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                      您所在的位置-莫扎特之旅-我的小提琴-小提琴大师-群星璀璨                    
                     
 
 
                   
                     

                   
                     
 
 

                                                 莫扎特之旅整理 文/图 2017-03-14  16:26

 
 
 
 
 

 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
  希拉里·哈恩(1880~1953)Hilary Hahn      
 
三次获得格莱美奖的小提琴家希拉里·哈恩以其精湛的技巧,广泛的演绎和创意编程而闻名。她对音乐制作的动态方法以及她与广泛的全球社区分享她的音乐体验的承诺使她成为歌迷的最爱。

哈恩独特的文体选择在对意想不到的事物进行深入研究的同时,对传统的小提琴文学表示敬意在过去的两个季节里,她在美国,欧洲和日本的独奏音乐会上首次演绎了作曲家AntónGarcíaAbril的六首小提琴单曲。这些作品是哈恩的第一个独奏小提琴调试项目,也是她第一次由一位作曲家完成一组作品。加西亚阿布里尔也是“27部曲:希拉里哈恩安格斯”的作曲家之一,哈恩的多年试运行项目旨在振兴二重奏安可类型。她的专辑在2015年赢得格莱美最佳室内乐/小型合奏表演奖,Boosey&Hawkes将发行完整乐谱的印刷版。完整的哈恩的指法,弯曲和表演笔记,乐谱将确保演出成为活跃小提琴曲目的一部分。

在2017-18年,哈恩从19世纪和20世纪重返曲目,在美国和欧洲演出柴可夫斯基,德沃夏克和第一部普罗科菲耶夫小提琴协奏曲。作为伯恩斯坦的庆祝活动的一部分,她在洛杉矶爱乐乐团,家乐福,卡内基音乐厅的费城交响乐团和家中的休斯顿交响乐团以及比利时,波兰,奥地利和德国的巡回演出中演出伯恩斯坦的小夜曲。百年的季节。

作为最近在维也纳音乐厅,西雅图交响乐团和里昂国家交响乐团驻留的一部分,哈恩在父母的陪伴下与他们的宝宝一起免费参加音乐会 - 有时甚至是惊喜 - 以及针织圈,社区舞蹈工作坊,瑜伽课,和艺术学生。她将继续创建这些面向社区的音乐会,作为费城交响乐团的2017-18艺术家驻场音乐会,鼓励音乐爱好者将现场表演与音乐厅外的兴趣相结合,并为家长提供欣赏现场音乐的机会婴儿。她还参加免费音乐会来推广大学会员计划,并参加费城乐团的持续教育活动。

三岁时,哈恩在她的家乡巴尔的摩的皮博迪学院的铃木项目中学习了她的第一个小提琴课程,并在五岁时开始与刚刚从圣彼得堡移民的克拉拉伯科维奇一起上课。十岁时,哈恩被录取到费城的柯蒂斯音乐学院学习,与雅各布·布罗茨基(EchaneYsaÿe和Efrem Zimbalist的前学生)一起学习。哈恩在十六岁时完成了她的大学要求,已经与巴尔的摩,匹兹堡,犹他州和巴伐利亚广播交响乐团进行了个人首演;费城,克利夫兰和布达佩斯音乐节交响乐团,纽约爱乐乐团等等。哈恩继续学习三年,深入研究语言,文学和写作,并于19年获得了学士学位。她在万宝路音乐节度过了四个夏天,在德米特里学院沉浸在德国,法国和日本的沉浸式节目中,还有四个夏天。她拥有米德尔伯里学院和鲍尔州立大学的荣誉博士学位,在那里有三个以她名义获得的奖学金。

除了三张DVD,奥斯卡提名的电影配乐,儿童获奖录音以及各种汇编,哈恩已经在Deutsche Grammophon和Sony唱片公司发行了十六张专辑。她的作品包括巴赫,斯特拉文斯基,艾尔加,贝多芬,沃恩威廉姆斯,莫扎特,勋伯格,帕格尼尼,斯波尔,巴伯,伯恩斯坦,艾夫斯,希登和柴可夫斯基等,他的录音收录了国际新闻界的所有重要奖项并获得同样大众的成功。所有人都在Billboard古典榜的前十名中首次亮相。她的第17张专辑将成为一个回顾展,收录粉丝们的新鲜生活资料和艺术作品,这符合数十年来在音乐会上收集粉丝艺术的传统。

