JOHANN SEBASTIAN BACH
No. 1 BWV 1041 · No. 2 BWV 1042
Konzert für Violine und Oboe
Concerto for Violin and Oboe BWV 1060
Doppelkonzert · Double Concerto
Margaret Batjer · Allan Vogel
Los Angeles Chamber Orchestra
Jeffrey Kahane
JOHANN SEBASTIAN BACHViolinkonzerte · Violin Concertos No. 1 BWV 1041 · No. 2 BWV 1042 Konzert für Violine und Oboe Concerto for Violin and Oboe BWV 1060 Doppelkonzert · Double Concerto Hilary Hahn Margaret Batjer · Allan Vogel Los Angeles Chamber Orchestra Jeffrey Kahane Int. Release 01 Sep. 2003
1 CD / Download
0289 474 1992 1
트랙리스트
Johann Sebastian Bach (1685 - 1750)
Violin Concerto No. 2 in E Major, BWV 1042
Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane
Double Concerto for 2 Violins, Strings, and Continuo in D Minor, BWV 1043
Hilary Hahn, Margaret Batjer, Los Angeles Chamber Orchestra, Jeffrey Kahane
Violin Concerto No. 1 in A Minor, BWV 1041
Hilary Hahn, Los Angeles Chamber Orchestra, Jeffrey Kahane
Concerto For 2 Harpsichords, Strings, And Continuo In C Minor, BWV 1060
Arr. for violin, oboe strings & continuo
Hilary Hahn, Allan Vogel, Los Angeles Chamber Orchestra, Jeffrey Kahane
총 재생시간 57:19
Hahn is an American violinist of fearless instincts, eager to tackle everything from Bach to Barber and beyond . . . Hahn . . . never fails to dazzle in performance.
. . . her musicality and feeling for Bach . . . is so genuine that she can not be expected of merely showing off. In these concertos, her first for the Deutsche Grammophon label, her flawless technique, beautiful tone, and restrained noble expressiveness are on full display.
Violinist Hilary Hahn, a modern instrumentalist to the core, shows a stunning grasp of Baroque style on her new recording of Bach concertos. Her playing is wonderfully alive in phrasing and rhythm, and she and her colleagues are alert to matters of tempo . . . balance and articulation. Hahn's infectious artistery spills over to her fellow soloists.
The booklet features an engaging foreword by Hahn herself, stressing the 'unique sense of community inherent in Bach's music'. She and her colleagues play it like that too, with superb technical class, plus an emphasis on unflashy interplay and poise that appeals strongly.
Especially when faced with music at this exalted level, it is not very often that a recording achieves and sustains such sublime standards. Technically speaking the playing on this disc is virtually beyond criticism. Hilary Hahn's dead-centre intonation, tonal purity, deftly articulated bowing, dynamic control, subtle use of vibrato and portamento, and control of the violin's natural resonances are such that one can only sit and listen in amazement at this astonishingly gifted 24-year-old.
Hilary Hahns absolut sichere Intonation, die Tonreinheit, die geschickt artikulierte Bogenführung, die Kontrolle der Dynamik, der subtile Gebrauch von Vibrato und Portamento sowie die Kontrolle der natürlichen Resonanz des Instruments sind von einer Art, dass es einem den Atem verschlägt und man dieser ungeheuer begabten 24-Jährigen nur noch wie gebannt lauschen kann. L¿intonation parfaite de Hilary Hahn, sa pureté sonore, l¿habile articulation de ses coups d¿archet, sa maîtrise dynamique, son emploi subtil du vibrato et du portamento, et le contrôle des résonances naturelles du violon sont tels qu¿on ne peut que s¿asseoir et écouter avec émerveillement cette jeune musicienne de vingt-quatre ans étonnamment douée.
