Beginning her training at the age of 4, Hilary Hahn spent seven years studying with Jascha Brodsky, Ysaÿe’s last living pupil, at the Curtis Institute of Music in Philadelphia. She played under the baton of Lorin Maazel at the age of 15, walked the steps of Carnegie Hall at 16, and recorded her first album at 17. She leaps from repertoire to repertoire, equally at ease in a Bach concerto or in the sonatas of Charles Ives. Somewhat of a prodigy, some may say.
Hilary Hahn is an inexhaustible resource for music lovers eager for new discoveries. Her long collaboration with Deutsche Grammophon is well known, with some twenty albums to her name. There are also some fine references on Decca, such as the Sonatas and Partitas by Bach, or by contemporary Antón García Abril. Hilary is not one to shy away from crossing musical boundaries, as demonstrated by the album Silfra, recorded with ambient pianist Hauschka. In short, Hilary Hahn is everywhere, on every front. And the best part is that she excels at everything. So we’re delighted, and more than a little interested, to see her pay tribute to her musical lineage on this latest album, Ysaÿe: 6 Sonatas for Violin Solo.
Eugène Ysaÿe was inspired to create the 6 Sonatas for Solo Violin Op.27 in 1923 after attending a mesmerizing recital by the Hungarian violinist Joseph Szigeti. It was during this performance, where Szigeti showcased Bach’s Partitas and Sonatas, that Ysaÿe felt compelled to compose his own cycle. The culmination of his work came in July 1923, and the collection was published the following year. Ysaÿe’s compositions not only pay homage to Bach’s musical legacy but also serve as a bridge to the emerging musical forms of the early twentieth century. Through these sonatas, Ysaÿe sought to reflect the technical and stylistic advancements that had transpired in violin literature over the previous two centuries.
Fast forward a century, and Hilary Hahn brings these Sonatas to life with her remarkable recording, which is destined to become a benchmark in the field. Hahn’s interpretation emphasizes the chromaticism of the dissonances, with a special focus on the minor seconds. The wide-ranging nature of these compositions demands both flexibility and dexterity, qualities that Hahn possesses effortlessly. As the musical phrases unfold, there is a captivating sense of clarity and continuity in her performance. Remaining faithful to the composer’s vision while infusing her own personality, Hahn expertly sculpts each sound plane, employing pianissimos softer than a caress. The result is a gem-like quality of sound, further enhanced by the impeccable recording by the producers at Deutsche Grammophon.
In this recording, Hilary Hahn has not only breathed new life into Ysaÿe’s timeless compositions but also presented them in a manner that showcases her extraordinary talent and artistry. Her interpretation stands as a testament to the enduring beauty and significance of these Sonatas, ensuring their rightful place in the annals of classical music.