哈恩的第一个格莱美在2003年来到她的勃拉姆斯和斯特拉文斯基协奏曲专辑。勋伯格和西贝柳斯协奏曲的配对花费了23周的时间,并为哈恩赢得了她的第二个格莱美奖。 2010年,她首演了她与詹姆斯·希登的小提琴协奏曲以及柴可夫斯基协奏曲的录音。写给哈恩的Higdon的作品继续赢得普利策奖。 2012年,哈恩发起了Silfra实验钢琴家Hauschka。这张专辑由ValgeirSigurðsson制作,完全由Hahn和Hauschka在紧张的发展阶段后即兴创作。

哈恩是一位狂热的作家,发表了两篇日记条目
     
     
 
Three-time Grammy Award-winning violinist Hilary Hahn is renowned for her virtuosity, expansive interpretations, and creative programming. Her dynamic approach to music-making and her commitment to sharing her musical experiences with a broad global community have made her a fan favorite.

Hahn’s distinct stylistic choices honor the traditional violin literature while delving into the unexpected. In the past two seasons in recital tours across the United States, Europe, and Japan, she premiered six new partitas for solo violin by composer Antón García Abril. The works were Hahn’s first commissioning project for solo violin and her first commission of a set of works from a single composer. García Abril was also one of the composers for “In 27 Pieces: the Hilary Hahn Encores,” Hahn’s multi-year commissioning project to revitalize the duo encore genre. Her album of those encores won a Grammy for Best Chamber Music/ Small Ensemble Performance in 2015, and the print edition of the complete sheet music will be released by Boosey & Hawkes. Complete with Hahn’s fingerings, bowings, and performance notes, the sheet music will ensure that the encores become part of the active violin repertoire.

In 2017-18 Hahn returns to repertoire from the 19th and 20th centuries, performing the Tchaikovsky, Dvořák, and first Prokofiev violin concertos across the United States and Europe. She performs Bernstein’s Serenade (after Plato’s “Symposium”) with the Los Angeles Philharmonic, Philadelphia Orchestra at home and at Carnegie Hall, and Houston Symphony at home and on tour in Belgium, Poland, Austria, and Germany as part of the celebrations of Bernstein’s centennial season.

As part of recent residencies at the Vienna Konzerthaus, Seattle Symphony, and National Orchestra of Lyon, Hahn piloted free – and sometimes surprise – concerts for parents with their babies, as well as a knitting circle, a community dance workshop, a yoga class, and art students. She will continue to create these community-oriented concerts as the 2017-18 Artist-in-Residence at the Philadelphia Orchestra, encouraging music lovers to combine live performance with their interests outside the concert hall and providing opportunities for parents to enjoy live music with their infants. She also plays a free concert to promote a college membership program and participates in the Philadelphia Orchestra’s ongoing educational activities.

Hahn took her first violin lessons in the Suzuki program of the Peabody Institute in her hometown of Baltimore at the age of three, and at five she began lessons with Klara Berkovich, who had just emigrated from St. Petersburg. At ten, Hahn was admitted to the Curtis Institute of Music in Philadelphia to study with Jascha Brodsky, a former pupil of Eugène Ysaÿe and Efrem Zimbalist. Hahn completed her university requirements at sixteen, having already made her solo debuts with the Baltimore, Pittsburgh, Utah, and Bavarian Radio symphony orchestras; the Philadelphia, Cleveland, and Budapest Festival orchestras, and the New York Philharmonic, among others. Hahn continued her studies for three more years, delving into languages, literature, and writing, and received her bachelor’s degree at nineteen. She spent four summers at the Marlboro Music Festival and another four in the total-immersion German, French, and Japanese programs at Middlebury College. She holds honorary doctorates from Middlebury College and Ball State University, where there are three endowed scholarships in her name.

Hahn has released sixteen albums on the Deutsche Grammophon and Sony labels, in addition to three DVDs, an Oscar-nominated movie soundtrack, an award-winning recording for children, and various compilations. Spanning an extremely wide range of repertoire, including Bach, Stravinsky, Elgar, Beethoven, Vaughan Williams, Mozart, Schoenberg, Paganini, Spohr, Barber, Bernstein, Ives, Higdon, and Tchaikovsky, her recordings have received every critical prize in the international press and have met with equal popular success. All have debuted in the top ten of the Billboard classical chart. Her seventeenth album will be a retrospective collection that also contains new live material and art from her fans, in keeping with a decades-long tradition of collecting fan art at concerts.

