Hilary Hahn plays BACH

I saw this young American violinist from Baltimore playing Mozart’s Fourth Concerto, K218, at a Prom. This was a very good performance but, for me, the finale did not quite come off. And, with respect, it is Mozart’s fault. He keeps changing the tempo. First, 15 bars at andante, then 57 at allegro, 15 at andante, 43 at allegro, 59 at andante, 33 at allegro, 7 at andante and 25 at allegro. This is stop and start music. She was persuaded to play an encore at this Prom and she choose Bach. I was impressed with her Bach and this CD reinforces that first impression.

I was seriously deterred from Bach’s solo violin music because of some really awful performances that I had to endure and from leading professionals. I also determined never to hear it again. But along came Hilary. I adore her Bach playing and in a few years time it will be even better than it is now although I hasten to add it is already really very fine indeed. There is so much to admire and she avoids the mistakes and idiosyncratic quirks that some famous violinists make.

Firstly, she plays the works as music not as studies or showpieces.

Secondly, she is not hindered by authenticity of style. She has not wasted her time, or ours, on ensuring that it is in the style that Bach would have known which, quite frankly, is a stupid pursuit anyhow.

Thirdly, she does not fuss over ornaments but plays them naturally as if they are an integral part of the music. Perhaps they are but so many soloists herald a trill and you know it is coming and then ham it up as if it is an essential theatrical gesture.

Fourthly, she plays the music at sensible and compelling tempi and with few irritating rallentandos. To put this into common parlance she gets on with it and does not labour or linger over stylish features as some do.

Fifthly, she plays with a controlled brilliance and, please forgive me saying so, only a professional musician will understand and appreciate this point.

Sixthly, there are no excesses. The control does not detract from the music and its quality. But here already is a maturity that some violinists three times her age have not yet found. Some never do. Music is communication not demonstration. Music is for both the brain and heart not for ostentation and eccentric personal interpretations. (David Wright)