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Die Zauberflöte
Some pianists charm and caress you with subtle shadings and half-tones, some seize you by the scruff with steely-fingered decisiveness.
Clare Hammond is definitely one of the latter sort. Her latest album, an exploration of the art of variation — i. It avoids the familiar masters of the genre like Beethoven and Schumann, focusing instead on 20th and 21st-century pieces. Among them is the Variations by Aaron Copland, a piece that will instantly disabuse anyone of the idea that Copland was just a purveyor of cheerful, all-American folksiness. Its pitiless, hard-edged abstraction made it a favourite of Leonard Bernstein, who took a mischievous delight in emptying the room at swanky Manhattan parties by playing it at full volume.
Hammond makes it seem as huge and steely as the Brooklyn Bridge, but without resorting to sheer force. She balances the sonorities carefully, so we can hear the original idea gleaming through all the dissonant barbed-wire Copland erects around it. The same combination of power and dramatic sweep with careful attention to detail can be heard in the other pieces. Not everything is hard and monumental. The piece is in his most impressionist, sensuous vein, and Hammond responds with a delicate but still firmly shaped touch, and a deft use of pedal that reveals the bones under all the luxurious flesh.
It may not be a masterpiece but Hammond keeps us enthralled to the last bar. This is set in relief against the almost Bachian purity of the Lachenmann-Schubert, based on an Ecossaise D Hammond perfectly captures the spirit of the dance in its modernist garb, finding lyricism in the most disjunct lines. The Birtwistle is laudably unhurried, with Hammond again finding beauty in dissonance.
Adams' music is less memorable the composer has described it as 'Satie meets Bill Evans' but receives a stunningly uncompromising performance. Hindemith's elusive Variations are the perfect prolongation, their impeccable craftsmanship reminding us of this wonderful composer's stature.
Closing with Gubaidulina's virtuoso Chaconne is a brave move, but it pays off. A companion to Hammond's Etude album, Variations reveals a questing, highly intelligent pianist with a superb technique stunningly recorded at the height of her powers. Her interesting new BIS recording encompasses variations of many types, composed between and by Polish, German, Russian, British and American composers.
Hammond renders this almost relentlessly vertical piece deeply expressive by the skilful voicing of its massive chords. Ultimately this is a richly wide-ranging, deftly chosen programme, exhibiting intellectual curiosity and probity, played by a pianist of extraordinary gifts.
Hammond also supplies her own keenly intelligent annotations. Highly recommended. Her latest album, Variations BIS , is a sequence of seven sets of 20th- and 21st-century variations. The description of the form — a theme repeated many times with modifications — may seem unpromising, but the displays of invention can be dazzling, especially in the way Hammond programmes them.
Hammond has given us an ear-bending and virtuosic recital. In her mid-thirties Hammond still exudes the air of someone who sprinkles her morning cereal with iron filings, but these days her hard determination lies less in the fingers than in her rigorous appetite for unfamiliar music.
Nothing Hammond does can win me over to the bristle of her Birtwistle or the dry mechanics of s Hindemith. Yet you still emerge from this album largely refreshed and enlightened by her formidable technique, lack of preening and insatiable repertoire probing. And her neatest discovery? One imagines it would work most effectively in the recital hall. As on her previous recordings, Clare Hammond plays everything here with vivacity, intelligence and outstanding technique.
Most impressive is her communicative spirit in those items which are likely to prove more challenging for some listeners. The influences of the usual suspects, most obviously Richard Strauss and early Scriabin are inevitably to the fore, but Hammond never loses sight of the bigger picture; the imaginative way she points up the considerable timbral and emotional contrasts between the ten variations creates the illusion that the conspicuousness of the theme itself decreases as the piece proceeds.
The most obvious change in tone occurs with the eighth variation, an austere, Mussorgskian Marcia funebre which Hammond builds superbly before she tackles the extended finale; this includes a fugue which seems Brahmsian in its accessibility for the listener but appears to approach Regerian complexity for the performer.