Hahn's feeling for Bach's dance rhythms is strong and infectious, as she demonstrates with technical brilliance in the closing movements of the A minor Concerto . . . Hahn and the ripieno strings of the Los Angeles Chamber Orchestra under the spirited direction of Jeffrey Kahane inflect the music incisively and punctuate it in a manner that makes the most of Bach's animated dialogue. It is in the limpid phrasing and delicately wrought nuances of the slow movements, though, that Hahn's distinctive sensibility is at its most beguiling. The melodic lines are effectively shaded and notes are placed with consummate delicacy . . . An outstanding release.
In short, the broad principles of Hahn's approach, her expressive agility, intelligence and natural feel for musical line, "do" Bach proud.
. . . Hahn's new set is something special. With her honey-smooth tone and rhythmic finesse, Hahn brings a refreshing buoyancy to these works.
Hilary Hahn's début recording of several of Bach's solo Sonatas and Partitas revealed a remarkable mature musical sensibility as well as a gigantic technical assurance . . . Unlike more mannered performances, which almost certainly will sound dated in a few decades, hers promise to reveal their virtues enduringly through repeated listening now and in the future. Recommended for the long haul.
In her first, astounding CD six years ago, the then-teenager wowed the world with amazingly mature performances of some of the solo Bach partitas. Now 23, Hahn has recorded the complete Bach violin concertos for DG, and the result is nearly as spectacular.
There is much to praise -- her bright, propulsive, fluid and accurate playing, and her vision . . .
Es gibt vieles zu rühmen ¿ ihr strahlendes, vorwärtsdrängendes, flüssiges und exaktes Spiel, ihre Vision. Il y a beaucoup à louer ¿ son jeu brillant, énergique, fluide et précis, et sa vision.
. . . It is simply spellbinding.
This is Bach with singing lines, full of life, elegant rallentandi halting the motoric flow . . . This is Bach seen from a very different perspective . . . Exhilarating Hilary . . .
Nein, sie leistet sich keine emotionalen Ausbrüche, keine Manierismen, keine Schwelgereien, kein Barock-Kitsch. Hilary Hahn spielt nur: streng, akkurat, fast protestantisch. Bach eben. Emotionslos ist das nicht. Sie treibt die Violinkonzerte auf iher neuen CD (mit dem Los Angeles Chamber Orchestra und Jeffrey Kahane, DG) mit Dynamik voran, vibriert im Subton des Understatements und lässt die raffinierten Formen Bachs offen stehen. Zum Nachhorchen. Noten pur. "Ich spiele einfach", sagt Hahn gern, wenn sie nach ihren Interpretationen gefragt wird. Die Unschuld ist ihre wahre Größe.
Die Aufnahme ist sehr dicht und kompakt, ohne dabei die nötige Leichtigkeit vermissen zu lassen. Hilary Hahns Spiel ist ausdifferenziert und zeugt von einem großen Verständnis der Musik Bachs.
Endlich mal wieder eine ernstzunehmende Einspielung jenseits der "historisierenden" Darmsaiten-Kargheit. Die noch immer sehr junge Amerikanerin Hilary Hahn (Jahrgang 1979) etabliert sich nach exzellenten Darstellungen der klassisch-romantischen Standards jetzt mit dem barocken "Meister der Meister" Bach endgültig in der ersten Liga. ... Überhaupt, ihr Ton: In seiner mal breiten Fülle, mal sprudelnden Frische, mal verhalten verschattet, mal kräftig aufblühend, passt er sich perfekt den unterschiedlichen "Stimmungen" (oder Redeweisen) der stark an Vivaldi angelehnten Konzerte an. Selten hört man die Kopfsätze des a-Moll und des E-Dur-Konzertes so deutlich anders gefärbt. Schnell fällt der auch auf der G-Saite der Vuillaume-Violine (1864) markant-saubere Ton auf. In nie überzogenen Tempi lässt die Brodsky-Schülerin die Melodien fließen, ohne mit zuviel Überbinden romantische Langeweile zu verbreiten oder mit krampfhaft abgesetzten Tönen nervös zu stammeln. Das hat eine innere Logik und klangschöne Stabilität, die an die ganz Großen erinnert.
