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In Reply to: I'd ask you to re-read both our posts with care. posted by String Section on March 2, 2007 at 22:18:54:
You mentioned Hilary Hahn. Having been a big fan of hers since 2002, it took me some time to recognize that some notes of hers have a characteristic that while not quite wiry, leaves a lot to be desired. I have heard Hahn live in Baltimore's Meyerhoff Hall, three times in Carnegie Hall, in Boston's Symphony Hall, twice in Boston's Jordan Hall at the New England Conservatory, once in Avery Fischer Hall, three times in a high school auditorium in Skaeatles NY, and three times last summer at the Verbier Music Festival in Switzerland. I know what she sounds like; I know and love her playing.So far I have heard Fischer only 5 times (in the Meyerhoff; at Symphony Hall, Boston; Avery Fischer in NY and in Memorial Hall at Union College in Schenectady). But though I only heard Fischer maybe a third as frequently as Hahn, I can say unequivocally that Fischer is the more interesting (interpretively speaking) artist and has a MUCH greater variety of tone color, whose hues are markedly more beautiful than anything I ever heard from Hahn.
Hilary is good, but Fischer completely mesmerizes her audiences and takes them on unique musical journeys employing a range of tonal color and a sweetness of tone (when she feels it is appropriate) that Hahn can only dream about. Both can be excellent in matters of phrasing, but here too Fischer maintains a real edge. Her understanding of the Beethoven concerto as realized last May in Baltimore transcends every other performance I ever heard (I have about 20 on LP, CD and SACD.) Grimaux's PentaTone RQR performance, for example, sounds pedestrian to these ears by comparison.
Julia Fischer is, above all else, a profoundly lyrical player. However, she is sufficiently well trained and disciplined that while she exerts at times extraordinary plasticity of tempi, taking essential time to linger, where musically beneficial, over this or that passage to give the melodic content its full due, she never, ever, fails to maintain the forward momentum of the music she plays. To quote one of the critics writing of the Baltimore Beethoven, "While she made time stand still, she never impeded the forward pulse of the music."
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Follow Ups
- Re: I'd ask you to re-read both our posts with care. - duckjibe 07:26:48 03/09/07 (0)
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