Customer Reviews

Bach: Violin Concertos [Hybrid SACD]

5 star:		(35)
4 star:		(4)
3 star:		(9)
2 star:		(12)
1 star:		(7)

 

 

Hilary Hahn's status as one of the new stars of classical music has been firmly established; however, she has never let her stardom go to her head. She treats the music she plays as the collaborative effort it is, playing *with* an orchestra or pianist rather than simply expecting them to accompany her. And as those of us fortunate enough to have seen her in concert can attest, she seeks out interaction with the audience as well, coming out after every performance - and sometimes during intermission too - to talk with us and sign autographs. In this new CD (her first with Deutsche Grammophon), Hahn further demonstrates her collaborative strengths with a program of Bach chamber music.

The album contains the Violin Concerti in A Minor & E (BWV 1041 & 1042 respectively), the Double Concerto (BWV 1043), and the Oboe & Violin Concerto (BVW 1060). Far from the large orchestral affairs that concerti have become, Bach wrote these pieces for the solo instrument(s), a small string section, and a harpsichord. As always, Hahn plays beautifully; her love for the music is evident from the moment she begins, and she displays it with a rich tone and great technical skill. And as befitting Bach's music, she treats her solo line as an extension of the ensemble. The ensemble, in this case, is the excellent Los Angeles Chamber Orchestra. Led by keyboardist/conductor Jeffrey Kahane, they play with energy, skill, and a real sense of enjoyment. Concertmistress Margaret Batjer and principal oboist Allan Vogel play their solo lines with Hahn as a kind of dialogue, shifting the balance back and forth as the music unfolds.

The artistry and musicianship on this album is first-rate, and the CD is sure to delight lovers of Bach, Hahn, and chamber music alike.

Hilary Hahn gives us yet another outstanding album in her first effort on the Deutsche Grammophon label. The first word that comes to mind with these performances is 'crisp.' They are precise in tempo and tone; exactly how Bach is meant to be performed! Even slower passages are performed with pulse and bounce. There's no sluggishness like in other renditions that I've heard. One gets the impression that the ensemble strives to honor every intention of Bach.

The performers then prove that 'crisp' and 'lyrical' are not mutually exclusive. The complex voicings weave and un-weave in masterful and musical fashion; the musical lines ebb and flow with purity--nothing out of place or character. I cannot escape the feeling that the musicians have given thought to the performance of each note and from that attention to detail comes a beautiful whole.

Shortly after Bach's time, the structure of a concerto changed from an ensemble piece for chamber musicians to a piece for soloist and full orchestra. Hence many recordings of these pieces are done by 'name' soloists and 'name' orchestras and lose their intimacy in the process. This recording does not; kudos to DG and Hahn for the choice of the thoroughly musical and consummately professional Los Angeles Chamber Orchestra for this disc.

The Double Concerto (BWV 1043) is probably the gem of this disc. Bach's original scoring for this piece was intended for either two violins or two harpsichords, which makes one truly appreciate the genius of a composer able to write a single piece that is effective for both a sustaining and a non-sustaining instrument. Hahn and second violinist Margaret Batjer are perfect in their execution of the counterpoint in the first and third movement. The largo ma non tanto movement is phenomenal, as one violin plays the musical line and the other violin accents it in a way that makes the notes from the first better.

This disc also contains a piece that I was not overly familiar with--the Concerto for Oboe, Violin, Strings, and Continuo in C minor, BWV 1060. In the only other performances of this piece that I've heard, the violin squeaks, the oboe squeaks, and the piece sounds like the flock of gulls in 'Finding Nemo.' Not so here. The oboe's sound at its best should be like a water drop forming on a faucet--starting gently, filling roundly, and dropping cleanly. Oboist Allan Vogel achieves this. Of course, no composer mastered the interplay of two instruments better than Johann Sebastian Bach--Hahn and Vogel are capable of showcasing that interplay.

If I have one tiny, minuscule, Carl-you-need-to-get-a-life nitpick, it's with the choice of another Bach album for Hilary Hahn. Her previous Bach album proved that she has nothing left to prove when it comes to ability or musicianship (as all violinists seem to have to prove themselves worthy before the altar of the mighty Chaconne). I would have preferred that she broaden her recorded catalog rather than deepening it. I suspect that this was DG's request; Hahn has been rather daring with her choice of pieces (Barber, Meyer, Bernstein, Stravinsky in addition to the standard repertoire for violin) in her Sony recordings. Perhaps in the three albums remaining on her new DG contract she will apply her formidable talents to Sibelius, Bruch, or Elgar and I may be happy then and not driven to find a fault with such an outstanding recording.

This is great! Not that the SACD sound is all that great - sadly this is not a demo of what SACD can do. Hahn really deserves the best. But wow! It sure is a demo of what Hahn can do and I mean musically, not just technically. I had always thought of the concerto #2 as a sort of bore compared to such as Bruch, Beethoven, Brahms, Tchaikovsky, Prokofiev etc. Hilary Hahn proves that it is a wonderful, toe-tapping energetic exciting work that you will come to love not just respect. The other works are beautifully executed by all concerned - except that, as I say the sound could - no, SHOULD have been a litte more refined. DG ought to listen to some Telarc SACDs to learn what can be done in this technology. I've been priveleged to hear Hahn in Boston's Symphony Hall and in Carnegie Hall, and I have yet to hear a recording that communicates the special beauty of her sound.

