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Track(s) taken from CDA67951/3

Indianisches Erntelied


Marc-André Hamelin (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: August 2012
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: November 2013
Total duration: 2 minutes 27 seconds

Cover artwork: Materia (1912) by Umberto Boccioni (1882-1916)
Private Collection / Giraudon / Bridgeman Art Library, London


‘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)

‘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

‘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)» More

‘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)» More

«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)» More

„Marc André Hamelin ist derzeit unumstritten der König der Busoni-Interpreten. Triumphal meistert er die außerordentlichen technischen Schwierigkeiten und die komplexe Kontrapunktik der Musik Busonis“ (Class Aktuell, Germany)» More

„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)» More
After settling in Berlin in 1894, Busoni returned to the United States four times for concert tours (in 1904, 1910, 1911 and 1915). In 1910 he met his former student Natalie Curtis Burlin (1875–1921), now an ethnomusicologist who, in 1907, had published The Indians’ Book, a 550-page collection of songs and stories. On 12 April 1911, during the crossing from New York to Cherbourg, he wrote an eighty-bar sketch entitled Indianisches Erntelied as a first attempt at using one of these melodies, an ‘Indian harvest song’ of the Laguna Pueblo. He dedicated the piece, whose flowing arpeggios and scale figurations are played quietly throughout except near the end, to the Austrian writer Stefan Zweig, a fellow passenger along with the dying Gustav Mahler. Its first performance was given by Karl Lutchmayer at the Royal College of Music on 23 February 1999 as part of a celebration in honour of the composer (and great Busoni connoisseur) Ronald Stevenson. Following its presentation at a Busoni conference in November 1999 the score was published in 2001 by the Busoni specialist Antony Beaumont from the manuscript held by the British Library.

from notes by Marc-André Roberge © 2013

Après s’être établi à Berlin en 1894, Busoni est retourné aux États-Unis quatre fois pour des tournées de concerts (1904, 1910, 1911 et 1915). En 1910 il y rencontre son ancienne étudiante Natalie Curtis Burlin (1875–1921), maintenant ethnomusicologue, qui avait publié en 1907 The Indians’ Book, une collection faisant 550 pages de chansons et d’histoires. Le 12 avril 1911, pendant la traversée de New York à Cherbourg, il écrit une esquisse de 80 mesures intitulée Indianisches Erntelied comme première tentative d’utiliser une des ces mélodies, une «chanson de récolte» du Laguna Pueblo. Il dédie la pièce, dont les arpèges coulants et les figurations de gammes sont joués entièrement dans une dynamique réduite (sauf vers la fin), à l’écrivain autrichien Stefan Zweig, un compagnon de voyage comme Gustav Mahler, alors mourant. La première exécution en a été donnée par Karl Lutchmayer au Royal College of Music le 23 février 1999 à l’occasion d’une célébration en l’honneur du compositeur Ronald Stevenson, grand connaisseur de Busoni. Après sa présentation lors d’un congrès Busoni en novembre 1999, la pièce a été publiée en 2001 par le spécialiste de Busoni Antony Beaumont à partir du manuscrit conservé par la British Library.

extrait des notes rédigées par Marc-André Roberge © 2013

Nachdem er sich 1894 in Berlin niedergelassen hatte, unternahm Busoni vier Konzertreisen in die USA (1904, 1910, 1911 und 1915). 1910 traf er seine ehemalige Schülerin Natalie Curtis Burlin (1875–1921), die inzwischen Musikethnologin war und 1907 The Indians’ Book veröffentlicht hatte, eine 550-seitige Sammlung von Liedern und Geschichten. Am 12. April 1911 fertigte er während der Überfahrt von New York nach Cherbourg eine 80-taktige Skizze mit dem Titel Indianisches Erntelied an—ein erster Versuch, eine dieser Melodien der Laguna zu verarbeiten. Er widmete dieses Stück, dessen fließende Arpeggien und Tonleiterfigurationen leise durchweg bis kurz vor Schluss gespielt werden, dem österreichischen Schriftsteller Stefan Zweig, der, ebenso wie der sterbende Gustav Mahler, einer seiner Mitreisenden war. Erstmals aufgeführt wurde das Werk am 23. Februar 1999 von Karl Lutchmayer am Londoner Royal College of Music im Rahmen einer Feier zu Ehren des Komponisten (und Busoni-Spezialisten) Ronald Stevenson. Nachdem das Werk bei einer Busoni-Konferenz im November 1999 vorgestellt wurde, folgte 2001 die Veröffentlichung des Notentextes durch den Busoni-Experten Antony Beaumont, dessen Arbeit das in der British Library aufbewahrte Manuskript zugrunde lag.

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

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