Augustin Hadelich

 

CONCERTO PERFORMANCES                                                                                 

 

 

BOSTON SYMPHONY ORCHESTRA

 

“… the performance of Ligeti’s Violin Concerto was a real revelation … the score is enormously complex and punishingly difficult to perform. It’s also music that has to be experienced live to fully absorb its astonishing colors. On Thursday night, the gifted young violinist Augustin Hadelich tore into the work with all the expressive intensity he might have brought to the Brahms Concerto … Adès composed his own cadenza for the [Concerto] in 2013; and on Thursday Hadelich gave its [world] premiere. The cadenza is masterful in the way it ventriloquizes Ligeti’s voice, folds organically into what comes before and after, and at the same time ratchets up the level of virtuoso display by several notches. Hadelich’s account was explosive.”

THE BOSTON GLOBE

 

ST. LOUIS SYMPHONY

 

“The Britten concerto, composed in 1939, is filled with apprehension and anxiety, from the opening beats of the timpani to the uncertainty of the closing notes, from moments of grief to almost uncontrollable energy…  In the hands of the brilliant violinist Augustin Hadelich, the audience was kept appropriately off-balance throughout, while marveling at the beauty of his tone and his spectacular technique.”

ST. LOUIS POST-DISPATCH

 

NEW YORK PHILHARMONIC

 

"At 33, Mr. Hadelich increasingly seems to be one of the outstanding violinists of his generation. [...] In this eloquent performance, the concerto's subtleties were its selling points." [Dvorák Violin Concerto]

NEW YORK TIMES


LOS ANGELES PHILHARMONIC

 

“Hadelich … is an intimate performer whose self-effacing quality allows the music to soar. He has what Mozart once told a friend was more important than virtuosity: taste and feeling. … Mozart wrote no cadenzas for this concerto, so Hadelich wrote his own, picking up on themes and weaving them seamlessly into the concerto’s softly contoured design.” [Mozart Violin Concerto No. 5 “Turkish”]

LOS ANGELES TIMES

 

THE CLEVELAND ORCHESTRA

 

“… Violinist Augustin Hadelich…easily earned a return invitation with a smashing Cleveland debut as the soloist in Lalo's Symphonie espagnole.  A consummate showman, Hadelich pranced over considerable technical obstacles with fluent ease, then dashed off a Paganini Caprice as an encore.  But behind [his] talent was a molten intensity, a determination to explore the music's passionate, earthy sides with gritty articulation and tender lyricism.”

PLAIN DEALER (Cleveland) 

 

CINCINNATI SYMPHONY

 

“In the program's first half, the gifted violinist Hadelich returned as soloist, this time in the Berg Violin Concerto, 'To the Memory of an Angel.' ... Hadelich's phrasing was eloquent, and he displayed a romantic tone on his Stradivarius violin. Technically, there was no feat he couldn't master, and he did it all with effortless beauty and pristine intonation. ... In the second, more tragic, movement, [he] balanced intense, urgent passages against phrases that were deeply interior ... The effect was mystical and quite moving."

CINCINNATI ENQUIRER

 

ATLANTA SYMPHONY

 

"Violinist Augustin Hadelich stood on stage at Symphony Hall Thursday night as an area rock and roll superstar, releasing an overpowering five-minute cadenza on his instrument at the end of the third movement of Dimitri Shostakovich's Violin Concerto No. 1 ... Hadelich agilely ran his fingers through complex intervals of notes, ascending to the instrument's crystalline peaks without sacrificing tonal clarity or power ... The cadenza appears right before Shostakovich's finale, toward the end of a piece packed with brilliantly emotive solo violin writing, most of it at a low dynamic range. This made the magnetizing playing of Hadelich's cadenza even more stunning."


ATLANTA JOURNAL-CONSTITUTION

 

"... Hadelich, with a firm-footed stance, leaned forward as if pushing into the music itself, making his violin's presence in the music stand out boldly against the challenge of the orchestral imperative provided by de Waart and the ASO, offering up a truly thrilling performance." [Shostakovich Violin Concerto No. 1]

ARTS ATLANTA

 

SEATTLE SYMPHONY

 

“The ability to communicate the joy of making music is a gift not shared by all performing virtuosi. But it is stock in trade for the violinist Augustin Hadelich, whose immaculate and rapturous playing has made him a Seattle favorite… Eloquent and unforced, Hadelich’s violin lines were shaped by a technique as fine as anything you’ll hear on today’s concert stages. The audience ovation was so enthusiastic that Hadelich returned to the stage for a high-octane encore: the Paganini Caprice No. 5, a dizzying tour-de-force of speedy fingerwork and fluent bowing, tossed off with evident enjoyment.” [Mendelssohn Violin Concerto]

SEATTLE TIMES

 

ST. LOUIS SYMPHONY

 

"Hadelich, who turned 33 last month, is one of the finest violinists of our day, a child prodigy who matured into a master of singing tone and intelligent interpretation. He gave a flawless reading of the concerto [Brahms], one with space to breathe but not to dally, as he dug into the score and offered its gems to the listeners. It was an exquisite performance ... the audience erupted into applause at its conclusion."

