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Hilary Hahn Fans


Ken Nielsen
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I'm enjoying the Hilary Hahn Johannes Brahms Concerto for Violin and Orchestra in D Maj, Op.77 that includes Igor Stravinsky Concerto for Violin and Orchestra in D; Academy of St Martin In The Fields, Sir Neville Marriner. My Daughter got me this for Christmas and I am just delighted with Hilary's performances.

Visit: http://www.hilaryhahn.com

and go to "Postcards From The Road" for a fun treat as Hilary shares her digital pix from her concert travels around the world.

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Right, it's the understanding part that gets me too (22 years old - my goodness.) Impeccable playing, and aggressive to the point that you know there is plenty of power in reserve but she is only using the right amount for the job at hand. I have got to get her Bach Partitas next. She's a joy to listen to. While listening, I thought even Bach's eyes would flicker if he could hear her.

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I recently bought all her CDs. She's my dream girl! Young, beautiful, and she plays the violin!!! I've never heard somebody play with such perfect intonation. I've read through most of her "postcards from the road." She sounds like she has as much personality as she has talent!

Wait - I'm married. Oh, well. Well, my wife is also 22.....

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Well... some of us do like the way her perfect technique can let her express anything and everything she wants to. She plays as though the violin was another limb on her body. I don't care about how one produces sound as long as it is expressive and beautiful.

And I know it's hard for you to belive this, but your style of playing is not the only "right" way to play the violin.

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quote:

Originally posted by Oldbear:

Anyone catch the wiff of sour grapes around here?

:-)

It is too bad.

Hilary Hahn is herself, and I believe she is a beautiful player. I feel her personality comes through in her play. I can't help but think so. I feel she expresses herself well in her own sound and way of play. She's already told her story, and I need not add more, nor am I going to dissect what she does: no need because the picture is there.

When she was a student in our area, she would play at the retirement homes. She was working out her repertoire that way, also providing a lovely gift for the elderly. I know she had alot of support, but she also had a gift which was nourished through her teachers, parents, and mentors.

Regards,

J

[This message has been edited by JKF (edited 01-19-2002).]

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I continue to maintain that I don't hear or see forcing when I hear her play. Her tone production is completely different from the Galamian/DeLay school that we hear in most of the other major soloists.

I've heard her in two venues -- one a fairly intimate recital hall, and the other a large modern concert hall (where she played the Elgar, which is set against massive orchestral forces). Both times she carried clearly and beautifully, her sound the appropriate size for the space.

She doesn't get sound by pressure -- indeed, she really doesn't leave the bow right up by the bridge, as most soloists do. Instead, she uses a lot of bow -- a LOT of bow. She's got such a seamless legato that she can take multiple bows where another player would be forced to use a single bow. On a sustained note you'll see her change freely and totally inaudibly.

Contrast, say, Maxim Vengerov, who *does* get power by forcing. (I wonder how much of that is due to having grown up trying to play really cheap violins.)

Frankly, if I had the choice of being able to produce sound like any one violinist living or dead, it'd probably be Hahn.

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Talking about forcing, however, I did sense a tiny bit of scratching when I heard her play a Bach partita encore after a concert of Barber, and when I heard her play the Brahms sonatas. In both cases, I was sitting near the first row, so maybe I was just too close. The scratching was most obvious when she played the fast movements. But then I wonder if it's possible at all to produce so much sound without any scratching, and it doesn't really bother me too much (it did a little when I listened to the Brahms, but that may be just an accident)...

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Thanks for the link JFK. Hahn at 16 - she's also "just being herself" at 16 and the tone is there, the same tone I hear in her more advanced life now at 22. I believe she only has 4 or so Sony CD's out now so it's a good time to start a collection. 60 or so more CD's to come I hope. I'd like to see a new 'Red Violin' type of violin movie made with Hilary involved somehow. I also want to see this young lady play live.

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Of all her recordings, the Brahms was my least favorite. Her Beethoven is what really stuns me. The Stravinsky is also pretty cool (but I don't have anything to judge it against, I've never played it, and I don't have any other recordings). I love her Bach (though I find that Allemanda a bit slow... ok, really slow).

I was supposed to see her on my birthday, but travel plans got screwed up. Oh well... I'm sure I'll see her soon enough. My friends who've met her say she's very charming and unassuming.

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I thought her Brahms recording was good, but nothing extraordinary or great. She sounded a bit impersonal in that recording. I think her Bach is what impressed me most, but the tempo was a bit weird. It was way too slow.

Vengerov used a lot of force, but I don't think he does that now. His recent recording sounds very relaxed.

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Lymond, what didn't you like about her Brahms? Just curious. She'll be playing Brahms with the VSO this season and I'm probably going to go, but I'd like to hear your (or anybody else's) opinion. What is it you like/don't like?

P.S. The only recording I have of hers is the Barber/Meyer which I love.

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I want to gripe again about Marriner's conducting in that Brahms. smile.gif"><P>Hahn(That ability to create a clear sense of line is what makes her Bernstein Serenade and Stravinsky concerto listenable for me -- I don't like other recordings of these works, and they never made sense to me prior to hearing Hahn's recording.)

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I have had CD's before that needed more listening time for me to grow into. The Barber/Meyer CD is an instant hit - I play it all the time. I think the Brahms is one of the 'grow into' CD's for me. I think it will, upon more hearings, become one of my favorites as Hilary's 'delivery' sinks into my mind.

fatcat is so fortunate, let us know your impressions so we can vicariously share the experience with you.

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