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Hilary Hahn|Paris (Chausson, Prokofiev, Rautavaara)

Paris (Chausson, Prokofiev, Rautavaara)

Hilary Hahn, Philharmonique de Radio France, Mikko Franck

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No one would guess it from its flowery cover photo. But Hilary Hahn's opus 'Paris' takes us into the heart of three of the most extraordinarily moving moments written for the violin between the end of the 19th century and the early years of this century. Einojuhani Rautavaara's Two Serenades, were written in 2015 and 2016 for the American violinist. They are splendid, and exalt her origins, enhanced by memories of impressionist music and the mark of the inescapable Shostakovich – the latter from the first violin theme. The work is often reminiscent of Barber and Vaughan Williams, as if the Finnish composer had immersed himself in his patron's recordings of Barber's Concerto (Sony Classical) and the Briton's Lark Ascending (Deutsche Grammophon). In the first of the two pieces, Serenade to my Love, Rautavaara best captures the particularities of Hilary Hahn's sonority, more dark than radiant, warm in the mediums, never quite bright. A great connoisseur of his compatriot's music, Mikko Franck conducts these two pages with élan. In his hands the orchestral writing resembles shimmering garlands: there is often a hint of melancholy, a fully Finnish feeling, especially in its more dour aspects.

Interiority rather than brilliance is also the hallmark of this performance of Prokofiev's First Concerto (1916-1917). From an equally luminous perspective, Lisa Batiashvili's violin, for example, (with Yannick Nézet-Séguin, Deutsche Grammophon 2018) seemed more radiant, and varied in accentuation, at the risk of sounding slightly lurid at times. In 2009, for his first album, released by EMI Classics, Vilde Frang had proposed an exciting recording. It is magical, with a ghostly spirit and lunar poetry. Here, with the perhaps more unique tones of the Radio France Philharmonic Orchestra, Hilary Hahn offers a rather restrained expression. It is never distant, but rather melancholic! ... It is a pity, however, that this recording is only coming out just now. She has performed this work everywhere, and in a more luminous and superlative style (Lorin Maazel, with the Bavarian Radio Symphony Orchestra). Finally, Chausson's Poem remains more convincing. It is performance as prayer. © Pierre-Yves Lascar/Qobuz

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Paris (Chausson, Prokofiev, Rautavaara)

Hilary Hahn

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1
Chausson: Poème for Violin and Orchestra, Op. 25
00:17:03

Ernest Chausson, Composer - Orchestre Philharmonique de Radio France, Orchestra, MainArtist - Hilary Hahn, Violin, MainArtist, AssociatedPerformer - Cyril Becue, Balance Engineer, StudioPersonnel - Andreas Meyer, Mixer, Editor, Balance Engineer, Mastering Engineer, StudioPersonnel - Philip Traugott, Producer - Mikko Franck, Conductor, MainArtist - Jennifer Nulsen, Editor, StudioPersonnel - Lucas Dérode, Recording Engineer, StudioPersonnel - Inès de Bruyn, Asst. Recording Engineer, StudioPersonnel

℗ 2021 Hilary Hahn

Violin Concerto No. 1 in D major, Op. 19 (Sergei Prokofiev)

2
I. Andantino. Andante assai
00:09:36

Sergei Prokofiev, Composer - Orchestre Philharmonique de Radio France, Orchestra, MainArtist - Hilary Hahn, Violin, MainArtist, AssociatedPerformer - Cyril Becue, Balance Engineer, StudioPersonnel - Andreas Meyer, Mixer, Editor, Balance Engineer, Mastering Engineer, StudioPersonnel - Philip Traugott, Producer - Mikko Franck, Conductor, MainArtist - Jennifer Nulsen, Editor, StudioPersonnel - Lucas Dérode, Recording Engineer, StudioPersonnel - Inès de Bruyn, Asst. Recording Engineer, StudioPersonnel

℗ 2021 Hilary Hahn

3
II. Scherzo: Vivacissimo
00:03:54

Sergei Prokofiev, Composer - Orchestre Philharmonique de Radio France, Orchestra, MainArtist - Hilary Hahn, Violin, MainArtist, AssociatedPerformer - Cyril Becue, Balance Engineer, StudioPersonnel - Andreas Meyer, Mixer, Editor, Balance Engineer, Mastering Engineer, StudioPersonnel - Philip Traugott, Producer - Mikko Franck, Conductor, MainArtist - Jennifer Nulsen, Editor, StudioPersonnel - Lucas Dérode, Recording Engineer, StudioPersonnel - Inès de Bruyn, Asst. Recording Engineer, StudioPersonnel