Hearing the Variations on a Polish Theme in this context as opposed to on an all Szymanowski disc suggests it contains far more substance and depth than I had previously realised. This is a most enjoyable confection which contrasts virtuosic levity with gnomic unpredictability. Its campanologically touched conclusion is resonant and haunting. A neatly contrasted diptych of Americana follows. The swaying elegance of its first half yields to oddly-syncopated little figures which stop short of full-on jazz.
Hammond unerringly conveys the authentic affection at its heart. This is bare, fastidiously constructed, pared-down dissonance infused with tiny rhythmic diversions which swing briefly. I have consistently found the work difficult to love. It is also superbly recorded — ensuring that an entire spectrum of previously unsuspected colour and depth emerge from a work I have previously found arid and unforgiving.
The piece proceeds with both purpose and caution, until a puckish Bewegter variation strikes a contrasting tone. This melts into a more densely scored episode again brilliantly caught by the BIS engineering team which in turn yields to light, declamatory figures rich in ornamentation, the effect one of blissed-out suspension. The close of the work returns the listener to the serenity of its opening. Clare Hammond is a committed and exciting advocate for each of these pieces notwithstanding the austerity at the core of a couple of them.
That the programme hangs together so cogently is as much a tribute the depth of her knowledge as it is to her musicality. The recording is ample and welcoming in both stereo and surround options although, as ever, I prefer to hear solo piano fare through two speakers. Pianophiles seeking something off the beaten track will find much to enjoy and admire here.
If, across the Birtwistle, Hodges musters the greater edginess, Hammond yields nothing in the carefully calibrated juxtapositioning of textures, dynamics and movement.
And she burrows deep into the moments of velvety repose. The chosen repertoire is both unconventional and rewarding and it is a measure of Clare Hammond's versatility as a performer that she succeeds in bringing to life the highly individual character of each of the seven featured works.
Late-Romantic in its sweeping gestures and anguished spirit, this set of ten variations on a Polish folk tune also contains moments of delicacy and poise. Both extremes of expression are joyously conveyed in Clare Hammond's detailed and natural-sounding interpretation.
The theme itself is presented in a confessional manner and the variations flow out of it with disarming inevitability. Variants which require virtuosity are delivered with fire and intensity, yet it is in the quieter, more reflective moments that the composer's personality at its strongest and most original.
The eighth variation, 'Marcia funebre' is perhaps the most distinctive with its bell-like sonorities and Hammond responds with great sensitivity to its restrained nobility. Containing bravura passages and moments of filigree lyricism, the substantial final variation feels like a quintessence of the whole piece and is convincingly climactic in Hammond's exultant rendering.
Lachenmann subtly weaves in echoes of Schubert's Wanderer Fantasy in the second and fourth variations, but, what sounds to my ears like hints of Gershwin's An American in Paris in the third variation are less easy to fathom.
Halting and uncertain, the dislocated closing variation seems, on the face of it, far removed from Schubert's original dance music, yet the essence of the Austrian master's personality is miraculously retained. Clare Hammond's command of a broad repertoire pays dividends in her variegated realisation of Lachenmann's eclectic, compact and thought-provoking score.
Written in the composer's eightieth year, Harrison Birtwistle's Variations from the Golden Mountain has the sparseness of texture and economy of gesture that comes from a lifetime exploring sonorities. It's a concise and wonderfully refined composition, consisting of a series of short, related episodes rather than full-blown variations. Clare Hammond allows the music time to breathe, observing scrupulously and to considerable dramatic effect the many eloquent silences in this spare and concentrated piece.
Intended to meet the capabilities of non-professional players, the work has effortless elegance and takes its insouciant waltz theme through some pleasingly unexpected turns in its compact five-minute duration. Hammond's relaxed reading is perfectly attuned to this graceful, stylish music. Her secure architectural grasp of the score is impressive and serves to guide the listener through this often tough, uncompromising music effectively and revealingly.
