CD review: Bohemian Tales
“… one of this century’s real kings of the violin […] Hadelich’s tone draws life from lyrical emphasis and an unerring feeling for sound that neither bellows discordantly in the lower registers nor screeches piercingly in the upper registers. This terrific musician constantly seeks out a rich sonority with all conceivable dynamic shades. […] It’s good to know that Bohemian tales can be told without folk roots."
Süddeutsche Zeitung | 31 July 2020

CD review Brahms & Ligeti concertos
“Hadelich plays with outstanding power of expression and great mastery, without ever smoothing over the score’s intentional roughness. With his carefully crafted tone he is able to espouse all Ligeti’s musical masks and provocations with great vigour. Thomas Adès’ cadenza drives Hadelich well and truly to the top of the violinistic circus tent. Magnificent!"
Süddeutsche Zeitung | 22 June 2019

Recital with Charles Owen

“Lyrical power. If Sergiu Celibidache’s phrase „to articulate is to humanize“ applies to any musician then to the violinist Augustin Hadelich […] With his piano partner, Hadelich unveiled the worlds of Johannes Brahms‘ G major sonata, American John Adam‘s witty „Road Movies“, and Sergei Prokofiev’s second violin sonata, each in inimitable manner. All the while he stayed true to his conviction that the violin should sound „beautiful and lyrical“. In Brahms he explored the melodic wistfulness within the seemingly endless cantilenas every bit as much as he brought out the music’s rhythmic staunchness. Similarly in the John Adams, he spurred on his Stradivari, scattering the minimalist rhythmic patterns into diverting flurries.  The succinct, ironically intricate then suddenly cantabile D major of Prokfiev’s sonata shone forth its light, not to overlook the instrumental jokes and virtuoso turns that so thrillingly peppered the final March. Prior to this, Hadelich offered up Eugène Ysaÿe‘s 4th Solo Sonata. This work is not only dedicated to Fritz Kreisler, it also seeks ingeniously to capture some of the magic of his violin playing. In the first instance this was a demonstration of violin technique of the very highest order as is only seldom heard, with immaculate double stopping, dazzling runs, and an astonishing variety of bowing styles. Yet Hadelich only employs these remarkable resources in order to fulfill Ysaÿe’s musical ideas. The two performers acknowledged the thunderous applause with an exceptionally delicate Chopin arrangement by Nathan Milstein. Without a doubt, Hadelich is setting musical standards for our time.”
Süddeutsche Zeitung | 13 December 2018

Portrait and CD review Paganini 24 Caprices

“Poetry and Passion. Augustin Hadelich ranks among the world’s leading violinists thanks to his light-footed precision and power of expression. […] Those fortunate enough to hear this slim, dark-haired young musician will experience a miracle of articulation exactly according to Sergiu Celibidache’s credo, “articulation is humanisation.“ Hadelich doesn’t just play with perfect left and right-hand technique, he illuminates every phrase, observes every pause, every comma, every harmonic shift to such a degree that every single moment is turned into palpable and eloquent music. […] Augustin Hadelich is one of the greats of violin playing and will decisively influence its future.”
Süddeutsche Zeitung | 17 January 2018

Recital in Munich - May 2017

“A sensation. This young man, born in 1984, doesn’t just play fingerings and bowings perfectly by the book, he illuminates every phrase, acknowledging every caesura, every comma, every harmonic shift to such a degree, that any given passage is turned into palpable and eloquent music. Hadelich is a marvel of articulation. It is incredible how he can illustrate the tiniest elements and interjections with unequivocal clarity, join pizzicati into a cantabile line, and shape mirroring phrases into questions and answers. […] Hadelich’s playing is ennobled by something tremendously rare: pure feeling… The result: some of the most impressive violin playing there is to be heard.”
Süddeutsche Zeitung | May 2017

Debut with Munich Philharmonic - Lalo Symphonie Espagnole, February 2017

„...the performance of the marvelous Augustin Hadelich, born in 1984. Hadelich played Edouard Lalo's Symphonie Espagnole with such mature tonal presence and rhythmic noblesse, shaping the five individual movements and the work as a whole with sovereign grandeur. This violinist  plays with wonderful strength, never laying it on too thick, and knows the secret of the stillness which serves to structure musical timing. This piece, often carelessly dashed off, positively blazed with ingenuity, lustre, charm, wit and sentiment. The Philharmonic, under the attentive Karabits, proffered such delicacy and sensitive elasticity in its dialogue with the soloist, that a real symphonic magic unfolded from Lalo's work. Hadelich acknowledged the thunderous applause with J.S.Bach: noble, calm and free from gimmickry.“
Süddeutsche Zeitung | February 2017

CD review of Bartók and Mendelssohn violin concertos with Norwegian Radio Orchestra, cond. Miguel Harth-Bedoya
That this musician belongs today amongst those who will shape the course of violin playing in the coming decades is pretty much a given. [...] He performs throughout the world and already has a few CDs under his belt. The most recent (Avie) is devoted to Béla Bartók's second violin concerto and the famous concerto by Felix Mendelssohn Bartholdy. [...] Hadelich plays the latter with an unusual serious lightness, with restrained melancholy, and - to use a hackneyed phrase - with real feeling, thus penetrating the character and concept of the piece. All this also distinguishes his playing in general. In a performance with the Stuttgart Radio Symphony Orchestra, Augustin Hadelich presented the Dvorak concerto not as the supposed 'Bohemian coup de main', but as a diversely shaped landscape, with a rather bright timbre, virtuosic without razzle-dazzle, and unforced. Without doubt, this violinist is a true musician. Süddeutsche Zeitung | July 2015


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