希拉蕊．韩Hilary Hahn (小提琴)
马利纳Sir Neville Marriner (指挥)
圣马丁室内乐团Academy of St Martin in the Fields
希拉蕊．韩 / 布拉姆斯&史特拉汶斯基小提琴协奏曲
Hilary Hahn/Brahms, Stravinsky：Violin Concertos
进口专辑 / CD / 1 片装
One particularly interesting thing about this performance is that, as she implies in her notes, she plays the opening Toccata much faster than any recorded performance and closer to the tempo indicated in the score than Stravinsky does in his own recorded performance with Stern. Hahn/Marriner do it in 4:51 and Stern/Stravinsky take 5:35. The effect is that Hahn's performance scampers and swaggers, while Stravinsky's, although it does strut, has more of a metronomic, plodding pace to it that reminds me of nothing so much of the way Klemperer took the Scherzo in Beethoven's Ninth Symphony. Interesting, even canonic, in Stravinsky's case, but somehow not ideal. I say this in spite of the fact that I mostly forego the search for ideal performances in favor of appreciating what is good and distinctive about real ones.
The middle movements, Arias 1 and 2, are more spiky in the Stern/Stravinsky and more lyrical, even soaring, with gentle strength, in Hahn/Marriner. The second Aria is nearly a full minute longer in the latter. (6:07 compared with 5:10.) The other two movements are of equivalent length in the two performances, but the approach and effect is different: Hahn's Capriccio is lively and youthful; Stravinsky's is more sassy, but at the end of the movement, as at the beginning of the concerto, Stravinsky's tempo makes the rhythm sound four-square. Marriner's rhythms toward the end are slashing, reminiscent perhaps of the younger Stravinsky.
For a long time I accepted the notion that there is a chasm between early Stravinsky and the neo-classical Stravinsky. Actually, his characteristic approach to rhythm and harmony are remarkably comparable throughout his career. Some of the differences are a matter of smaller forces he used after his first period. I wonder how much also is a matter of the advanced age at which he recorded his works in later years and whether this slowed him down.
Smaller forces are one notable facet of the Brahms recording here. To my ears, they are sufficient, even refreshing (and bravo to the woodwinds in the slow movement.) In contrast, the larger forces of, say, the Chicago Symphony in the Pearlman/Giulini recording, add power in the tuttis and a greater weightiness to the effect generally, but I am not sure that is really needed in this work. At any rate, I find that I like this performance quite a lot more than I expected to, given the reservations I have often had about Marriner and given the restrained nature of Hahn's performance in the Barber Concerto (noted in my review of Sony 89029). Aside from that, there is little I feel a need to say about this very pleasurable performance of the Brahms. It is beautiful, and I expect to return to it often.
I have high regard for Hahn's musicianship. Aside from her exceptional technical ability, what she says about her self-directed exploration of scores alone suggests that she is unlikely to burn out and likely to develop a wide repertoire. Some of that repertoire is likely to be totally new, judging by Sony's commissioning of Edgar Meyer's delightful concerto. I would love to see further commissions, starting perhaps with concertos by Melinda Wagner, who won the Pulitzer prize a couple of years ago (Bridge 9098), Libby Larsen, Daniel Asia, and Christopher Rouse.
Copyright © 2003, R. James Tobin
Label: Sony Classical - http://klassik.sonymusic.de/
Serial: SS 89469
Title: Brahms/Stravinsky: Violin Concertos - Hilary Hahn
Description: Brahms/Stravinsky: Violin Concertos
Hilary Hahn (violin)
Academy of St. Martin in the Fields
Sir Neville Marriner (conductor)
Track listing: 1-3. Brahms: Concerto for Violin and Orchestra in D Major, Op. 77
4-7. Stravinsky: Concerto for Violin and Orchestra in D
Total Time: 61:25
Genre: Classical - Orchestral
Media: Single Layer
Recording type: DSD
Recording info: Producer: Thomas Frost
Recording Engineer: Richard King
DSD Engineer: Andrew Halifax
Assistant Engineers: Andrew Granger, Jake Jackson
Post-Production Engineer: Andreas Meyer
A&R Manager: Susanne Schmidt
Recorded at Air Studios/Lyndhurst Hall, Hampstead, London February 25, 2001 (Stravinsky) & June 13-14, 2001 (Brahms)
Note: An earlier Dual Layer pressing caused a problem with some Marantz players.
Orchestra: Academy of St-Martin-in-the-Fields
Conductor: Neville Marriner
Composer: Brahms, Stravinsky
Audio CD (December 4, 2001)
Please Note: Requires SACD-compatible hardware
Number of Discs: 1
Format: Super Audio CD - DSD
Average Customer Review: 5.0 out of 5 stars
Release Date November 13, 2001
AllMusic Review by Blair Sanderson
One of the most technically accomplished young musicians, Hilary Hahn is also ambitious. Performing Johannes Brahms' violin concerto at age 21 is a serious-minded choice, since this piece has acquired a reputation for being appropriate for mature artists. Hahn removes that dubious impediment by playing it on her own terms, with new ears, and by taking no heed of pretensions imposed on this masterpiece. All the fire and yearning are here, the chief characteristics of Brahmsian romanticism. However, Hahn has the intelligence and sensibility to keep her interpretation within classical bounds. Although she pushes the envelope just once -- her drawn-out cadenza in the first movement seems a little self-indulgent -- she maintains a high degree of control throughout. Her second-movement entrance, following the long oboe solo, is seraphic, perhaps the concerto’s most moving passage. The finale is a pure delight, Hahn’s shining moment as a virtuoso. Neville Marriner and the Academy of St. Martin-in-the-Fields provide a radiant accompaniment to support Hahn’s glorious tone. If balance is the rule here, then they are all playing from the same score. The sound of this performance is terrific, and the violin’s central placement is natural and uncontrived. Igor Stravinsky's Violin Concerto is notorious for its demands on the soloist, who must grab awkward quadruple stops, octaves, and harmonics, yet make them seem effortless. This piece is well-suited to Hahn’s skills, and still more to her classical instincts, since it is never expressively overwrought. It takes a considerable intellect to grasp the complexities entailed in the music’s quirky changes and to make them cohere. Hahn has given a unified interpretation, even when the music seems to resist her by denying expectations at every turn. The work’s wry humor never becomes sarcasm, though the proceedings get fairly heated in the first movement, where Hahn is most focused. She does the best she can with the enigmatic material of the second movement, which disconnectedly meanders between painful reflection and ironic commentary. The elegiac third-movement aria is poignant, yet austere, and challenges Hahn to convey emotion with detachment. The fast finale employs the most virtuosic passagework and displays the rhythmic dynamism that never failed Stravinsky. Hahn pulls it all off with great panache. Sound reproduction is excellent here, marred only by someone’s audible exertions.
Johannes Brahms: Violin Concerto in D Major, Op. 77
1. I.Allegro non troppo
2. II. Adagio
3. III. Allegro giocoso, ma non troppo vivace
Igor Stravinsky: Violin Concerto in D Major
5. II. Aria I
6. III. Aria II
7. IV. Capriccio