Eine innige, gereifte Interpretation der amerikanischen Solistin, die den Vergleich mit Größen wie Gidon Kremer oder Isaac Stern keineswegs zu fürchten braucht.
Das Bach-Spiel dieser jungen Weltklasse-Geigerin fasziniert gerade dank einer Balance von Spontaneität und Beherrschtheit. Makellos auch das Zusammenwirken mit dem Los Angeles Chamber Orchestra, sowohl in bezug auf die technische Perfektion als auch auf die geistige Durchdringung des Stoffes.
. . . die Essenz des Geigenspiels . . .
Violin-Solistin Hilary Hahn spielt die "Bach Concertos" spritzig und leichfüßig, legt hauchzarte Melodien über den sonoren Orchesterklang.
...ernsthaft und nicht zu süß ist ihr Spiel auf dem Album...
Ses mouvements vifs possèdent beaucoup d'allant et de luminosité et l'on oublie parfois la tonalité mineure de certains d'entre eux (preuve, s'il en était besoin, que "mineur" ne signifie pas forcément "triste" ou "nostalgique"), et elle joue superbement les mouvements médians des BWV 1041 et BWV 1042.
Alors, pourquoi cinq Diapason? Parce que l'on rest pantois devant ce violon si sain, qui méprise les effets de manche et assume des tempos prestissimes sans rien truquer, devant cette main gauche toujours sûre, toujours en "plein dans le mille", devant cet archet qui ne se crispe sur aucun trait (pas même dans la Gigue du La mineur et ses bariolages !), prodigieux de souplesse et de mordant (on pense plus d'une fois à Heifetz), devant cette sonorité limpide, homogène.
Because the listener is left speechless by such unaffected violin playing, by playing that eschews all dramatic effects and manages the fastest tempos without ever fudging, by a left hand of such total security, always right in the centre of the note, by bowing that never tenses up on any stroke . . ., tremendous in both suppleness and bite (one thinks more than once of Heifetz), by such limpid, homogeneous tone. Weil man völlig verblüfft ist angesichts dieses geradlinigen Geigenspiels, das wohlfeile Effekte verachtet und die schnellsten Tempi nimmt, ohne etwas zu verwischen, angesichts dieser stets absolut sicheren linken Hand, angesichts dieser Bogenführung, die an keiner Stelle verkrampft wirkt . . ., ein Wunder an Geschmeidigkeit und Energie (mehr als einmal kommt einem Heifetz in den Sinn), angesichts dieses reinen, homogenen Tons.
Hilary Hahn s'impose à chacun de ses nouveaux enregistrements comme une très grande dame du violon. ... Hilary Hahn est dotée, par-delà une incroyable technique, d'une musicalité hors pair. ... alors que l'abondante discographie de ces oeuvres ne connaît que très peu de versions lumineuses, que ce soit sur instruments modernes ou selon un jeu «à l'ancienne», voici la version qui ravira tout le monde! ...Hilary Hahn provoque un engouement si communicatif que le triomphe final, pour ce disque marquant son entrée chez DG, est éclatant. L'accompagnement orchestral est d'ailleurs au diapason, privilégiant une pulsation très dansante et offrant un tremplin à la moindre intervention de la soliste. Une grande référence moderne de ces oeuvres, en priorité pour les BWV 1041 et 1042.
. . . magnífica interpretación de Hahn (sin duda, ya, una de las grandes) [Mozart]
. . . su sonido es brillante y su técnica es tan segura como convincente . . . una madurez sorprendentemente precoz pues ya no impresiona al público y a la crítica por su juventud, sino por su talento musical más allá de su edad.
La violinista, sin embargo, ha evolucionado; especialmente en lo que se refiere al timbre, no tan afilado pero igual o más hermoso que antaño. Además de por el redondeamiento de los colores, los resultados se benefician asimismo de la conservación y aun incremento de la precisión rítmica, la justeza de los ataques, la solidez de las líneas, la seguridad de la afinación . . . una contribuci´n muy estimable a la discografiá bachiana.
