It was a remarkable week for violin enthusiasts in Los Angeles, with two of the finest violinists today—Midori and Augustin Hadelich—each showcasing their exceptional talents in separate concerts at Walt Disney Concert Hall within just 24 hours.
On March 13, as part of the “Colburn Celebrity Recital,” Midori, accompanied by her long-time musical partner pianist Özgür Aydin, delivered a breathtaking performance. The highlight was her fiery rendition of Ravel’s “Tzigane,” which left the audience in awe. (In fact, I couldn’t help but jot down “Slay, girl!” in my notes!) The following morning, March 14, Augustin Hadelich performed Tchaikovsky’s Violin Concerto with the Los Angeles Philharmonic, conducted by Joana Mallwitz. His interpretation, filled with original ideas and precise tempi, kept the orchestra on their toes. Hadelich gave two additional performances with the LA Phil over the weekend.
Although Midori rose to fame as an international prodigy in the last century, her recent visit to Los Angeles felt like a homecoming. She is still fondly regarded as the demanding yet nurturing violin professor who taught at USC’s Thornton School from 2004 until 2018, and many of her former students attended the recital (though one mentioned that Midori had to fly out immediately after the performance, limiting any post-concert visits).
The recital, originally set to open with a commissioned piece, Che Buford’s “Resonances of Spirit” for solo violin and electronics, began instead with Robert Schumann’s “Five Pieces in Folk Style,” Op. 102. Though the intimate nature of the piece created a beautiful atmosphere, it felt somewhat introspective for the large space of Disney Hall.
Next, Midori and Aydin performed Johannes Brahms’ Sonata No. 1 in G Major, with the second movement, Adagio, standing out as the evening’s emotional high point. Aydin’s delicate piano playing set the stage for a serene, contemplative violin melody that felt almost suspended in time.
The second half of the program contrasted with the first, brimming with passion and energy. It opened with Francis Poulenc’s Sonata for Violin and Piano, written in tribute to the Spanish poet Federico García Lorca. Midori’s performance captured the intensity and urgency of the piece, breaking a bow hair within the first two minutes. Her virtuosity, paired with Aydin’s expressive playing, brought depth to the music’s mercurial character, particularly in the second movement Intermezzo and the dramatic Presto tragico.
Next came two pieces by Maurice Ravel. In “Kaddish” from Deux Mélodies Hébraïques, Midori’s violin took on the role of a voice, its mournful vibrato resonating with grief and timelessness. The audience was held in a prolonged silence, deeply moved by her performance.
The grand finale was Ravel’s “Tzigane,” a dazzling display of technical mastery. From the initial, tension-filled G string passage to the rapid, flawless finish, Midori’s performance was nothing short of spectacular, leaving the audience captivated. After several standing ovations, Midori and Aydin treated the crowd to an encore: “Hai Luli” by 19th-century composer Pauline Viardot.
Less than 24 hours later, Augustin Hadelich took the stage for a morning performance of Tchaikovsky’s Violin Concerto with the LA Phil, conducted by Joana Mallwitz. The 11 a.m. concert drew a packed house, with many concertgoers staying afterward to enjoy lunch at Disney Hall’s cafeteria.
Hadelich had last performed with the LA Phil just eight months earlier, playing Prokofiev’s Violin Concerto No. 2 at the Hollywood Bowl. This time, he brought a fresh interpretation to Tchaikovsky’s Violin Concerto, a piece that, despite its 1878 origins and initial rejection for being “unplayable,” remains one of the most beloved violin concertos in the classical repertoire. Hadelich’s approach to the piece was far from conventional. He brought a sense of joy and spontaneity to every phrase, infusing the familiar with his own signature style.
The first movement felt as welcoming as ever, with Hadelich’s warm vibrato and impeccable dynamics. His lightning-fast triplets thrilled the audience, and his elegance shone through in the string-hopping double-stops. Mallwitz’s conducting matched the intensity, driving the orchestra to exciting speeds, especially in the buildup to Hadelich’s solo cadenza.
During the cadenza, when the orchestra dropped out and Hadelich played alone, it was clear that his unconventional choices—using the bow where others would pluck the strings, or playing an up-bow where most would opt for a down-bow—were not only effective but inspired. His daring interpretations gave new life to a piece long defined by tradition.
The second movement flowed seamlessly, with a perfect balance of forward momentum and pauses that allowed Hadelich to showcase his rich tone. In the third movement, Hadelich’s precision was on full display as he navigated the swirling notes with crystal clarity. The wild, fast-paced conclusion brought the performance to a thrilling close.
The audience erupted in applause, and after several ovations, Hadelich treated them to a delightful encore: his own arrangement of “Por una cabeza” by Carlos Gardel, which he generously offers for free on his website in both solo and duet versions.
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