Hilary Hahn -《莫札特:第5号小提琴协奏曲、魏欧当:第4号小提琴协奏曲》(Mozart - Vieuxtemps - Violin Concertos)[24bits 96KHz][FLAC]
DG 希拉蕊韩(HILARY HAHN)/莫札特:第5号小提琴协奏曲、魏欧当:第4号小提琴协奏曲(Mozart:Violin Concert No.5, Vieuxtemps:Violin Concerto No.4)【1CD】
☆帕佛‧贾维指挥 / 布来梅德意志内室爱乐管弦乐团
HAHN, HILARY [所有作品]
发行公司： DG [发行商品]
产品制造地： 欧美 .
发行类型： 乐团 . 小提琴 . 协奏曲 . 古典 . CD .
莫札特：第五号＆魏奥当：第四号小提琴协奏曲 Mozart : Violin Concerto No. 5&Vieutemp : Violin Concerto No / 希拉蕊韩 Hilary Hahn
Mozart:Violin Concert No.5, Vieuxtemps:Violin Concerto No.4
1. 莫札特：A大调第五号小提琴协奏曲《土耳其》，K. 219
Wolfgang Amadeus Mozart (1756 - 1791)
Violin Concerto No.5 In A, K.219
1. 1. Allegro aperto 10:10
2. 2. Adagio 10:06
3. 3. Rondeau (Tempo di minuetto) 8:47
Henri Vieuxtemps (1820 - 1881)
Violin Concerto No.4 In D Minor, Op.31
4. 1. Andante - Moderato 10:02
5. 2. Adagio religioso 6:17
6. 3. Scherzo. Vivace - Trio. Meno mosso 5:45
7. 4. Finale marziale: Andante - Allegro 8:36
Hilary Hahn, The Deutsche Kammerphilharmonie Bremen, Paavo Järvi
Total Playing Time 59:43
These are excellent performances, says Kimon Daltas, but does a disc of violin concertos by Mozart and Vieuxtemps really hang together as a coherent album?
Label: Deutsche Grammophon Classics
At only 35, American violinist Hilary Hahn has already been recording for nearly 19 years, so perhaps it’s no surprise she has explored some musical paths less well travelled. Her previous disc for Deutsche Grammophon featured 27 specially commissioned encores, and recently picked up a well-deserved Grammy. Here, in a more traditional concerto album, the core repertoire Mozart Violin Concerto No. 5 is paired with the rarely heard Vieuxtemps Concerto No 4.
The Belgian violinist and composer Henri Vieuxtemps is best known for his seven concertos, which show a level of ambition beyond just being showpieces for their prodigiously virtuosic creator. The fifth is the most symphonic in conception, with a weighty, four-movement structure and plenty of interest in the orchestral writing – indeed, there are fairly long passages where the soloist is silent. When it gets going, however, it offers a mountainous technical challenge for any violinist. Hahn tackles the avalanches of double stopping (and much besides) with impressive assurance and a muscular tone, while the slow movement’s operatic aria style brings out her warmth and lyricism. As Hahn writes in her sleeve note, her teacher Jascha Brodsky studied with Ysaÿe, who was a student of Vieuxtemps himself, and she does this musical lineage proud indeed.
The Mozart concerto, known as the ‘Turkish’, retains its ability to surprise and delight throughout with typical elegance and invention, but especially in the final movement’s sudden change into an oriental dance, with clattering bows on strings and other ‘special effects’. Orchestra and soloist both attack it with gusto.
The connection between the works is a personal one for Hahn, she explains in her sleeve notes, as they were both works she learnt when she was ten and has kept in her active repertoire ever since. That doesn’t make this hang together as an ‘album’ as such, but as individual performances and recordings, they are top notch.
Artists: Hilary Hahn (violin), Deutsche Kammerphilharmonie Bremen/Paavo Järvi
Kimon Daltas is the editor of Classical Music magazine.
Orchestra: The Deutsche Kammerphilharmonie Bremen
Conductor: Paavo Järvi
Composer: Wolfgang Amadeus Mozart, Henri Vieuxtemps
Audio CD (March 31, 2015)
Number of Discs: 1
Label: Deutsche Grammophon
Average Customer Review: 4.9 out of 5 stars
Release Date February 25, 2015
AllMusic Review by James Manheim [-]
Violinist Hilary Hahn was one of a crop of teen violin prodigies who emerged in the late 1990s. Thirty five years old when this album appeared in 2015, she seems to have made the transition to maturity better than any of the others. The rather odd pairing of Mozart's Violin Concerto No. 5 in A major, K. 219, with the little-known Violin Concerto No. 4 in D minor, Op. 31, of Henri Vieuxtemps is explained by Hahn as personal: she learned both works early in her education. As it happens, she welds the two works together into a program that might have been heard in Paris in 1880, and her playing has the same distinction. Hahn turns the Mozart into a kind of curtain raiser, with the gentle introduction of the violin soloist in the first movement used to display the breathtaking purity of tone of this musician who is the last student of Ysaÿe and carries a deep sense of tradition in her playing. The Mozart hints at wonders to come, and indeed they are here: the four-movement Vieuxtemps concerto is filled with incredible virtuoso challenges married to a quasi-symphonic form. The way the first movement sets up a strong thematic contrast between an almost pastoral opening and a stormier second subject group, and then lets the violinist transcend this contrast, is superb; it would not work without an absolutely top-notch player, and that is what Hahn has become. She gets able, alert support from the Kammerphilharmonie Bremen under Paavo Järvi, and the only thing that's just adequate is the sound: the program wasn't recorded all at the same time or place (although Hahn has clearly thought it through as an entity), and the splice is audible.
