Great Performances . Dialogue . The Art Of Violin . Hilary Hahn | PBS hahn speaks about the documentary The Art of Violin , and her interest in violinists from other eras. RealVideo excerpt of hahn from the documentary is offered. http://www.pbs.org/wnet/gperf/dialogue/dialogue_violin_hahn.html
Extractions: HH : I was surely most influenced by my two teachers Klara Berkovich in Baltimore, from age five to ten, and Jascha Brodsky in Philadelphia, from age ten to 17. Both were very demanding teachers, but very kind, superb violinists: musicians of style and taste who allowed no technical shortcuts. I was extremely lucky to grow up under their guidance. HH : It gives young players and old ones, for that matter an opportunity to see that they are part of a long and very rich tradition of violinists, each of whom played differently, each of whom played effectively. And for those who are studious, it is a great resource for studying the technique of playing the violin. Nearly every school, every body type, every possible manner of holding the violin and bow is represented.
Extractions: John Nelson - Reviewer Hilary Hahn was recently called America Time Hahn Hahn's relationship with Sony began with s " Hilary Hahn Plays Bach ", and has recorded several of the established warhorse violin concerti for Sony . Her latest Sony release tackles the Mendelssohn and the Shostakovich First Hahn Mendelssohn Shostakovich Stalin Stalin regime. Shostakovich Stalin to triumphant reviews. But enough of history lessons. Hilary Hahn Mendelssohn concerto is outstanding. Her sweetness of tone is emphatic yet not overtly emotional, which if not properly gauged can kill a performance of this wonderful concerto. Technically, her playing is superb. She is given sympathetic and thoughtful support from the Oslo Philharmonic Orchestra led by Hugh Wolff Hahn is in complete command of the Mendelssohn piece. Nothing is lacking in her interpretation of Mendelssohn , and although there might be more glorious versions, ( Heifetz Charles Munch and The Boston Symphony Orchestra or Menuhin with Wilhelm Furtwangler and The Berlin Philharmonic come to mind), her performance is first rate. The sound on the
Hilary Hahn On Saint Paul Sunday and if one gets all of them to work, the music sings in the most wonderful way.hilary hahn. Bach s Six Sonatas and Partitas for Solo Violin http://saintpaulsunday.publicradio.org/featured_artists/hahn.html
Extractions: Hilary Hahn Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure in double stops, bringing out the various voices where the phrasing requires it, crossing the strings so that there are not inadvertent accents, presenting the structure in such a way that it's clear to the listener without being pedantic - one can't fake things in Bach, and if one gets all of them to work, the music sings in the most wonderful way. J. S. Bach Johann Sebastian Bach's six sonatas and partitas for solo violin are some of the most challenging pieces for the violinist, and there is some evidence that Bach intended them to form part of a "school" in unaccompanied violin playing. They were not written to commission and not intended for any one performance or artist. Plus they explore two genres of music popular at the time-the Italian sonata (basically a four-movement work with a slow-fast-slow-fast arrangement) and the French suite (a group of dances usually following the standard sequence of allemand-courante-saraband-gigue). The works involve so many techniques that they have become staples in the repertoire of any professional violin student. The violinist not only has to play the main melody, but also provide the accompanying harmonic lines by playing more than one string at a time (called "double-stopping" or "triple-stopping") - inherently challenging both in terms of intonation and bowing technique.
Events | Lied Center For Performing Arts hilary hahn, Violin. The Dorothy and Maurice Hevelone Memorial Concert University of Nebraska Lincoln. hilary hahn, Violin http://www.liedcenter.org/events/detail.php?eid=132
Extractions: Hilary Hahn, who has lived in Baltimore since she was three, was born in Lexington, Virginia, in 1979. She began playing the violin one month before her fourth birthday, in the children's program of the Peabody Conservatory. From age five to ten, she studied in Baltimore with Klara Berkovich, a native of Odessa, who taught for 25 years at the Leningrad School for the Musically Gifted. Her 1993 Philadelphia Orchestra debut was followed by engagements with the Cleveland Orchestra, New York Philharmonic, and Pittsburgh Symphony. In March 1995, at age 15, she made her German debut, playing Beethoven's "Violin Concerto in D Major" with Lorin Maazel and the Bavarian Radio Symphony Orchestra in a concert broadcast on radio and television throughout Europe. Two months later, she received the Avery Fisher Career Grant. In 1996, Ms. Hahn signed an exclusive recording contract with Sony Classical and made her Carnegie Hall debut in New York, as soloist with the Philadelphia Orchestra. Though she had completed the Curtis Institute's requirements when she was 16, she deferred graduation and remained at the school for several more years, taking additional elective courses in languages and literature, being coached regularly by Jaime Laredo, and studying chamber music with Felix Galimir and Gary Graffman. In May 1999, at the age of 19, Ms. Hahn graduated from Curtis with a Bachelor of Music degree.