ST. LOUIS POST-DISPATCH


ASPEN FESTIVAL ORCHESTRA

 

“In a season of generally high-quality music making, we haven’t heard anything quite as fine as Augustin Hadelich’s breathtaking performance of Brahms’s Violin Concerto in D major … he had a clear idea of how he wanted things to develop in this monumental 45-minute musical journey, ratcheting up the tension and letting it ebb gently, tracing an arc that somehow felt both inevitable and fresh … [But] the day—and perhaps the season—belonged to Hadelich, who demonstrated once again how an artist of his stature can bring familiar music to life as if we are hearing it for the first time. His encore did likewise. Paganini’s Caprice No. 24 was a marvel of pinpoint articulation, dynamic control and the humility to let the music be the showoff.”

ASPEN FESTIVAL REVIEW

 

CHICAGO SYMPHONY

 

“The 31-year-old Hadelich has both talent and promise, but he doesn’t flaunt them. The airy grace of his playing suited the well-mannered poise of Mozart’s music. The soloist wove a silvery thread of finely focused tone through each page of the score …” [Mozart Violin Concerto No. 5 “Turkish”]


CHICAGO TRIBUNE 

SAN DIEGO SYMPHONY

 

“This performance recalled an earlier era when violin-playing brilliance evoked a wizard’s magic or a dealer with the devil. Hadelich is neither but something else quite wonderful: one of the world’s great players, working at the top of his form.” [Shostakovich Violin Concerto No. 1]


SAN DIEGO UNION-TRIBUNE

 


RECITALS AND RECORDINGS                                                                                

 

 

KENNEDY CENTER RECITAL

 

“The essence of Hadelich’s playing is beauty: reveling in the myriad ways of making a phrase come alive on the violin, delivering the musical message with no technical impediments whatsoever, and thereby revealing something from a plane beyond ours. This was the best recital I’ve heard this season.”

WASHINGTON POST

 

CARNEGIE / ZANKEL HALL

 

“After intermission, the evening, and the series, ended with the premiere of Mr. [David] Lang’s “mystery sonatas,” a work of nearly 40 minutes for solo violin performed stunningly by the brilliant young violinist Augustin Hadelich… I cannot imagine a better performance than the one Mr. Hadelich gave. His playing combined impressive technical command with plush, rich-textured sound. And with magisterial poise and serene control, Mr. Hadelich became a riveting storyteller, which was the point of this piece. And the series.”

NEW YORK TIMES

 


CD:  24 CAPRICCI by Niccolò Paganini (Warner Classics)

 

       Among the world's top aviators, Augustin Hadelich impresses with light-footed accuracy           and emphasis in his recording of Niccolò Paganini's "Capricci."


“Anyone lucky enough to be able to listen to this slender, black-haired young musician will experience a miracle of articulation, in the spirit of Sergiu Celibidache’s credo: ‘Articulate means humanizing.’ Hadelich does not simply play perfectly with all the rules of handle and bow technique, but shines out every phrase, perceives every caesura, every ‘comma,’ every harmonic retreat … Anyone who masters these pieces so confidently that he can play them has, so to speak, reached the regions of eternal snow: he has reached the top.”

SÜDDEUTSCHE ZEITUNG

 

 

CD with ROYAL LIVERPOOL PHILHARMONIC ORCHESTRA (AVIE Records)

        Adès, Sibelius Violin Concertos - Hannu Lintu, conductor

 

“In [Adès’] short first movement, speed and accuracy in the stratospheric reaches of the instrument are negotiated with a virtuosity that doesn’t shut out intimate emotional engagement. That comes to fruition in the longer central movement, and intense passacaglia-like structure… [The Sibelius] is fast and exciting, and the lack of any technical obstacle, together with the vivid recording, make this one of the most convincing and involving versions.”

BBC MUSIC MAGAZINE

 

 

CD with LONDON PHILHARMONIC ORCHESTRA (LPO Live)

        Tchaikovsky Concerto - Vasily Petrenko, conductor

        Lalo Symphonie espagnole - Omer Meir Wellber, conductor

 

"These live concert recordings feature Grammy-Award winning violinist Augustin Hadelich. The pairing of these pieces has been carefully considered; the influence of Lalo's fresh and unassumingly simple approach can be heard in Tchaikovsky's Concerto, and Hadelich brings out the range of emotions across both pieces ... Overall Score: 5 Stars"

LPO EDITORIAL REVIEW