~~~~Hilary Hahn~~~~
Biography
Hahn began playing the violin one month before her fourth birthday in the Suzuki Program of Baltimore's Peabody Conservatory.[1] She participated in a Suzuki class for a year. Between 1984 and 1989 Hahn studied in Baltimore under Klara Berkovich. In 1990, at ten, Hahn was admitted to the Curtis Institute of Music in Philadelphia where she became a student of Jascha Brodsky. Hahn studied with Brodsky for seven years and learned the études of Kreutzer, 352;ev269;ík, Gaviniès, Rode, and the Paganini Caprices. She learned twenty-eight violin concertos, recital programs, and several other short pieces.[2]
In 1991, Hahn made her major orchestral debut with the Baltimore Symphony Orchestra. Soon thereafter, Hahn debuted with the Philadelphia Orchestra, Cleveland Orchestra, Pitt*****urgh Symphony Orchestra, and the New York Philharmonic. In 1995 Hahn made her international debut in Germany with a performance of the Beethoven Concerto for Violin and Orchestra in D Major with Lorin Maazel and the Bavarian Radio Symphony Orchestra. The concert was broadcast on radio and television in Europe. A year later, Hahn debuted at Carnegie Hall in New York as a soloist with the Philadelphia Orchestra.
By sixteen, Hahn had completed the Curtis Institute's university requirements, but elected to remain for several years to pursue elective courses, until her graduation in May 1999 with a Bachelor of Music degree. During this time she coached violin with Jaime Laredo, and studied chamber music with Felix Galimir and Gary Graffman. In an interview with PBS in December 2001, Hahn stated that of all the musical disciplines, she is most interested in musical performance.[3]
Hahn has played with orchestras such as the London Symphony Orchestra, New York Philharmonic, Stuttgart Radio Symphony Orchestra, and the Singapore Symphony Orchestra. She debuted with the Chicago Symphony Orchestra in March 2007. Hahn and mandolinist Chris Thile have discussed the possibility of releasing a duo album.[4][5]
In 2007, she played in Vatican City as part of the celebrations for Pope Benedict XVI together with the Stuttgart Radio Symphony Orchestra and conductor Gustavo Dudamel.
She began performing and touring in a crossover duo with singer-songwriter Josh Ritter in 2007 and with singer-songwriter Tom Brosseau in 2005.
Career
Hilary Hahn - Mendelssohn & Shostakovich Concertos Album Cover - 2002 SonyClassicalIn 2001, Time Magazine named Hahn as "America's Best" young classical musician [7]. In 1996 Sony Music signed Hahn to an exclusive recording contract, making her one of the youngest exclusive artists in the label's history.[citation needed] After Hahn completed her part of the contract with Sony, which was for five recordings over six years, she decided against renewing the contract as she and Sony did not agree on her future projects.[8] Hahn signed with Deutsche Grammophon in 2003 after her contract with Sony expired in 2002.[8]
In addition to being a solo violinist, Hahn has also performed as a chamber musician. Since the summer of 1992 she has performed nearly every year with the Skaneateles Chamber Music Festival in Skaneateles, New York. Between 1995 and 2000 she spent performing and studying chamber music at the Marlboro Music Festival in Vermont, and in 1996 she served as an artist and a member of the chamber music mentoring program of The Chamber Music Society of Lincoln Center.
On playing Bach
As of 1999, Hahn has stated that she plays Bach more than any composer and that she has played solo Bach pieces every day since she was eight.[2]
“ Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure in double stops, bringing out the various voices where the phrasing requires it, crossing the strings so that there are not inadvertent accents, presenting the structure in such a way that it's clear to the listener without being pedantic — one can't fake things in Bach, and if one gets all of them to work, the music sings in the most wonderful way.[9] ”
In a segment on NPR entitled "Musicians in Their Own Words", Hahn speaks about the surreal experience of playing the Bach Chaconne (from the Partita for Violin No. 2) alone on the concert stage. In the same segment, she discusses her experiences emulating a lark while playing The Lark Ascending by Ralph Vaughan Williams.[10]
Violin and Strings
Her violin is a copy of Paganini's 'Cannone' made by Vuillame. As for her strings, she uses Dominants for the A, D and G (all medium gauge) and uses a Wondertone E.
介紹來自wiki.
