In the past few years, Charles Richard-Hamelin has emerged as one of the most gifted pianists of his generation. Having studied at McGill and at Yale, he went on to win prizes at various international competitions, and in 2015, was a silver medalist at the International Chopin Competition. That same year, he made his first recording — not surprisingly, all-Chopin — for Analekta (AN2 9127). There is more Chopin on this, his latest CD, as well as some less well-known music by Beethoven and Enescu. Like the earlier Chopin CD, this live concert (May 2016) recording features superb performances and exceptionally fine sound.
The interesting choice of repertoire on this CD is refreshing; the works by Beethoven and Chopin, for example, are pieces which, for the most part, are infrequently played. The two Beethoven Rondos Op. 51, although well off the familiar Beethoven track, are by no means inconsequential pieces. They do not scale the heights of the Pathétique or Appassionata sonatas — not to mention the late piano sonatas or the Diabelli Variations — but they are nonetheless significant contributions to our appreciation of the rondo form. Richard-Hamelin treats them as the connoisseur’s treats they are, with impressive technical mastery.
This CD was recorded live at the Salle Raoul-Jobin of the Palais Montcalm in Quebec City. Kudos to producer/sound engineer Carl Talbot and assistant recording engineer Jack Kelly for capturing the sheer beauty of the piano sound in this hall.
George Enescu (1881-1955) was one of the great musical polymaths of his time. He could do it all: play both the violin and the piano at a virtuoso level, conduct, teach and compose. It is good to see that more and more of his compositions are being recorded and widely appreciated.
Enescu wrote the Piano Suite No. 2 in D major Op. 10 at the age of twenty-two. While its four movements — Toccata, Sarabande, Pavane and Bourée — are based on Seventeenth and Eighteenth Century forms, the sound is definitely early Twentieth Century. The original title of this piano suite, Des cloches sonores (Ringing Bells), also identifies its unifying feature — bells — Through his interpretation of both the delicate and powerful sonorities in this score, Richard-Hamelin gives us a consistently engrossing performance.
Chopin’s Introduction and Rondo Op. 16, like Beethoven’s Rondos Op. 51, although fine music, is seldom played. Richard-Hamelin easily meets its considerable technical challenges.
The Polonaise No. 6 in A-flat major Op. 53, one of Chopin’s best-known works — the polonaise with the rapidly repeated four-note figure in octaves in the bass — appears to be an encore from this live concert. With this exciting performance, its well-judged transitions and resounding but perfectly balanced climaxes, Richard-Hamelin confirms his growing reputation as a Chopin interpreter.
All in all, this fine CD is a major addition to Charles Richard-Hamelin’s growing discography.
Charles Richard-Hamelin will be appearing at Koerner Hall in Toronto on November 10 as part of a concert titled “Generation Next.” He will play Chopin’s Piano Sonata No. 3.
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