Customer Reviews

Brahms / Stravinsky: Violin Concertos

5 star:		(30)
4 star:		(13)
3 star:		(3)
2 star:		(3)
1 star:		(0)

 

 

Hilary Hahn has produced yet another beautiful recording!
This Recording of the Brahms is simply sensational, and my personal favorite, over ones by Heifitz, Perlman, Chang, Vengerov, and Stern. Sir Neville Marriner also works wonders with The Academy of St. Martin in the Fields. In the first movement, the orchestra steps up boldly, yet without an overly loud or overdone tone. Hilary steps up into the spotlight with a mature, steadfast, and dazzling phrase. She grasps the listener and holds hime or her there until the movement comes to a perfect close. In the second movement, Neville Marriner does a wonderful job with the woodwind scoring. The principal parts shimmer and glitter, until Ms. Hahn joins them as the most beautiful gem of all. Her arching tone sears in and out of different volumes, moods, yet keeps the serene peacfulness we can only assume Brahms intended for this movement.
I simply love the third movement, Hilary Hahn jumps in right away boldly and bravely. She plays it swiftly with just a perfect amount of aggresion. She really makes the violin sing, and the orchestra runs right along side her. Your breath is simply caught at the stunning finale, and She draws it to a awesome close.
But what of the Stravinsky. I can imagine that the first impressions can be about more varied than anything else in the world, from "Creative!" to "Weird" down to "Just plain stupid". It's definetely interesting to listen to, and it grows on you until it stands right alongside the Brahms, Beethoven, and Mendelssohn and some of the favorite concertos ever.
This concerto happens to have four movements, unlike most concertos, and MOST unlike most violin concertos.
Hilary Hahn matches the creativity of the piece itself with a wowingly imaginitive interpritation that really imprints each movement in your head. Each movement focuses on one main mood, and captures it perfectly. Quite a portrait of a concerto. Hilary's performance is stunning, and truly best of the few recordings out there.
The CD contains fascinating information on the composing of the concertos, the descisions behind the CD, as well as pictures of the performer, a illustrative discography, and links to cool webpages of Hilary's. Done up in a mature, attractive, proffesional design, the CD looks just as good on the shelf as it sounds inside the CD player.
This CD is an absolute MUST for your CD library. At a very affordable price for the best recording of each of the concertos, what more could you want?

The very first time I heard Hilary live was at the time of her 2nd album (Beethoven/Bernstein). From that moment on I knew she was destined for greatness. In my mind, I find it hard to separate Hahn and Leila Josefowicz in terms of their immediate impact. Both choose to record standard as well as uncommon repertoire on the same CD (like Josefowiczs' Mendelssohn/ Glazunov recording) and both have near flawless techniques that show maturity far beyond their years.
This recording continues that belief.
It must be incredibly hard to decide to record the Brahms when so many violinists (both living and deceased) have recorded it before. As proven by many reviewers on this page, once you hear what is conceived to be the perfect performance, no recording will change that opinion.
To listen to Hilary Hahn play the Brahms is a mesmerising experience and this comes off the back of my studying of the instrument, the concerto and hearing it live and on cd many times by various artists. Is the fire there in the cadenza? Yup. Is the passion and commitment there? Absolutely. Is the technique there? You betcha. How can one ignore this performance? Hahn shows incredible depth and perception in her playing throughout her performance. To me, a good performance of the Brahms is one where you don't look at your watch during the first movement. I didn't.
Following on from the Brahms is the magnificent oddity of Stravinsky's concerto. An absolute gem of a piece and one which suits Hahns more aggresive (and expressive) playing well. The last movement (like the final movement of the Barber on her previous release) is worth the cost alone.
All the while Neville Marriner and the ASMF do a credible job with the accompanying work. I must admit that they do fire up well and truly for the Stravinsky (as I am sure they haven't played it as often as the Brahms).
This is sublime playing and an important release not to be ignored. Hahn isn't a master in the making. She's a master already.

I purchased this disc for the Brahms, on the basis that it would be a sure bet as far as my own conservative music tastes are concerned. Besides, as a delighted owner of several other Hahn recordings for Sony, I knew she would bring her formidable musical intelligence, sensitivity and commanding tone to bear on an already familiar, well-loved composition.