Biography
Hahn began playing the violin one month before her fourth birthday in the Suzuki Program of Baltimore's Peabody Conservatory.[1] She participated in a Suzuki class for a year. Between 1984 and 1989 Hahn studied in Baltimore under Klara Berkovich. In 1990, at ten, Hahn was admitted to the Curtis Institute of Music in Philadelphia where she became a student of Jascha Brodsky. Hahn studied with Brodsky for seven years and learned the études of Kreutzer, 352;ev269;ík, Gaviniès, Rode, and the Paganini Caprices. She learned twenty-eight violin concertos, recital programs, and several other short pieces.[2]
In 1991, Hahn made her major orchestral debut with the Baltimore Symphony Orchestra. Soon thereafter, Hahn debuted with the Philadelphia Orchestra, Cleveland Orchestra, Pitt*****urgh Symphony Orchestra, and the New York Philharmonic. In 1995 Hahn made her international debut in Germany with a performance of the Beethoven Concerto for Violin and Orchestra in D Major with Lorin Maazel and the Bavarian Radio Symphony Orchestra. The concert was broadcast on radio and television in Europe. A year later, Hahn debuted at Carnegie Hall in New York as a soloist with the Philadelphia Orchestra.
By sixteen, Hahn had completed the Curtis Institute's university requirements, but elected to remain for several years to pursue elective courses, until her graduation in May 1999 with a Bachelor of Music degree. During this time she coached violin with Jaime Laredo, and studied chamber music with Felix Galimir and Gary Graffman. In an interview with PBS in December 2001, Hahn stated that of all the musical disciplines, she is most interested in musical performance.[3]
Hahn has played with orchestras such as the London Symphony Orchestra, New York Philharmonic, Stuttgart Radio Symphony Orchestra, and the Singapore Symphony Orchestra. She debuted with the Chicago Symphony Orchestra in March 2007. Hahn and mandolinist Chris Thile have discussed the possibility of releasing a duo album.[4][5]
In 2007, she played in Vatican City as part of the celebrations for Pope Benedict XVI together with the Stuttgart Radio Symphony Orchestra and conductor Gustavo Dudamel.
She began performing and touring in a crossover duo with singer-songwriter Josh Ritter in 2007 and with singer-songwriter Tom Brosseau in 2005.
Career
Hilary Hahn - Mendelssohn & Shostakovich Concertos Album Cover - 2002 SonyClassicalIn 2001, Time Magazine named Hahn as "America's Best" young classical musician [7]. In 1996 Sony Music signed Hahn to an exclusive recording contract, making her one of the youngest exclusive artists in the label's history.[citation needed] After Hahn completed her part of the contract with Sony, which was for five recordings over six years, she decided against renewing the contract as she and Sony did not agree on her future projects.[8] Hahn signed with Deutsche Grammophon in 2003 after her contract with Sony expired in 2002.[8]
In addition to being a solo violinist, Hahn has also performed as a chamber musician. Since the summer of 1992 she has performed nearly every year with the Skaneateles Chamber Music Festival in Skaneateles, New York. Between 1995 and 2000 she spent performing and studying chamber music at the Marlboro Music Festival in Vermont, and in 1996 she served as an artist and a member of the chamber music mentoring program of The Chamber Music Society of Lincoln Center.
On playing Bach
As of 1999, Hahn has stated that she plays Bach more than any composer and that she has played solo Bach pieces every day since she was eight.[2]
“ Bach is, for me, the touchstone that keeps my playing honest. Keeping the intonation pure in double stops, bringing out the various voices where the phrasing requires it, crossing the strings so that there are not inadvertent accents, presenting the structure in such a way that it's clear to the listener without being pedantic — one can't fake things in Bach, and if one gets all of them to work, the music sings in the most wonderful way.[9] ”
In a segment on NPR entitled "Musicians in Their Own Words", Hahn speaks about the surreal experience of playing the Bach Chaconne (from the Partita for Violin No. 2) alone on the concert stage. In the same segment, she discusses her experiences emulating a lark while playing The Lark Ascending by Ralph Vaughan Williams.[10]
Violin and Strings
Her violin is a copy of Paganini's 'Cannone' made by Vuillame. As for her strings, she uses Dominants for the A, D and G (all medium gauge) and uses a Wondertone E.
介紹來自wiki.
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