When I was five, I started to study with Klara Berkovich. She was a Russian teacher who had just immigrated from St. Petersburg, after teaching for 25 years at the Leningrad School for the Musically Gifted. I studied with her for five years at Peabody Prep. She taught me how to draw my bow, how to play double stops, vibrato, pizzicato—basically everything you need to know to play the violin.
She also taught me the basics of phrasing, so I knew what to do with a phrase and how to make something interesting. When I was about nine, she told me that I had done enough work to give a recital by myself. I went home, looked at my repertoire, and decided that she was right, I probably could.
We worked toward this for about eight months. Around this time, Mrs. Berkovich told me that she had taught me as much as she felt comfortable teaching me, and it was time for me to look for another teacher.
I talked with some of the teachers at the Peabody Conservatory, and one of them told me that she knew a wonderful teacher for me, Jascha Brodsky, who taught at the Curtis Institute. She suggested that I audition for Curtis. But I was entering a competition and wanted to play one of the Viotti Concertos for someone. But a couple of weeks later, Gary Grafman, the director of Curtis, told me that I had been accepted and that I would be studying with Jascha Brodsky.
Yes, and he was I had a wonderful time studying with him. He told me tons of stories. I studied with Brodsky for seven years, until he died, when he was 89 and I was He took what Mrs. Berkovich had taught me and refined and developed it. He taught me about 28 concertos, recital programs, and lots of short pieces. He gave me a thorough technical training and, like Mrs. He had a kind of musical hierarchy that he wanted me to work through, with Beethoven and Brahms at the end. I wanted to do the Beethoven Concerto a couple of years too soon according to his schedule.
I would beg him to allow me to do it, promising to practice really, really hard. Then you will be completely prepared for it.
Curtis is very flexible, so the first two years I stayed in Baltimore. I was homeschooled at that point, in order to have time to do everything I wanted to do. During the first two years I did my homework on the road while we commuted twice a week to Philadelphia for my lessons, rehearsals, and coachings. The dean suggested that I take college courses to fulfill my high school requirements, so I was able to kill two birds with one stone.
Although I was in classes with year-olds who had entered that year, I felt like just like part of the family. I felt like the younger sister without the arguments. I took a lot of literature courses, Western Civ. After Mr. Brodsky died, Mr. When Mr. Laredo was in town, I would play for him. I still do. Who are some of the other musicians who have been important in your artistic development?
David Zinman, the conductor of the Baltimore Symphony, has been my mentor since I was ten. The Symphony was very important in my early development. People there advised me not to do too many things too soon, not to be an overly busy prodigy type, not to go to management too soon, not to record before I was ready, and to stay in school. All of this was very good advice. Also, Loren Mazel was an important mentor.
I worked with him on a regular basis. This was like a dream come true; the two are great musicians. And playing this week for the first time with Joseph Silverstein as a violinist has been really fun. 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.
A pairing of the Schoenberg and Sibelius concerti spent 23 weeks on the charts and earned Hahn her second Grammy. In Hahn launched Silfra with experimental prepared-pianist Hauschka. Hahn is an avid writer, having posted journal entries for two decades on her website, hilaryhahn. On her YouTube channel, youtube. In During an interview on Danish television, Hilary said that she almost never leaves her instrument out of sight.
Hilary Hahn is married to a German composer and pianist who primarily records and performs under the name Hauschka. I am usually very private about my personal life … but this is such a different kind of news that I wanted to share it directly. Welcome to the world, little Nadia! In interviews, Hahn mentioned that Johann Sebastian Bach was her favorite composer and that playing his work helped her stay at her best.
She quoted:. I can work on it for a long time and keep discovering more things that surprise me every time. Hahn earned most of her wealth by selling tickets to her concerts she has performed nearly concerts on 5 continents, 43 countries, and cities , selling her albums, and sponsors.
Will some one please leave this great, once in a life time talent 20 million. She is worth it, many times over. Thanks Hilary. I, who had never appreciated classical music all that much, burst into tears hearing her at a concert rehearsal, playing Beethoven. Have never forgotten than moment. I can recognize her violin and interpretations.
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