Hilary Hahn - IMGArtists.com hilary hahn began playing the violin just before her fourth birthday in a childrensprogram in Baltimore. She made her major orchestra debut in 1991 with http://www.imgartists.com/?page=artist&id=205
Hilary Hahn: Full Biography - IMGArtists.com hilary hahn Violin. Full Biography. At the age of 25, Grammy® Awardwinningviolinist hilary hahn is one of the most compelling artists on the international http://www.imgartists.com/?page=artist&id=205&c=2
Extractions: Samuel Barber: Concerto for Violin and Orchestra, op.14 Edgar Meyer: Violin Concerto Hilary Hahn , violin The Saint Paul Chamber Orchestra, Hugh Wolff Sony Classical SBK 89029 ( fullprice I have had the pleasure of following the recording carreer of Hilary Hahn since her international recording debut. It containes two of Bach's solopartitas and one of the sonatas, and it carried with it a promise of a young violinist uniquely talented. Hahn's account of the 3rd. partita is among the most stimulating I've come across, and I was thus not hesitant in purchasing her following recording of the Beethoven Violinconcerto . Not only is it the greatest of all violinconcertos but possibly the greatest work of music in the western tradition alltogether. I have collected quite a few versions of it over the years, but I tell you Hilary Hahn's account has a special place in my collection. I think I would prefer only Wolfgang Schneiderhahn's version with the Berliners and Eugen Jochum from 1961 (DG) to Hilary Hahn's supreme reading, and that is partly due to Jochum's and the BPO's spectacular orchestral performance. The Beethoven Concerto is coupled with Bernstein's dark spicey vision of Plato's symposium, which is treated to perfection by Hahn, David Zinman and the Baltimore Orchestra. Here we meet with Hahn yet again turning to American music, and despite my great anticipation I am again stunned by the result. I wouldn't dwell too long on whatever similarities there may be between Bernstein's concertante work, and that of Samuel Barber, but there are in both works present a willfullness, and an undeniable charm.
SACD Review - Hilary Hahn: Mendelssohn & Shostakovich - Violin Concertos hilary hahn (violin), Oslo Philharmonic Orchestra (Mendelssohn Violin Concerto Hugh Wolff, Conductor/Shostakovich Violin Concerto 1 - Marek Janowski, http://www.thedigitalbits.com/reviewsdvdasacd/hahnhilarymendelssohnviolinsacd.ht
Extractions: Hilary Hahn was recently called America's best young classical musician by Time magazine. Not that I'd hang my hat on anything musically meaningful within those pages, but in this case, I'd have to agree. But to dwell on the fact that Hahn is 22 and then to remark on how surprisingly well she plays is to completely miss the mark and also to qualify her ability; she's no longer a child prodigy. Her playing is quite mature and her interpretations confident. Her cup of talent is full to the brim.
Hilary Hahn Plays Bach By Hilary Hahn At Jsbach.org Main Performer or Conductor, hilary hahn. Instrumentation, Violin. IndividualWorks, Partita n 3 for solo violin, BWV 1006 Partita n 2 for solo violin, http://www.jsbach.org/hahnhilaryhahnplaysbach.html
Extractions: Sonata nr 3 for violin solo, BWV 1005 Format: Compact Disc Record Label: Sony Classical Catalog Number: SK 62793 Year Released/Recorded: Total Playing Time: approx 60 min Comments: Katarina Ekstrom said: A very passionate and technically brilliant performance by (at the time of the recording) a 15 year old. Generally such a young artist is more concentrated on the technique rather than the feeling, but Hahn manages to bring forward the passion in Bach's work. Adam N. La Spata said: As well-played performances that older violinists might give, it is surprising that such a young person can accomplish her task to the same degree of passion and virtuosity. Although the Preludio of BWV 1006 is a bit too fast, this CD is a joy to listen to. I especially enjoyed the Courante and Sarabande of 1004 and the Fuga of 1005. And, as demanding as the excruiatatingly long Ciaccona is, Hahn never lost the intensity inherent in that movement. She takes great care with intonation of the double stops and bringing to the fore individual voices in the counterpoint. A very enjoyable disc overall. Shawn Dedrik said: If a bigger name were attached to this recording, it would surely be hailed as a monumental performance. These are unprecedented interpretations, far surpassing Milstein, Grumiaux, Heifetz, Perlman, St. John, Szeryng, Szigeti, you name it. Over time, I expect this to be regarded as the definitive recording of these pieces. Keep an eye out for this young violinist.