℗ 2021 Hilary Hahn

4
III. Moderato. Allegro moderato
00:08:03

Sergei Prokofiev, Composer - Orchestre Philharmonique de Radio France, Orchestra, MainArtist - Hilary Hahn, Violin, MainArtist, AssociatedPerformer - Cyril Becue, Balance Engineer, StudioPersonnel - Andreas Meyer, Mixer, Editor, Balance Engineer, Mastering Engineer, StudioPersonnel - Philip Traugott, Producer - Mikko Franck, Conductor, MainArtist - Jennifer Nulsen, Editor, StudioPersonnel - Lucas Dérode, Recording Engineer, StudioPersonnel - Inès de Bruyn, Asst. Recording Engineer, StudioPersonnel

℗ 2021 Hilary Hahn

Deux Sérénades (Written for Hilary Hahn) (Einojuhani Rautavaara)

5
No. 1. Sérénade pour mon amour. Moderato
00:07:50

Einojuhani RAUTAVAARA, Composer - Orchestre Philharmonique de Radio France, Orchestra, MainArtist - Hilary Hahn, Violin, MainArtist, AssociatedPerformer - Cyril Becue, Balance Engineer, StudioPersonnel - Andreas Meyer, Mixer, Editor, Balance Engineer, Mastering Engineer, StudioPersonnel - Philip Traugott, Producer - Mikko Franck, Conductor, MainArtist - Jean Baptiste Etchepareborde, Recording Engineer, StudioPersonnel - Jennifer Nulsen, Editor, StudioPersonnel - Inès de Bruyn, Asst. Recording Engineer, StudioPersonnel - Valentin Azan-Zelienski, Asst. Recording Engineer, StudioPersonnel

℗ 2021 Hilary Hahn

6
No. 2. Sérénade pour la vie. Andante assai. Comodo. Agitato
00:06:37

Einojuhani RAUTAVAARA, Composer - Orchestre Philharmonique de Radio France, Orchestra, MainArtist - Hilary Hahn, Violin, MainArtist, AssociatedPerformer - Cyril Becue, Balance Engineer, StudioPersonnel - Andreas Meyer, Mixer, Editor, Balance Engineer, Mastering Engineer, StudioPersonnel - Philip Traugott, Producer - Mikko Franck, Conductor, MainArtist - Jean Baptiste Etchepareborde, Recording Engineer, StudioPersonnel - Jennifer Nulsen, Editor, StudioPersonnel - Inès de Bruyn, Asst. Recording Engineer, StudioPersonnel - Valentin Azan-Zelienski, Asst. Recording Engineer, StudioPersonnel

℗ 2021 Hilary Hahn

Album Description

No one would guess it from its flowery cover photo. But Hilary Hahn's opus 'Paris' takes us into the heart of three of the most extraordinarily moving moments written for the violin between the end of the 19th century and the early years of this century. Einojuhani Rautavaara's Two Serenades, were written in 2015 and 2016 for the American violinist. They are splendid, and exalt her origins, enhanced by memories of impressionist music and the mark of the inescapable Shostakovich – the latter from the first violin theme. The work is often reminiscent of Barber and Vaughan Williams, as if the Finnish composer had immersed himself in his patron's recordings of Barber's Concerto (Sony Classical) and the Briton's Lark Ascending (Deutsche Grammophon). In the first of the two pieces, Serenade to my Love, Rautavaara best captures the particularities of Hilary Hahn's sonority, more dark than radiant, warm in the mediums, never quite bright. A great connoisseur of his compatriot's music, Mikko Franck conducts these two pages with élan. In his hands the orchestral writing resembles shimmering garlands: there is often a hint of melancholy, a fully Finnish feeling, especially in its more dour aspects.

Interiority rather than brilliance is also the hallmark of this performance of Prokofiev's First Concerto (1916-1917). From an equally luminous perspective, Lisa Batiashvili's violin, for example, (with Yannick Nézet-Séguin, Deutsche Grammophon 2018) seemed more radiant, and varied in accentuation, at the risk of sounding slightly lurid at times. In 2009, for his first album, released by EMI Classics, Vilde Frang had proposed an exciting recording. It is magical, with a ghostly spirit and lunar poetry. Here, with the perhaps more unique tones of the Radio France Philharmonic Orchestra, Hilary Hahn offers a rather restrained expression. It is never distant, but rather melancholic! ... It is a pity, however, that this recording is only coming out just now. She has performed this work everywhere, and in a more luminous and superlative style (Lorin Maazel, with the Bavarian Radio Symphony Orchestra). Finally, Chausson's Poem remains more convincing. It is performance as prayer. © Pierre-Yves Lascar/Qobuz

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