It’s a cliché to compare an entertainer passing through a big cycle of works to a “journey”, yet Hilary Hahn’s set of Eugène Ysaÿe’s 6 unaccompanied violin sonatas achieves specifically that. Her uncomplicated virtuosity, her combination of structure and spontaneity, her broad combination of subtleties, her generous yet regulated and wisely variegated usage of vibrato and present for characterization all aid to bring vibrant life and implying to these works.
To hear what I imply, compare, for instance, the strength and uniqueness of Hahn’s expression of the double drop in the Sonata No. 1 ending to Ilya Kaler’s etude-like performance, or her very first motion’s unstable foundations in contrast to James Ehnes’ classical reserve. Her painstakingly-voiced second-movement Fugue sounds as if it’s emerging from 2 instruments and 2 gamers.
If I choose Tai Murray’s brisker and suppler technique to the Second sonata’s very first motion (significantly in the vibrant contrasts in between the quotes from Bach’s E significant Prelude and Ysaÿe’s rejoinders), Hahn’s somewhat slower pacing of the relentless toccata-like writing allows her to make the author’s slurs, accents, and staccato marking even more unique. The significant animation with which she forms the third-movement variations “Dies irae” pizzicato opening remains in a class by itself. Nor does she keep back in the regularly played Third sonata; her efficiency might be the most definitive, proficient, and meaningful because the timeless Michael Rabin and David Oistrakh recordings.
Hahn likewise enjoys the ferocity in the Fourth sonata’s opening Allemande in manner ins which leave her more actual rivals in the dust. In the Sarabande she honors Ysaÿe’s ask for pizzicato expression with vibrato, which leads to more profile to the lower lines than one normally hears. Maybe the Fifth sonata is the most musically innovative and initial of the 6. In the opening L’Aurore, Hahn’s extra vibrato and biting “nation fiddler” tone in long continual expressions supply disconcerting and efficient contrasts to the left-hand pizzicatos. She remarkably integrates gravitas and desert in the concluding Danse rustique, although Tai Murray’s faster pace and clearer-cut expression delineation probably comes closer to the author’s “giocoso” regulation.
For No. 6’s unabashed and compelling pyrotechnics alone, Hahn’s take-no-prisoners self-confidence will keep aiming young violinist hotshots modest for years. That stated, the young Frank Peter Zimmermann’s technically similar yet less relentless Warner Classics tape-recording is a bit much easier on the ears, however if Hahn wishes to carry Heifetz’s ghost, so be it!
I took pleasure in checking out Hahn’s wonderful brochure keeps in mind about how this task came together, and you will too. Hahn’s Ysaÿe cycle benefits leading honors along with Murray, Zimmermann, and Oscar Shumsky, and take advantage of exceptional engineering. Enthusiastically advised.