However, I was unexpectedly blown away by the Stravinsky. Here the synergy and creative energy generated by the combined talents of Sir Neville Marriner, the Academy of St. Martin in the Fields and the solist, Hilary Hahn are nothing short of miraculous. It really makes Sir Neville sound like he is 21 again, and Hilary sound as if she has all the experience of Sir Neville's 76 years!

The georgeous sound quality captured by the recording engineers on this CD is no more than the performances deserve. If you have an SACD player, you will want to benefit from the high resolution of the SACD version (B00005RIN6).

Whichever format you choose, this is one of those rare recordings where everything is right. In my book, this recording gets top marks for for musical interpretation and top marks for sound quality. Very exciting -- don't hesitate.

There's no need to point out that the Brahms and Stravinsky violin concertos are polar opposites musically, but they also pose contrary problems for the violinist. The Brahms is always played "big" for romantic drama, while the dry-eyed Stravinsky dares anyone to find a style that sounds exactly right. The composer seemed to prefer no style, that is, he wanted detached, objective, rhythmically strict playing. To most ears that makes for a very dry experience, so violinists add expression and hope they aren't violating the score, while in the Brahms they struggle not to sound like another Oistrakh imitation (fifty years ago it was a Heifetz imitation).

Hilary Hahn has found her way in both concertos. Her Brahms is small-voiced, deliberate to the point of caution (one is reminded of Menuhin with Furtwangler), and carefully molded. It's a bit like hearing Kathleen Battle sing Wagner, but overall her style works. Hahn's great virtue is consistency--she keeps all three movements toned down, even the finale. There is no gypsy abandon here, and the accompanist, Nevile Marriner with the chamber-sized Academy of St. Martin in the Fields, follows Hahn's lead, providing a subdued, lyrical background to her forwardly placed solo. I doubt that this reduction would carry well in a large concert hall, but it sounds charming on CD, and how often can you say that the Brahms D major is charming?

In the Stravinsky Hahn blends into the orchestra a good deal more, playing first among equals in a game of neo-classical counterpoint. Her expressive touches are small but definite; she is sweeter and more songful than earlier soloists in the part. But a listen to Perlman or especially Vengerov reveals that there is a lot more room for slashing strokes, swoops, sharp edges--in ohter words, the soloist can take over. Hahn chooses not to and gives a lovely reading because once again she is consistent and detailed.

Overall, the comparison to Kathleen Battle is pretty apt--here is c charmingly feminine artist who wins the listener over through sweetness and personal magnetism.

This is a nice recording. Some of you might want to know about the tempos - they vary quite a bit nowadays with this piece. - I always have the infamous Heifetz/Reiner recording in mind, and I think these artists who dare to play the first movement of this piece in 24 or more minutes have missed the mark (compare that to Heifetz's 18'53!). I think the average modern recording first mvt goes around 22-23 minutes, and this one is about average at 23'15. (It does not seem as agonizingly slow as the Mutter/Mazur.) The third movement whips along nicely at 7'51, and Hahn is technically good enough to make it exciting but not without finesse. She has a nice sound, clear but rich - she is also an intelligent player, I think. The interp seems "traditional" at least in that there's no vibrato heavy melodrama like you get from Mutter, and not a lot of classic sliding or strange phrasing. Intelligent if not always the most emotionally gripping performance.
My main problem with the recording is the ASMF. Since the balance puts Hahn forward, it's sometimes difficult to hear the accompaniment -esp the first movement (the first oboe line after Hahn's entrance is very soft - I honestly think 5'20-5'40 could be more exciting if the orchestral accompaniment were more punctuated...and the lower string pizzicato walking bass is difficult to hear too). So at times this produces an amorphous, spacious, almost floating effect with just the solo violin to focus on (Some people like this). Peronally, I don't like to strain to hear what the orchestra is doing. And this can't be much of a concerto "against the violin" if you can't appreciate what is going on behind the violin. Also, Marriner's strings seem a little weak in some spots (4'54 in 3rd mvt). - BUT all these are minor reservations really - it's a good recording overall, because Hahn is indeed fine to hear.