Hahn’s first Grammy came in 2003 for her Brahms and Stravinsky concerto album. A pairing of the Schoenberg and Sibelius concerti spent 23 weeks on the charts and earned Hahn her second Grammy. In 2010 she premiered her recording of Jennifer Higdon’s Violin Concerto along with the Tchaikovsky concerto. Higdon’s composition, which was written for Hahn, went on to win the Pulitzer Prize. In 2012 Hahn launched Silfra with experimental prepared-pianist Hauschka. The album was produced by Valgeir Sigurðsson and was entirely improvised by Hahn and Hauschka following an intensive period of development.

Hahn is an avid writer, having posted journal entries for two
 
 
 
 
 
 

 
 
 
         
   
  Hilary Hahn在演奏中      
         
 

Paris, France
SEPTEMBER 26, 2011 / POSTCARDS / SHARE
Dear Readers,

It was so hard to pack today. In the past, a few years ago, I didn’t mind packing, but now it has gotten to the point where I can’t focus when I’m trying to gather my things and I feel sad and can’t get out the door. I almost missed my first flight. I had plenty of time, and I had a packing list and everything, so that wasn’t the issue. For some reason, these days, I don’t enjoy leaving in general. It doesn’t matter where I’m going or where I’m departing from. For example, I am on my way to Paris, one of my favorite cities. I am excited to go, I am looking forward to the place and to the collaboration, and this week will be great! But I did not want to get on that first plane. Once I’m in the cab, it’s fine.


This is my first international trip since the concert season started last week. This is a thrilling time of year; it is gala month. Last week was very intense for me, after three months off: a performance at NPR’s Tiny Desk Concerts, two interviews, three rehearsals, getting back into playing-with-orchestra shape, doing the business side of this career, writing two articles for publication in the fall (one for Gramophone, one for The Strad), making sure my new gowns are ready, learning a piece to perform with OrchKids, and playing the gala season opener with the Baltimore Symphony Orchestra and Marin Alsop. But it kicked me back into the saddle, and here I am! In an airport, on a layover, contemplating buying an ice cream snack from the stand in the middle of the concourse as I try to keep track of everything else I should be doing at the moment.

Hilary

  法国巴黎
2011年9月26日/明信片/分享
亲爱的读者,

今天打包很难。过去,几年前,我不介意包装,但现在它已经到了我无法专注的地步,当我试图收集我的东西时,我感到很难过,不能走出去门。我几乎错过了我的第一次飞行。我有足够的时间,我有一个装箱单和一切,所以这不是问题。出于某种原因,这些天,我不喜欢离开一般。无论我要去哪里或我要离开哪里都无所谓。例如,我正在去巴黎的路上,这是我最喜欢的城市之一。我很高兴去,我期待着这个地方和协作,本周将是伟大的!但我不想坐上那架第一架飞机。一旦我在驾驶室里,这很好。


这是我上周演唱季开始以来的第一次国际旅行。这是一年中令人兴奋的时刻;它是节日月。上个星期对我来说非常激烈,三个月后:在NPR的Tiny Desk Concerts演出,两次采访,三次排练,重新演奏乐团形状,做这个职业的商业方面,写两篇文章发表在秋季(一个留声机,一个留给Strad),确保我的新长袍已经准备好,学习一个演奏OrchKids的作品,并与巴尔的摩交响乐团和Marin Alsop一起演出盛会。但它把我踢回马鞍,而我在这!在一个机场,在一次停留期间,考虑从大厅中间的立场购买冰淇淋小吃,因为我试图跟踪目前我应该做的所有事情。

希拉里
 
         
  Montreal, Canada
APRIL 05, 2012 / POSTCARDS / SHARE
Dear Readers,

This will be more like a letter than a postcard.

A while ago, I hit some photography roadblocks, and my down time was getting entirely consumed by new-record production, computer issues, general off-the-road busy-ness and tour prep, and other forms of communication (YouTube interviews, article authoring, and snail-mail postcard writing).

Recently, though, the photography and computer situations were resolved, and I’ve finally loaded a bunch of images from the past months onto my somewhat new computer. I look forward to sharing what I remember of their context, as well as the pictures themselves, in the next series of Postcards from the Road. I’ll go backwards and forwards a bit, but we’ll land in the present eventually.

