Hilary Hahn plays Bach: Violin Sonatas Nos. 1 & 2; Partita No. 1

The Bach violin sonatas and partitas are among my favorite pieces of music. I have owned at least five different interpretations of them for many years, and have, along with so many others, longed for Hilary Hahn to record and release the balance of them ever since hearing the precocious but partial Hilary Hahn plays Bach. Her new Bach release is the fulfillment of that longing in every way. I have listened intently to the music of Bach for many hours, but I am just a layman when it comes to the technical aspects of classical music and Bach in particular. Expert (and glowing) opinions on this new release are readily available elsewhere. Reading reviews like these and the comment threads on others, the lay listener might be left bewildered when trying to choose among the various offerings of these works. Arguments break out in an effort to declare which version is ‘the best’ or ‘the definitive’. I make no effort here to sway anyone toward one version or another, but only offer my own impressions and opinions (which is all they are, after all).Among the other versions I own is Nathan Milstein’s earlier recording (he re-recorded them later in his career). This recording is often heralded as among the best ever recorded, which is why I purchased it. To my ears, it sounded a bit as if the young Milstein was struggling with the composer. Not in a technical way - he’s a virtuoso as much as anyone who can tackle these incredible compositions - but in terms of musicality and interpretation, I didn’t hear nearly as much lyricism and musicality as I do from Hilary Hahn (but obviously this is in contrast to those who champion Milstein’s versions). Her musicality is absolutely stunning. There is no hint of a struggle in her Bach - she seems to have immersed herself deeply inside this music and is a channel for the composer’s vision. Even so, one can still feel her love and her unique style when she plays Bach, but it never overshadows - only enhances.A young classical violinist who I met at a bluegrass camp (she was there to learn how to fiddle) swore by Julia Fischer’s version as The Definitive interpretation and urged me to add it to my collection. I did so, and it’s certainly wonderful. I’ve listened to it many, many times. But I keep coming back to Hilary Hahn again and again. One thing that simply stuns me when I listen to Hahn’s playing is her intonation. I play several fretted instruments, where intonation is more a function of the instrument than the musician. It never ceases to amaze me how violinists can navigate lightning-fast passages that dance across the fingerboard and play every note with near-perfect intonation. Hilary Hahn is lauded for her intonation, and there are passages on her new recording that left my jaw agape at her fluidity, speed and articulation while maintaining what to my ears seemed like perfect intonation.Chris Thile, the world-renowned mandolinist, was quoted in another review of Hilary Hahn’s new Bach recordings saying “When you hear her play, you’re hearing the music as clearly as you will ever hear it.” (He has also released a partial recording of these works that many in the mandolin world, me among them, are hoping will be completed someday. That he appended ‘Vol. 1’ to the album’s name gives us all reason for optimism.)But these are all words. The only way to truly understand is to listen with your own ears. If you own Hilary Hahn’s first installment of these works, you should not expect this new release to sound as if it had been recorded contemporaneously with that earlier one. It sounds more mature, but the musicality and the lyricism that characterized her early recording is still there, now more complex and burnished with her greater maturity as an artist and a human on the Earth. It is a gift to anyone who listens to these amazing recordings.[ As another reviewer noted, some of the CD pressings from Decca are flawed - the first copy of this CD that I received from Amazon had a skip right at the end of track 16, smack dab in the middle of the final note, leaving the listener a bit bewildered. Additionally the track names embedded on the CD are preceded by lengthy numeric sequences that appear on my CD player's display. This is an unfortunate mastering error for such a prestigious release. I ordered a replacement but was not optimistic that it wouldn't have the same problems as the first one. Fortunately the replacement copy did not skip at the end of track 16 !! (though the file name error was still present - a relatively minor nuisance).]

I was greatly pleased by the quality sound and the Spectacular Performance by Hilary Hahn. I recommend this wonderful recording to anyone.

Ms. Hahn masterfully plays the rest of the Bach Sonatas and Partitias for solo violin, completing what she started in her debut album. Her beautiful and evocative tone sets the standard for violin, in my opinion. The Decca CD pressing had issues, but I was able to get a SHM CD from Japan without the skipping issues present in the US release. I look forward to listening to Ms. Hahn's lovely interpretation of these seminal works for years to come.

Good quality of product and fast delivery

In 1997, a very young Hilary Hahn made her recording debut playing Bach solo works. Now, twenty-one years later, she returns to them. Her playing on this tribute to the master is transcendent. AS she has demonstrated countless times in the past, her technique is flawless and her sound clear and pure. Behind the technique is a first class musical intelligence –ears, head and heart linked together—which makes her interpretations of these works incomparable.

Stunning recording to complete Hahn’s Bach S&P. The playing is as good as any ever recorded. Interpretation is in line with what I’d expect, observant of the music and of modern violin norms.I’m not sure, however, about the sound. I’ve long said that Hahn needs to ditch the Vuillaume. And assuming the Decca engineers didn’t mess up, I stand by that more strongly than ever. It just doesn’t sound great...maybe a little too much reverb, maybe a little weirdly balanced, maybe a little edgy...or maybe just time for a Strad, or even something brand new from the likes of Zygmuntowicz or Greiner. It’s not a spoiler, but it is something I notice every time I play the disc - and it’s going through KEF and vintage McIntosh, so it’s not my system. Non-issue in the car (haha).

Hilary Hahn is, of course, a great, world famous & beloved virtuoso who doesn't need my praise, but these pieces are performed with tremendous confidence, energy and musicality. Can't go wrong with this CD and you can even see previews on YouTube - she's very easy on the eyes.

This is an awesome CD album. Hilary Hahn's violin playing of Bach is spellbinding, clear, expressive, and magical. High quality recording.