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Home , Adalbert Gyrowetz, Edition Peters, Lied, String Quartet (Franck)

CAL PERFORMANCES PRESENTS

Sunday, October 12, 2014, 3pm Hertz Hall

Takács Quartet

Edward Dusinberre first violin Károly Schranz second violin Geraldine Walther András Fejér

with

Marc-André Hamelin ,

PROGRAM

Joseph Haydn (1732–1809) No. 50 in B-flat major, Op. 64, No. 3 (1790) Vivace assai Adagio Menuet: Allegretto Finale: Allegro con spirito

Claude Debussy (1862–1918) String Quartet in G minor, Op. 10 (1893) Animé et très décidé Assez vif et bien rythmé Andantino, doucement expressif Très modéré — Très mouvemente et avec passion

INTERMISSION

César Franck (1822–1890) for Piano, Two Violins, Viola, and Cello in F minor (1879) Molto moderato quasi lento — Allegro Lento, con molto sentimento Allegro non troppo, ma con fuoco

Mark-André Hamelin, piano

This performance is made possible, in part, by Patron Sponsors Shirley D. and Philip Schild.

Cal Performances’  !–  " season is sponsored by Wells Fargo.

PLAYBILL PROGRAM NOTES

Joseph Haydn (9?;:–9@8A) Esterháza: “Now, here I sit in my desert, String Quartet No. =8 in B-flat major, forsaken, like a poor orphan, almost without Op. ><, No. ; human society, sad, full of the memory of the glorious days gone by….” Just two weeks later, Composed in IMOH . on Febr uary 23, 1790, the wife of Prince Nicholas died and Haydn subsequently With the move in 1766 of Prince Nicholas reported to Marianne, “The Prince is so Esterházy and his entire household from the overwhelmed at the death of his lady that we old family seat in Eisenstadt to the have had to strain every nerve to charm His magnificent but isolated Esterháza Palace in Highness out of his sadness. I arranged a big the reclaimed swamps of western Hungary, program of for the first three Haydn found himself rather thoroughly cut evenings…but the poor Prince fell into such off from the outside world, a situation that profound melancholy on hearing my favorite allowed him to experiment in his music and Adagio in D that I had my work cut out to to administer undisturbed one of Europe’s chase it away again with other pieces.” outstanding musical establishments, but Throughout the spring and summer, Nicholas which also denied him regular contact with importuned Haydn constantly for diversion, the most fashionable musical trends and refusing to let him visit for even a performers of the day. He came to look single day. To Marianne, Haydn complained, forward with much eagerness to the short “Now I’m caught yet again and have to remain time during the winter when the inclement here.... It is a sad thing to be a slave, but weather around the Neusiedler Lake made the Providence will have it so, poor wretch that I Palace uninhabitable, a period he spent am.” Haydn’s misery was soon ended, renewing acquaintances and striking business however, by the death of the Prince himself on deals in Vienna. During his visit to the September 28th. Princ e Anton, Nicholas’s son imperial city in Januar y 1790, just before he and successor, cared little for music, so he was to begin his thirtieth year of service to the dismissed the faithful family , settled Esterházys, he eagerly attended rehearsals for a generous pension on him, and told him that the première of Mozart’s Così fan tutte and he was free to leave. Haydn bolted to Vienna socialized at every available opportunity. so quickly that he did not even take time to Among those he saw most frequently in pack his personal belongings. Vienna were the Baron Gottfried van Swieten, One consolation for Haydn during the Dr. Peter Leopold von Genzinger and his wife, difficult months of 1790 was the growing Marianne, and Johann Tost. international renown of his compositions. Swieten was the Imperial Court Librarian Amateur and professional performers and an influential local patron of the arts who, throughout Europe and England clamored for a few years later, was to provide the German his music, and he composed steadily during librettos for Haydn’s oratorios The Creation the summer and autumn of that year to meet and The Seasons . Genzinger was Prince the demand, concentrating his chief efforts on Nicholas Esterházy’s personal physician, and a splendid series of six quartets that were it was in the bosom of the Genzinger family published the following year as his Op. 64. where Haydn found an emotional fulfillment The Quartets were dedicated to Johann Tost, that had long been missing from his childless principal second violinist in Haydn’s marriage to a shrewish wife. Marianne von at Esterháza from 1783 to 1788. In 1789, Tost Genzinger became the most important had gone to to present himself as a correspondent of the composer’s later years, soloist, and he was entrusted by Haydn t o and he wrote in his letters to her in early negotiate a deal for engraving two of his February of his misery following his return to recent (Nos. 88 and 89) with the

