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RECITAL REVIEW
October 30, 2004
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By Jodi Levitz
As befitting a former child prodigy with several major recording contracts under her belt, Hilary Hahn didn't miss a note or show a moment of insecurity in the program she performed from memory last Saturday at Herbst Theather. Yet, when Hilary Hahn and pianist Natalie Zhu began Mozart's sonata in F major K.376 last night, my first thoughts were of disappointment. The Mozart sonatas comprise some of the first sonatas with the violin accompaniment part moving to a principal position over the piano, but unfortunately Hahn reveled in this to an extreme. Demanding our attention from the opening chords, her electric “power violinist” sound would have been more suited to almost any composer other than Mozart. Zhu, a sensitive and delicate pianist, seemed content to remain in the background, literally as well as figuratively. Their performance of this lighthearted sonata was surprisingly lacking in humor and often missed the point of this wonderful musical dialog. It was an unusual sensation to be so impressed by utter technical mastery while remaining so untouched on any emotional level. Strangely enough, the portrayal of Mozart's exuberance and lightness was not a possibility for these young virtuosi.
The old saying “listening to Bach is like hearing God speak to man, whereas listening to Mozart is like hearing man speak to God ” was never truer than it seemed in this recital. Every aspect of temperament and technique that rendered the Mozart Sonata flat and humorless became the very stuff of genius in the Bach C major Sonata for unaccompanied violin. Hahn's coolness, intellect, and absolute profound mastery of her instrument combined in one of the most memorable performances of this Sonata I have ever heard. The fugue (at 354 bars, Bach's longest and most difficult) was a stunning tour de force, relentless and perfect. This very perfection, seemingly without effort, produced a spellbinding effect, as if one were hearing music produced from a realm far beyond any human turmoil.
Hahn and Zhu began the second half with another Mozart Sonata, K.304 in e minor. Again, Hahn's performance occasionally lacked color and imagination. I wonder why (as indicated in the program notes) she is embarking on a major recording project with Zhu to record all the Mozart sonatas as opposed to a repertory she seems more comfortable performing. Perhaps the opportunity to play these Sonatas with Zhu is a factor, as well it should be. Zhu was especially compelling in the extraordinary dolce section of the Tempo di Minuetto, displaying an understated mastery of both sound and style. I hope the intimacy of the recording studio will allow Hahn to adapt her sound palette to combine better with Zhu's, as she seems unwilling to do so when confronted with the demands of a concert hall.
The last piece on the program, the Fauré Sonata for violin and piano in A major, highlighted the technical and musical virtuosity of both performers. Their work was outstanding. They crafted an intimate mood for the opening of the last movement that contrasted beautifully with the giocoso spirit of the previous Allegro vivo. I did wish for a more passionate performance, and even the occasional illusion of brinkmanship, especially in the first movement. Perhaps when young artists are expected from all sides to be as perfect as their CDs, they can't permit too much risk or too much passion. It is a tempting pitfall to quibble with perfection for being too perfect, yet I can't help feeling Hahn would be better off if she occasionally allows herself to revel in the joy of her gifts as well as their burden. In response to an enthusiastic standing ovation, there were two encores, a Bach Siciliano and Stravinsky's “Russian Maiden's Song.” While the Bach would have been best left at home by the harpsichord, the Stravinsky was riveting.
(Jodi Levitz, a graduate of the Juilliard School, is a professor of viola at the San Francisco Conservatory of Music.)
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Hilary Hahn
Natalie Zhu