, in which Ganz mentions the pedagogical work of the Swiss composer, Émile-Robert Blanchet, who wrote a ton of polyphonic exercises for one-hand. These exercises were a great help for finger independence, which I acquired early on. This might have given me somewhat of an edge, a facility to be able to knock any obstacle that was in my way.

Marc-Andre Hamelin

exercise father book

I never considered myself more able than anybody because I had problems just like anybody else. When I practiced, I solved problems, like any of my fellow students. I looked at my own work, and looked ahead, with blinders, almost.

Marc-Andre Hamelin

able problem students

To be perfectly honest, I was never really aware that I had any special abilities. When you have what you have, you don't really think about what you don't have; you simply work with what you have.

Marc-Andre Hamelin

honest special thinking