Hilary Hahn is completing Bach S&P recordings!
Hilary Hahn's partial recorded set of sonatas and partitas of Bach has been an all time favorite of mine for a very long time. I just wanted to make PSA to let anyone who doesn't have her social media know that she is completing the set! The full release is october 5.
Awesome! Can’t wait to hear them.
HH's recording of Bach's 1004-1006 has also been one of my favorites.
Sometimes artists/management package recordings in a manner that ensures you have to buy multiple items.
It's the record company that makes that decision
Just try buying a Van Morrison Greatest Hits cd, which actually contains ALL his greatest hits. Same with Linda Ronstadt. AND contains more than 9 tracks.
I'm not going to try.
I suppose I'm alone in my lack of enthusiasm for Hahn's interpretations.
Her Bach us rock-solid and also quite charming at times. One might argue the best that can be done with a modern bow and synthetic strings... however, a bit of sadness she never ventured into period performance.
Cotton, you are not alone, I find her Bach to be dreadful.
' Rocky Milankov
Just curious, if you think HH is dreadful, how would you rate your own performance of these pieces.
Christopher, tu quoque is a logical fallacy.
HH is not my favorite Bach, but I enjoy her playing of these sonatas and partitas. I do really like Gidon Kremer. And even though I am far from a Heifetz freak, I like his Bach too. Somehow it just speaks to me.
There is no logical fallacy because “Her Bach is dreadful” is not an argument.
I very much like Hahn's Bach, especially live. Much as I like Milstein's Bach.
I find that Hillary sounds like a robot. Which I guess comes from the way she practices. There is zero spontaneity in her playing, and nothing is felt.
HH is a robot ... no feeling .., etc. All that comes about because she doesn't sway gaily on stage like a minstrel of yore, she isn't given to tortured facial expressions, and she refuses to titillate her audiences with risque apparel. My impression of her playing is that she is concentrating very hard on appkying her preparation so that the music can speak for itself without artifice or affectation.
I've watched some HH videos. I root for her technique and exactitude and starting so young, but am not moved emotionally by the music and sound of her violin.
I keep it with Paul Deck and - far from being anybody's fanboy - love the way she performs. It's precise, intellectual, and also very intense where it has to be. Maybe it is because I'm a rather introverted guy myself, but her music really speaks to me, and I love her thoughtfulness about every single little detail. This hasn't anything to do with roboticism. This is only my general opinion, without knowing her Bach.
HH is great if you like a completely dry performance that is technically "perfect". I prefer something with more grit and life to it. Her style of playing is just so... boring. Everything exactly by the book.
"... Everything exactly by the book." - Well, in simple words. If the Beethoven is on the programme, I'd rather expect the Beethoven than "an inspiring evening full of unheard sparkles based on a concerto by someone knewn as LvB at his time but nowadays is mostly forgotten because his music has become too boring to us as we wish to see something more Justin-Bieberish".
I can live with that if someone would tell me "her interpretation is too cold, perfect, whatever". But not "she sucks because she follows the text".
Once upon a time, violin performance was a creative art. Performers would improvise, compose their own music, et cetera, et cetera...
There are still musicians making their own compositions. Improvisations. Cadenzas. Within the classical music "market". And it's not that masses aren't attracted to classical music because interpretations would be to conservative and "always the same" - as folks like André Rieu show us, it's the most conservative, slack and kitschy-ornamental interpretations that are most attractive to the masses.
And by the way, if you fancy musicians trying to push borders into modern times, HH is one way for you to go. Playing and recording pretty new stuff, many would call it even experimental music. Just look her up on YouTube... Again, pretty much intellectual stuff not everyone will enjoy.
Mr. Tetzlaff is very "free" in his third recording of the S&P-some may or not like it but I respect he just does whatever he likes and believes is in the spirit of the works (surely too "restrained" for some, but I did find it quite "loose", for lack of a better term.)
I look forward to it. I'll buy it! Well, at least the mp3 (my old ears can't tell the difference).
I've seen HH several times and she's always worth it! Great performer- very competent and tasteful. I've got a copy on Retrospective in vinyl on order at local record shop, and will get the Bach on vinyl, too. Supposed to be out 10/5. Everyone can tell the diff vinyl makes on a good tube system! Great for her to release it in that format!
Vinyl. Tubes. LOL. Gold cables too I assume.
no, copper cables all the way. All electronics (incl. cables) and speakers built and tuned to the room by yours truly.
Favorite cartoon from the New Yorker. Two gentlemen looking at a turntable, receiver, and large speakers on a cabinet:
I did a search on HH vs Janine Jansen, and one person was talking about the "light bowing" of HH. This resonated with me because I was watching one performance, and there was a decided lack of power coming across for the amount of physical activity going on. I would assume that explains it.
I guess the professors at Curtis failed then. Letting her graduate with "light bowing." This whole thread is a joke.
Well, I'm a novice and can't be sure, but when I watch HH videos, it seems like there should be more volume coming off her instrument, to demarcate her better from the orchestra. I can't say for sure if the cause is "light bowing" or not. I just glommed onto that comment as it seemed to explain what I was missing from her playing.
I've heard Hahn regularly live, in both concerto and recital appearances. and she has a huge sound. I've never thought she wasn't projecting as much as she should be, or not properly balanced against the orchestra. That includes hearing her in the Elgar, from balcony seats; that concerto is a feat of projection and endurance. (Andrew Victor, if you're reading this thread: You probably remember that particular performance with Santa Rosa too, I imagine.)
Lydia - I sure do remember that concert! Hilary has been one of my violin heros ever since.
Regarding HH not having enough volume to differentiate adequately from the orchestra, I just saw a Janine Jansen video where the same was happening, and I don't usually have that problem with her. I'm wondering if the problem is compression on the recording, where it is bringing everything down based on the volume of the whole orchestra.
I really like her playing and I'm amazed that her talent is questioned. Some of my favorite violin recordings are from her, but also to be said that some of my least liked. That makes me wait and listen to samples of the incoming album.
Carlos, I agree with all you wrote.
David Ford, have you heard many concertos played live with orchestra, especially in large halls?
I admire Hahn's gutsiness, as shown in the repertoire she's recording. I also applaud her stubborness in sticking to her Vuillaume and not joining the "I fell in love with my Strad" circus.
@Lydia, the soloist doesn't have to be completely dominant, but there should be enough delineation that you can hear well what they're doing. I think it's a matter of degree, not at one end of the spectrum or the other. And no, my live experience with concertos with orchestra is limited. I'm going by YouTube videos I've been seeing lately.
David Ford, yes, there should be delineation, but what "delineation" means in terms of balance may be surprising to you in some sections of some works. YouTube isn't really a good guide to balance.
Again, I’m a novice, and basing off of YouTube, which I believe you is inferior.
I like Hillary Hahn, and would gladly see her live, and I remember liking her solo Bach years ago, but I went back recently, and it was just painfully slow to listen to, with every nuance overdone. I don't know if my tastes changed, or didn't listen as carefully. But it wasn't some bizarre dadaist conception like Gidon Kremer's most recent recording. I really like her musicality in a lot of other instances, but I saw this as a failure of conception.