2017 - Cleveland Orchestra - Dvorak Concerto with Christian Macelaru
Quite different but no less effective was Augustin Hadelich's performance of the Dvorak Violin Concerto at the outset of the evening. If Macelaru, to quote a famous book, was from Mars, Hadelich was from Venus. Where the conductor tended to paint in bold, broad strokes, the violinist wielded a fine, soft brush, and polished every line until it shone.

Many violinists in this score go too far in the direction of fire and grit. Not Hadelich. His performance of the first movement was the epitome of patience and control. And yet there was no rigidity. Lyricism, in fact, abounded, and every phrase came off sounding fully expressive and deeply considered.

In the Finale, too, in virtuoso passages he could have soared through without thought, Hadelich found meaning and even warmth. He played directly and with brilliance, but without aggression or vanity, much as he went on to do in an encore: Paganini's Caprice No. 24.

Even that, though, didn't hold a candle to the Adagio. In the slow movement, the name of the venue, Blossom, came to seem prescient as Hadelich didn't so much perform the expansive melody as allow it to unfold, all the while holding back slightly and speaking in the sweetest of honeyed tones.

2009 - Cleveland Orchestra Debut - Lalo Symphonie Espagnole
The other musical heat-source was violinist Augustin Hadelich, who easily earned a return invitation with a smashing Cleveland debut as the soloist in Lalo's "Symphonie espagnole."
A consummate showman, Hadelich pranced over considerable technical obstacles with fluent ease, then dashed off a Paganini Caprice as an encore. But behind Hadelich's talent was a molten intensity, a determination to explore the music's passionate, earthy sides with gritty articulation and tender lyricism.


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