Hilary Hahn - Wikipedia, The Free Encyclopedia 1997 hilary hahn Plays Bach. hilary hahn, violin. 1999 - Beethoven ViolinConcerto/Bernstein Serenade. hilary hahn, violin Baltimore Symphony Orchestra http://en.wikipedia.org/wiki/Hilary_Hahn
Extractions: Hilary Hahn (born November 27 in Lexington, Virginia ) is an American Grammy -winning violinist She won the Grammy Award for Best Instrumental Soloist(s) Performance (with orchestra) , along with Thomas Frost (producer), Richard King (engineer), Neville Marriner (conductor) and the Academy of St. Martin in the Fields for Brahms Stravinsky : Violin Concertos edit Hilary Hahn, violin;
ArkivMusic Brahms, Stravinsky Violin Concertos / Hahn, Marriner Performer hilary hahn (Violin) Conductor Sir Neville Marriner Orchestra/EnsembleAcademy of St. Martin in the Fields Country of Origin Austria http://www.arkivmusic.com/classical/album.jsp?album_id=117
Hilary Hahn Plays Bach Violin Concertos Main hilary hahn plays Bach Violin Concertos hilary s partners are the violinistMargaret Batjer, the oboist Alan Vogel, and the Los Angeles Chamber http://www.deutschegrammophon.com/special/main.htms?ID=hahn-bach-violinconcertos
Extractions: Hilary Hahn s outstanding November recital proved that the young Americans growing reputation is very well deserved, but it nevertheless took Hahn some time to settle into the intimacy of the Wigmore Hall. Brahms Violin Sonata no 2 in A op.100 was unmemorable and understated, and Hahn seemed afraid of taking risks; portamento and lyrical passion were notable by their absence. Hahns generally secure intonation was let down by some uncomfortably sharp G-string playing a peculiarity which occurred a number of times throughout the recital. After this somewhat tentative start, Hahn relaxed into her programme with panache and style. Bachs Solo Violin Sonata no 1 in G minor BWV1001 - as released on her legendary all-Bach debut CD in 1997 - was immaculate, Hahn successfully achieving a perfect balance of the individual voices within the texture. Her sense of line was decisive yet beautiful, and the chordal sections of the fugue were stunningly clean and expressive.
Extractions: BUY NOW AmazonUK AmazonUS I saw this young American violinist from Baltimore playing Mozarts Fourth Concerto, K218, at a Prom. This was a very good performance but, for me, the finale did not quite come off. And, with respect, it is Mozarts fault. He keeps changing the tempo. First, 15 bars at andante, then 57 at allegro, 15 at andante, 43 at allegro, 59 at andante, 33 at allegro, 7 at andante and 25 at allegro. This is stop and start music. She was persuaded to play an encore at this Prom and she choose Bach. I was impressed with her Bach and this CD reinforces that first impression. I was seriously deterred from Bachs solo violin music because of some really awful performances that I had to endure and from leading professionals. I also determined never to hear it again. But along came Hilary. I adore her Bach playing and in a few years time it will be even better than it is now although I hasten to add it is already really very fine indeed. There is so much to admire and she avoids the mistakes and idiosyncratic quirks that some famous violinists make.
