Some
years ago RCA's ace producer Jack Pfeiffer told me how, every now and
again, Jascha Heifetz would open the score of Schoenberg's Concerto only
to close it again with a perplexed shrug. Years earlier Schoenberg had
personally sent Heifetz the score and the reaction was much the same.
Heifetz just didn't get it, but he did at least try. What I wonder would
he have made of this magnificent recording by Hilary Hahn? When the
last chord sounds its full stop, the sense of satisfied finality is
exhilarating. Hahn has the full of measure of the piece, its gawky
lyricism, ethereal filigree and cripplingly difficult cadenzas (awkward
chords galore), all rendered seemingly effortless. Wisps of old-world
Vienna echo from the Andante, whereas in a performance of this
calibre the finale's complex acrobatics suddenly have musical meaning.
Of course having a first-rate orchestra and conductor helps: Esa-Pekka
Salonen's direction is in the very best sense of the term “slick”, a
perfect example of musical badinage, alert, crystal-clear and superbly
recorded. Which makes the CD mandatory listening both for lovers of the
work who crave an appreciative performance and for doubters who still
await conversion.
The Sibelius performance is fascinating but less wholly
convincing although as with the Schoenberg Hahn weaves a seductive,
evenly deployed tone and her technique is impeccable. But while in the
Schoenberg you sense a palpable level of emotional engagement Hahn's
approach to Sibelius is cool, sphinx-like one might say, the first
movement's many solo passages broadly drawn but somehow remote. No
violinist currently performing makes a lovelier sound and although time
and again I would note some illuminating phrase (not to mention
Salonen's immaculately groomed accompaniment) the sum effect is of a
strangely cold beauty. But the Schoenberg performance is, as I say,
magnificent. (Rob Cowan / Gramophone)
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