CAL PERFORMANCES PROGRAM NOTES publisher Sieber during his visit. The sly Tost, more lyrical subject with some delicate however, sold Sieber not two but three harmonic shadings is introduced to provide symphonies, the third being a piece by the movement’s formal second theme. All Adalbert Gyrowetz that the violinist passed off three of these ideas are treated in the as Haydn’s. (Gyrowetz had enormous development section. The recapitulation of difficulty later persuading French musicians the earlier materials is condensed by the that this was indeed his work. When Sieber deletion of the lyrical second subject. The complained about this shady deal to Haydn, Adagio is a three-part movement in two who had been systematically victimized by moods, one evoked in the opening and closing publishers throughout his career, he replied sections by a long, elegant melody that is without sympathy, “Thus Herr Tost has beautifully voiced among the instruments, the swindled you; you can claim your damages in other in a dolorous passage at the center. The Vienna.”) Such entrepreneurial success third movement, with its bracing cross- encouraged Tost to try his hand at business, rhythms, imitations of hunting horns, and an d by 1790 he had settled in Vienna as a sy ncopated central trio, is one of Haydn’s most cloth merchant. During that same year, he delightful minuets. The finale is launched by a married Maria Anna von Jerlischek, a wealthy scintillating theme that suddenly seems to lose lady attached to the household of Prince its momentum before taking up a passage of Nicholas Esterházy, and he used her fortune quiet, chromatic, suspended chords that serves as collateral for his burgeoning business. It as the bridge to the movement’s second theme, is unknown whether Haydn dedicated the which revives the rhythmic motion and also Op. 64 Quartets to him out admiration for his recalls the syncopations of the Menuet . These playing while in the Esterházy orchestra, or elements all figure in the development section. for his assistance in the dealings with Sieber A complete recapitulation of the exposition’s (Tost also helped with the Viennese themes rounds out this invigorating publication of the Op. 64 Quarte ts), or upon masterwork of Haydn’s full maturity. direct commission from the merchant and/or his new wife (Tost commissioned Mozart’s last (9@>:–9A9@) two String , K. 593 and K. 614, du ring String Quartet in G minor, Op. 98 the following months), but the “Tost” Quartets are among the most lustrous jewels Composed in INOK. Premièred on December JO, in the diadem of the composer’s chamber INOK, in Paris by the Ysaÿe Quartet. music, “perhaps Haydn’s greatest single achievement of the period—six flawless By 1893, when he turned 30, Claude Debussy masterpieces,” wrote the noted Haydn had acquired a modest reputation in Paris as authority H. C. Robbins Landon. the composer of a number of songs, piano The Op. 64 Quartets have always been pieces, and miscellaneous vocal and orchestral among the most popular of Haydn’s chamber works, as a winner of the Prix de , and as works. He presented them with great success a bohemian musician much under the sway of on several occasions during his first the Symbolist poets Mallarmé and Régnier. visit in 1791–1792, and oversaw their English His distinctive creative personality had publication in that city before he returned to already been demonstrated to the city’s circle Vienna. The third number of the set, the of progressive music lovers by the Petite Suite , Quartet in B-flat major, opens with a sprightly the Arabesques , and the Suite Bergamasque theme whose offbeat beginning provides the (from which comes the well-known Clair de rhythmic spring that drives much of the Lune ), but the wider recognition of his genius ensuing music. A galloping motive follows, as began when the cantata La Damoiselle élue does an iteration of the main theme before a (“The Blessed Damzel”) was premièred at a