A happy update, to keep this postcard current: Packing for travel is no longer distressing. I usually avoid unpacking once I arrive in a city; if I put something in a drawer, I am liable to forget it there. For some reason, I hadn’t realized that by taking things out of my suitcase, I was unpacking after all — into chaos. I admit that to live on the road, it is important to take things out of the suitcase to use them! What’s changed is that I now return things to the suitcase as soon as I’m finished using them. I’m packing in increments, without even noticing. If I’m ready to go at the drop of a hat and my belongings are organized, packing doesn’t hang over me all week. After the last concert in a city, I can unwind by watching a TV show or reading or making a phone call, as opposed to spending unneeded time preparing to leave. The result is that I don’t feel sad when it’s time to take off. It’s the same principle as keeping the house clean in case you want to have guests over. Take out the stressful part, and the interesting aspects can be fun again. Isn’t it funny that a little change of routine can make such a difference?

I have to thank my cousin for this little improvement. We were talking about cleaning house and she made a good point about the connection between an organized environment and an organized mind. Smart cookie!

After tonight’s concert, the final one of this visit, I had a nice late snack, worked, and watched a TV show online. And wrote what you are reading. How is this possible? My suitcases are sitting by the door, packed.
  加拿大蒙特利尔
2012年4月5日/明信片/分享
亲爱的读者,

这将比明信片更像一封信。

前段时间,我遇到了一些摄影障碍,我的停机时间被新唱片制作,计算机问题,一般的路上忙碌和参观准备以及其他形式的交流(YouTube访谈,文章创作和蜗牛邮寄明信片写作)。

不过最近,摄影和电脑的情况已经解决了,我终于在过去几个月里把一大堆图片加载到了我的新电脑上。我期待在下一系列明信片中分享我记忆中的背景以及图片本身。我会后退一点,但我们最终会落到现在。

一个幸福的更新,以保持这张明信片目前:包装旅行不再痛苦。我到达城市后通常会避免拆包;如果我把东西放在抽屉里,我可能会在那里忘记它。出于某种原因,我没有意识到,通过从我的行李箱中取出东西,我终于解包 - 陷入混乱。我承认,为了生活在旅途中,从行李箱中取出东西来使用它们非常重要!改变之处在于,我现在一回完成使用就把东西还给手提箱。我以增量方式打包,甚至没有注意到。如果我准备在帽子上放下东西,并且我的物品是有组织的,那么整个礼拜的包装并不会笼罩在我身上。在城市举行的最后一场音乐会之后,我可以通过观看电视节目或阅读或打电话来放松身心,而不必花费不必要的时间准备离开。结果是,当我们起飞的时候,我并不感到难过。这与保持房子清洁的原则是一样的,以防您想让客人过来。拿出压力的部分,有趣的方面可以再次开心。常规的一点改变可以产生如此的不同,这不是很有趣吗?

我不得不感谢我的表弟为这个小小的改进。我们在谈论打扫房屋,她对有组织的环境和有组织的头脑之间的联系提出了一个很好的观点。智能饼干!

在今晚的音乐会之后,这次访问的最后一次,我吃了一顿精致的晚餐,工作过,并在线观看了电视节目。并写下你正在阅读的内容。这怎么可能?我的行李箱坐在门边,包装好。
 
   
         
  希拉里·哈恩个人资料  

La violinista Hilary Hahn, vincitrice di tre Grammy Award, è famosa per il suo virtuosismo, le intense interpretazioni e la creatività dei programmi proposti. Il suo approccio sempre originale ed il suo impegno nel condividere le esperienze musicali con un’ampia comunità globale hanno fatto di lei uno dei personaggi preferiti dal pubblico.

Le scelte stilistiche di Hilary Hahn onorano la letteratura violinistica tradizionale ed allo stesso tempo indagano nell’ “inaspettato”: a partire dalla scorsa stagione, in tour in tutti gli Stati Uniti, Europa e Giappone, Hilary Hahn ha presentato sei nuove Partite per violino solo del compositore Antón García Abril. Queste opere sono state il primo progetto di commissioni di Hilary Hahn per violino solo da un singolo autore. “In 27 pezzi: il Hilary Hahn Encores” è un altro progetto di commissioni di Hilary Hahn, iniziato nel 2011, inteso a rivitalizzare il genere ‘duo bis’. Il CD pubblicato con questo programma ha vinto un Grammy per la migliore musica da camera nella categoria ‘piccolo ensemble’ nel 2015. L’edizione stampata del materiale musicale completo verrà edita da Boosey & Hawkes: completa di diteggiature, arcate ed annotazioni di Hilary Hahn, questa pubblicazione permetterà che i bis entrino a far parte dell’attivo repertorio violinistico.

