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Track(s) taken from CDA67951/3

Sonatina 'ad usum infantis Madeline M* Americanae', BV268

composer
1915; Sonatina No 3

Marc-André Hamelin (piano)
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Recording details: August 2012
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: November 2013
Total duration: 7 minutes 6 seconds

Cover artwork: Materia (1912) by Umberto Boccioni (1882-1916)
Private Collection / Giraudon / Bridgeman Art Library, London
 
1
Molto tranquillo  [1'31]
2
3
4
Molto tranquillo  [0'53]
5

Other recordings available for download

Michael Zadora (piano)

Reviews

'Works where Busoni found his truest voice … Hamelin, playing with unfaltering lucidity and authority, achieves an astonishing triumph even by his exalted standards. As always, Hyperion has done him proud … an album that could never be bettered' (Gramophone)» More

'Marc-André Hamelin’s performance of the Busoni Piano Concerto for Hyperion is one of the finest ever recorded of that mammoth work, and now he has produced what is arguably the most important collection of the solo piano music since Geoffrey Douglas Madge’s epic six-disc survey for Philips in 1987 … All the most significant works are here … Hamelin includes some rarities Madge omitted, notably Busoni’s first foray into 'Red Indian’ music, the spellbinding Indianisches Erntelied (not published till 2001) … As to the performances, they are all you could hope from a player of such quality, laced with repertoire he might have been born to interpret. This is playing of a very high order, such as—despite the now numerous competing versions of the Elegies, Sonatinas and Toccata—one seldom hears. Hamelin is well-nigh ideal in sensitivity of phrasing, clarity of tone and delineation of voices, not to mention subtlety of pedalling … He reminds you that you are listening to one of history’s greatest piano composers, a philosopher of the piano to whose ear and mind the whole of European concert music seems to have been continually present. A fabulous set, almost beyond praise' (BBC Music Magazine)» More
PERFORMANCE
RECORDING

'What comes through on listening to Hamelin is the underlying consistency of his approach over this music as a whole and, above all, the singularity of Busoni's musical vision and its relevance to composers and pianists almost a century on' (International Record Review)

'Few pianists have the time and technique to devote to music that is so little-known. Marc-André Hamelin is the shining exception. He demonstrated his Busoni credentials more than a decade ago with an outstanding account of the Piano Concerto … Hamelin handles all with great intelligence. There's a swagger when the music demands it, a fabulously refined sense of sonority and transparency when required. The technical challenges are surmounted so effortlessly that you begin to take the confidence of his playing for granted, when in fact it's a remarkable achievement' (The Guardian)» More

'The gift I'd choose for myself would be Marc-André Hamelin's magisterial three-disc survey of Busoni's later piano music—elusive and haunting material from a pivotal figure' (The Times)» More

'Hyperion does Busoni a great service in issuing this magnificent three-disc box. Those readers who know Busoni mainly (or only) via his transcriptions will have a whole new world revealed to them. Hamelin, one of today’s super-virtuosos but also a musician of the highest rank, seems to be the ideal interpreter, and is captured throughout in superb sound' (International Piano)» More

'This three-CD set presents Marc-André Hamelin, another formidable pianist, in Busoni works from the first quarter of the 20th century. The music draws from the heritage of Bach, Liszt and Wagner, while taking modern paths and anticipating atonality. Even when a particular piece seems amorphous or elusive, these elegies, fantasias, sonatinas and more are continually fascinating, especially in Mr. Hamelin’s commanding performances' (The New York Times)

'Hamelin's recent release of three CDs devoted to the late piano music of Ferruccio Busoni represents another milestone in an outstanding career … These three discs contain a number of pieces not previously recorded and also include a sampling of the numerous Bach arrangements Busoni is best known for. The programming is exemplary, the sound is alluring (from a Steinway piano recorded in London’s Henry Wood Hall) and the program notes are excellent. Bravo Hamelin!' (The Whole Note, Canada)

'L’impeccable virtuosité de Marc-André Hamelin se joue des pièges recélés par ces redoutables partitions; sa quête faustienne, à la fois analytique et méditée, assume la dimension philosophique quasi médiévale de cette alchimie sonore et nous en livre une référence absolue' (Classica, France)
PERFORMANCE
RECORDING

‘Marc-André Hamelin gelingt, alle Facetten in exzellenten Interpretationen darzustellen … seiner qualitativ hochwertigen Edition der Klaviermusik von Ferruccio Busoni dürfte deshalb über eine lange Zeit der Referenzstatus sicher sein' (Piano, Germany)
PERFORMANCE
RECORDING
The Sonatina ‘ad usum infantis Madeline M* Americanae’ (No 3, 1915) is dedicated to a girl of probably eighteen who was a friend of Busoni’s elder son, Benvenuto. It consists of five movements, of which the third is a march and the fifth a polonaise later used as the concluding number of the opera Arlecchino (1914–16). Busoni may have intended it for the harpsichord (‘pro clavicimbalo [sic] composita’)—he had purchased a specimen from Arnold Dolmetsch in 1910—but it is usually played on the piano (only two of the fifteen or so recordings use the harpsichord).

from notes by Marc-André Roberge © 2013

La Sonatina «ad usum infantis Madeline M* Americanae» (nº 3, 1915) est dédiée à une fille probablement âgée de dix-huit ans qui était une amie de son fils aîné, Benvenuto. Elle se compose de cinq mouvements, dont le troisième est une marche et le cinquième une polonaise qui reviendra comme numéro conclusif de l’opéra Arlecchino (1914–16). Busoni l’a probablement destinée au clavecin («pro clavicimbalo [sic] composita»), dont il avait acheté un spécimen d’Arnold Dolmetsch en 1910, mais seuls deux des quelque quinze enregistrements connus utilisent le clavecin.

extrait des notes rédigées par Marc-André Roberge © 2013

Die Sonatina „ad usum infantis Madeline M* Americanae“ (Nr. 3, 1915) ist einem Mädchen von wahrscheinlich achtzehn Jahren gewidmet, die mit Busonis älterem Sohn, Benvenuto, befreundet war. Das Stück besteht aus fünf Sätzen, von denen der dritte ein Marsch und der fünfte eine Polonaise ist, die später als abschließende Nummer der Oper Arlecchino (1914–16) zum Einsatz kam. Busoni mag es für Cembalo gedacht haben („pro clavicimbalo [sic] composita“)—er kaufte 1910 ein Exemplar von Arnold Dolmetsch—aber nur bei zwei der etwa 15 Einspielungen wird ein Cembalo verwendet.

aus dem Begleittext von Marc-André Roberge © 2013
Deutsch: Viola Scheffel

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