Brahms - From the moment the first note comes out of her violin you can see and feel the projection. Hilary is there and what she has is what's always set apart the great ones. The ability to take in and interpret the piece, mix it with some emotional selfness and present it. Her violin has an unmistakable tone and sound that is hers alone, the kid has trademark!

This song grabs you and demands that you stop and listen. And just when it seems as if you may get a breather, Hilary hits you again, she never lets go. Time encapsulates and floats you away. It's really difficult to appreciate the technicality of what she does because Hilary makes it all sound so easy but I think you'll know the parts where she had fun, you can hear them.

Stravinsky - Breath in, out. Jumpy and bouncy. Even though these two pieces were recorded months apart putting them together on the same disk allows you to appreciate the differences. Just as quick as the mood change has occurred is the thought of how well they blend together. Good production. Hilary takes full advantage of this showcase and lets her diverse and adaptable talent, which she seems to have an endless supply of, come through.

As usual she is right in front with her playing. I read the expression "Nowhere to hide" somewhere in an article talking about her first two disks. Of all the descriptions of all the musicians I've come across this is one of the better fits. She's on an oiled tightrope with no net but when you're this good there's never a worry. As much as she's already done that could possibly raise the expectations of her fans, while listening to this disc it's hard to imagine that Hilary is capable of disappointment.

Once I had heard that she was recording these concertos I started to seek them out. Upon hearing the Brahms I could definitely see the attraction and fit that Hilary would have. As she mentions in her liner notes, the Stravinsky isn't commonly played. Being one of my favorite composers I have quite a few of his recordings but not the violin Concerto. So this is my first copy of that piece. How appropriate and may Hilary make it her own. Having Academy of St Martin in the fields play on this disk makes perfect sense. They are well known for their own recordings and concerts as well as backing several great soloists. Their warmth and tone provide a perfect foundation and blending to Hilary's playing. Good job by all.

Of her first three disks the Bach has been my favorite but this is her best recording to date. It just blew me away. It's a journey that you'll need to take several times because the immensity's too much to get all at once. I'm glad she's only 21 because I plan to be listening to her for a long, long time. Absolutely incredible Hilary.

If I were reviewing this disc based on technique alone, 5 stars wouldn't be enough. The way Ms. Hahn sails through all the difficulties in the Brahms concerto without even a hint of strain is absolutely incredible. All those stratospheric entrances are spot on intonation wise. Those crunchy double and triple stops in the first movement bounce forward under Ms. Hahn's bow where many violinists labor forward. All one can say is wow!!

The problem, as noted in several reviews above, is that there is something missing. I think I know what it is. My favorite performance of the Brahms is by Ulf Hoelscher who simply doesn't have the technique of Ms. Hahn. That, however, proves to be a benefit. Hoelscher sounds as if he's wrestling with the piece, battling for every expressive point. That fire makes every moment riveting even though it feels like a high-wire act. Because everything is so easy for Ms. Hahn, her performance ends up beautiful but tame.

Stravinsky's concerto (which is an odd but appealing coupling) doesn't aim for the profundity of the Brahms. Here, Ms. Hahn is much more effective, reveling in the bright, spiky colors of the piece. Marriner and the orchestra seem more engaged here as well so it adds up to a winning perfomance...which isn't something I say often about Stravinsky.

It seems odd to say that you should get this for the Stravinsky, but that's my take. If you're not in need of deep Brahms, you'll be amazed by Ms. Hahn's playing there and you certainly won't be disappointed. If you want really MEANINGFUL Brahms, however, search out the Hoelscher which is on a budget disc these days.

I AM BLOWN AWAY BY THIS CD !
I AM BLOWN AWAY BY THIS CD !

I was undecided whether or not to buy yet another recording of the great Brahms Concerto, I am very glad I did. I simply can not stop playing this CD. I have been playing this CD for weeks to fully digest every nuance.

With stunning warmth, passion and profound beauty, Hilary Hahn brings new life into this powerful violin concerto and presents Brahms as a romantic. Her stunning performance is full of life, romance, beauty, emotion, and even with a sence of mystery.

