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Elgar - Violin Concerto & Vaughan Williams - The Lark Ascending - Hahn, LSO, Davis (2004) [FLAC] (DG 00289 474 5042)

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Music : Classical : Lossless
    
ELGAR: Violin Concerto
VAUGHAN WILLIAMS: The Lark Ascending

 

Gramophone
[11/2004]:
Quote:Let me say straight away that I have the highest regard for this brilliant young fiddler, but
her eagerly anticipated account of the Elgar puzzles me. The solo part’s pyrotechnics hold no terrors for the
immaculately unruffled Hahn, but where’s the searing passion, intimacy and heartache behind the notes? Turn to
Sammons, Kennedy or the teenage Menuhin, and you are transported to another world entirely, where keen temperament,
abundant tonal and dynamic variety, quicksilver reflexes and devastating emotional candour probe the soul of
Elgar’s inspiration.
Having much enjoyed Sir Colin Davis’s accompaniment with the Bavarian RSO for
Kyoko Takezawa a decade ago, I’m disappointed by his self - consciously ‘ weighty’conducting here
(Elgar’s poco stringendo markings become poco ritardando ), and by a lack of total involvement, at least compared
to their their LSO Live Elgar symphony cycle. True, Davis opts for a sensible, flowing tempo for the central Andante,
yet even there a disconcerting, thumb - twiddling blandness soon descends. Things do perk up a bit for the first half of
the finale, but when the sublime cadenza remains a tingle - free zone, you know something’s seriously awry. The
overmiked and overbearing production doesn’t help either (genuine hush is in short supply).
As for the The
Lark Ascending, Hahn gives a mellifluous, technically flawless rendering, but her partnership with Davis (who makes a
meal of VW’s ineffably simple opening bars) doesn’t speak without artifice; she misses the natural ease
and wonder of Jean Pougnet on EMI and the radiance of Tasmin Little. Talking of Little, isn’t it about time some
record company captured her deeply felt interpretation of the Elgar? As it stands, this slick but studio - bound
coupling is uncompetitive. --Andrew Achenbach

The New York Times [Sept. 26, 2004]:
An Elgar to
Set Against the Best
Quote:IT is hard enough for a younger artist to stake a claim recording familiar music,
but the difficulty only increases when benchmark accounts already exist. That fate awaits the American violinist Hilary
Hahn in a CD of Elgar's Violin Concerto with Colin Davis conducting the London Symphony Orchestra, to be released on
Tuesday by Deutsche Grammophon.
True, Ms. Hahn, 24, is no slouch. Highly praised for her bravura technique, she
sometimes reveals interpretive skills beyond her years. But in a work some music lovers consider Elgar's supreme
achievement, she faces serious competition.
Connoisseurs have long stood by two readings from Elgar's day. Although
Yehudi Menuhin was only 16 when he gave his legendary account with Elgar conducting in 1932, his authoritative,
rhapsodic playing banishes any notion of immaturity. And neither Menuhin nor anyone else has yet matched the assertive
eloquence of Albert Sammons in the work's first complete recording, from 1929.
These days, the concerto's most
vigorous champion is the English violinist Nigel Kennedy, who has recorded it twice, first with Vernon Handley and the
London Philharmonic and later with Simon Rattle and the City of Birmingham Symphony. Each version has merit, and for
most listeners these recordings will be the benchmarks for Ms. Hahn's effort.
With her rich, penetrating tone, Ms.
Hahn reminds us that this piece was dedicated to Fritz Kreisler, who gave its premiere in 1910 but never recorded it.
Though it is famously taxing (Elgar was an able fiddler), Ms. Hahn never lets on, handily navigating the first
movement's shifting landscape with youthful élan. The middle movement profits from her superb articulation, and in
its pages she limns, if not pathos, then at least deep feeling.
In the fast-paced finale, Ms. Hahn handles her
violin as an expert test driver might handle a vintage automobile, confidently and with relish. Her concentration is
remarkable. Her playing may lack the suppressed ache that distinguishes the concerto's best performances, but when she
reintroduces the first movement's primary theme late in the conclusion, it's hard to avoid a catch in the throat.
Sir Colin and the London Symphony chart the ebb and flow of this moody music powerfully, in tune with the idiom but by
no means bound by it. The occasional playfulness of their approach may surprise some, but they are only keeping faith
with the soloist.
Vaughan Williams's "Lark Ascending" fills out the disc. This is among the most lyrical
pieces composed by an English pastoralist and perhaps the most recorded. Ms. Hahn's approach is cinematic rather than
poetic: colorful and aurally dazzling but seemingly offered in support of another medium. And though her tone is even
purer here than in the Elgar, a lack of focus prevents her from soaring.
Ms. Hahn's records are always worth
hearing. Yet in a world where technology has produced a surfeit of musical options, even the most gifted young artists
must compete as never before, all too often chasing the ghosts of past masters. --David Mermelstein


