Classical CD of the week review Paganini 24 Caprices
Nicolò Paganini’s 24 Caprices are known principally as virtuoso fodder. Bursting with technical difficulties, these glittering nuggets are often misconceived as pure training exercises. Yet Paganini composed his Opus 1 as character miniatures, and this is exactly how Augustin Hadelich interprets them in his recording. His new CD is a stroke of genius. For the 34 year old [...] none of the caprices is a study or a show piece. Not one piece, not even the susceptible number nine, is loaded with artificial gravitas. Everything compels expression, clarity and meaningfulness. Lovingly, yet with a touch of irony, Hadelich takes on the gushingly ornamental number 13 with a light, bright timbre. [...] A sensation! Stuttgarter Nachrichten | February 2018

Dvořák concerto with Jakub Hrůša and Stuttgart Radio Orchestra
Hadelich plays this Dvořák concerto with its widely-feared, exposed solo opening ascent with sleek and magnificently burgeoning tone. Every masterful violinistic inflection and confident gesture has the intensity required of the performer in a work of this kind. His eminently noble treatment of lyricism, quite without force, on his 'Ex-Kiesewetter' Stradivari of 1723 reveals a sensitively responsive chamber musician, who despite the temperamental verve of his playing, is mistrustful of the mere 'Bohemian minstrel’. Stuttgarter Nachrichten | February 2015

CD-Review of Histoire du Tango with Pablo Sáinz Villegas (guitar)
The real virtuoso is a great musician. Hadelich reminds us of this. The remote sound, the old-school bel canto: purity and delicacy of tone, an infallible ear; dynamic flexibility, technical agility, a cornucopia of colours. Music is a language, and Hadelich's singing can speak. [...] We marvel as Hadelich goes his own way, and it is a long road, reaching out far beyond himself. Controlled by taste, feeling and style, here plays a messenger between mind and matter." Stuttgarter Nachrichten | 20th April 2013

Barber Concerto with the Stuttgart Radio Symphony Orchestra conducted by Sir Neville Marriner
It was there from the very first note: that fine, silky, supple Hadelich sound, and within a very few bars, the violinist had again proved that not without good reason is he held as one of the most discriminating exponents of his guild.
Stuttgarter Nachrichten | 26th January 2013

CD-Review: Flying Solo
The Ex-Gingold Stradivarius once belonged to the famous violinist and teacher Joseph Gingold […], who gave the first performance of Ysaÿe’s third solo sonata (“Ballade”) on it. Hadelich played it – and how! The jubilation in the rising figure at the start was like life celebrating itself. Ysaÿe’s Sonata no. 5 was pure madness. Joie de vivre – one almost hesitates to put it in German: Daseinsfreude, the joy of living.

[…] In the Caprices nos 4, 9 and 21 Paganini emerges from the shadows of “devil’s violinist” as a remarkable composer and reveals the agonies of unfulfilled desire, passionately depicted. Hadelich plays these with greater seriousness than is usually the case; he does nothing merely for show. In Bartók’s great sonata, likewise, superficial brilliance has no place; the cantabile element is part of an existential desire for self-expression. Playing the violin is communication, and everything in Hadelich’s probing playing happens because of what is in the music. He brings it to an incandescent glow, but not a destructive one. On listening impartially to five recent recordings by aspiring and indeed much-feted young violinists, we have to report that none of them has such a substantial tone, so imaginative an approach to instrumental sound and such timeless beauty.


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