Paris

Violinist Hilary Hahn has an intimate relation with Paris. She first visited the French capital in her teens and since then she has paid a yearly visit to Paris and when performing, this is almost invariably with the Orchestra Philharmonic de Radio France (OPRF). She very much appreciates OPRF, a relationship that evolved over many years, in that the orchestra exemplifies an interpretative style that is uniquely French; a combination of individualism and ease. Notes flow like words in conversation, timbres coexist cohesively, and emotion is embraced rather than exaggerated. The absence of exaggeration is also a trait of the artist's style. This is exemplified in her rendition of the very difficult and Mercurial Prokofiev's Violin Concerto No.1 where we admire her impressive dexterity but also her admirable ability to change emotion from phrase to phrase but without a trace of exaggeration.The opportunity for the compilation arose from an invitation of OPRF to the artist for a multifaceted residency and continuing cooperation with its music director since 2015, Finnish Mikko Franck.We listen in the album to works by three composers of who I knew only one, the Russian Sergei Prokofiev (1891-1953) the other two , French Ernest Chausson (1855-1899) and Finnish Einojuhani Rautavaara (1928-2016) were completely unknown to me but the latter proved a revelation.The disc commences with Chausson's 'Poeme', with brooding melancholy, lush, and heartbreakingly beautiful.Then follows Prokofiev's Violin Concerto No.1. It represents a clarified, elegant world; its lyricism is exemplified in the opening's Russian-flavoured melody, illustrating a melodic gift, complemented by wit and imaginative orchestration. The sprightly middle section of the first movement hints at the ebullient, humorous and brief Scherzo. The Scherzo's upward-scaling main theme throws off brilliant pizzicato sparks. That idea alternates with lower-register episodes of rougher character. The first is sardonic, the second biting, with the violin seeming to battle the orchestra's low brass. The finale opens with an ironic march that the soloist gradually guides back toward the concerto's essential beauty. That lyricism undergirds the violin's increasingly virtuosic flights, which end ethereally in a tiny recollection of the concerto's opening moments.The disc concludes with Rautavaara's 'Deux Serenades' which represent the album's emotional core.'Serenade pour mon amour' is scored for string orchestra, whereas 'Serenade pour la vie' features woodwinds in pairs, four horns,and string.

All Hilary Hahn's recordings are top notch.Her playing is uniqueThis record boast high production valueIt's a must have if you like Hilary Hahn

I'm only familiar with the Prokofiev Concerto which I found hard-driven and devoid of any feeling, compared to Stern/Ormandy and Szigeti/Beecham, both discs proving there is so much more to this marvellous concerto. But I bought the disc for the two last works of Rautavaara.

Superb performance and recording. When played back under a Shibata stylus at 45rpm, sound worlds emerging from a spiral groove are not mere illusion but almost reality. Hilary Hahn’s performance is never aged but purely seasoned and matured. Foursome strings she tunes present not mere sparkling but full-bodied sacramental wine.

Paris is a beautiful album with magnificent musicianship. The Rautavaara sérénades are a revelation. Utterly restorative and highly recommended.