I was unable to attend Marc-André Hamelin’s recital at Pro Musica in March 2023 (here in Montreal), when he played Beethoven’s monumental Hammerklavier Sonata. I regret this, as eminent colleagues have spoken very highly of it, some even ecstatically. Is this Hyperion release a faithful capture of the spirit of the aforementioned concert? Hard to say, of course, especially as the album was recorded a few months later, and in London. But then, the “vision” of the work must not have changed profoundly, at least we can assume so. Then, as for the technical quality of the interpretation, there’s no need to worry about Hamelin’s consistency, of course.
In short, can we be ecstatic, also, about this discographic release? We can certainly speak of excellence. One can speak of absolute clarity in the pianistic approach, in the characterization of voices, themes and the complex architecture of this monumental musical edifice. It’s a remarkable reading in so many ways. But we can also say that it will not be to everyone’s taste, especially the most connoisseur, those who seek transcendence, the indescribable spiritual experience supposedly immanent in all music sublimated by an incarnated gaze.
I took the liberty of making a comparison with a version recognized as indispensable, that of Sviatoslav Richter. If you listen to each version in turn, you’ll probably feel the Richter version’s fullness, its emotional breadth that never suffers from outpouring, that said. The giant adagio is absolute proof of this. Hamelin’s version, on the other hand, focuses (superbly) on the luminosity projected onto this grandiose musical body, as if it had been X-rayed. It’s a perfect emotional concentration that reveals tons of fascinating details. And then, all of a sudden, new emotions. It’s quite exceptional, but it’s so different from the other that you’ll have to choose between one and the other, if you’re an idealist, or accept both, if you’re more of a holistic hedonist, like me.
As a treat, Hamelin adds the Sonata in C major Op.2 No.3, which he puts through the same scrutating scanner. This sonata, which still betrays Beethoven’s initial Haydnian leanings, benefits very well from Hamelin’s piercing gaze, not at all devoid of benevolence and even tenderness here and there.
An album that will go down in history, for all sorts of reasons, without being universally acclaimed.
