The most abstract idea conceivable is the sensuous in its elemental originality. But through which medium can it be presented? Only through music. Kierkegaard, Either/Or
Last night I saw the Grieg Piano Concerto performed by Marc-André Hamelin with the Seattle Symphony. I thought I was done with big, gushing romantic pieces like the Grieg concerto, but it was outstanding. Hamelin was amazing. Not that I know a lot about what makes one virtuoso better than another … they all just play so damn fast!
Here is Hamelin himself playing Chopin’s Minute Waltz, Debussy’s Feux d’artifice and Liszt’s Petrarch Sonnet No. 123. This last piece is quite good, and if you’re wondering how Liszt wrote a Petrarch sonnet for the piano (I was), here is an article by Andrew Fowler that explains what Liszt set out to do.
Also on the program last night was a world premiere by the composer Sebastian Currier. Divisions is an orchestral piece I rather liked, particularly a weird sequence near the beginning in which a chord played by the entire (or most of the) string section was bent to waver a few times before the orchestra continues the same discordant dialogue as before. To give you a sense of Currier’s style, here also is a violin concerto called Time Machines that is pretty great. Performed by Anne Sophie Mutter, who is always worth listening to.
And here is the composer being interviewed about that last piece, with some interesting observations about “objective time” and “psychological time” and the way music is the optimal medium for exploring this (with comparisons to film and television). Here is another, more general interview, beginning with a selection from his String Quartet, New Atlantis and including comments about a piece based on a poem by Wallace Stevens.