In the second of a two-part article, Hadelich discusses Auer’s amendments, the cadenza and applause. From the January 2017 issue
This is one of the most exhausting concertos in the violin repertoire. It is emotionally intense throughout – even in the soft passages – and the technical challenges are immense, so it is physically demanding as well. I always warm up for at least 45 minutes before playing this piece, slowly working through the tricky passages until I feel comfortable. It is not something to start playing when you have cold hands!
Once on stage, I try to focus on the character and emotion that I want the notes to communicate. The more intensely I experience the music, the better I am able to share these feelings with the audience as well. During orchestral tuttis (for example the introduction, before the solo line enters), it’s important not to be too passive or disconnected. I participate in the music internally, silently singing along with the orchestra in my head, so that once I start playing again my line flows in continuation of what the orchestra has just played.
In the first part of this article, I mentioned that…
What you get: