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Violin Solos - Released January 12, 2018 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica
There comes a moment in the career of any respected violinist (and even some who aren't), when they dream of playing, and perhaps recording, Paganini's 24 Caprices. And that is precisely what German star violinist Augustin Hadelich (b. 1984) has done. Hadelich has been a regular fixture in the orchestras of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco, London, Munich and Salzburg, for whom he has given some of the greatest concertos that exist, but he has also performed a repertoire of much rarer, contemporary works, which he has decided to champion. Hadelich tackles these 24 Caprices, which Paganini wrote over about 15 years, from 1802 to 1817, without intending to make them into a cycle in their own right - much less a programme to be played in a single concert; indeed, it seems that he never performed them in concert himself - like many small Italian operas (but French ones as well, in the tradition of grand opéra), each one is concentrated down into a few minutes. They run from grandiose tragedy in the style of Meyerbeer, to lighter shades of Rossini, with a real lyrical and vocal vision which is as far removed as can be from pure and demonstrative virtuosity. At 33 years old, Hadelich shows consistent maturity, but also humility, and a sense of experience which one would expect to see in a much older musician. © SM/Qobuz
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Classical - Released July 3, 2020 | Warner Classics

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Violinist Augustin Hadelich turned a lot of heads and ears with his recording of the Brahms Violin Concerto in D major, Op. 77, and he does it again with this collection of Czech pieces, featuring and flowing from Dvořák. The Bohemian Tales title is not just a marketing concept but describes his approach: the Dvořák Violin Concerto in A minor, Op. 53, is not a clean essay in Brahmsian style, but one of Dvořák's most Czech pieces, with a very folkish (and folk-fiddle) finale and a discursive, narrative touch throughout. Hadelich's shorter pieces for violin and piano (he is ably backed by Charles Owen) are designed to continue with the contrasts set up in the concerto. In the Janáček Violin Sonata, he expertly catches the tension between Dvořák's lyricism and the edgier material in which Janáček decisively departs from that. The other pieces showcase Hadelich's ability to touch the heartstrings: shorter Dvořák works, the highly melodic Four Pieces, Op. 17, of Josef Suk, and the ending, with his own transcription of the fourth of Dvořák's Seven Gypsy Songs, Op. 55, and lastly No. 7 from the Eight Humoresques, Op. 101, in the arrangement by Fritz Kreisler. This is about as familiar as a classical violin piece can be, but all earlier memories are swept away in an entrancing finale. Hadelich is looking like a major star in the making. © TiVo
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Classical - Released October 19, 2018 | Cantaloupe Music

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It goes without saying that the title "Mystery Sonatas" by David Lang (born in 1957) is based on the Rosary Sonatas, also known as the "Mystery Sonatas", written in 1678 by Ignaz Biber. That said, Lang deviates from the model in several ways: his sonatas are for solo violin, while Biber accompanied some of them with a continuo. What’s more, Lang does not use the "scordattura" technique, the unusual violin tuning used by Biber to create incredible sonorities. This is not to say that Lang's work is not extraordinary, especially when you consider he wrote it for violinist Augustin Hadelich, who records it here as a world premiere. Another bridge between Lang and Biber is the three-part design: joy, pain and glory. Lang's affiliation with the minimalist movement is of course evident; however, his frequent incursions into rock, modernism and mockery have no place here, as he seeks above all to express an introspection around the mysteries - religious or otherwise - of life and beauty. Here, Hadelich beautifully takes all the composer's conceptions into his own hands. © SM/Qobuz
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Classical - Released April 5, 2019 | Warner Classics

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Classical - Released March 31, 2009 | Naxos

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Classical - Released March 11, 2013 | Avie Records

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Classical - Released May 27, 2008 | Naxos

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Classical - Released February 8, 2011 | Avie Records

