The Tbilisi Piano Festival 2024 commenced with an enthralling performance by the acclaimed pianist Marc-André Hamelin at the Tbilisi State Conservatoire. The evening’s repertoire, carefully curated, showcased a fascinating journey through diverse eras and styles, from the early 19th century to the early 20th century, highlighting Hamelin’s virtuosity and interpretive depth.
Marc-André Hamelin is celebrated for his extraordinary technical prowess and profound interpretive insight. A Canadian pianist of remarkable versatility, Hamelin has built a reputation for his ability to navigate both the standard and the obscure repertoire with equal mastery. Known for his impeccable technique and intellectual approach to the piano, Hamelin often explores lesser-known works alongside mainstream masterpieces, bringing a fresh perspective to concert programs.
Hamelin’s style is characterized by clarity, precision, and a deep understanding of the musical structure. His performances are marked by a keen attention to detail and an ability to balance technical demands with expressive depth. He possesses a unique ability to reveal the inner workings of complex compositions, allowing audiences to appreciate the subtleties of each piece. This blend of virtuosity and musicality was evident throughout the concert, where his interpretations were both technically flawless and emotionally compelling.
The program began with two pieces by Maria Szymanowska, a trailblazing female composer and pianist of the early Romantic period. This was followed by Franz Schubert’s introspective ‘4 Impromptus D899,’ a cornerstone of Romantic piano literature. After the intermission, the concert resumed with Robert Schumann’s ‘Waldszenen, Op. 82,’ a suite of nine character pieces evoking forest scenes. The evening concluded with Maurice Ravel’s ‘Gaspard de la nuit,’ a suite of three pieces inspired by Aloysius Bertrand’s poems, renowned for their technical demands and evocative imagery.
Maria Szymanowska: Polonaise in F minor, Étude in C major
Hamelin’s choice to open with Szymanowska’s ‘Polonaise in F minor’ and ‘Étude in C major’ was both bold and illuminating. Szymanowska, a precursor to Chopin, offers a blend of Classical clarity and Romantic expressiveness. The ‘Polonaise in F minor’ displayed Hamelin’s ability to infuse a dance form with a profound emotional narrative, while the ‘Étude in C major’ showcased his technical finesse and lyrical touch. These pieces, rarely performed in contemporary concert halls, set a tone of discovery and appreciation for overlooked gems in piano literature.
Franz Schubert: 4 Impromptus D899
Schubert’s ‘4 Impromptus D899’ allowed Hamelin to explore a deeper emotional and structural complexity. Each impromptu, a world unto itself, was rendered with exceptional nuance. In the first Impromptu in C minor, Hamelin navigated the turbulent contrasts with a masterful balance of drama and lyricism. The E-flat major Impromptu’s lyrical melodies and flowing arpeggios highlighted his delicate touch and phrasing. The third, in G-flat major, often considered the heart of the set, was played with a dreamlike quality; its songful lines singing clearly under his fingers. Finally, the Impromptu in A-flat major concluded the set with a vigorous and exuberant performance, emphasizing Schubert’s harmonic innovations and rhythmic drive.
Robert Schumann: Waldszenen, Op. 82
Schumann’s ‘Waldszenen, Op. 82’ offers a series of vivid miniatures, each portraying a different aspect of a forest. Hamelin’s interpretation brought each scene to life with distinct character and mood. ‘Eintritt’ (Entry) was played with a sense of wonder and anticipation, capturing the listener’s imagination from the outset. ‘Jäger auf der Lauer’ (Hunters on the Lookout) contrasted with its alert and lively rhythms, while ‘Einsame Blumen’ (Lonely Flowers) was tender and introspective. In ‘Verrufene Stelle” (Haunted Place), Hamelin conjured an eerie and suspenseful atmosphere, using dynamic contrasts and tonal color.
‘Freundliche Landschaft’ (Friendly Landscape) and ‘Herberge’ (Wayside Inn) offered moments of calm and lyrical beauty. The enigmatic ‘Vogel als Prophet’ (Bird as Prophet) was a highlight with its mysterious, almost supernatural quality. The suite concluded with ‘Jagdlied’ (Hunting Song) and ‘Abschied’ (Farewell), both of which were executed with spirited energy and poignant finality, respectively.
Maurice Ravel: Gaspard de la nuit
The pinnacle of the evening was Ravel’s ‘Gaspard de la nuit,’ a work notorious for its technical challenges and vivid imagery. ‘Ondine’ opened the suite with shimmering textures and fluid, watery sounds, capturing the essence of the water nymph’s seductive song. Hamelin’s control over the intricate, rippling passages was mesmerizing. ‘Le Gibet’ provided a stark contrast with its tolling bell motif and haunting, desolate atmosphere. Here, Hamelin’s ability to sustain tension and convey the piece’s macabre mood was particularly striking. The final piece, ‘Scarbo,’ is a tour de force of pianistic virtuosity and narrative drama. Hamelin’s rendition was electrifying, with rapid leaps and frenetic energy that brought the sinister goblin to life in a dazzling display of technical prowess and interpretive intensity.
About the Tbilisi Piano Festival
The Tbilisi Piano Festival celebrates the rich tradition of piano music and provides a platform for both established and emerging artists to perform in a city known for its vibrant cultural heritage. The festival aims to foster musical exchange and appreciation, featuring a diverse range of performances, and masterclasses. The 2024 edition of the festival opened with Hamelin’s recital, setting a high standard for the events to follow. The festival not only highlights the artistry of individual performers, but also promotes a broader understanding and appreciation of the piano’s vast repertoire, encompassing works from various periods and styles.
By Ivan Nechaev