Extractions: Disc 1: Track Name MP3 Sample Concerto for Violin, trings, and Continuo in E major, BWV1042 MP3 Sample Concerto for 2 Violins, Strings and Continuo in D minor, BWV1043 MP3 Sample Concerto for Violin, Strings and Continuo in A minor, BWV1041 MP3 Sample Concerto for Oboe, Violin, Strings and Continuo in C minor, BWV1060 MP3 Sample Young American violinist Hilary Hahn has already established herself as one of the most accomplished and compelling artists on the performing and recording circuit today. On this, her first recording for the Deutsche Grammophon label she performs concerti by J.S. Bach, a composer with whose music she feels huge affinity. Fellow solo performers on the disc are violinist Margaret Batjer and oboist Alan Vogel. Artist: Hilary Hahn (violin) / Los Angeles Chamber Orchestra / Jeffrey Kahane
Hahn Plays Bach Sonatas Partitas for Violin BWV 10011006. hilary hahn (Violin). hahn plays Bach.1. Works for Solo Violin. Partita 3 in E, BWV 1006 http://www.bach-cantatas.com/NonVocal/Solo-Violin-Hahn[Schwartz].htm
Extractions: I first heard Hilary Hahn live, in a performance with the Cleveland Orchestra of the Mozart third violin concerto. As a rule, I'm not a huge fan of the Mozart violin concerti, and I've always preferred the "Turkish" fifth. However, Hahn and the Cleveland made a believer of me. Hahn invested her line with the subtlety of a great singer, and the orchestra followed her with the sensitivity of a Gerald Moore. It was one of the finest Mozart performances I've ever heard. Forget Mozart, it was one of the finest performances I've ever heard. Intermission, and I rushed to the lobby, to buy two CDs from the violinist herself (she signed them). So now you know me for the gushing fan I've tried to hide from you. Right now, Hilary Hahn is as good or better than violinists two and three times her age, both as a violinist and as a musician. My only doubt attaches to her range. I've not heard her in the big Romantic works. Although I note a Brahms concerto recording, everything I've listened to has been small-scale Mozart, Beethoven, Barber, Bernstein, and Bach. Within that, however, she is right now a master, and the thought that she will probably improve unnerves me a little. All her virtues spring to light from the first notes on this disc: intonation not only dead-on, but actively contributing to the beauty and excitement of the music; double-stops as if they're no big deal; a gorgeous singing tone. In addition to the technique, she is - no other word for it - musical, in a fundamental way that goes beyond intellect and analysis. Maybe someone did teach her this, but it sounds absolutely spontaneous, as if she decides at the last possible instant where the music goes next, while at the same time, holding in her head the larger vision of a movement's architecture.
Stereophile: How Many Hilary Hahns? hilary hahn must be a chameleon. At least, that s how it seemed at the 2004 Playing Brahms s Violin Concerto, sometimes Ms. hahn was modestly draped in http://www.stereophile.com/asweseeit/404awsi/
Extractions: Hilary Hahn must be a chameleon. At least, that's how it seemed at the 2004 Consumer Electronics Show On January 11, the gifted 23-year-old violinist accompanied me to nine different rooms, each time with Neville Marriner and the entire Academy of St. Martin-in-the-Fields in tow. Playing Brahms's Violin Concerto, sometimes Ms. Hahn was modestly draped in "Red Book" Standard, other times in Superbly Accessorized Couture Divine. But even when she wore the same outfit from room to room, she and her backup forces created nine distinctly different sonic impressions when they began to strut their ones and zeros. First, there was the sound of her violin. An 1864 Jean-Baptiste Vuillaume copy of Paganini's "Cannon" Guarneri, aptly named for its huge sound, it glistened and gleamed in some rooms, beautiful silvery sparks of light illuminating its higher reaches. In a few other rooms it was more mono-dimensional, in others so sweet that the sparks blended into one occasionally syrupy whole. One presentation was quite rich in the midrange, but the gleam was not there. In yet another room the violin sounded split in two, its glistening edge seemingly detached from the main, rosin-laden body of its sound. The Academy's violin players seemed equal masters of transformation. Through some systems they sounded as if their instruments had been finished in the nectar of the Gods. Through others they sounded more neutral, though hardly less divine. On at least one system, they made me shake my head in disbelief that an ensemble whose strings are so harsh and scrappy could help Ms. Hahn receive a Grammy for her Sony recording of the Brahms and Stravinsky concertos.
Extractions: [49:41] full-price by Chia Han-Leon This was my first encounter with Hilary Hahn's musicianship (though by the time this review is published, I would have seen her 'live' in Singapore on Nov 18 ). What strikes one immediately is her absolutely mastery of her instrument, which multiplies and graces her maturity of expression. Graces I say, because there is no hint of something ... shall we say, "arrogant" about this musicianship. It is not glorified, yet is glorious. It glows with beauty, but is presented with humility. Maybe it is the music, but somehow, I feel Ms Hahn has a big part in it. It is not just a matter of articulation, where the 20-year-old is effortlessly musical and, well - perfect;there is, at least on my first few impressions going through this disc, that quietly ecstatic vibrato. She has a wonderful instrumental voice, which sings so beautifully and tingles so naturally in the gorgeous Andante . She bites into her entries without any ugly cracks - indeed, her playing is glowingly smooth.
