Canadian-born pianist Marc-André Hamelin is recognized as one of the top talents in the concert hall today. He’s a champion of both undiscovered and standard piano repertoire, he’s prolific in the recording studio, and he’ll see his first published composition released next fall. Speaking to me from his Boston home, Hamelin declines to be defined by any one of these activities, especially his legendary technical ability. Rather, he’s a guy who’s just “trying to make music.”
Tell us about your programming for this tour [Hamelin performs Dec. 15 at Herbst Theatre] and for your concerts in general.
I play pieces that I believe in and love, and make a selection that will be well-balanced and not bewilder people. This program is quite listener friendly. It offers old favorites and things infrequently heard. For example, [Valentin] Alkan [1813-1888] is almost never played, and the Symphonie, for solo piano, represents his best. Gabriel Fauré’s piano output is neglected, as well, yet very worthy of being kept in the public consciousness. His pieces are very subtle and full of beauty.
Besides Alkan, which other lesser-known composer should we learn about?
One I’ve look at recently is a man who was a towering figure in Bulgaria, Pantcho Vladigerov [1899-1978], who has written tons of powerful, wonderful, exotic, touching music. The obstacle there is that almost none of the music is available in the West. It was printed in Bulgaria, and perhaps behind the Iron Curtain. It’s hard to find, but very worthy of attention.
And you are a composer, as well?
Peters will publish my Twelve Études at the same time the recording is released, next fall. It was a nice feeling to finish the études finally, because the project took 24 years! Well, only 12 years, but then for 12 years in the middle I lost interest and didn’t write. I’m a pianist who enjoys writing and feels the need to write, but I don’t consider myself a composer.
Because of your unusually facile technique, do you find yourself drawn to difficult repertoire?
One type of music I like is an orchestral, dense, contrapuntal type of writing, which will usually end up being difficult to play; but I don’t play it because it’s difficult, I do it because it’s good music. I also enjoy playing very simple music and could happily spend the rest of my life playing slow movements and nothing but.
You’ve recorded 40 records on the Hyperion label and have been nominated for eight Grammy Awards. Are you the world’s most recorded pianist?
Actually, the combined total is around 60, including other labels, but when you look at pianists like Leslie Howard, who has recorded the complete Liszt on Hyperion, that’s 97 discs [laughing]. I’m not concerned about quantity, though. I want to leave something for people to draw upon when they want to listen to certain repertoire.
What was it like to play at the Grammy Awards in 2007?
It was a really big experience playing for 11,000 people at the Staples Center in Los Angeles. I was introduced to Elton John. Jimmy Smits was a presenter backstage, so I met him and he was really nice. My dressing room was next to U2’s. I had been practicing a bit and there was a knock on my door and it was Bono, who said, “I just wanted to tell you you’re a heck of a piano player, from a fellow player.” It was completely unexpected.
What projects are coming up for you?
The recording of the Schumann Piano Quintet with the Takács Quartet was just released on Hyperion last month. In March, I’m looking forward to recording the Max Reger Concerto and the Strauss Burlesque with the Berlin Radio Orchestra.
How do you handle the work–life balance?
It’s not easy, since I’m in Boston less than half a year. I often miss my loved ones, like my fiancée, Cathy Fuller, a radio producer and host at WGBH here in Boston. She’s also trained as a pianist, and we’re kindred souls musically.
What keeps you going, in the end?
The reason I go on stage is to celebrate, with the audience, the miracle of human creativity. There’s no other reason. I don’t go there to show myself; I just want to share essential musical experiences.