Artist-in-residence at Radio France for the 2018/19 season, Hahn spoke to France Musique about recording Bach and how her approach to his sonatas and partitas has evolved since her teens. The standing ovation she received was explosive and thunderous. People are visual when they attend a performance. The audience agreed. "Vous recherchez une œuvre entendue sur une Webradio ? Also, there’s stylistic stuff that doesn’t fall into the interpretative category that might be specific to each composer.For example, one composer on the project would write Another composer wrote extremely technically challenging music. It’s coming from our world. It was the only time in my life I said, ‘I want that girl!’”At eleven, she gave her first concert as a soloist with a major symphony orchestra. Then after resolving the injury, "I started back on the 1864 Vuillaume. 1 in B minor. You can drift, you can doubt yourself, you can be passively listening to yourself, you can be picky about being onstage by yourself for a long time. For example, when choosing how fast to play a movement, "I think the primary consideration should be, does it feel like a natural pace, does it feel comfortable, is it suiting the music, what am I conveying when I play this tempo? Hahn applauded us back, placed her hand to her heart, mouthed thank you, bowed, and briskly left the stage. It's no stretch to state that Bach's six Sonatas and Partitas are some of the most beloved and revered works in the violin repertoire. That’s really rare.I’m not a musicologist, I’m not a philosopher. That can be pretty daunting.The first time I gave a recital, it was a home concert. I can take all the time I want, I can speed up all of a sudden, I can just follow a train of thought and zone out of everything else. I can Also, for encores, I go that way. Actually,” he said, “I like how you’re doing it. I don’t listen to something to see if I like it or not.
In instrumental music, there are no words, just the notes. It’s fine and even good to not like a modern piece of music. Composed specifically for Hahn, the concerto contains nods to Curtis—the first movement, titled "1726," is the school's Philadelphia address—and to musical individualists befitting Hahn's personality (look for knitting needles in the percussion section). Half of the time, they’ll say, “This is what I meant” or “this is what I probably meant.” If they’re not concrete on any level, the conversation can still lead you to an answer.People search for music history in biographies and in composers’ letters to friends or partners or anyone. {"xtn2":3,"xtpage":"Article::article_-_Interview_-_Hilary_Hahn_and_Bach_a_lifelong_passion","x4":13,"x5":"[Musical_Knowledge]","x6":"[Leopold_Tobisch]","x7":"[Interview_-_Hilary_Hahn_and_Bach_a_lifelong_passion]","x10":"20181012","x11":"20200122","x12":"[France_musique]","x14":"[texte|video]","x15":"[Musical_Knowledge]","x16":"[90977e97ce31a28c45ff80d68f961fc99cda4d96]","xt_multc":"","xt_an":"","xt_ac":"","xt_mtcl":"","xt_npg":"","atinternet_share":"Partages::Article::Interview_-_Hilary_Hahn_and_Bach_a_lifelong_passion","atinternet_podcast":""} So that is the one that I play for the most part now, the 1865 Strad model." "That's what happens to me! We can only imagine—and I’m speaking from a privileged perspective. So she booked another recording session in the same hall, and with that on the calendar, she finally opened the older files. I was thinking to myself, There are good mechanisms when you work with other people. When you’re listening to it, you get drawn in but when you’re playing it you have to structure it, you have to think about the big picture and the small picture at the same time. Put an ellipsis at the end of a line and it can change the whole line’s meaning. You spin into a whole connected world with everyone who is in the same room. "She immediately grabs attention to draw people in, and it's really quite a tour de force," Hahn adds. A great interview, humble, knowledgeable… and sublime.What beautiful remarks and honest questions. It’s basically a theme and variations, but the theme is a chord progression, and variations are anything within that chord progression. So it becomes an almost lifelong quest to delve deeper, and do better, and play it better, and make a better interpretation, and become more ‘_I have a photo from one of the baby concerts where I’m playing, and most of the babies are quiet and calm. She also uses a gold-mounted Tubbs bow.
Masterful. Love the description of Bach’s “18 minutes of human forsakenness.”Emily Fragos always intuit the artist she interviews.What a pleasure to find such rapport in an interview. She kept her date, and she re-recorded the whole thing. You don't have to go to the music, the music comes to you -- but then it takes you somewhere else with it. The American violinist Hilary Hahn has never forgotten her first love: Bach. "For me, this recording is sort of an arc," Hilary said.
I suppose she wanted to hear what it was about, but it can be whatever you want it to be. Helped me see how a musician thinks and feels in interpreting and performing that mix of the “analytic and sublime.”When a talented and accomplished poet engages a talented and accomplished musician in conversation the resulting interview is another form of art. I didn’t feel compelled to like it. They’ll pull out the score, get back in the zone, and try to remember. It’s a beautiful thing. "If I hadn't had that, I don't think I would have had the same context [in programming]. If you want that strict mathematical tempo relationship, "you really can't control the performance to that extent, you'll just wind up tangling up, I think," Hilary said. "I think that's good advice in general," Hilary said.
At seventeen, she recorded three of Bach’s six sonatas and partitas, the touchstone of the violinist’s repertoire and the measure by which soloists and composers alike measure themselves. "Then I realized that a few years had passed since I did that series of sessions, and I thought, where does the time go? "First, I was ready to play on that violin.
Recevez chaque vendredi le meilleur de France Musique !En cliquant sur « je m’abonne », j’accepte que les données recueillies par Radio France soient destinées à l’envoi par courrier électronique de contenus et d'informations relatifs aux programmes.Le Mexique, la Musique et le Monde (32/40) : A la croisée des cheminsConcertos pour piano et orchestre n°3 et 4 de Beethoven par David Kadouch, Jonas Vitaud et le Quatuor Ardeo Jazz sur le vif : Cécile McLorin Salvant & Sullivan Fortner (2/2)Le chant pour aider les malades du coronavirus à guérir Sixième volet de l'Intégrale des 32 sonates pour piano de Beethoven en direct de La Roque d'Anthéron Passage des arts : la grande soirée du piano au Festival de La Roque d'Anthéron, le samedi 15 août 2020 40e Festival International de Piano de La Roque d'Anthéron du 1er au 21 août 2020 12e édition du Festival Les Pianos Folies au Touquet-Paris-Plage du 14 au 20 août 2020 22ème édition du Festival Bach en Combrailles les 15 et 16 août 2020 Musique à la source, festival international de musique en Creuse - du 8 au 15 août 2020 Festival International de Belle-Île : Lyrique-en-mer, Concerts d’été du 3 au 13 août 2020 11e édition du Biarritz Piano Festival du 3 au 11 août 2020 Les Impromptus - La Cité de la Voix, Vézelay - du 11 juillet au 15 août 2020 France Musique partenaire des festivals d'été 2020 [Antenne] Le Festival France Musique du 29 juin au 21 août 2020Recevez chaque vendredi le meilleur de France Musique !
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