I never thought I would ever find another recording that would match the Oistrakh 54 performance. Well I have to say Ms Hahn surpassed all of my expectations. Such emotion can not be put to words. The cadenza left me breathless.

Tonally, this CD is amazing, the tone of both the soloist and orchestra are thick and full, a top notch production for sure. Hillary's Vuillaume has a wonderful tone (of course this is the violin maker who made a copy of Paganini's violin for Paganini himself). Some people complain when the microphone is too close to the violin and the violin sound is bigger than the orchestra. I agree the balance is a little more focused on the violin here but I just love the sound. When the microphone is close to the violin you get a much better representation of the tone. I assure you there are few violins that sound this good. Even if you do not agree with the playing on this cd, you will be amazed by Hillary's sweet violin tone and phrasing. I have no idea how someone could listen to this CD and not fall in love with her sparkling tone and silky-smooth bowstrokes.

Music is about emotions and if you are looking for some relaxing and romantic violin music, buy this now.

Side note: THIS cd won a grammy in Feb 2003

I went out to the stores the day after this CD was released in the States, hoping, keeping my fingers crossed that I'd be able to find it in Singapore. It was a joy to finally find it, and its 4 days later, and I'm still savouring it (i.e. listening to it every time i turn on my CD player).
The acoustics are good for Hilary Hahn's Vuillaume, her notes are spot on clear! Her technique has improved immensely since the Barber/Meyer album, and (no offence to the ASMF or Sir Neville) I feel she outshines the orchestra in this album. This recording will give you a good idea of how brilliant she is performing live. The album gets 4 stars only because i think the orchestra (competent as it no doubt should be) lags behind Ms Hahn, but the violinist gets a full 5. You guys should go see her perform live if you ever get the chance, but if not, this album brings out her brightness crystal clear.
While the Brahms is a classic gem, the Stravinsky is clearly something more modern, but Ms Hahn shows that she masters both flawlessly, with emotion (for the Brahms), fire (for the Stravinsky), and great skill. A must have for every good music collector!

Hilary Hahn first won me over with her remarkable second recording, pairing the Beethoven concerto with Bernstein's Serenade. I rushed out to purchase her earlier recording of solo Bach, and was equally impressed. She immediately moved onto my short list of artists whose recordings I purchase the moment they're released, if possible.

And so I waited with great anticipation when I learned that her newest recording would include the Brahms violin concerto, one of my personal favorites from the entire repertoire for the instrument.

In tone and technique, in the maturity of her interpretation and her sheer mastery of the _notes_, Ms. Hahn's performance leaves little, if anything, to be desired. Her brilliant sound always soars above the orchestra, piercing the listener to the core, and her attacks are as fearless and seemingly effortless as ever.

However, something is amiss at the beginning of this recording. The question of tempo in a concerto is sometimes decided by the soloist, sometimes by the conductor, and sometimes by a compromise the two reach together -- but wherever the fault may lie, the opening allegro was FAR too non troppo. The orchestra starts in at a near-dirge tempo which leaves Ms. Hahn's first solo entrance almost languorous. Her flawless technique, coupled with the beauty and intensity of her playing, nearly convince the listener that all is well, but in the end, even her fantastic performance can't overcome the dragging pace.

Aside from the overly-slow first movement of the Brahms (which, unfortunately, makes a strong first impression on this listener's ear), this is an excellent recording. Ms. Hahn plays wonderfully throughout, though I am not familiar enough with the Stravinsky to gauge the skill of her interpretation of that piece. The only major drawback of this disc as a whole is the flat and occasionally muddy sound of the ASMF, which provided an unwelcome contrast to the brilliance of Ms. Hahn's violin.

This definitely shouldn't be the only recording of the Brahms you own -- if you can only justify one, I recommend Nadja Salerno-Sonenberg's exceptional EMI recording. But for its interesting juxtaposition of a standard warhorse of the violin repertoire with one of its least-known modern works, and as a historical record of the growth of a young virtuoso who has already scaled many of the treacherous heights of a concert career and may well dominate her instrument in the 21st century, it may well be indispensable.