Mozart: Violin Sonatas K. 301, 304, 376 & 526

Hilary Hahn (Artist), Zhu (Artist)

Product Details

• Audio CD (October 11, 2005)
• SPARS Code: DDD
• Number of Discs: 1
• Label: Deutsche Grammophon
• ASIN: B0009JAENU
• In-Print Editions: MP3 Download
• Average Customer Review: 4.9 out of 5 stars  See all reviews (22 customer reviews)
• Amazon.com Sales Rank: #26,444 in Music (See Bestsellers in Music)

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Editorial Reviews

Amazon.com

Hilary Hahn is a splendid violinist, with an easy, flawless technique and a tone of pristine purity. She has already gained a reputation as a singularly serious performer; even her photographs show her in strikingly thoughtful poses. Indeed, her approach to the four Mozart sonatas on this recording seems to be almost too thoughtful: everything is so carefully planned that there is no room for imagination or spontaneity. Her tone is invariably beautiful but never varies in color or intensity; shifts of mood and character are heralded with tempo changes, ritards, breaks, and long pauses, even when Mozart clearly indicates a connection, as in the Finale of the Sonata K. 526. The ensemble with her long-time friend and partner Natalie Zhu is excellent, but they seem to have agreed to disagree on certain points, such as the execution of trills and ornaments, and the articulation of short notes: Hahn's playing is rounder and more lyrical, Zhu's brisker and more pointed. Both follow the current trend of superimposing dynamics and contrasts on the written score, as if they did not trust the music to speak for itself, but this only results in fussiness and a loss of continuity and simplicity. However, the balance is so good that the interchange between more and less prominent voices comes out perfectly. --Edith Eisler

Customer Reviews

Most Helpful Customer Reviews

47 of 48 people found the following review helpful:

5.0 out of 5 stars Elegant and Daring, October 30, 2005

By	H. Yin "sight_reader" (Fort Collins, CO United States) - See all my reviews (REAL NAME)

Hilary Hahn's playing always combines a powerful interpretation with meticulous technique that may very well be the cleanest on the planet. This naturally provokes a lot of curiosity as to how she might approach Mozart, and this disc certainly doesn't disappoint. In this recording she plays the most famous and representative of the Mozart sonatas, and as you might suspect Hahn brings them to life with penetrating intellect and sparkling clarity.

This recording also features a break with traditional articulation. Most modern instrument recordings feature smooth, singing lyricism contrasted with lilting, dance-like lifts of the bow. Hahn defies this tradition, preferring to keep better control of tone with her bow on the string, even in runs that are traditionally bounced for percussive effect. This may disappoint Mozart listeners who feel "dancing" is the only appropriate contrast to "singing", but the result is that Hahn's sound is warm and lush and the resulting continuity allows longer phrasing that is not constantly chopped apart by excessive contrasts in technique.

If you never listen to a lot of Mozart, I think it's unlikely that this rather esoteric debate will affect your experience at all. I warmly recommend this recording as a great value for both its fabulous playing and the very generous and discriminating selection of sonatas included.

37 of 39 people found the following review helpful:

5.0 out of 5 stars One of the finer newer releases, January 9, 2006

By	Alan Lekan (Boulder, CO) - See all my reviews (TOP 1000 REVIEWER)    (REAL NAME)

With the 250th anniversary of Mozart's birthday in 2006, a new crop of Mozart recordings have been released, including many of his sonatas for violin and pianoforte. Among these are fresh recordings from Mark Steinberg/Mitsuko Uchida, Hilary Hahn/Natalie Zhu, Anne-Sofie Mutter/Lambert Orkis(Aug.'06), Andrew Manze/Richard Elgar and Rachel Podger/Gary Cooper - the latter two on period violin and period fortepiano. Depending on how one feels this music should be played will determine what most appeals to you. All of these new additions seemed to get mixed reviews from the music press. Often in these reviews, mention is made of the historic "Reference Recordings" - those superlative readings that set the standard. And in the case of Mozart's violin sonatas, we have the legendary works of Arther Grumiaux/Haskill and Szeryng/Haebler - both recorded in the 1970's - as well as Perlman/Ashkenazy. Grumiaux in particular of often cited as the standard for Mozart (for most critics) with his ever-smooth, elegant, galante manner and beautiful tonal coloration and equisite vibrato. Like the lead reviewer properly stated in the review on Rachel Podger's release, any artist undertaking such works as these best study the greats that have gone before them.

Out of these newer releases mentioned, the performance that seems to have heeded such advice is that of Hilary Hahn and Natalie Zu - whose readings exude "Mozart" the most clearly and approach the elegance and grace of the past legends. As much as I greatly admire Podger and Manze in the Baroque repertoire, I have to say their take on Mozart did not captivate me. However fans of theirs will likely find much to celebrate - and the fortepiano in those recordings certainly evokes the era of Amadeus.

While the lead reviewer can point out a few weaknesses that mainly professionals will mostly care about, the average listener will probably be thoroughly delighted in the sprightly interaction and appealing performances of this duo. Hahn is one of those performers who playing seems to eminate from her persona - that of a perfected, pure and angelic tone and line. Her violin sounds quite delectable as does the overall sound. Miss Hahn is always a treat to hear and her fans should adore these readings. Overall, I think she finds the right approach here and gives a winning perfomance. Mozart's music was a lot about perfection and poise (ie: classicism) and less about rubato and exentuation, and Hahn plays to that standard. Perhaps she could "loosen the reigns" somewhat at times and alter her shaping of the music, but with such gorgeous playing as hers, such criticism can quickly become irrelevant.

As Mozart often viewed these works more as "piano sonatas with violin accompanyment," it really should be the pianist more fronted in the billing. Equally a star in this CD is Natalie Zhu who brings great dexterity and a perky legato to the music and should be more noted. While I like the sound of the fortepiano can invoke images of Mozart himself, I have to admit I much prefer the modern grand Zhu plays here for its greater depth, richer timbre and wider range of expression. And there is a effortless, seamless partnership between these two musician-friends that is marvelous. So, altogether, this CD is a fine, fresh sampling of Mozart's many violin sonatas and worthy of addition to even a large Mozart collection. I never get tired of these pieces or performance. Uchida's CD is also gorgeous with slightly slower tempos and a very different, more "romantic" violin expression from Mark Steinberg with beautiful sound quality. Get both if you can. Compositions - 5 stars; Performance 5 stars; Sound quality - 5 stars.

15 of 17 people found the following review helpful:

5.0 out of 5 stars A Beautiful Recording!, November 14, 2005

By	Kenneth G. Nielsen (Portland OR USA) - See all my reviews (REAL NAME)

I grade my CD's based on how often I play them. I have not removed this recording from my CD player since I bought it. It just keeps becoming more enjoyable. Because of that, I rate this CD 5 stars and well worth it! This one has got to be one of Hilary's best. Power, brilliance and grace mark this entire recording. I have had the privilege of seeing Hilary and Natalie perform this music together so the CD also brings to life the memory of the flawless performances by these two on stage.

Highly Recommended.