Concert Reviews
"Extraordinary
timbre ... engrossing technique and exciting bravura ... [His
playing] electrified the audience ... the listeners urged encore
after encore"
WASHINGTON POST
"A soulful narrative and
a tone that was rich and vibrant as Jascha Heifetz's"
THE INDEPENDENT
"An impassioned performance ... of great
excitement (Bruch Concerto) ... There were many moments of thrilling
virtuosity ... and a melting tone"
THE
STRAD
"A mature
musician, full of passion, remarkably confident in his appearance
and artistic expression. His constructive understanding of the music
makes one look forward to hearing him again in the near future"
FRANKFURTER ALLGEMEINE
"His technique is in the
virtuoso class, with real wizardry ... musical qualities ... and
lustrous tone. There were times when he reminded me of another fine
violinist, Perlman, in a performance that combined phrasing with
brilliant technique and a well founded understanding of the music"
(Sibelius Concerto)
BELFAST TELEGRAPH
"The evening's adventure
came with Hagai Shaham's performance of the Sibelius violin concerto
... Here is a soloist so involved with the music you forget about
his technique, which is considerable in its achievements, and the
sound he produces ranges from the sensitive to the passionate with
everything in between"
IRISH TIMES
"Hagai Shaham is a fiery
and striking, playful and elegant virtuoso, conjuring up almost
magically virtuosic romanticism and Hungarian rhythms ... The
audience was overwhelmed"
HELSINKI SANOMAT
"Technical standards and
interpretation that musicians formerly hardly achieved in a
lifetime"
BADISCHE NEUSTE NACHRICHTEN
"A sensational display
of violin playing... it was the magic of his playing that won the
day" (Paganini Concerto no. 1)
BELFAST
NEWSLETTER
"A concert
of ultimate perfection"
BADICHES TAGBLATT
"Shaham played with
brilliant virtuosity ... great precision and delightful
interpretation"
WIENER ZEITUNG
"YOUNG PIANO AND VIOLIN
DUO DISPLAYS ASTONISHING MASTERY - They tossed of a stunning
performance of the Ravel 'Tzigane', flattening the difficulties that
bristle through the score with frightening effortlessness ... gifted
with exceptional musical imagination ... and a very distinctive
rhythmic pulse that propels their playing with almost irresistible
magnetism ... incredibly dramatic and exciting"
THE OTTAWA CITIZEN
A FRESH LOOK AT VIVALDI'S FOUR SEASONS - Soloist
Hagai Shaham reawakened and brought back to life this ever-popular
piece ... his lightening-sharp nuances and changes of articulation
drew an enormous variety of images and colours ... his masterful
control and excellent technique enables him to expresses different
emotional scales.
SATAKUNANA KANSA
(Finland)
"Teufelsgeiger (Devil-violinist) Shaham played
with extraordinary intensity and ingenuity ... special elan and
ecstasy"
WEISBADENER TAGBLATT
"Hagai Shaham's playing
was a constant delight ... he came close to ignition in the cadenza
... and achieved mesmeric pianissimos" (Paganini Concerto no.1)
IRISH TIMES
"An exquisite performance ... original and
animated interpretation"
DIE PRESSE,
Vienna
"An
interpretation which left nothing to be desired. [His] immense
expression ... technical brilliance and spirit of playing ... reaped
thunderous applause"
TIROLER TAGESZEITUNG
"Hagai Shaham was a
superb soloist (in the Sibelius Concerto); High spirits, rhythmic
grip, clean virtuosos flights and deep rich sounds ... contributing
to an impassioned performance, heroic in majesty"
IRISH TIMES
"Mendelssohn's ever-popular concerto introduced
us to Hagai Shaham, a player of quite exceptional resource ... a
lovely piece of playing in which spacious phrasing was linked to
disarming and unaffected eloquence ... and had all the dexterity the
final movement required"
BELFAST TELEGRAPH
"An ideal balance
between profound musicality and impeccable technique" (Brahms
Concerto)
PACIFIC CULTURL FOUNDATION
NEWSLETTER, Taipei
"Hagai Shaham gave a spellbinding performance in
Prokofiev's violin concerto no. 1, displaying amazing technical
dexterity and profound musical insight"
EVENING ARGOS, Brighton
"Perfect interpretation
and outstanding musicality"
KLEINE ZEITUNG,
Vienna
"A heart
stopping experience (Prokofiev Concerto no. 1) Shaham demonstrated
his Heifetzian abiliy generated great excitement with his very
palpable stage presence … A charismatic soloist with strong
communicative presence This concerto was worth a million dollars"
