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چهارشنبه 14 تیر‌ماه سال 1385 ساعت 20:18


HH's British Album is Released in the US
Due to a hitch in production, the United States release of Hilary Hahn's new, Brit-themed album was a little late in coming. On September 28, however, the record hit stores across the country. That evening, this reporter had a chance to speak with the violinist via telephone; she was celebrating in a Milwaukee hotel room.

Q: It doesn't sound like much of a party. What's up?
A: (chuckles) I just checked in after a long day of travel, and I'm pretty beat. I have a rehearsal tomorrow afternoon. Sleep is of the essence, so this celebration consists of cake and orange juice, in front of the TV.

Q: What makes this album different from your previous releases?
A: This is the first "theme" disc I've assembled. It was a coincidence: I was interested in recording the Elgar violin concerto, but that piece is substantial and doesn't leave room for a second complete concerto on the same album. The Lark Ascending had been my mom's favorite composition for years – at one point, my dad gave her a cassette containing many different Lark interpretations, and she listened to it so frequently that the tape unraveled. It turned out to be the right length to pair with the Elgar, and with the opportunity to record this album with the London Symphony Orchestra and Sir Colin Davis, everything seemed to fall into place. In this context, it's ironic that I'm American by definition – I'm actually 75% British by descent. See, I do match this album, after all!

Q: I see you've dedicated this project to your parents. Why is that?
A: I have them to thank for my British heritage, for one. Additionally, I thought of them a lot while I was making this record: my first memory of the Elgar is listening to it on the radio during a long road trip with my dad, and of course I always associate the Lark with my mom, for the abovementioned reason. Most of all, they've done a lot for me over the years, and I felt that dedicating an album to them – a personal one, which I was proud of – was the least I could do to show my appreciation.

Q: I also noticed that your introduction is in the form of a poem. I don't think I've seen that before.
A: In the course of attempting to write my intro in paragraph form, I kept returning to a few distinct words and phrases; they eventually morphed into a poem. I didn't set out to make a statement or to inflate my abilities beyond what they are – this was simply the best way for me to get across what was in my head.

Q: One last question, then I'll let you get back to your cake: What do you hope listeners will get out of this recording?
A: I wanted to show people two different ends of the British violin-repertoire spectrum. I hope that they'll fall in love with the lyricism of these works. Both of these pieces are performed far too rarely, and I'd be thrilled if, after hearing this album, listeners would go out and explore other works by these composers – Elgar's Dream of Gerontius, for one. Lastly, it would be wonderful if audience members try reaching their own conclusions about the stories each of these pieces tell. While music history is a crucial part of every musician's training, the audience doesn't always have to listen through the composer's – or even the performer's – ears.

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