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Marc-André Hamelin, OC, OQ (born September 5, 1961) is a Canadian virtuoso pianist and composer [1] who has received 11 Grammy Award nominations. [2] He is on the faculty of the New England Conservatory of Music .
Study (No. 44a) in F minor (Variational form, [2] completed by Marc-André Hamelin [3]) Study in A minor (No. 50) Op. 10 No. 2, Op. 25 No. 4 and Op. 25 No. 11 (Combined in one study) [2] Recordings. There's a couple of recordings on the March and Study 50, [4] [5] though there is no live recording for now. Hamelin has a recording of his own ...
[2] The set is "new" relative to Bolcom's first set of Twelve Etudes for Piano (1959–1966; released on Advance FGR-14S in 1971 [3]), and was intended for and dedicated to Paul Jacobs, who died before the composition was complete, and thus the finished set is dedicated to Jacobs, John Musto, and Marc-André Hamelin. [4]
Grainger: Piano Music. British Folk-Music Settings; No. 4 Shepherd's Hey No. 6 Londonderry Air No. 19 Molly on the Shore (1907) No. 22 Country Gardens (1918) No. 37 Scotch Strathspey and Reel No. 38 The Merry King. Colonial Song, No. 1 from Sentimentals (1911) Harvest Hymn; The Hunter in His Career, No. 4 from Old-English Popular Music; In ...
Circus Galop is a piece written for player pianos by Marc-André Hamelin. It was composed between the years 1991 and 1994 and is dedicated to Beatrix and Jürgen Hocker, piano roll makers. Its duration is approximately 4–5 minutes. [ 1 ]
Richard-Hamelin was born in Lanaudière, Quebec, [3] and took his first piano lessons with his father. [1] He studied at McGill University , where he received his bachelor's degree in 2011. He completed his master's degree at Yale School of Music in 2013.
"La campanella" is a revision of an earlier version from 1838, the Études d'exécution transcendente d'après Paganini, S. 140, and is widely considered one of the most technically challenging piano pieces ever written.
Corigliano partially based the form of the work on Robert Browning's narrative poem "The Pied Piper of Hamelin," arguably the most famous version of the tale. However, the composer altered the narrative to better fit a musical setting, explaining, "The biggest problem was that the legend per se had no elements of virtuosity in it; the Pied ...