PLAYBILL PROGRAM NOTES concert of the Société National e on April 8, composer Paul Dukas, however, hailed 1893. By that time , he had already begun Debussy as “one of the most gifted and original sketching out an based on Maeterlinck’s artists of the young generation of musicians … recently published drama Pelléas et Mélisande , a lyricist in the full sense of the term.” When a project that would take him a decade to Debussy submitted the score to his then-friend complete, and written much of a ballet score Maurice Ravel (the fastidious Ravel and the inspired by Mallarmé’s voluptuous poem profligate Debussy later had a falling out, in L’Après-midi d’un faune (“The Afternoon of a some measure prompted by the public disputes Faun”). The other major endeavor of 1893 w as over the relative merits of their respective a String Quartet, a curious undertaking, String Quartets), he was advised, “In the name perhaps, for a composer of Debussy’s of the gods of music and of my own, do not decidedly impressionistic proclivities, but one touch a thing you have written in your he apparently felt necessary to show that he Quartet.” Opinion soon sided with Dukas and could handle the Classical forms which had Ravel, and the Qu artet was quickly embraced occupied much of his long study at the by chamber players following its publication by Conservatoire and as a Prix de Rome Durand in 1894; it has remained one of the recipient—it is indicative in this regard that most popular works in the chamber repertory. the Quartet is the only one of his works to The Quartet opens with a distinctive, which he formally assigned an opus number. modally inflected motive (marked by a quick, Though the Quartet is rich in melody and three-note ornamental cell) that serves both as harmony, and evidences Debussy’s ability to the melodic germ from which the first elicit glowing sonorities from his ensemble, it movement grows and as the motto theme that shows the young composer’s discomfort in returns in later movements to unify the work’s handling the form, relying on an episodic overall structure. The frequent recurrences of construction rather than on a motivically the motto throughout the opening movement, developed one. He threaded the whole together usually in transformations of sonority, by the cyclical technique (i.e., the appearance harmony, and mood, are separated by episodes of a theme in more than one movement) of mildly contrasting character. The second favored by César Franck, whose own String movement is a free adaptation of the form and Quartet had appeared as recently as 1890. manner of a scherzo. The opening section When his friend and colleague Ernest posits a repetitive viola ostinato built from the Chausson pointed out the deficiencies in motto theme around which swirl sparkling Classical structure, Debussy promised to write pizzicato effects for the other instruments. The him another quartet “with more dignity of center of the movement is occupied by a form,” but he never did. (Indeed, he wrote no rhythmically augmented version of the motto more chamber music until the three sonatas he theme first given by the violin above a rustling composed at the end of his life.) The . A modified return of the composition drew mixed reactions when it was opening section rounds out the movement. premièred by the Quartet of the celebrated The Andantino , sensual, lyrical, permeated violinist Eugène Ysaÿe at a concert of the with the sweet sensations of early spring, Société Nationale on December 29, 1893. One evokes a similar expressive and stylistic world criti c accused its exotic sonorities, notably the to the one that Debussy conjured in the pervasive use of pizzicato , of being “strange and contemporaneous prelude to The Afternoon of bizarre, with too many echoes of the streets of a Faun. The two-part introduction to the Cairo and the gamelan,” the Balinese finale comprises a slow-tempo transformation percussion ensemble that had overwhelmed of the motto and a quicker mock-fugal passage Debussy when he first heard it at the Paris derived from the scherzo theme. The viola International Exposition of 1889 . The noted initiates the main part of the movement with