El imparable ascenso de un talento ... "Ritmo" trae a su portada a una niña-prodigio que ya ha dejado de serlo; trae a un músico y a un instrumentista excepcional que contempla una perspectiva de enorme e ilusionante proyección futura. Que todos lo veamos.
Quello che colpisce è il suo suono sempre limpido e pulito, la sua tecnica assolutamente inappuntabile e la sua linea interpretativa sempre estremamente chiara.
Foreword Hilary HahnWhile I was warming up in a dressing room recently, a piece of artwork on the wall caught my eye. In the center was the following excerpt from T. S. Eliot: “... The past experience revived in the meaning / Is not the experience of one life only / But of many generations ..."
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1979 | Born on 27 November in Lexington, Virginia, USA. |
1983 | Moves to Baltimore at the age of three; first violin lessons in a local children's program one month before her fourth birthday. |
1985 | At five, begins five years of study in Baltimore with Klara Berkovich, a native of Odessa who had taught at the Leningrad School for the Musically Gifted for 25 years before emigrating to Baltimore. |
1990 | In February, gives her first full recital, at Leakin Hall in Baltimore. Enters the Curtis Institute of Music in Philadelphia at the age of ten to study with 83-year-old Jascha Brodsky, the last surviving student of Eugène Ysaye. Makes her first radio appearance, on classical WFLN-FM in Philadelphia. |
1991 | First engagement with a professional orchestra at the age of eleven; receives her first full-size violin; major orchestra debut with the Baltimore Symphony Orchestra in December. Grants her first television interviews. |
1992 | Appears on A&E's "The Gifted Ones." Begins full-time undergraduate studies at Curtis in music, liberal arts, and foreign languages. |
1993 | Debut with the Philadelphia Orchestra at the Academy of Music. European orchestral debut in Hungary with the Budapest Festival Orchestra. European chamber-music debut in France at the Festival of Sully-sur-Loire, with future recital partner Natalie Zhu. Crosses paths with a Jean-Baptiste Vuillaume violin from 1864 and falls in love with it, buys it shortly thereafter. |
1994 | Debuts with other leading American orchestras, including the Cleveland, New York Philharmonic, and Pittsburgh Symphony. |
1995 | German debut in Munich at the age of 15, playing Beethoven's Violin Concerto in a televised concert with the Bavarian Radio Symphony Orchestra under Lorin Maazel. Tours throughout Europe during the next three years in an exclusive arrangement with Maazel and the BRSO. Spends her first summer (of four) studying and performing chamber music at the Marlboro Music Festival in Vermont, USA. |
1996 | Her first recording featuring solo Sonatas and Partitas by J. S. Bach is released, winning a Diapason d'Or. Carnegie Hall debut with the Philadelphia Orchestra. Debut in the Berlin Philharmonie with the Bavarian Radio Symphony Orchestra. Performs in Bach's six Brandenburg Concertos with the Chamber Music Society of Lincoln Center in New York. Completes bachelor's degree requirements at the Curtis Institute. |
1997 | Teacher Jascha Brodsky dies at the age of 89, while Hilary is on tour in California. In October she makes her Paris debut with a recital in the Salle Olivier Messiaen. |
1998 | Makes her orchestral debut in Paris in January at the Salle Pleyel, playing the First Prokofiev Concerto with the Orchestre Philharmonique de Radio France under Marek Janowski. Her recording of Beethoven's Violin Concerto and Bernstein's Serenade with the Baltimore Symphony under David Zinman is nominated for a Grammy Award, crowned with a Diapason d'Or and, a few months later, an Echo Klassik Award. Makes tour appearances with the Bavarian Radio Symphony Orchestra in Vienna's Musikverein, London's Barbican Hall, and Zürich's Tonhalle; recital debuts in London's Wigmore Hall, Milan's Conservatorio Verdi, and Hamburg's Musikhalle. Appears on the "Harald Schmidt Show" on German television. |
