Le Prophète, by Erin Helyard & Stephanie McCallum

Le Prophète

by Erin Helyard & Stephanie McCallum

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1.	Meyerbeer: Le Prophète: Ouverture 12:33	buy track
2.	Alkan: Prélude No. I. Moderamente 03:25	buy track
3.	Alkan: Prélude No. II. Andantino 04:32	buy track
4.	Alkan: Prélude No. III. Allegro moderato 01:54	buy track
5.	Alkan: Prélude No. IV. Tempo giusto 04:49	buy track
6.	Alkan: Prélude No. V. Quasi adagio 05:07	buy track
7.	Alkan: Prélude No. VI. Andantino 04:24	buy track
8.	Alkan: Prélude No. VII. Alla Giudesca 04:29	buy track
9.	Alkan: Prélude No. VIII. Lento 03:09	buy track
10.	Alkan: Prélude No. IX. Adagio 08:53	buy track
11.	Moscheles: Hommage à Weber, Op. 102: I. Allegro vivace 04:29	buy track
12.	Moscheles: Hommage à Weber, Op. 102: II. Andantino con moto 03:56	buy track
13.	Moscheles: Hommage à Weber, Op. 102: III. Allegro vivace 06:09

about

The only way to listen to the latest symphony or opera in the nineteenth century was to either seek out a live performance or perform it at home with a piano partner, à quatre mains. Thus, an enormous amount of four-hand literature abounds from the 1820s to the 1930s.

Works in transcription largely dominate this repertoire: operas, symphonies, and chamber works were adapted en masse for four hands by skilled and not so skilled musicians alike. But there were also works freshly composed in the medium, and four-handed playing could be heard in the home (its natural environment) but also on the relatively new environment of the concert stage.

The ubiquity and popularity of the four- handed format meant that it crossed national, social, and economic boundaries. As such, the piano duet was a powerful cultural site in which anxieties about gender, nationality, labour, and pleasure were writ large. Adrian Daub in Four- Handed Monsters: Four-Hand Piano Playing and Nineteenth-Century Culture has brilliantly surveyed nineteenth-century and early twentieth-century novels for traces of how the piano duet interacted with those who played and listened to them. Daub argues on the strength of a rich and provocative bed of primary literature that four-hand piano playing theatricalised nineteenth-century issues of subjectivity, community, eroticism, nationalism, and consumerism.

One of the most compelling arguments in Four-Handed Monsters is Daub’s exploration of how four-hands music had a particular and especial relationship to consumption and commodification. Certainly, as the “proto-CD of nineteenth- century domestic culture,” four-hand music was mass-produced and consumed eagerly. The nineteen-year-old Friedrich Nietzsche’s Christmas wish- list in 1863, for instance, reads “(1) The Grand Duo by F. Schubert, arranged for four hands; (2) Düntzer’s edition of Goethe’s lyric poems.” Four-handed music and its performance was undoubtedly one of the important and influential components of nineteenth-century transnational musical culture. One would argue that it could be considered the most pervasive and important, by dint of its widespread agency.

Le Prophète was performed and recorded on three historic Erard pianos from the collection of Frits Janmaat at Maison Erard, Amsterdam.

credits

released September 24, 2016

Recording, Mixing & Mastering: Brendon Heinst
Assistant Engineering: Bart Koop
Piano Technician: Frits Janmaat
Photography & Artwork: Brendon Heinst
Liner Notes: Stephanie McCallum & Erin Helyard

Recorded from February 13th to 16th 2016
at Maison Erard, Amsterdam.

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about

Erin Helyard & Stephanie McCallum Australia

Described as “one of Australia’s foremost pianists”, Stephanie McCallum has enjoyed an international career, appearing on over forty CDs and in hundreds of live solo and concerto performances.Erin Helyard has been acclaimed as an inspiring conductor, a virtuosic and expressive performer of the harpsichord and fortepiano. ... more

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