Its subject matter of exile and longing for home struck a chord with the composer and its wistful, yearning tone is caught by Hammond, who is also mindful of the music's darker, troubled elements. Arguably the most emotionally complex piece in the programme, it elicits playing of superb concentration and discernment. Covering a very wide emotional range in nine minutes, it celebrates the virtues of variation form by encompassing the maximum degree of contrast within a taut framework.
The work's technical challenges are surmounted with ease in Hammond's sovereign account. This highly recommended disc presents artistry of the highest order placed entirely at the service of the music. The close recording captures faithfully the scope, richness and acuity of Clare Hammond's interpretations. Und Jahrhundert kann man dem Wirken der englischen Pianistin Clare Hammond entnehmen. Schon in diesem romantischen Werk, das do deutlich von Brahms, Reger und Mussorgsky beeinflusst ist, kann sie dem variierten Ursprungsthema im Sinne des Komponisten so viele klangliche Facetten entlocken, dass man gebannt dem Changieren ihrer Interpretation lauscht.
Denn Lachenmann geht einen Schritt weiter, verweist auf das Leben des Komponisten, indem er auch die dunklen und tristen Seiten darzustellen versteht. All dies gelingt famos. Jahrhundert erreicht, der alle Nuancen moderner Kompositionstechniken bis dahin vereint, ohne dass Copland sich in die absolute dissonante Schreibweise verliert.
Auch hier ist Clare Hammond voll in ihrem Element. Famose Interpretationen einen famosen Pianistin. Yet while she concedes that such a state of affairs might not appear particularly inspiring, composers have found endless ways to produce fascinating results whilst working within the form's seeming limitations.
No more evidence is needed than the material on her fifth BIS release, a stimulating collection of twentieth- and twenty-first-century pieces by Sofia Gubaidulina, John Adams, Aaron Copland, and others.
No concession is made to the listener who likes her Birtwistle leavened with Brahms, though in a few cases works are based on earlier themes, Helmut Lachenmann's on one by Schubert, for example. As demanded by the material, Hammond's playing is virtuosic and poised. The Cambridge University graduate has received repeated acclaim for the authority of her playing and the conviction she brings to the works she performs. Without exception, each one on this set meets that high bar, and any contemporary composer would, one imagines, be thrilled at the prospect of a Hammond interpretation.
Adding to the release's appeal are detailed liner notes written by the pianist that illuminate each of the works performed. The scene-setting Variations on a Polish Theme, Op.
Hammond follows a tender and exquisitely rendered opening statement with ten variations, some urgent and declamatory and others delicate and lyrical; regardless of differences, all benefit from Hammond's exceptional musicality.
Frenzied passages alternate with those of a more controlled and dignified bearing, with each retaining a discernible tie, however seemingly tangential, to the originating theme. The respective pieces by Harrison Birtwistle b. Like Szymanowski's, Chaconne by Gubaidulina b. In keeping with the chaconne form, a baroque dance that structurally combines a repeating harmonic progression and bass line with iterations in the higher register, Gubaidulina adheres to the variations principle but uses an eight-bar frame as the basis for the piece rather than dance metre.
Regardless, the range of explorations effected within the performance's nine-minute time-frame is great, with the opening proclamation leading on to a fanfare, fugal treatment, and climax, and all of it administered with jaw-dropping dexterity by the pianist. The opening Szymanowski is the earliest work, the most substantial in length, and that most rooted in the Post-Romantic virtuoso tradition.
Meaning of "Sommerkonzert" in the German dictionary
In German with German and English surtitles. Duration 3 H. Introduction 45 min before the performance. Eager for life and longing for love, Pamina self-confidently seeks her own way in life, and the three Ladies are bearded pirates. His dour adversary, Sarastro, will be performed by our ensemble member Wenwei Zhang. Since singing the role at the Aix-en-Provence festival in , he has been one of the promising new stars in the firmament. Also for the first time at the opera house is the Chinese soprano Ying Fang as a pamina.
Hélène Grimaud
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Meaning of "atemlos" in the German dictionary
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CLARE HAMMOND
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