Classics Today [10/12/2004]:
Artistic Quality: 10 / Sound Quality: 10
Quote:Elgar’s Violin
Concerto has a certain mystique about it independent of the knee-jerk obeisance it has received in the British press. It
probably is the longest and most difficult of all Romantic violin concertos, requiring not just great technical facility
but great concentration from the soloist and a real partnership of equals with the orchestra. And like all of
Elgar’s large orchestral works, it is extremely episodic in construction and liable to fall apart if not handled
with a compelling sense of the long line. In reviewing the score while listening to this excellent performance, I was
struck by just how fussy Elgar’s indications often are: the constant accelerandos and ritards, and the minute
(and impractical) dynamic indications that ask more questions than they sometimes answer. No version, least of all the
composer’s own, even attempts to realize them all: it would be impossible without italicizing and sectionalizing
the work to death.
So a great performance of this piece relies more on the general principles that Elgar
establishes–flexibility of pulse, dynamic sensitivity–than on a fanatically strict adherence to the letter
of the score. At least this is what everyone, beginning with the composer himself, has done. Given the parameters,
it’s rather amazing how much detail Hilary Hahn captures without ever losing site of that crucial long, singing
line. I’m thinking, for example, of her playing in the first movement after figure 13, which is indeed dolce,
legato, and espressivo, with the little tenutos at the top of each note-group perfectly judged. Her entrance in the slow
movement, mezzo forte against the general pianissimo in the strings, also is well nigh ideal, and the way she and Davis
balance the climax after figure 57 is impressively intense and moving as well. In general, her tempos are flowing and
just on the swifter side of average (the work lasts slightly less than 50 minutes in this performance), which is all to
the good.
The finale comes off best of all. Hahn manages the rapid passages with remarkable accuracy and purity of
tone. When Elgar says “cantabile e vibrato” after figure 73, that’s just what she provides, without
the vibrato ever turning maudlin. Her command of the instrument is absolute. She and Davis are at their very best in the
cadenza. Every gentle shift of color in those pizzicato tremolos registers with tactile presence (even the double
basses), and above this gauzy but ever-changing accompaniment, Hahn captures as much of the music’s elusive and
introverted character as anyone ever has. The improvisatory freedom she brings to the runs after figure 102, her
reaction to the Più mosso a few bars later, the perfectly tuned double-stops at the Moderato section before figure
104, and countless other details (not least the sadness that Elgar demands) are all eloquently present, while the
closing pages display real joy.
I was a little less pleased with The Lark Ascending. It’s not a comatose
performance like the one by Kennedy/Rattle, but it’s still a bit slower than I prefer, however beautifully played
(gorgeously is more like it). But I can’t imagine anyone having more serious objections. It may be that in the
first movement of the concerto, Davis is occasionally too generous in observing Elgar’s invitations to slow down,
but he and his soloist are certainly on the same page, and he has the LSO in marvelous form in music that it surely
knows extremely well. The recording provides very natural balances: there’s a real sense of space around
Hahn’s instrument, and when she plays loudly her tone fills the room without ever turning harsh or shrill. At the
same time, no important detail in the orchestral part gets shortchanged, covered by the soloist, or lost in too-distant
perspectives.
So where does that leave us in the Elgar Violin Concerto Sweepstakes? I respect Elgar/Menuhin but
don’t really love it. Many others do, though. Sammons (now on Naxos) offers the swiftest and most purely
thrilling account of the solo part on disc and he has his fans, including me, but he skates over so much detail, and the
primitive recording blurs too much of the orchestral part, with a particularly unatmospheric and foggy cadenza in the
finale. Knowing what might have been there and listening to what’s preserved on the actual disc is a depressing
experience. Kennedy/Handley is much better than his droopy remake with Rattle, but it also hangs fire in places.
Curiously, the performance that perhaps comes closest to the “golden age”, though with incomparably better
playing and sound, is the Perlman/Barenboim on DG. It times out exactly between Menuhin and Sammons, and in a sense it
gives us the best of both.
Hahn’s interpretation is more reticent than Perlman’s, closer to the young
Menuhin though again better played by both soloist and orchestra. Beyond that, I prefer DG’s extremely natural
sound for Hahn over the typically up-close focus on Perlman (though it suits his approach well enough). Although I will
continue to treasure those “golden oldies”, frankly there is little in them that has not been equaled by
excellent modern versions. In the final analysis, this is one of those pieces that even more than most classics begs to
be heard in differing interpretations, as no single one will ever reveal all that it has to offer. Certainly Hahn
deserves a place on any shortlist of essential performances. She’s operating at a level at which personal
preference, however strong, cannot diminish the abundant evidence of her superior musicianship and insight. --David
Hurwitz

EDWARD ELGAR (1857-1934)
Concerto for Violin and Orchestra in B minor, op. 61
1. I. Allegro
[17'59]
2. II. Andante [12'18]
3. III. Allegro molto [19'26]
RALPH VAUGHAN WILLIAMS (1872-1958)
4.
The Lark Ascending [16'21]
Romance for Violin and Orchestra

Hilary Hahn, violin
London Symphony
Orchestra
Sir Colin Davis

Recording: London, Abbey Road Studios, Studio One, 10/2003 (Elgar);
12/2003 (Vaughan Williams)
Executive Producer: Martin T:son Engstroem
Recording Producer: Thomas Frost
Tonmeister (Balance Engineer): Stephan Flock
Recording Engineer: Sam O'Kell
Editing: Stephan Flock
Recording Coordinator: Matthias Spindler
® © 2004 Deutsche Grammophon GmbH, Hamburg2004 Deutsche Grammophon
GmbH, Hamburg • [66'10]
00289 474 5042
www.hilaryhahn.com                                                            Show Demonoid some love
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