CAL PERFORMANCES PROGRAM NOTES a rapid motive that is tightly restricted in exemplary church organist, author of high- range. This phrase and further trans - minded compositions, head of a well-ordered formations of the motto theme occupy the family life with his wife and children—the remainder of the movement, which ends with purported Pater Seraphicus of French music— a sun-bright flourish. was rumored to have been inspired to write the Quintet by his feelings for a student not César Franck (9@::–9@A8) half his age, a young female composer named Quintet for Piano and String Quartet in Augusta Holmès. Mlle. Holmès, in her mid- F minor 20s when Franck composed his Quintet, was born in Paris of Irish parents and displayed Composed i n INMO. Premièred on January IM, considerable talents as a poet, singer, and all- INNH, in Paris by the Marsick Quartet and round musician. Saint-Saëns claimed that “we Camille Saint-Saëns. are all of us in love with her,” and dedicated to her his symphonic tone poem Rouet At the concert of the Société Nationale de d’Omphale (“Omphale’s ”). Musique in Paris on December 14, 1878, Vincent d’Indy, Franck’s devoted pupil and César Franck’s , Op. 2 was given its eventual biographer, said, “I am completely first performance in France—36 years after it infatuated with the beautiful Augusta!” Franck had been composed. Franck had not written also seems not to have been immune to her another piece of chamber music since the Trio apparently irresistible charms. In speaking of 1842, but its enthusiastic Parisian reception with one of the composer’s students, someone encouraged his many students, disciples, and once claimed that Franck was a mystic and admirers to urge him to take up the chamber received the reply, “A mystic? Go ask Augusta forms again. Franck accepted their advice and Holmès.” The bitter condemnation that the he settled on a quintet for piano and strings, a shrewish Félicité Franck heaped upon her genre then in vogue in Paris because of recent husband’s indicates that she such works by Alexis de Castillon, Félicien was incensed at more than just the musical David, and , as well as the content of the piece. Even the worldly Franz continuing popularity of the piano quintets by Liszt, a long-time champion of Franck’s music, Schumann and Brahms. Franck worked on thought that the Quintet’s vehement the score throughout 1879 (buoyed in part by expression may have overstepped the bounds another successful performance of the Trio on of proper chamber music. It may (or may not) January 25th), and completed the piece be significant that Franck’s next composition shortly before its première at the Société was a beatific cantata on the Biblical story of Nationale concert on January 17, 1880. Rebecca; Félicité applauded the work’s The event produced one of the most decorum and reserve. extraordinary scenes in the annals of French The Quintet’s opening movement is a large, music, when Camille Saint-Saëns, founder of thematically rich that draws much the Société Nationale, pianist in the première, of its material from the two starkly contrasted and recipient of the work’s dedication, motives presented in the introduction: a stormed off the stage at the end of the dramatically impassioned descending line in performance, pointedly leaving behind the the violin and a humble piano reply in sad, score that the composer had presented to him. rocking rhythms. These two ideas are repeated Saint-Saëns was incensed, it seems, by the in juxtaposition to lead without pause to the music’s intense, almost febrile passion, a main body of the movement, whose principal quality that the première audience acclaimed subject is derived from the introduction’s but from which the fastidious Camille descending motive. A wealth of complementary surmised illicit motivations. César Franck, themes follows, most lyrical, many with a

PLAYBILL PROGRAM NOTES restlessness that provides the music’s dominant An agitated figure in the violins ushers in emotional personality of yearning tinged with the finale’s principal theme, a tragic-heroic inchoate tragedy. motive in leaping rhythms first stated in its The emotional temperature of the Quintet full form by unison strings. The second drops somewhat for the Lento , whose main theme, derived from a motive heard in the theme is presented by the violin in disjunct Lento , is played by the piano against a rustling phrases floated upon a pulsing piano string background. After the development, accompaniment. The movement’s subsidiary which is based largely on the main theme, and subject is given in dialogue between the first the recapitulation, the Quintet ends with a violin and cello with a smooth, wide-ranging triumphant coda whose broad theme is a provided by the piano. A faint transformation of a motive used in both echo of a theme from the first movement earlier movements, thus unifying the form of provides a sense of cyclical unity. A brief the entire work. development section and a condensed recapitulation complete the movement. © JHIL D r. Richard E. Rodda

CAL PERFORMANCES ABOUT THE ARTISTS s r e d n u a S

h t i e K

ECOGNIZED AS one of the world’s great en - such legendary artists as Jascha Heifetz, Rsembles, the Takács Quartet —Edward Leonard Bernstein, and Dame . Dusinberre, first violin ; Károly Schranz, sec - The ensemble also won th e 2011 Award for ond violin ; Geraldine Walther, viola ; and Chamber Music and Song presented by the András Fejér, cello —plays with a unique blend Royal Philharmonic Society in London. Based of drama, warmth, and humor, combining in Boulder at the University of Colorado, the four distinct musical personalities to bring Takács Quartet performs 90 concerts a year fresh insights to the string quartet repertoire. worldwide. The Takács became the first string quar - In 2014–2015, the Quartet performs tet to win the Medal on May throughout North America, returning to the 10, 2014. The Medal, inaugurated in 2007, Ravinia Festival and to Lincoln Center for two recognizes major international artists who programs—one with guest violist Lawrence have a strong association with the Hall. Power and the other with pianist Joyce Yang, Recipients so far include Andrås Schiff, and performs with pianist Marc-André Thomas Quasthoff, Menachem Pressler, and Hamelin at Cal Performances, the University Dame Felicity Lott. Appointed in 2012 as the of Connecticut, and Orchestra Hall in first-ever Associate Artists at Wigmore, the Chicago. They also return after many years to Takács present six concerts every season Santiago, Chile, and São Paulo, Brazil. there. Other European engagements in 2014– Meryl Streep performed Philip Roth’s 2015 include the Edinburgh and Bath festi - Everyman program with the Takács at vals, the Louvre in Paris, Amsterdam’s Princeton University on September 19, 2014. , Vienna’s Musikverein, The program was conceived in close collabo - London’s Queen Elizabeth Hall, and concerts ration with Mr. Roth. The Quartet is known in Geneva, Florence, Cremona, and Budapest. for such innovative programming. They first In 2012, Gramophone announced that the performed Everyman at Carnegie Hall in 2007 Takács was the only string quartet to be in - with Philip Seymour Hoffman. They have ducted into its first Hall of Fame, along with toured 14 cities with the poet Robert Pinsky,

