Track Listing

1. Violin Concerto in D major, Op. 77: Allegro non troppo
2. Violin Concerto in D major, Op. 77: Adagio
3. Violin Concerto in D major, Op. 77: Allegro giocoso, ma non troppo vivace
4. Violin Concerto in D major: Toccata
5. Violin Concerto in D major: Aria I
6. Violin Concerto in D major: Aria II
7. Violin Concerto in D major: Capriccio

Product Details

• Amazon Sales Rank: #21568 in Music
• Brand: Sony
• Released on: 2001-11-13
• Number of discs: 1
• Dimensions: .24 pounds

Amazon.com
Hilary Hahn is not only one of the best, but one of the most interesting young violinists before the public. Even as a teenager, she seemed uninterested in displaying her formidable technical mastery, concentrating instead on the music with a seriousness far beyond her years. Now 21, she has become a thoughtful, knowledgeable musician and an arresting, involved performer. Both qualities are reflected in this recording, beginning with the choice of the two concertos, which are entirely dissimilar--except for being in the same key--yet make an excellent pair, and extending to the program notes, which blend personal reminiscence and scholarly research.

As for the playing, it is extraordinary. Technical difficulties do not exist. Even the most daunting passages, like the infamous G-major section in the Finale of the Brahms and the wild running-around in the Stravinsky, are dispatched with perfect clarity and consummate, effortless ease. Hahn's tone is intense, focused, variable, and of pristine purity in all registers, at all dynamic levels. She never loses her sense of meter or direction; her phrases have shape and elegance; and she needs no external effects. Her playing is austere and controlled, with an inward, noble expressiveness; she can change tone and mood on a dime. In the Brahms, the high soaring passages are ecstatic, the Finale is quite fast and very strict; only the Joachim cadenza is almost too free. Altogether, it's a most impressive achievement. --Edith Eisler

Customer Reviews

not quite tops, but fine modern reading
This is a nice recording. Some of you might want to know about the tempos - they vary quite a bit nowadays with this piece. - I always have the infamous Heifetz/Reiner recording in mind, and I think these artists who dare to play the first movement of this piece in 24 or more minutes have missed the mark (compare that to Heifetz's 18'53!). I think the average modern recording first mvt goes around 22-23 minutes, and this one is about average at 23'15. (It does not seem as agonizingly slow as the Mutter/Mazur.) The third movement whips along nicely at 7'51, and Hahn is technically good enough to make it exciting but not without finesse. She has a nice sound, clear but rich - she is also an intelligent player, I think. The interp seems "traditional" at least in that there's no vibrato heavy melodrama like you get from Mutter, and not a lot of classic sliding or strange phrasing. Intelligent if not always the most emotionally gripping performance.
My main problem with the recording is the ASMF. Since the balance puts Hahn forward, it's sometimes difficult to hear the accompaniment -esp the first movement (the first oboe line after Hahn's entrance is very soft - I honestly think 5'20-5'40 could be more exciting if the orchestral accompaniment were more punctuated...and the lower string pizzicato walking bass is difficult to hear too). So at times this produces an amorphous, spacious, almost floating effect with just the solo violin to focus on (Some people like this). Peronally, I don't like to strain to hear what the orchestra is doing. And this can't be much of a concerto "against the violin" if you can't appreciate what is going on behind the violin. Also, Marriner's strings seem a little weak in some spots (4'54 in 3rd mvt). - BUT all these are minor reservations really - it's a good recording overall, because Hahn is indeed fine to hear.

Hilary at her best
Brahms - From the moment the first note comes out of her violin you can see and feel the projection. Hilary is there and what she has is what's always set apart the great ones. The ability to take in and interpret the piece, mix it with some emotional selfness and present it. Her violin has an unmistakable tone and sound that is hers alone, the kid has trademark!

This song grabs you and demands that you stop and listen. And just when it seems as if you may get a breather, Hilary hits you again, she never lets go. Time encapsulates and floats you away. It's really difficult to appreciate the technicality of what she does because Hilary makes it all sound so easy but I think you'll know the parts where she had fun, you can hear them.

Stravinsky - Breath in, out. Jumpy and bouncy. Even though these two pieces were recorded months apart putting them together on the same disk allows you to appreciate the differences. Just as quick as the mood change has occurred is the thought of how well they blend together. Good production. Hilary takes full advantage of this showcase and lets her diverse and adaptable talent, which she seems to have an endless supply of, come through.

As usual she is right in front with her playing. I read the expression "Nowhere to hide" somewhere in an article talking about her first two disks. Of all the descriptions of all the musicians I've come across this is one of the better fits. She's on an oiled tightrope with no net but when you're this good there's never a worry. As much as she's already done that could possibly raise the expectations of her fans, while listening to this disc it's hard to imagine that Hilary is capable of disappointment.

Once I had heard that she was recording these concertos I started to seek them out. Upon hearing the Brahms I could definitely see the attraction and fit that Hilary would have. As she mentions in her liner notes, the Stravinsky isn't commonly played. Being one of my favorite composers I have quite a few of his recordings but not the violin Concerto. So this is my first copy of that piece. How appropriate and may Hilary make it her own. Having Academy of St Martin in the fields play on this disk makes perfect sense. They are well known for their own recordings and concerts as well as backing several great soloists. Their warmth and tone provide a perfect foundation and blending to Hilary's playing. Good job by all.

Of her first three disks the Bach has been my favorite but this is her best recording to date. It just blew me away. It's a journey that you'll need to take several times because the immensity's too much to get all at once. I'm glad she's only 21 because I plan to be listening to her for a long, long time. Absolutely incredible Hilary.

Stylistically precise and subdued--it mostly works quite well
There's no need to point out that the Brahms and Stravinsky violin concertos are polar opposites musically, but they also pose contrary problems for the violinist. The Brahms is always played "big" for romantic drama, while the dry-eyed Stravinsky dares anyone to find a style that sounds exactly right. The composer seemed to prefer no style, that is, he wanted detached, objective, rhythmically strict playing. To most ears that makes for a very dry experience, so violinists add expression and hope they aren't violating the score, while in the Brahms they struggle not to sound like another Oistrakh imitation (fifty years ago it was a Heifetz imitation).

Hilary Hahn has found her way in both concertos. Her Brahms is small-voiced, deliberate to the point of caution (one is reminded of Menuhin with Furtwangler), and carefully molded. It's a bit like hearing Kathleen Battle sing Wagner, but overall her style works. Hahn's great virtue is consistency--she keeps all three movements toned down, even the finale. There is no gypsy abandon here, and the accompanist, Nevile Marriner with the chamber-sized Academy of St. Martin in the Fields, follows Hahn's lead, providing a subdued, lyrical background to her forwardly placed solo. I doubt that this reduction would carry well in a large concert hall, but it sounds charming on CD, and how often can you say that the Brahms D major is charming?

In the Stravinsky Hahn blends into the orchestra a good deal more, playing first among equals in a game of neo-classical counterpoint. Her expressive touches are small but definite; she is sweeter and more songful than earlier soloists in the part. But a listen to Perlman or especially Vengerov reveals that there is a lot more room for slashing strokes, swoops, sharp edges--in ohter words, the soloist can take over. Hahn chooses not to and gives a lovely reading because once again she is consistent and detailed.

Overall, the comparison to Kathleen Battle is pretty apt--here is c charmingly feminine artist who wins the listener over through sweetness and personal magnetism.