1999 | Graduates from the Curtis Institute of Music with a bachelor's degree. Orchestral debuts with the Berliner Philharmoniker, Los Angeles Philharmonic, and San Francisco Symphony; concert at Carnegie Hall with the Orchestra of St. Luke's. Makes a five-week tour of Australia. Performs and records the violin concerto written for and dedicated to her by Edgar Meyer. |
2000 | Her 1999 recording of concertos by Barber and Meyer wins the Deutscher Schallplattenpreis and the Cannes Classical Award. Makes BBC Proms debut as featured soloist at the "Last Night" in London's Royal Albert Hall. Tours Japan with the Berliner Philharmoniker. European tours with the Academy of St Martin in the Fields and the Deutsches Symphonie-Orchester of Berlin. Makes her subscription concert debut with the London Philharmonic. |
2001 | Tours North America as soloist with the Amsterdam Royal Concertgebouw Orchestra. An autumn tour brings recitals in Pittsburgh, Seattle, New York, Hamburg, Brussels, Berlin, Madrid, Paris, Lisbon, Tokyo, and Osaka. Returns to Munich and Vienna as soloist with the Bavarian Radio Symphony Orchestra. Makes her debut appearances with the Hong Kong Philharmonic, Orchestre National de France, and Orchestra dell'Accademia Nazionale di Santa Cecilia in Rome. |
2002 | Signs an exclusive contract with Deutsche Grammophon and makes her first recording under this agreement, four concertos by J. S. Bach with the Los Angeles Chamber Orchestra conducted by Jeffrey Kahane. Recital debuts at Carnegie Hall and the Vienna Musikverein as part of a tour stretching from California to Istanbul. Return engagements with the Zürich Chamber and Bavarian Radio Symphony Orchestras. Her recording of concertos by Brahms and Stravinsky with the Academy of St Martin in the Fields wins the "Monde de la musique"'s Choc Award; a Grammy follows in 2003. |
2003 | North American appearances include the Los Angeles Philharmonic and the Boston, National, Seattle, St. Louis, Honolulu, and Milwaukee Symphony Orchestras. Four-week European tour with the San Francisco Symphony. In addition, she makes orchestral débuts in Lisbon and Barcelona and returns to the Frankfurt Radio and Danish National Symphony Orchestras. Her album of Bach concertos will be released in the autumn. Her next CD for Deutsche Grammophon will be recorded in London: Elgar's Violin Concerto and Vaughan Williams's "The Lark Ascending", with Sir Colin Davis conducting the London Symphony Orchestra. |
Johann Sebastian Bach was renowned as a keyboard virtuoso, but he was also a skilled violinist. His father, Johann Ambrosius Bach, had been a professional violinist in Erfurt and Eisenach (where Johann Sebastian was born), so our composer surely grew up with the sound of that instrument in his ear. It was as a violinist that Sebastian obtained his first professional appointment, at Weimar in 1703, and when he died 47 years later in Leipzig, he left in his estate a violin built by Stainer - probably the luthier Jacob Stainer whose instruments remain prized today. In 1774, Bach's son Carl Philipp Emanuel recalled of his father: “From his youth up to fairly old age he played the violin purely and with a penetrating tone and thus kept the orchestra in top form, much better than he could have from the harpsichord. He completely understood the possibilities of all stringed instruments."
Bach supplied the violin repertoire with surpassing masterpieces, including eight sonatas with harpsichord accompaniment, six works for unaccompanied violin, obbligato parts in his cantatas and passions, and a handful of concertos. The violin plays an important solo role in three of the Brandenburg Concertos as well as in the Triple Concerto in A minor for flute, violin, and harpsichord BWV 1044. But his essential works for solo violin and orchestra are the four concertos presented on this recording.
