Hilary Hahn http://hilaryhahn.com took her first violin lessons in the Suzuki program shortly before
her fourth birthday. When she was five years old, she met Odessa native Klara
Berkovich, with whom she studied until being admitted to the Curtis Institute
of Music at the age of ten. There, Hahn was a pupil of Jascha Brodsky, who had
trained with both the Franco-Belgian master Eugene Ysaÿe and the Russian
pedagogue Efrem Zimbalist. She completed her university studies at the age of
sixteen, having already made her solo debuts with the Baltimore and Pittsburgh
symphony orchestras, the Philadelphia and Cleveland orchestras, and the New
York Philharmonic. She delayed her graduation a few years in order to continue
her violin studies, receiving her Bachelor’s Degree at 19, by which time she
was a full-time touring musician.
Hilary Hahn has
released fifteen albums on the Deutsche Grammophon and Sony labels to great
acclaim, winning two Grammy awards. For her latest disc from Deutsche
Grammophon www.deutschegrammophon.com
she
is joined by Paavo Järvi www.paavojarvi.com
and
the Deutsche Kammerphilharmonie, Bremen www.kammerphilharmonie.com in
concertos by Mozart and Vieuxtemps.
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Hahn has known Mozart’s Violin Concerto No.5 and Vieuxtemps’
Violin Concerto No.4 since the age of ten when she was given the violin parts.
The first concerto that her teacher at the Curtis Insitute of Music, Jascha
Brodsky, brought to her was Mozart’s Violin Concerto No.5.
The Deutsche Kammerphilharmonie, Bremen give a light and
lithe sound to the Allegro aperto of Mozart’s Violin Concerto No.5 in A major,
K.219 with lovely alert playing. Hilary Hahn enters with a lovely pure
tone, slowly drawing Mozart’s fine melody before suddenly taking off in the Allegro proper, bringing an equally
agile, lithe touch. Järvi and his players allow some distinctive orchestral textures
to appear whilst Hahn’s wonderful tone produces some glowing colours and
textures. Her superb technique shows up particularly in the cadenza (by Joseph Joachim)
but she is not merely virtuosic, drawing such fine textures all with a fine
sensitivity.
Hahn brings a lovely flow to the Adagio with her singing tone adding to the beauty. There is a light,
spry rhythm with Järvi and the orchestra providing a lovely accompaniment,
nicely phrased and nuanced. Indeed the subtle rise and fall in the music is
exquisitely done, observing every little twist and turn, with a cadenza that
brings some very fine textures as well as fine phrasing.
The Rondeau (Tempo di
minuetto) has a finely shaped opening, beautifully phrased and, again, with
a lovely control of dynamics. When the music suddenly speeds in the rhythmic
Turkish section the orchestra really stomp out the phrases with Hahn providing
brilliant playing, full of terrific timbres and phrasing before leading to a
lovely serene coda.
Despite the number of recording of Vieuxtemps’ violin
concertos, of which he wrote seven, he is not a composer that has really gained
acceptance in the concert hall. If anyone can reveal the qualities of Vieuxtemps’ Violin Concerto No.4 in Da
minor, Op.31 then it is surely Hilary Hahn and the fine Bremen players
under Järvi.
Järvi and the Deutsche Kammerphilharmonie, Bremen open with
an absolutely lovely Andante - Moderato,
drawing beautiful playing, so fine textured, allowing woodwind and other
instrumental layers to be revealed. The recording adds so much to the detail of
orchestral sound. When Hilary Hahn enters she brings an exquisite tone in her
hushed entry before rising to some very fine incisive, fiery playing, producing
some fine timbres. She follows Vieuxtemps’ every change of mood and provides some
terrific runs on the violin before a very fine cadenza.
As we are led into the Adagio
religioso, Järvi brings a fine brass passage before Hahn arrives, weaving a
lovely line. Both soloist and orchestra achieve a fine, taut partnership, rising
up dramatically in some brilliant passages with some exquisitely turned phrases
from Hahn.
There is a beautifully lithe and buoyant Scherzo. Vivace - Trio. Meno mosso with Hahn
bringing a playful feel. This is a really
intoxicating performance full of the most tremendous playing with a finely
textured Trio section before leading to a sparkling coda, quite stunning.
The Finale marziale:
Andante – Allegro receives a lovely orchestral opening, a fine blend of
instrumental sounds with an almost Brahmsian feel. The Bremen players under Järvi
provide a real weight with crisp playing from Hahn when she enters. This
violinist brings some terrific little touches, working her way through some
passages of terrific virtuosity, with a freedom of playing that is quite
wonderful.
These are extremely fine performances from Hilary Hahn and
the Deutsche Kammerphilharmonie, Bremen under Paavo Järvi. With a first rate
recording and excellent booklet notes this new release is a real winner.
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