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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 .
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.
The number of studies is often given as 54, with Op. 25, No. 2 having one study written as a considerably different ossia of another; a similar ossia also exists for one of the studies on Op. 25, No. 3, so the total number of studies can be taken to be 55. In contrast, Godowsky's original numbering scheme runs only to 48.
Marc-André Hamelin Live at Wigmore Hall Ludwig van Beethoven : Allegro con brio , Movement I from Piano Concerto No. 3 in C minor, Op. 37; arrangement by Charles-Valentin Alkan Frédéric Chopin : Romanza , Movement II from Piano Concerto No. 1 in E minor, Op. 11; arrangement by Mili Balakirev
David Charles Hamelin [1] (born October 3, 1980) is a Canadian musician, songwriter and producer known for his work with indie rock band the Stills.Originally the band's drummer, he moved to guitar and co-lead vocalist in 2005 when guitarist Greg Paquet left the band.
[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]
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 ]
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 ...