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Silfra by Hauschka



Release Date: May 22, 2012

Genre(s): Experimental, Classical, International, Chamber Music, Avant-Garde Music, Concerto

Record label: Deutsche Grammophon


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Album Review: Silfra by Hauschka

Very Good, Based on 4 Critics

Pitchfork - 73
Based on rating 7.3/10

The 32-year-old violinist Hilary Hahn has been at the lonely pinnacle of the classical A-list since she was all of 16 years old. It's not exactly a sphere that rewards, or even encourages, curiosity: The language used to assess soloists in Hahn's rarefied air comes disturbingly close the the kind used to appraise prize ponies, and the city-to-city nature of the violin-concerto circuit can make for a life that is almost as cloistered and repetitive. But Hahn has resisted stagnation, recording with alt-country singer/songwriter Josh Ritter, the folk singer Tom Brosseau, and even ...And You Will Know Us by the Trail of Dead (that's her on Worlds Apart's "To Russia My Homeland").

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PopMatters - 60
Based on rating 6/10

You know what’s dead serious? German classical music label Deutsche Grammophon, that’s what. It was founded in 1898, meaning that it’s one of the oldest record labels still in existence, and it has spent the last century-and-a-bit pushing, yes, super-serious classical music. In fact, it’s totally ingrained in the production and the reception of classical music.

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BBC Music
Opinion: Very Good

Music of organic yet mechanical motion, emerging out of a Jules Verne-dreamed world. Martin Longley 2012 This is the first collaboration between German-born pianist Hauschka and American violinist Hilary Hahn, after singer-songwriter Tom Brosseau brought them together in 2009. In a meditative production role sits Valgeir Sigurõsson, who has worked previously with Björk, Bonnie "Prince" Billy and the French singer Camille.

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The New York Times
Opinion: Very Good

HILARY HAHN AND HAUSCHKA: ‘SILFRA’ Hilary Hahn, violinist; Hauschka, pianist; Deutsche Grammophon 0289 479 0303 1; CD FROM the start of her career the violinist Hilary Hahn seems to have had little use for the beaten path. Admirers understandably intuited the makings of a new Heifetz or Oistrakh in the beautiful exactitude of her playing. But in her unusual pairings of canonical works on CD; her devotion to neglected pieces (Schoenberg’s concerto, Ives’s sonatas); and her openness to working in nonclassical settings for reasons other than a paycheck, Ms.

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