Augustin Hadelich partner, Wikipedia, Face, Net Worth, Before Accident, Wife
Augustin Hadelich partner, Wikipedia, Face, Net Worth, Before Accident, Wife – At age 10, acclaimed musician Augustin Hadelich began studying the Brahms Violin Concerto. has performed it numerous times all across the world in the nearly thirty years that have passed. When the Grammy-winning violin professor from the School of Music performed the concerto last week at Woolsey Hall, Hadelich’s command of the piece sparkled.
Concert by Yale Philharmonia and Augustin Hadelich
In addition to a new arrangement of Bruckner’s Seventh Symphony made by Professor Emeritus of Music Paul Hawkshaw, the Yale Philharmonia performed Brahms’ Violin Concerto in D Major, Op. 77 with Hadelich on Thursday night. The orchestra was conducted by Grammy-nominated principal conductor Peter Oundjian.
Hadelich described the Brahms composition as “one of those pieces that every time I return to it as an adult, I felt like I could find even more in the piece and get back more from the piece.” “I became more conscious of how the violin interacts with the orchestra and how lovely it is that you are always hearing the violin with the instruments in the orchestra… that’s why it never gets old,” the author said.
The first movement of Joseph Joachim’s cadenza, a virtuosic solo piece in the middle of a concerto, is included in the majority of performances of Brahms’ Violin Concerto.
Hadelich, though, produced his own cadenza on Thursday night. He wrote it a few years ago.
Since I was essentially creating with Brahm’s material, I was able to come to know it better and in a new way, which helped me play the rest of the piece, according to Hadelich. It has gotten me even more involved with the music.
Hadelich believes that the “back and forth dialogue” between the orchestra and the soloist is what makes Brahms’ Violin Concerto so unique.
Playing with student orchestras as opposed to professional orchestras brings about a “really intense excitement,” according to Hadelich. Because the work is so collaborative and the Yale Philharmonia’s enthusiasm so contagious, I was very eager to play with them.
Hadelich emphasized that the stage is “one of his favorite places to be these days,” adding that when he enters it, his nerves transform into energy.
Hadelich’s performance was followed by a standing ovation from the almost packed Woolsey Hall, which prompted him to play an encore, his arrangement of Carlos Gardel’s “Por Una Cabeza.”
One of Hadelich’s four current pupils at the School of Music, Emily Shehi MUS ’23, said of him, “He’s probably one of the greatest, if not the greatest, living violinist in the world.”
The Yale Philharmonia then performed Bruckner’s Seventh Symphony in Hawkshaw’s new critical version following a brief interlude. Hawkshaw began working on producing comprehensive versions of Bruckner’s works twelve years ago as the co-editor of the “New Anton Bruckner Complete Edition.”
Hawkshaw stated that he spent the previous five years in Vienna working with the autograph manuscript for this particular edition.
“In the case of creating this edition, it was largely a question of working from the autograph score and then consulting the first edition to see where the differences were,” stated Hawkshaw. The real problem was trying to determine which of the many changes had Bruckner’s approval between the time he wrote the piece in 1883 and the time it was published in 1885. Some of these changes were made by Bruckner, while others were made by one of his students. In such a crucial edition, the ones that didn’t should be eliminated.