From a recent interview (iTunes Questionnaire) with violinist Hilary Hahn in Seattle Weekly.
“I recently finished touring and recording the first thirteen contemporary encores from my ongoing project of 27. Prepping by capturing the pieces in advance (through my computer’s microphone) and reviewing our playing really helped. In my Top 25, this piece was my most-played of the rehearsal recordings. I know you can’t listen to it right now, but you will be able to get the whole collection in a little over a year! It has been inspiring to work on that many pieces by different composers, all of whom I called up and commissioned for this project.”
“What is interesting to me is how much a piece can change in a couple of weeks of performing. That is the nature of interpretation. Whereas Hauschka and I improvise notes, among other musical features, I find myself improvising elements of classical interpretation every day. The two approaches, in that sense, are not that far apart. When I listen to the rehearsal recording, and then think of the session playbacks, nearly everything has redefined itself: pacing, dynamic nuances, speed, flow, flashiness, and emotional impact. I’d encourage you to check out Paul’s other pieces: he is a Pulitzer Prize winner, a very nice person, an artist of our times, and of course, an impressive composer.”
Read the full article: Hilary Hahn Is Listening To Herself, Hauschka, and “No Diggity”