Composing orchestral music was not really a principal focus of Bach's work. From 1717 to 1723 he was in charge of secular music for the court at Cöthen, but the 13-member instrumental ensemble available to him there fell short of what we would consider a modern orchestra. Thus his ostensibly orchestral pieces of the period, such as the Brandenburg Concertos and perhaps three of these violin concertos (BWV 1041-43), still stand with one foot firmly in the realm of chamber music. The ensemble supporting the soloist(s) consists here only of strings, with a harpsichord to realize the continuo line. In this connection Hilary Hahn has remarked: “All of Bach's music is chamber music, whether it's written for a solo instrument or a large ensemble. In solo works the performer creates chamber music on one instrument, by balancing and phrasing many different lines at once. On the other hand, when more musicians are involved, the chamber-music structure is more standardized, and interpretations are formed through interaction with the other instrumentalists."
In 1723 Bach moved to Leipzig, where his time was largely given over to composing and directing sacred music. But between 1729 and 1741 he also found time to direct the city's Collegium musicum, a semi-professional assemblage of students and music lovers who met regularly at Zimmermann's coffee house - or, in the summer, in its outdoor garden - for instrumental music making. Now Bach had an ongoing need for concerto repertoire, and accordingly he dipped into his own back-catalogue to resurrect works he had written in Cöthen years earlier. In some cases he refashioned them into versions that spotlighted the Collegium's specific forces.
Scholars have traditionally maintained that BWV 1041-
43 were composed in Cöthen and revived for the Leipzig Collegium musicum. The assumption is based on slender evidence at best, and recent thought favors
the possibility that they actually originated in Leipzig around 1730. There is no doubt that Bach's keyboard arrangements of these three pieces date from his Collegium musicum years, when he turned the A minor violin concerto into a G minor harpsichord concerto, the E major violin concerto in a D major harpsichord concerto, and the D minor double violin concerto into a C minor concerto for two harpsichords.
The Concerto for oboe and violin BWV 1060 has less certain origins. All of Bach's solo or duo concertos with orchestra exist in versions featuring harpsichord - in this case, as a C minor concerto for two harpsichords - but none is thought to have been created for that instrument initially. In the 1920s the musicologist Max Seiffert analyzed the tessitura and other musical characteristics of BWV 1060 and deduced that the piece had originally been a concerto for oboe and violin; he published an edition for those instruments, transposing the piece to D minor to fit the oboe's comfort zone better. (A 1764 catalogue from the publishing firm of Breitkopf lists a Bach concerto for oboe and violin; though it fails to mention the work's key, at least it confirms that Bach penned some piece for this instrumental combination.) Scholars' opinions vary, however, and this concerto also exists in a reconstruction for oboe and violin pitched in C minor - performed here - as well as versions for two violins in either key.
Variety is the hallmark of these four concertos. The Violin Concerto in A minor, densely concentrated and contrapuntally involved, is by turns dramatic and lyrical in its outer movements. But its central Andante is relaxed and pensive - though it, too, generates a good deal of tension by piling up dissonances over extended pedal points. In contrast, the E major is one of the most jubilant of Bach's concertos, positively ebullient in its first movement and its concluding rondo. Here the hushed middle movement is a freely treated chaconne in B minor. The Concerto for Oboe and Violin is a lively and intensely emotional work in its outer movements, especially the finale, which contains an exciting episode with great sweeps of triplets proclaimed by the violinist. These frame a luminous, introspective Adagio in which the two soloists spin out elegant contrapuntal lines above simple chords in the orchestra. The two violinists are equal partners in the D minor Double Concerto, often sharing their musical material in close alternation. The work's slow movement is a particularly fine example of Bach's ability to make time seem to stop while the players weave a magical tapestry from threads of poignancy, resignation and tenderness. Anything would seem an intrusion after such a movement, but Bach pulls no punches in the unusually energetic, even blustery, finale.
James Keller
James Keller is program annotator of the San Francisco Symphony and New York Philharmonic
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