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Paris was unquestionably one of the primary musical melting pots of the early 20th century, drawing in composers, artists, and authors from across the world. This rich artistic environment made an audible impression on many composers while still maintaining their individuality. This Avie album, Echoes of Paris, brings to light four such composers in their works from 1917 through 1936 for violin and piano. From the tragic, almost brutal forcefulness of Poulenc's sonata; the mature, seasoned final sonata of Claude Debussy; and the playful impudence of the Suite from Stravinsky's Suite on Pergolesi Themes (heard here in its less common 1925 version aided by Paul Kochanski), the program ideally demonstrates the influence of the city on the repertoire of the time. Performing are violinist Augustin Hadelich and pianist Robert Kulek. Hadelich is a 2006 gold medal winner at the International Violin Concerto of Indianapolis that yielded him the loan of the magnificent ex-Gingold Stradivari violin on which he plays with a sense of warmth, introspection, and attention to detail far surpassing his young years. His confident technique and powerful sound are dampened by the peculiar recorded sound of the piano, which seems extremely close and dull, resulting in as much superfluous production noise as actual note. © TiVo
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Classical - Released April 5, 2019 | Warner Classics

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Classical - Released January 12, 2018 | Warner Classics

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The elegant, but impassioned musicianship of Augustin Hadelich evokes the violinists of the ‘golden age’ of the early and mid-20th century. Hadelich now releases his first recording for Warner Classics: Paganini’s 24 Caprices for solo violin. These works of proverbial virtuosity were conceived by the flamboyant Nicolò Paganini to test and showcase every aspect of a violinist’s skills. Hadelich’s musical personality has been summarised by the Washington Post as “distinct and nostalgic, never a dizzying exhibition of skill devoid of substance”. Similarly, Gramophone has written that Hadelich “meets and surmounts all obstacles, yet it's not technical wizardry that most impresses but his musicianship. He makes the musical sense of each piece crystal clear, and his playing has an inner life, each phrase, each note, is felt as it's played.” Described as a “brilliant violinist” by The New York Times, in the words of The Strad he is “a masterful musician”. © Warner Classics
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Classical - Released March 26, 2021 | Warner Classics

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Classical - Released April 9, 2021 | Warner Classics

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Lovingly long, smooth and slowly drawn, the quietly subdued broken G minor chord with which Augustin Hadelich opens his Bach Solo Violin Sonatas and Partitas is of a showstopping beauty and distinctiveness that's rarely heard so immediately and unmistakably in recordings of this Everest of the violin repertoire. It would be an understatement to say that it sets expectations high, and equally it's an understatement to proclaim that, as Hadelich proceeds through the set, he follows though on all that initial promise. A project instigated by the March 2020 lockdown when concert life came to a standstill, this studio recording was made with Hadelich playing on his usual modern set-up – on his newly acquired 1744 Guarneri del Gesù once played by Henryk Szeryng – but unusually for him on a Baroque bow, with its greater capacity for lightness and buoyancy. A further melding of past and present is his decision to use sparing vibrato, when a Baroque performance purist wouldn't. Likewise, while a Baroque violinist may add any number of additional embellishments of their own, Hadelich has largely kept to the ones Bach himself wrote in. So if you're looking for a nutshell description for what Hadelich's presenting here, in terms of tools and playing style it's a sort of hybrid between Baroque and modern performance. Likewise his tempi: back to the G major sonata's opening Adagio, and while on the one hand its light, “piano” grace places it Baroque performance territory, it's at least a minute slower than the period readings of Isabelle Faust, Rachel Podger or Giuliano Carmignola, and instead in the same ball park as “modern” readings from the likes of James Ehnes, Izhak Perlman or Hilary Hahn; although it doesn't always fall that way, because at other points it's the period performance tempi he's closest to, such as with the opening Adagio of Sonata No. 3 in C major, and the D minor Partita's famous Chaconne. The Chaconne reading, by the way, is a very fine one, its pleasures including the strong rhythmic momentum as it moves towards its conclusion 9'30” (and indeed all three of the partitas are satisfyingly rhythmically redolent of their dance roots), and colouristic treats such as a sudden flash of turbulent choppiness to the articulation at 11'05”. Another highlight is Partita No. 3, where the brighter, louder ring afforded by metal strings reaps especial dividends – listen to the Gavotte en Rondeau to hear what I mean. That's a lot of talk about technical and colouristic devices and performance decisions. However, to circle back to that very first G minor chord, the quality that ultimately makes this set such a magical end-to-end listen is its multiple emotional worlds. From bleak despair, to gentle wit or merry exuberance, Hadelich's readings have palpably presented us with the human soul; which, whether you're into period performance, or reclaiming Baroque repertoire for modern instruments, is ultimately what this special music is all about. © Charlotte Gardner/Qobuz
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Classical - Released March 12, 2021 | Warner Classics

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