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Hilary Hahn is a splendid violinist, with an easy, flawless technique and a tone of pristine purity. She has already gained a reputation as a singularly serious performer; even her photographs show her in strikingly thoughtful poses. Indeed, her approach to the four Mozart sonatas on this recording seems to be almost too thoughtful: everything is so carefully planned that there is no room for imagination or spontaneity. Her tone is invariably beautiful but never varies in color or intensity; shifts of mood and character are heralded with tempo changes, ritards, breaks, and long pauses, even when Mozart clearly indicates a connection, as in the Finale of the Sonata K. 526. The ensemble with her long-time friend and partner Natalie Zhu is excellent, but they seem to have agreed to disagree on certain points, such as the execution of trills and ornaments, and the articulation of short notes: Hahn's playing is rounder and more lyrical, Zhu's brisker and more pointed. Both follow the current trend of superimposing dynamics and contrasts on the written score, as if they did not trust the music to speak for itself, but this only results in fussiness and a loss of continuity and simplicity. However, the balance is so good that the interchange between more and less prominent voices comes out perfectly. --Edith Eisler
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By Karl W. Nehring (Ostrander, OH USA)
Listening to these two marvelously talented young women play this delightful music is an occasion for great joy. To hear both of them not only playing their parts but also listening to each other for inspiration is to hear the music of Mozart not as something more than 200 years old, but as something very much alive today.
Those new to classical music often start with large-scale forms--symphonies and concertos. There are also great rewards to be found in the more intimate forms, such as the violin sonatas included in this program. I have listened to recordings of sonatas where it sounded as though the performers were trying to make some sort of academic point; however, listening to these performers made me think that their agenda was simply to get together and play music that they loved to play. How fortunate we are to be able to taste the fruits of that labor of love! To all music fans, I recommend this recording, but especially to those who feel they could use a little comfort and joy in their too-busy lives.
By C. Lee (Lorton, VA USA)
This CD has been my favorite since I had it 2 years ago. I bought a few to give out as gifts to my friends. Hahn's performance is superb in this CD and Zhu deserves high praise for her impeccable play that balances with Hahn's. The duo play in styles and quality that I see a great fit with Mozart's.
The sound quality of this CD is so good that a mediocre bookshelf system could please your ears. It's not a well-known piece among Mozart's many popular works, but surely the CD should bring lasting joy and enjoyment to any people who like classic music, no matter their years of listening.
By K. MIURA (Japan)
Mozart's Violin Sonatas of Hahn is too clean instead of the unpleasantness of Anne-Sophie Mutter, and there is no fault but no fun in Hahn's Mozart. I think that it is not more than the average point, though played well in K. 304 and with a rise in K. 526. It is easier to listen more than Szeryng and Haebler, but it doesn't reach far from Mark Steinberg & Mitsuko Uchida Mozart: Sonatas for Piano & Violin in F Major, K. 377; C Major, K. 303; E Minor, K. 304; A Major, K. 526 in interest.
Natalie Zhu is good.
Recorded in 2004.
By David Douglass (Bloomingdale, NJ)
There's a natural fit between these performers and Mozart that is delightful. There is a balance that needs to be struck: not too timid (lest Mozart sound like a bore) and not too course (lest Mozart not sound beautiful). Here we have it: performances that are alive and exude grace at the same time.
By Merlin (Readalot, US of A)
One can only imagine what Wolfgang heard in his mind when he wrote this.
I imagine it sounded just like this.
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