PLAYBILL ABOUT THE ARTISTS collaborate regularly with the Hungarian folk the ensemble’s other Decca recordings include group Muzsikás, and in 2010 they collabo - Dvořák’s String Quartet in E-flat major, rated with the Colorado Shakespeare Festival Op. 51, and Piano Quintet in A major, Op. 81, and David Lawrence Morse on a drama proj - with pianist Andreas Haefliger; Schubert’s ect that explored the composition of “Trout” Quintet with Mr. Haefliger, which was Beethoven’s last quartets. nominated in 2000 for a Grammy; string The Quartet’s award-winning recordings in - quartets by Smetana and Borodin; Schubert’s clude the complete Beethoven quartet cycle on Quartet in G major and “Notturno” Piano Trio the Decca label. In 2005 , the late Beethoven with Mr. Haefliger; the three Brahms string quartets won Disc of the Year and Chamber quartets and Piano Quintet in F minor with Award from BBC Music Magazine , a Mr. Schiff; Chausson’s Concerto for violin, Gramophone Award, Album of the Year at the piano, and string quartet with violinist Joshua Brit Awards, and a Japanese Record Academy Bell and pianist Jean-Yves Thibaudet; and Award. Their recordings of the early and middle Mozart’s String Quintets, K. 515 and K. 516, Beethoven quartets collected a Grammy Award, with violist György Pauk. another Gramophone Award, a Chamber Music The members of the Takács Quartet are of America Award, and two further awards Christoffersen Faculty Fellows at the from the Japanese Recording Academy. University of Colorado Boulder. The Quartet Their collaboration with Hyperion has helped to develop a string program with a Records in 2006 started with a recording of special emphasis on chamber music, where Schubert’s “Death and the Maiden” and students work in a nurturing environment de - “Rosamunde” quartets. A disc featuring signed to help them develop their artistry. The Brahms’s Piano Quintet with Stephen Hough Quartet’s commitment to teaching is en - was released to great acclaim in November hanced by summer residencies at the Aspen 2007 and was subsequently nominated for a Festival and at the Music Academy of the West Grammy. Other recordings for Hyperion in - in Santa Barbara. They are also Visiting clude Brahms’s Quartets Opp. 51 and 67; a disc Fellows at the Guildhall School of Music and featuring the Schumann Piano Quintet with Drama in London. Mr. Hamelin; the complete Haydn “Apponyi” The Takács Quartet was formed in 1975 at Quartets, Opp. 71 and 74; the Schubert the Academy in Budapest by Quintet with c ellist Ralph Kirshbaum; and the Gabor Takács-Nagy, Károly Schranz, Gabor three Britten quartets and the Brahms viola Ormai, and András Fejér, while all four were quintets with violist Lawrence Power. students. It first received international atten - Upcoming Hyperion recordings include tion in 1977, winning First Prize and the the two Janáček quartets and Smetana’s “From Critics’ Prize at the International String My Life”; the Debussy Quartet and the Franck Quartet Competition in Evian, France. The Piano Quintet with Mr. Hamelin; and Quartet also won the Gold Medal at the 1978 Dvořák’s Quartet, Op. 105, and his Viola Portsmouth and Bordeaux competitions and Quintet, Op. 97, w ith Mr. Power. first prizes at the Budapest International The Quartet has also made 16 recordings String Quartet Competition in 1978 and the for the Decca label since 1988 of works by Bratislava Competition in 1981. The Quartet Beethoven, Bartók, Borodin, Brahms, made its North American début tour in 1982. Chausson, Dvořák, Haydn, Mozart, Schubert, Violinist Edward Dusinberre joined the and Smetana. The ensemble’s recording of the Quartet in 1993 and violist Roger Tapping in six Bartók string quartets received the 1998 1995. Violist Geraldine Walther replaced Gramophone Award for chamber music and, Mr. Tapping in 2005. In 2001, ensemble was in 1999, was nominated for a Grammy. In addi - awarded the Order of Merit of the Knight’s tion to the Beethoven quartet cycle record ing, Cross of the Republic of Hungary, and in

