Title - 'Hilary Hahn Plays Bach Sonatas 1 & 2 Partita 1'
Artist - Hilary Hahn
For those not in the classical know, Hilary Hahn is an American violinist.
In her career, she has performed throughout the world both as a soloist with leading orchestras and conductors and as a recitalist.
She also built a reputation as a champion of contemporary music. Several composers have written works especially for her, including concerti by Edgar Meyer and Jennifer Higdon and partitas by Antón García Abril.
Having released many albums during her already-illustrious career, Hahn is also a noted champion of new works. In 1999, she commissioned Edgar Meyer to write a concerto.
She later recorded the piece with the St. Paul Chamber Orchestra. In 2010, a concerto written for Hahn by Jennifer Higdon and recorded with the Royal Liverpool Philharmonic was awarded the Pulitzer Prize in Music.
Hahn began her film recording career as the soloist for James Newton Howard's score for M. Night Shyamalan's The Village in 2004. The film was nominated for an Academy Award for Best Original Score.
Hahn's recording of Samuel Barber's Violin Concerto was used extensively in The Deep Blue Sea, starring Rachel Weisz. The film uses the piece's second movement to accompany a nine-minute sequence. In 2013 Hahn was the soloist on Andrew Hewitt's score for the film The Sea.
Hahn now returns to solo Bach, 20 years after her debut recording here on the just-released Hilary Hahn Plays Bach - Sonatas 1 & 2 Partita 1 (Decca Classics).
Indeed, this eagerly anticipated album completes Hilary's solo Bach recordings cycle and includes the Sonatas nos. 1 & 2, and Partita no. 1.
1-4 Sonata No. 1 in G Minor (BWV 1001)
5-12 Partita No. 1 in B Minor (BWV 1002)
13-16 Sonata No. 2 in A Minor (BWV 1003)
Beginning with the haunting 'Adagio,' Hahn moves effortlessly into both the sprightly 'Fuga (Allegro)' and the quieter 'Siciliana.'
As the music continues to amaze as each piece comes to the fore, Hahn's flawless technique and strikingly beautiful, intensely focused tone are on full display throughout.
Indeed, there is a noble, restrained quality in her playing, so that although her tone-production and vibrato are "modern," her sound has a classical, pristine purity.
That can be heard, to my mind, at its finest on pieces such as 'Courante,' the stunning, deeply yearning 'Sarabande,' the playful 'Tempo di Bourreé,' and the quietly joyous 'Andante.'