Hilary Hahn gives a rousing and impeccable performance of Bach's Concertos in her latest album entitled Bach Concertos which is available for purchase as a Hybrid Super Audio CD. Her brilliance shines in her careful treatment of Bach's Concerto for Violin, Strings, and Continuo in E major, BWV 1042. Comprised of three tracks totalling sixteen minutes and twenty-eight seconds in length, her prodigy is plainly evident as she delicately balances her own gusto with delicately slow and tempered bow strokes on the first track. Then, she abruptly switches to a much faster tempo to jolt her listeners from their state of ease in tracks two and three. Herein, she captivates her audience with rapturous playing that is reminiscent of yet another woman violinist possessed (Rachel Podger). Yet, she has enough sensibility to not give offense to listeners who simply want a "rock 'n roll" performance of classical music; no, she flatly refuses to give into one mode of interpretive playing by preserving the iridescent splendor of Bach's music and she employs variegated approaches to each piece. In fact, Hahn lends credence to the distinct character and shape of each piece as an alive and independent spirit.

I can go on and on with this jewel of an album but I will leave it up to you to discover the other hidden treasures awaiting your listening pleasure.

As to the technical merits of the album, it is a Super Audio CD containing both a Stereo and Surround version as well as a Red Book CD layer. It is my opinion that the level of musicianship of Hahn in her latest album is par excellence - this is her best performance in my entire collection. The SA-CD version is a real sonic treat because it captures the quintessential majesty of Bach's genius for composition as expertly interpreted by Hahn and company. I do have one small caveat: this album requires continous rotation through your audio system and it may very well turn the tide for me in my lone quest as a staunch proponent for the DVD-Audio format.

This is too fast, nothing more to say about it. But I think that when Hahn grows some years older, she will become more interested in exploring the beauty of these works. Meanwhile we have to content ourselves with Jascha Heifetz old recordings. Manze? No doubt the reviewer Mike Chuang below has a point when he writes that Manze plays like a rock star. But Bach's music is not rock; baroque is something else than rock. When it comes to historical information, Sigiswald Kuijken is more credible than the hyped hyper Manze.
For sweet fiddle (original instrument), good sound and normal tempos I suggest Kuijken on Amazon search: Johann Sebastian Bach: Violin Concertos, BWV 1041-1043 - Sigiswald Kuijen / La Petite Bande
The most spirited performances however are and remain those by Heifetz. Unforunately the sound is not so good and they are split on two CDs. The concertos BWV 1041 & 1042 you'll find by searching Amazon Bach: Concertos; Mozart: Sonata, K.454; etc. and the double concerto BWV 1043 you'll find by searching Heifetz: Double Concertos.

No words to explain the emotion that Hilary gives me when she plays. In this CD everything is perfect, from intonation (always incredible!!) to musical interpretation. I HATE filological editions, recordings made with original...bad...out-of-tune instruments...no-vibrato...
WHAT DOES THIS MEAN??
Time has changed, and every composer wrote music to be played well, in tune, exactly how it was written on paper. Why should somebody play Mozart on forte-piano TODAY? did you know that mozart wrote many times to the new PIANOFORTE builders-craftsmen saying: "please, when the new pianoforte will be ready to be played? because I hate the Fortepiano...it's always out of tune...has a bad sound...!!please...!".
well, today there's still people playing mozart on forte piano; I'm not one of them...
I love Bach played with the gentle vibrato of miss Hahn, I cannot imagine it played in an other way.
the allegros are really "well tempered", so clear and bright. the slow movements are touching...Hilary makes the listener crying with her sound and beautiful musicality.
she puts love in music, as nobody else.

I don't mean to purposely stand in contradiction against other reviews; I just felt it was unfair for me to be almost robbed of the musical enjoyment I am having now with this recording, and I want to present another view.

I remember being really inspired when I first saw a video of Hilary Hahn playing the Bach Concerto. However, I was surprised to see so many criticisms regarding the tempo when I went to check out the CD here on amazon.com.

It made me really hesitant about buying the CD. But I found out that it proved to be a mistake for me to be held back into buying this CD because of these criticisms.

I am not a student of classical music nor do I consider myself to be an expert on music criticism; so I do not really know if there is such a thing as a "wrong" tempo in classical music.

Hilary Hahn has written in the linear notes regarding how she wanted this piece to be lively and to inspire others to dance to the fast movements. This reflects her personality and I think she has succeeded in achieving that vision. As far as her own musical vision is concerned, I don't think anyone can say she missed it or contradicted herself.

I own this CD for some time now and I have been listening to it enough to say that the tempo is not an issue for me. I think Hilary pulled it off nicely. I have gone out to listen to other interpretations, but I eventually found Hilary Hahn's and Oistrakh's interpretations to be my favorites. (Grumiaux's interpretation also comes close - do check it out!) The tone and execution really shines - Everything fits together beautifully like a well-crafted piece of furniture. There is evidence of tremendous thought into the phrasing, but when you are listening to the music, all that disappears, you just know Hilary really enjoyed herself while playing this piece. It is inspiring.

