Marc-André Hamelin

Mr. Hamelin, do you choose your concert works to scare the crap out of other pianists?

The eyebrows of the man in front of me rise slightly as he bluntly parries my question: Why do you ask that?

The return comes so forcefully that for a moment I am unsure whether I have insulted or confused the great piano virtuoso. But the background to the question is simple enough. This year's LINK is coming to an end, and I have asked for a chat because Marc-André Hamelin has taken the breath away from the audience with his performances of Beethoven's Fortezza Sonata and Rachmaninov's 2nd Piano Sonata. And because in The New Yorker you can read things like that he is admired for his monstrously brilliant technique.

But Marc-Anderé is genuinely incomprehensible to the problem I present to him. Even after I explain that it is the technically - almost impossible - works that make me ask.

You can go on Youtube and see a bunch of pianists playing the Fortezza Sonata without it looking like they have any problems with it. And Rachmaninov's 2nd sonata is practically standard repertoire these days. So there is nothing remarkable about that in itself.

- And I will think that the aforementioned article in The New Yorker also highlights Hamelin's "questing, deep-thinking approach". So the interview came out a bit crooked, that's where it should have started.

I don't go on stage to show myself. I play to share. And I think that applies to others too. I mean, if you're not going to play for the audience, who are you going to play for? Yourself? It doesn't make sense, Marc-André Hamelin insists.

A concert is an opportunity to share. To share something unique, something you have discovered, to convey the composer's vision. And an opportunity to show how beautiful this piece of music is, how interesting and how fascinating.

- But still, you are famous for your brilliant technique……….

Yes, but it is difficult to accept. There are so many young pianists now who play everything perfectly. I would rather be remembered for presenting a wide piano repertoire and sharing it with the audience as best I can.

- So the technique itself is not decisive?

No, not at all. When I listen to some of my previous recordings, I am sometimes surprised and a little sad because it goes so fast. Why didn't I stop and smell the flowers? Today it is different.

- When it comes to a work like Rachmaninov's 2nd Piano Sonata, how do you approach such a piece?

That particular piece I became acquainted with through a recording that I really liked, and it's an unusual approach for me. So, gradually I tried to play it to see if I could get a relationship with the work.

- I've never seen the notes for this piano sonata, what do they look like, did the composer write down all the notes that you play?

Oh yes, every single one.

- So you don't add any extra ornamentation along the way?

No, no, not a single note. There are enough of them already, says Hamelin and bursts out laughing.

He's a very straightforward guy, this fun pianist who in 2025 will be visiting LINK for the second time. And this year his self-composed piano quintet is also on the program. Performed at Meieriet Cultural Center by himself and the Engegård Quartet. To the great delight of the audience. When our conversation turns to this topic, Hamelin limits himself to saying that he's glad the musicians liked the piece. And it turns out that his work as a composer also has an impact on what he plays.

The usual way for me to find out whether I should include a new piece in my repertoire is to read the notes several times. And as a composer, I think I have an advantage because I am a little closer to the composer's creative process. I think that helps me make better decisions when it comes to interpreting what has been written.

- Those of us who were present at Hamelin's Beethoven and Rachmaninov interpretations had an extremely expressive experience. And the question arises: does the pianist become aggressive during the performance?

It's the same question you would ask an actor. Are you yourself when you play a murderer? Of course not. At the same time, emotions are part of it, but then it is first and foremost important that you manage to transfer them into experiences for the audience.

- And finally, Marc-André Hamelin, who participates in so many different events around the world, what does he think is special about LINK?

- I would say that the openness that characterizes the program philosophy is attractive, and that the concerts here are in such varied locations. And also the care that is put into every detail of the festival. I think it makes the audience feel like they are among friends, and that is really nice.