Violin Concerto No.5 In A, K.219
Composer：MOZART, WOLFGANG AMADEUS／MOZART
Symphony：DEUTSCHE KAMMERPHILHARMONIE BREMEN
2. Violin Concerto No.4 In D Minor, Op.31
Symphony：DEUTSCHE KAMMERPHILHARMONIE BREMEN
Hilary Hahn releases Mozart 5, Vieuxtemps 4 – Violin Concertos on Deutsche Grammophon on March 31
“Without a doubt, she is the most complete, perfect, and intelligent interpreter of her instrument so far in the 21st century.” – El Mundo
Hilary-Hahn-Mozart-5Hilary Hahn’s newest album, Mozart 5, Vieuxtemps 4 – Violin Concertos, is her first recording with The Deutsche Kammerphilharmonie Bremen and Paavo Järvi, after performing and touring with the ensemble and conductor for many years. The disc releases on March 31, and is Hahn’s first orchestral offering since her 2010 pairing of Tchaikovsky’s violin concerto and Jennifer Higdon’s Pulitzer-prize winning violin concerto, which was written for Hahn. With this new album, she returns to core violin repertoire, hot on the heels of her critically-acclaimed, Grammy-winning album of 27 commissioned short pieces, In 27 Pieces: the Hilary Hahn Encores, and an improvised recording with prepared pianist Hauschka, titled Silfra.
Mozart 5, Vieuxtemps 4 also brings Hahn full circle, after more than three decades of violin playing, to two concertos that have been part of her repertoire since she was ten years old. Vieuxtemps’s Violin Concerto No. 4 was the last large piece she learned with Klara Berkovich, her teacher from ages five to ten. Several months later, Mozart 5 was the first concerto that Jascha Brodsky taught her at the Curtis Institute of Music. Berkovich began her violin studies in Odessa and went on to teach in St. Petersburg (then Leningrad) before emigrating to the States. Brodsky was one of the last pupils of the legendary Eugène Ysaÿe, who, coincidentally, was a star student of Vieuxtemps, making Vieuxtemps Hahn’s musical great-grandfather in the violinist family tree.
Both concertos are part of Hahn’s active performance repertoire, and both were written by composers who were violin virtuosos in their own right. Hahn writes, “It’s fun to delve into [Mozart’s] ingenuity and emotional directness, his writing speaking directly to listeners while performers delight in his myriad clever phrases. As a result, Mozart improves moods; when I look around the stage at people playing his works, I always see smiles.” On this recording, Hahn plays the cadenzas by Hungarian violinist Joseph Joachim.
Like Mozart, Vieuxtemps initially learned violin from his father and toured Europe as a prodigy. When he wrote Concerto No. 4, he was living in St. Petersburg, where he was a court violinist to Tsar Nicholas I and taught violin at the Conservatory. “This concerto is operatically lyrical and demands flexibility, panache, focus, a flair for drama, and chamber-music-style unity even in its most symphonic dimensions,” Hahn explains.
Of the collaboration for this album, Hahn writes, “One of my favorite things about working on a piece over many years is the chance to experiment broadly with expression, concepts, and technique — on my own and with my colleagues. When those colleagues have been musical partners for a long time, as is the case with Paavo Järvi and The Deutsche Kammerphilharmonie Bremen, our shared access to the imaginative aspects of music is immediate and honest. Trying a new idea is as natural as breathing, and challenging each other’s musical inclinations is like conversing with your oldest and closest friends.”
WOLFGANG AMADEUS MOZART (1756–1791)
Violin Concerto No. 5 in A major K 219
1. Allegro aperto
3. Rondeau: Tempo di Menuetto
HENRI VIEUXTEMPS (1820–1881)
Violin Concerto No. 4 in D minor op. 31
1. Andante – Moderato
2. Adagio religioso
3. Scherzo: Vivace – Trio: Meno mosso
4. Finale marziale: Andante – Allegro