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Track(s) taken from CDA67275

Étude No 3 in B minor 'after Paganini-Liszt'

1993; after the Paganini-Liszt Étude in G sharp minor 'La campanella', S141 No 3; published by C. F. Peters Corp., New York

Marc-André Hamelin (piano)
Recording details: February 2001
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Tony Faulkner
Release date: October 2001
Total duration: 5 minutes 0 seconds

Cover artwork: Front illustration by Donya Claire James (b?)

Other recordings available for download

Marc-André Hamelin (piano)


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No 3 after Paganini-Liszt owes its existence to the moment when I realized that the main theme of Paganini’s La Campanella could be treated canonically. Everything took off from there, and though the ghost of Liszt is more or less constantly hovering, there is a good deal of pianistic and harmonic updating here. There are many things in this arrangement that even Liszt, with his penchant for innovation, would never have allowed himself. Out of these twelve études, this is the one which was the most significantly revised. I believe the piece is now rather more approachable pianistically, even though the difficulties are still considerable.

from notes by Marc-André Hamelin © 2010

L’Étude no 3 d’après Paganini-Liszt doit son existence au moment où j’ai réalisé que le thème principal de La Campanella de Paganini pouvait être traité en canon. Tout est parti de là et, bien que le fantôme de Liszt plane plus ou moins constamment, il y a ici une large part de modernisation pianistique et harmonique. Cet arrangement comporte beaucoup de choses que même Liszt, avec son penchant pour l’innovation, ne se serait jamais permises. De ces douze études, c’est celle qui a été le plus profondément révisée. Je crois que le morceau est maintenant d’un abord plus aisé sur le plan pianistique, même si les difficultés sont encore considérables.

extrait des notes rédigées par Marc-André Hamelin © 2010
Français: Marie-Stella Pâris

Nr. 3 after Paganini-Liszt verdankt seine Entstehung dem Augenblick, als ich darauf kam, dass das Hauptthema von Paganinis La Campanella als Kanon verarbeitet werden kann. Von da nahm alles seinen Anfang, und wenn der Geist von Liszt auch mehr oder weniger ständig im Raum schwebt, gibt es hier doch eine Menge an pianistischem und harmonischem Fortschritt. Denn in diesem Arrangement finden sich viele Dinge, die sich sogar Liszt trotz seiner Vorliebe für Innovationen nie erlaubt hätte. Von all den zwölf Etüden ist das diejenige, die am deutlichsten einer Überarbeitung unterworfen wurde. So ist sie, wie ich glaube, pianistisch besser zu bewältigen, auch wenn die Schwierigkeiten immer noch beachtlich sind.

aus dem Begleittext von Marc-André Hamelin © 2010
Deutsch: Ludwig Madlener

Other albums featuring this work

Hamelin: Études
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