CAL PERFORMANCES ABOUT THE ARTISTS

March 2011 each member of the Quartet Engagements abroad include a tour in was awarded the Order of Merit Commander’s France with the Orchestre National d’Île de Cross by the President of the Republic France, performing Mozart’s Piano Concerto of Hungary. No. 17, K. 453; Brahms’s Concerto No. 2 in Turin with Gianandrea Noseda; Beethoven’s Concerto No. 4 with the Orchestre National Bordeaux Aquitaine; Liszt’s Concerto No. 2 with the Royal Philharmonic in London and Charles Dutoit; and recitals in Amsterdam, Berlin, Birmingham, Copenhagen, Lucerne, Moscow, and Munich. In America, he plays the Franck Quintet on tour with the Takács Quartet and gives solo recitals at the 92nd

n Street Y in New York, the Lied Center in a m f

u Nebraska, Mills College in Oakland, and in a K

n Princeton, Toronto, Philadelphia, and El Paso. a r F Last season was a celebration of Marc- Marc-André Hamelin begins the 2014–2015 André Hamelin hosted by San Francisco season with a round of recitals in Aspen, New Performances, London’s Wigmore Hall, York, Verbier, La Roque d’Anthéron, Orford, Boston’s Celebrity Series, and Antwerp’s the International Chopin Festival in Duszniki, deSingel, where, in each city, he curated and Poland, and in the Montreal ’s performed a three-part series of solo recitals Virée Classique. There, he also performs and chamber music with partners including Mozart’s Piano Concerto No. 27, K. 595, with the Pacifica and Takács quartets, Emanuel Ax, Kent Nagano and the Montreal Symp hony, Martin Fröst, and Anthony Marwood. followed by performances of Beethoven’s Mr. Hamelin also played recitals at Carnegie “Emperor” Concerto at the Hollywood Bowl Hall’s Zankel Hall, the Muziekgebouw in with Stéphane Denève and the Los Angeles Amsterdam, the Philharmonie in Berlin, and Philharmonic. the Herkulessaal in Munich; at the Kennedy He plays a pair of engagements this season Center with the Washington Performing Arts with the Danish National Symphony Society, and the Théâtre des Champs-Élysées Orchestra: in September he performs in Paris. With orchestra, he appeared with the Brahms’s Piano Co ncerto No. 1, and at the end Chicago Symphony, New York Philharmonic, of the season he performs Brahms’s Concerto London Philharmonic, the WDR Sinfonie - No. 2. In between, he plays subscription weeks orchester Cologne with Andris Nelsons, and with the symphony of Cleveland, with the Montreal Symphony at home and on New Jersey, Oregon, Seattle, Utah, Vancouver, tour in Europe. and Philadelphia. At the last of these, he gives Mr. Hamelin records exclusively for the American première of Mark Anthony . His most recent release, Turnage’s Piano Concerto with Music Director Schumann’s Waldszenen and Kinderszenen and Yannick Nézet-Séguin, a work they launched Janáček’s On an Overgrown Path , was the June together for its world première last season in 2014 Album of th e Month in both Gramophone Rotterdam. In spring 2015, Mr. Hamelin plays and BBC Music Magazine . Other recent Haydn’s Concerto from hi s award- recordings include the late piano works of winning recording on a ten-concert North Busoni; Haydn concertos with Les Violons du American tour with Les Violons du Roy. Roy and Bernard Labadie; three double-disc

PLAYBILL ABOUT THE ARTISTS sets of Haydn sonatas; a solo disc of works by and Medtner, as well as brilliantly received Liszt; and an album of his own compositions, performances of Brahms, Chopin, Liszt, Hamelin: Études , which received a 2010 Schumann, and Shostakovich . Grammy Award nomination—his ninth—and Born in Montreal and a resident of Boston, a first prize from the German Record Critics’ Marc-André Hamelin is the recipient of a life - Association. Mr. Hamelin’s Études are pub - time achievement award from the German lished by Edition Peters. Record Critic’s Association. He is an Officer His complete Hyperion discography in - of the Order of Canada, a Chevalier de l’Ordre cludes concertos and works for solo piano du Québec, and a member of the Royal by such as Alkan, Godowsky, Society of Canada.

CAL PERFORMANCES