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Hyperion Records

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Untitled painting (2001) by Monika Giller-Lenz
Track(s) taken from CDA67320
Recording details: August 2001
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Tony Faulkner
Release date: August 2002
Total duration: 4 minutes 59 seconds

'Stimulating and frequently astonishing music, ultimately unlike anyone else's' (BBC Music Magazine)

'A tremendous tribute to a fascinating figure in 20th-century music' (The Daily Telegraph)

'Marc-André Hamelin plays magisterially, as ever. He clearly loves this music' (International Record Review)

'This is an essential release…realized with the dazzling virtuosity and preternatural clarity that we have come to expect from the enterprising Canadian … this exhausting, diverse, and technically astonishing recording is not one that I would gladly be without' (Fanfare, USA)

'Marc-André Hamelin plays Ornstein’s music with commanding savoir-faire' (The Irish Times)

'A provocative collection, brilliantly played and splendidly engineered' (International Piano)

'Marc-André Hamelin is spellbinding in his performance … This CD is an outstanding example of astonishing music' (Hi-Fi Plus)

'It almost goes without saying that Marc-André Hamelin plays the socks off this music, tackling the most knuckle-busting runs and cluster harmonies in Danse Sauvage and its fellow pieces with staggering virtuosity.' (ClassicsToday.com)

'Marc-André Hamelin, aussi à l’aise dans les déferlements rythmiques que dans les moments suspendus du temps, nous offer là un disque superbe' (Répertoire, France)

À la Chinoise, Op 39
composer

Introduction  EnglishFrançaisDeutsch
À la Chinoise, Op 39, dedicated to the pianist-composer Rudolf Ganz (another American-immigrant composer—and Busoni student—whose music deserves some serious re-examination), creates its effect by superposing the pentatonic melodic material high in the treble with chromatic swirls lower down the keyboard, later reversing the relationship. Michael Sellers, a Ganz student who was the first to record À la Chinoise, explained that it was ‘a musical impression of the composer’s first visit to San Francisco’s Chinatown’; Ornstein often played it on tour, his wife recalled, ‘and even in the backward towns it was always a sensation. It was easy for people to see the picture of scraps of music coming from the windows far and near and to get the weird sounds of the language in the conversation of hurried passers-by in the street’.

from notes by Martin Anderson © 2002

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