I am not discrediting the other reviews and the opinions of others - they have a valid opinion and they are entitled to it. All I'm saying is this: do listen to it before you buy this CD and make a judgment for yourself. Do not rob yourself of the joy of enjoying music that YOU like.

I have listened to Bach many times, but was never so energized by it as I was when I heard it played up tempo the way that Hahn does. I find this an excitingly different approach. Now granted, this is one that may not appeal to all who are used to a slower rendition of Bach. But as a person who plays violin, I truly appreciate her ability to play this style of Bach with the precision and technique that I have come to associate with her. Way to go Hilary! And by the way, my daughter saw her in Prague several years ago at the music festival, and was entirely mesmerized by her. And she's not a classical music lover (by a long stretch) as I am. Much of what Hahn played during this concert with the San Francisco Philharmonic was from this album. Since then my daughter listens to her often. I say that this is an accomplishment when we can get those who won't normally tune into classical to listen. Since acquiring this album, I have purchased her other cd's, but this one still remains my favorite. I'm looking forward to the day that I can actually see her in person.

Hilary Hahn comes not only as genius, she's a kind of scholar of the violin; precocious and impeccably able. The sound of her fiddle is indeed something worth pursuing. The instrument she uses here is made by Jean-Baptiste Vuillaume, Paris 1864. Sumptuous sound, and a performance choice made with characteristic elan. I agree with the reviewers who've noted well the atmospherics of this violin. That said, the Bach is fast and scarcely shapely. It's interesting to me that while Hahn is young enough to dare to drive the dance out of Bach, she remains at the same time abundantly musical in all things but tempi. That draws me up short, enough so I'm willing to cede her a true praise and respect even for a recording this unnecessarily tempermental. The protean energy of Bach lies deep within the comely shape of his music; artifice of tempo can neither disguise that forming energy nor supplant it. I long for Hahn to completely find this inner truth of music. But - I'm 57 and if I know music well, perhaps too well sometimes. It's enough to hear wondrous playing like this even in the face of perhaps some musical diminishment, and I say only perhaps. Hahn brings a quite sophisticated joy to music making, and youth and courage, and not a little scholarship - it's a marvel. What's to criticize? I'll listen many times to this Bach, and pray the inordinate sheen never wears away. An extra star for that incredible Vuillaume brings it to 4stars!

First, a response to reviewer no. 1 (a "music fan" from Bethesda):

I can't relate to them when they say this music lacks any sense of the soul or the metaphysical. I feel this comment is based on a false premise, i.e. that the music particularly needs to convey a sense of soul of the metaphysical. In my opinion, many of Bach's secular works appeal more to the intellect i.e. the appreciation of harmony and form, and also in a direct physical sense in responding to the sound and rhythm. This is particularly the case in performing Bach. I am not a violinist, but as an amateur pianist the intense pleasure I get from performing, say, a Bach invention or the Aria from the Goldberg variations is not a directly spiritual or emotional one, but a more a physical one, and a sense of satisfaction of the logic, structure and harmonies. My piano teacher always used to say with Bach "you just have to play it" i.e. there is no holding back. Take the preludes and fugues, for example - where these written to convey a sense of the metaphysical? I think not - they were written in the first instance to demonstrate the equal temperament principle, obviously, but they were also written for the sheer sake of the pleasure in performing them. In a similar vein, I think it is completely inappropriate to judge these concertos with the same yardstick that you may apply to later, more romantic works, or to music that is sacred, religious or intended to convey spirituality.

Having said all that, I find this performance is very soulful - how can it can it not be! Just listen to the concerto for oboe and violin and tell me with a straight face that there is no soul in this performance! - what nonsense!

My "official" review is as follows:

What a brilliant performance! Contrary to some comments I have read already ("too fast"), I find the choice of tempo is just right -"fast" movements are energetic and with a tightly focused sense of rhythm which is utterly compelling, and the slower movements are played with an finely judged intensity and beauty, especially in the concerto for oboe and violin. Bach's secular music is for playing for the sheer sake of enjoyment, as much as anything else, and I particularly like the sense of naturalness and spontaneity in these performances which make them sound live rather than the product of studio sessions. I am no violin player myself, so I can't comment on Ms Hahn's technique except to say that I don't even think about technique or feel I need to comment on the standard of her performance (or indeed any of the other musicians) when listening to this disc - the music simply shines through and it just sounds so "right". I believe this recording will quickly become a reference standard. What I particularly appreciate (and this is a feature of all of Hilary Hahn's discs) is her own personal comments in the CD booklet about how she relates to the music - why don't other musicians do this? Music is such a personal thing and it's great to personalise the recording like this instead of most CD's where usually nothing is said about or heard from the artist. The sound quality on the SACD is great - string instruments are, to my mind, never properly captured on 44kHz, 16bit PCM, whereas their timbres are realistically portrayed in this recording.