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Hyperion Records

Click cover art to view larger version
Front illustration by Donya Claire James (b?)
Track(s) taken from CDA67275
Recording details: February 2001
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Tony Faulkner
Release date: October 2001
Total duration: 4 minutes 32 seconds

'Hamelin's performances are a wonder of brilliance and refinement. The recordings are superb, Jeremy Nicholas's notes a mine of informative titbits. In Marc-André Hamelin Hyperion clearly has a pianist to turn other record companies green with envy' (Gramophone)

'This collection of virtuoso encores by mostly forgotten pianist-composers is simply sensational' (The Sunday Times)

'Twenty encore pieces for lovers of superhuman virtuosity' (Classic FM Magazine)

'Even if you are used to drawing your breath with incredulity at Hamelin's performances, you should tighten your seat-belt: This disc will make you gasp in amazement and roar in outraged laughter at the same time … the piano disc of the year, perfect in every aspect. Run out and buy it now' (Fanfare, USA)

'In latter times a new breed of pianist has appeared, the super-virtuoso for whom no technical challenge is too much. Chief of this tribe of metamusicians is the Canadian pianist Marc-André Hamelin, whose playing defies rational explanation … This is, in short, some of the most phenomenal playing you’ll ever hear' (Punch)

'Hamelin's refinement, jaw-dropping virtuosity and sense of sheer fun combine to make the whole lot both irresistible and simply unbelievable. With Hamelin around, who needs Horowitz?' (Piano, Germany)

Étude d'après l'Impromptu en la bémol majeur de Fr Chopin, Op 29
composer

Introduction  EnglishFrançaisDeutsch
A markedly more sophisticated treatment of Chopin than his brilliant and frankly shallow treatment of the D flat major (‘Minute’) Waltz, Michalowski’s Study after Chopin’s Impromptu No 1 in A flat major is Godowskyian in its delicate contrapuntal refinement. Triplets in fourths and sixths played vivace and leggiero require a discriminating technique, one which Michalowski himself clearly enjoyed if his few recordings are anything to go by. Polish-born Michalowski, who was acquainted with Chopin’s pupil Mikuli, studied with Moscheles, Reinecke and Tausig, subsequently exercising great influence on succeeding generations. Among his best-known pupils were Wanda Landowska and Mischa Levitzki. Michalowski dedicated the Etude to his fellow countryman, the great pianist Ignace Friedman.

from notes by Jeremy Nicholas © 2001

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