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Sibelius Sonata for Unaccompanied Violin


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12 minutes ago, Bill Merkel said:

Seriously though, you were the force that transformed the modern world from a bunch of primitive warring tribes into something actually worth fighting over...

While at the same time sowing the seeds of its destruction. 

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4 hours ago, Bill Merkel said:

Seriously though, you were the force that transformed the modern world from a bunch of primitive warring tribes into something actually worth fighting over...

 

4 hours ago, matesic said:

While at the same time sowing the seeds of its destruction. 

 

1 hour ago, Blank face said:

...and maybe a lack of self-perception:)

Boris Zip Line GIF - Boris ZipLine UKFlag GIFs

I believe that we may all safely assume that the various national systems that we all live under are working properly to encourage us to perform in accordance with the wishes of our respective elites.  Let's leave well enough alone, and confine our bickering to the musical stuff.  :)

 

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13 hours ago, martin swan said:

The bow change noise is massively exaggerated because of the auto-gain/ compression inherent in cheap camcorder recordings. I don't think it merits serious discussion.

For anyone who isn't familiar with the concept, compression or auto-gain makes loud things quiet and quiet things loud.

While I agree about the bad auto-gain situation, I also think that the average violinist could be educated about how much power is required to perform in front of a symphony, how much "surface noise" is actually allowable in a large hall with a large orchestra.

6 hours ago, matesic said:

Not for the first time I think I detect a transatlantic psycho-cultural divide. In the UK we're more appreciative of self-effacement, modesty, humility in our musicians, perhaps to an excessive degree (although naturally I don't think so). It's hard for me to imagine the likes of Nicola Benedetti or Jennifer Pike going HH's route.

I'm struggling with your characterization of Hahn in the first place.  Where is that impression coming from?

I've followed her career for decades now, and she always comes across to me as humble, approachable, and very very ordinary for a child prodigy... maybe not so far as self-effacing, but, then, I don't think many English performance artists go so far as self-effacing.

And if you recognize that it's a psycho-cultural divide, shouldn't you be able to just write it off as a minor cultural difference?

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17 hours ago, PhilipKT said:

She’s not?

I think it goes without saying that she is, regardless of how large or small is that elite group. Greatness consists of many traits and she has all of them, As well as being gifted with assets like a sense of humor, charm, personality and beauty, that do not necessarily contribute to greatness but certainly do not hurt.

shes not my favorite at the moment; that is still Henryk Szeryng, But I would eagerly buy a ticket if she were coming to town.

Hahn has never been my favorite. But she's had a spectacular career.  Her albums are excellent. She plays with excellent orchestras. She pairs well-known repertoire with less-known but excellent 20th and 21st century music.

And I know of no one who plays a stringed instrument at a high level who doesn't regard her technical prowess with awe. She is the cleanest of the clean, the neatest of the neat.  She's got control like Milstein.

Add her personal charm and her generosity of spirit into the mix and you've got a really admirable artist.

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Considering that most of us don’t have very good recording equipment and an orchestra to play with, this video is an interesting opportunity to learn a little bit about how a soloist sounds on a phone without accompaniment and compare it to our own practice. I have enjoyed and appreciated Hahn’s practice videos for the same reason and it is absolutely true that the bow noise fades really quickly in the hall. Nevertheless she is rather crunchy, as you can hear in all her recordings!

 

I really don’t think that this (or her practice journal) is a self-aggrandizing gesture. For someone with a reputation of perfection, who  allegedly even counts the number of oscillations in her vibrato, playing a concerto WITHOUT the orchestra is a huge risk and she does miss some notes here and there, which is harder to notice when the orchestra is playing. 

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22 hours ago, Stephen Fine said:

Hahn has never been my favorite. But she's had a spectacular career.  Her albums are excellent. She plays with excellent orchestras. She pairs well-known repertoire with less-known but excellent 20th and 21st century music.

And I know of no one who plays a stringed instrument at a high level who doesn't regard her technical prowess with awe. She is the cleanest of the clean, the neatest of the neat.  She's got control like Milstein.

Add her personal charm and her generosity of spirit into the mix and you've got a really admirable artist.

You have good taste and I agree wholeheartedly.  

Hahn's unaccompanied Bach recordings, albeit not my favorite interpretations, are clean.  Clean. Nearly flawless.  And yes, she is a very personable and charming young woman from what I can tell from many interviews and youtube videos.

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I remember a Milstein recital in Dallas in 1979, I think I have a signed program somewhere. It was in McFarlin auditorium on the SMU campus, and Mcfarlin is a giant concrete barn, Built in the 30s I guess, with all the acoustics present in an underground cavern. I was in the balcony, and he played the chaconne. It’s the only thing I remember from that concert but my God do I remember it.

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On 12/14/2020 at 10:55 AM, PhilipKT said:

I remember a Milstein recital in Dallas in 1979, I think I have a signed program somewhere. It was in McFarlin auditorium on the SMU campus, and Mcfarlin is a giant concrete barn, Built in the 30s I guess, with all the acoustics present in an underground cavern. I was in the balcony, and he played the chaconne. It’s the only thing I remember from that concert but my God do I remember it.

I'm so jealous.  The two Milstein S&P LPs were my favorites for a long while.

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