CD review: Bohemian Tales
Under the rubric Bohemian Tales, Hadelich has built a programme linking Dvorak's Violin Concerto (1879) to Janacek's "programme" sonata, a post-First World War work completed in 1922. The concerto, although more popular with violinists today than when it was written, still needs champions and with Hrusa drawing stylish sounds from the Bavarian orchestra - especially the woodwinds - this performance sounds idiomatic, irresistibly dance-like in the closing furiant section, yet with an undertow of melancholy that makes Dvorak so distinctive. Janacek's sonata is an edgier, modernist work, yet like Dvorak's, imbued with the spirit of folkmusic. Hadelich and Owen dash off the most virtuosic of the music here: Four Pieces Op 17, by Dvorak's son-inlaw, Josef Suk. Delicious.

Poulenc, Debussy, Stravinsky, Prokofiev: Echoes of Paris
This recital juxtaposes four significant viloin works from the first half of the 20th century.
Poulenc's wartime Violin Sonata, his homage to the executed Lorca, is one of his darkest pieces, its eloquent middle movement deeply touching. Debussy's late violin Sonata is given a beautifully weighted reading, meticulously coloured, while Stravinsky's Suite is invested with vibrant energy.
For my money, Prokofiev's Second Sonata, transcribed by David Oistrakh from the original for flute, always sits more happily in its version for violin, particularly when played with the eloquence and sense of space exhibited here.
THE SUNDAY TIMES (LONDON) - February 13 2011

Bartok, Paganini et al: Flying Solo
Now in his mid-twenties, Augustin Hadelich is fast emerging as a significant talent. This recital of music of unaccompanied solo violin, however, is a step beyond. The programme is ingeniously topped and tailed by the solo sonatas of Bartok and Bernd Alois Zimmermann. Hadelich plays each with supreme confidence, the colours vivid, his bow control as impeccable as his intonation, the overall shaping always convincing, the direction and balance of line always clear. Between these great columns, he immerses himself in three of Paganini’s 24 Caprices and in the third and fifth solo sonatas of Ysaÿe, proving that he is both a virtuoso violinist and a deeply thoughtful one.
THE SUNDAY TIMES (London) - Stephen Pettitt


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