Kick Master (ess) !!!

With this record, Hilary Hahn started a career rich with promise and successes. But this first stroke of genius remains one of the most dazzling in the matter. It's not as technical safety, ease of the bow that fascinate but the quality of breathing, clarity of thought and the overall architecture, the ability to take the listener to heart of the work, never succumbing to ostentation, in short, to remain an exceptional humility towards music. This immense quality is paramount to tackle Bach. Philologists will hold forth endlessly on the American style: to date, they have not done better!
Other unquestionable quality: Hilary Hahn knows to go mistress time and ability to vary his phrasing to infinity, creating the most diverse insights into the most distended tempos commands admiration. The program opens with the Partita No. 3, which is gaining phrase internalized what it loses in surface gloss. The Loure is a true elevation to the highest spheres of Music and the Minuet II seems to come from elsewhere. The dances do not lose their popular sap which the steep set of Hahn gives a hardiness of good quality. The prelude of the same partita is a more stable pace of perspective.
Partita No. 2 is obviously the top of the album: If the Current and Gigue could gain vivacity, the more meditative passages literally touch the sublime. The German becomes intense prayer, with very deep and internalized phrasing; In the Sarabande, Bach seems to talk about the afterlife. Whispers of Hahn violin seem out of touch. Chaconne and taken to a quasi-stationary tempo (18'00 !!!), transports us into a hitherto unknown dimension, a height of view like no other. Everything is there: the nobility, intensity, size, the skin-deep emotion, dazzling technique. To such a degree of mysticism, the music rises to the rank of Art. So the criticism leveled at the Current and Gigue not like to much of anything.
In the Sonata No. 3, the stiffness of Hahn lost to modulations of the initial Adagio, their variety and flexibility but the intensity is undeniable. The Fugue is superiorly dominated but I have experienced more transportantes. The Largo is humble and restrained and Finale Allegro assai cleverly contrasts with the foregoing. The tempo is beautifully removed, the metric is perfect and enthusiasm born from this rhythmic madness. He completed a Sonata No. 3 further back but so far, here is an unforgettable drive, especially for the Partita No. 2.