In 27 Pieces: The Hilary Hahn Encores, H. Hahn, C. Smythe (DG, 2013)
Telemann, Twelve Fantasies for Solo Violin, A. Hadelich (Naxos, 2009)
Happily, there are still concerts that will make the cut: Riccardo Chailly and the Leipzig Gewandhaus Orchestra; Charles Dutoit and the Orchestre de la Suisse Romande; John Eliot Gardiner and the Orchestre Révolutionnaire et Romantique in Monteverdi's Orfeo; pianists Evgeny Kissin, András Schiff, Paul Lewis, Stephen Hough; among younger artists, pianists Beatrice Rana and Igor Levit; and an exciting premiere will be featured in Sila: The Breath of the World, by John Luther Adams, "for multiple choirs of woodwinds, brass, percussion and voices, to be performed in a large outdoor space (location TBA)." Still, it was hard not to see the grandstanding of WPA's president and CEO, Jenny Bilfield -- featured in a fawning bit of promo-"journalism" in Strathmore's glossy program magazine (apparently written before the organization's name change) -- as emblematic of the "refreshed brand": the focus on all the wrong things.
The current season neared its end on Wednesday night, with the latest recital by violinist Hilary Hahn, presented by WPA[S] in the Music Center at Strathmore. Hahn, who hails from Baltimore, could probably move enough tickets under most circumstances, and some of her performances, like those heard recently with the Philadelphia Orchestra here and the Dallas Symphony Orchestra in Munich in 2013, have been worthwhile. Sadly, not this one, which had an unfortunate combination of mediocre programming and lackluster finishing. Hahn had one particularly shining moment, a radiant but understated rendition of the sixth of Telemann's solo fantasies (E minor, TWV 40:19). It was, perhaps not coincidentally, the first piece Hahn played from memory on this concert, and it seemed to be something pondered more deeply by her than the music on the first half. Hahn's restrained vibrato gives her tone a blissfully pure quality, heard to beautiful effect in this piece, where she did not have to compete with any other sound. The first, second, and fourth movements, more contrapuntal, had all the voices sensitively defined and phrased so they could be easily unpacked by the ear, although with a cooler approach than the more viscerally intense interpretation of Augustin Hadelich, whose recording for Naxos from a few years ago is a delight. Hahn's Siciliana was graceful but with an edge that seemed to trade on associations with a folk fiddler's sort of sound, taking the chords strictly in rhythm, often little more than understated grace notes (the one movement where Hahn's interpretation beat out Hadelich's to my ears).