La stagione 2016-17 ha visto Hilary Hahn ‘in residence’ con la Sinfonica di Seattle e l’Orchestre National de Lyon. Altre attività nella stessa stagione hanno incluso tour europei con la Filarmonica Ceca, l'Orchestre Philharmonique de Radio France e l'Orchestre National de Lyon; apparizioni con le Orchestre Sinfoniche di Cincinnati, Detroit, Indianapolis, la National Symphony Orchestra, la London Philharmonic Orchestra, l’Orchestra della Radio di Francoforte, la Swedish Radio Symphony Orchestra e l'Orchestra Nazionale di Spagna; tour di recital con il pianista Robert Levin in tutto il Nord America e in Europa.

Hilary Hahn ha ricevuto le prime lezioni di violino nell’ambito del Programma Suzuki all’età di tre anni nella sua città natale, Baltimora. A dieci anni è stata ammessa al “Curtis Institute of Music” di Filadelfia. Ha completato gli studi musicali all’età di sedici anni, in seguito ai debutti con le Orchestre Sinfoniche di Baltimora, Pittsburgh e dello Utah, oltre che con le orchestre di Filadelfia, Cleveland e con la New York Philharmonic. Ha deciso di posticipare il diploma di qualche anno per poter seguire altri corsi di lingue, letteratura e scrittura; poi ha ricevuto il suo Bachelor’s Degree a diciannove anni. Per quattro estati ha 

frequentato il Marlboro Music Festival e per altre quattro ha approfondito la conoscenza del tedesco, del francese e del giapponese presso il Middlebury College; tale istituzione e la Ball State University le hanno conferito dottorati onorari.

Hilary Hahn ha registrato sedici album per le etichette discografiche Deutsche Grammophon e Sony, oltre a tre DVD, una colonna sonora che ha ricevuto una ‘nomination’ agli Orcar, un’elogiatissima registrazione dedicata ai bambini e diverse compilation. Con un repertorio estremamente ampio, le sue registrazioni hanno ricevuto ogni genere di premio, riconoscimento di critica e successo di pubblico. Tutte hanno debuttato nella ‘top ten’ della classifica di musica classica della rivista Billboard.

Il primo Grammy Award è stato assegnato ad Hilary Hahn nel 2003 per il suo album con i Concerti di Brahms e Stravinsky. Il successivo CD, con i Concerti di Schoenberg e Sibelius, è stato in classifica per 23 settimane ed ha portato alla vittoria del secondo Grammy. Nel 2010 è stato pubblicato il Concerto per violino di Jennifer Higdon, brano (scritto per Hilary Hahn) che ha ricevuto il Premio Pulitzer.

Il suo ultimo album, contenente il Concerto n. 5 di Mozart ed il Concerto n. 4 di Vieuxtemps, accosta due composizioni che hanno svolto un ruolo attivo nel suo repertorio per più di 25 anni.

Hilary Hahn è molto appassionata di scrittura: sul suo sito hilaryhahn.com ha pubblicato post giornalmente per quasi vent’anni ed ha pubblicato articoli su noti portali come Slate.com. Sul suo canale YouTube, youtube.com/hilaryhahnvideos, l’artista intervista colleghi riguardo alle loro esperienze musicali. La sua custodia da violino propone commenti sulla vita come fosse una compagna di viaggio su Twitter ed Instagram all’account @violincase. Nel 2001 Hilary Hahn è stata nominata “America’s Best Young Classical Musician” dalla rivista Time. Nel gennaio 2010 è apparsa come artista ospite a The Tonight Show con Conan O’Brien; ha inoltre partecipato alla realizzazione della colonna sonora di The Village ed ha partecipato a due registrazioni e numerose produzioni di generi musicali diversi, collaborando a due registrazioni del gruppo alt-rock "…And You Will Know Us By The Trail of Dead", all'album "Grand Forks" di Tom Brosseau e a un tour del cantautore folk-rock Josh Ritter.

     
 
 
 
     
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