INKPOT CLASSICAL MUSIC REVIEW, Singapore
"Even when one has heard
Tchaikovsky's violin concerto a dozen times, one was enchanted,
fascinated, electrified by this magician on the violin … violinistic
witchery ravishing sweetness fireworks of bow artistry The applause
that followed did not wish to end"
SCHWABISCHE ZEITUNG
"Hagai Shaham presented a grand and exciting
Sibelius, with great virtuosity, and a great deal more"
HAARETZ, Israel
"Nearly hear-stopping technique exceedingly warm
and sensitive tone one can imagine that he is considered a world
star (Tchaikovsky Concerto)"
SUDKURIER
CD
Reviews
Brahms - Hungarian Dances
Joachim - Variations in E
minor
Hagai Shaham, violin
Arnon Erez - piano
Hyperion CDA67663 (66m DDD)
'This is a magnificent release. Shaham and Erez have
thoroughly absorbed a style that demands continual flexibility,
playing together with such ease that it's easy to forget the art and
care that have gone into achieving such beautiful
ensemble'
Gramophone Magazine
Daily Telegraph CD of the Week
'Virtuoso performances from the Israeli
violinist Hagai Shaham that get to the heart of the style... the
playing fizzes with energy and suavity'
Daily
Terlegraph
Classic FM CD of the Week
‘Joachim's transcription of the famous Hungarian
Dances, originally written for piano duet or solo piano, are
technically challenging for any violinist. They're also full
of rustic tunes and musical invention - and on this recording, Hagai
Shaham performs them with real verve.’
Classsic FM
flair for this romantic style and relishing
every juicy slide and glittering arabesque. Excellent accompaniment,
too, from Erez’
Classic FM
Magazine
BBC Music Magazine
Five stars
Hagai Shaham and Arnon Erez form
an idal duo in Brahms
'Hagai
Shaham and Arnon Erez complement each other perfectly here, evincing
fire, fury, and sweet sadness, and they act as a brilliant showcase
for Joachim's work both as an arranger and a composer'
BBC Music Magazine
'Shaham takes advantage of opportunities to pepper his
readings with pregnant pauses, occasionally telegraphing a note only
after he has made the listener aware of its coming. Though the
pieces themselves may be highly virtuosic (on second thought, forget
the ‘may be’), Shaham hardly allows these built-in difficulties to
be obvious, so intent does he seem in communicating their
impassioned rhetoric… Shaham explores Joachim’s more austere
(musically if not technically) terrain with an insight equal to that
he displayed in Brahms’s more extroverted selections. Urgently
recommended to listeners of all
stripes'
Fanfare
Magazine
'These
deservedly popular pieces overflow with charm and infectious melody
… Hagai Shaham and Arnon Erez sound right inside the idiom, playing
with an infectiously relaxed bravado wherever necessary, while
inflecting of those timeless phrases with a suave confidence and
relaxed inevitability that prevents them ever straying into camp
'geepsy' territory … There is a subtly understated charm about these
performances which I enjoyed a great deal, gently cajoling us into
its colourful sound-world rather than hustling us in. Most
importantly, Shaham always gives the music a distinct Brahmsian lilt
…Many recordings provide just the Hungarian Dances, but Hyperion
includes a typically inventive 'filler' in the form of Joachim's E
minor Varations … Calum MacDonald provides an exemplary booklet
note, and the recording is convincingly balanced, capturing Shaham's
lithe, glistening tone to a tee'
International
Records Guide
'This recording by Hagai Shaham and Arnon Erez is
probably the most dazzling that I have heard'
American
Records Guide
‘Hagai Shaham here gives them what you might
call the royal gypsy treatment in terms of rubato and inflection.
Joachim's own Variations are both earnest and flashy as well as
technically demanding.’
Irish Times
‘With the Israeli duo Hagai Shaham/Arnon Erez the
music world has welcomed two highbred romantic musicians. Shaham, a
great violin virtuoso who is a complete master of his instrument to
the very highest of levels, is on top of any technical demands
whatsoever and seems to be tossing off the most difficult of
double stops with incredible ease… This is a feast for any violin
lover…Shaham and Erez play with exactly the right degree of warmth
and sensuality…’
Klassieke
Zaken
‘Stylistically, Shaham is spot on. His playing
overflows with the flair and panache that characterize the Hungarian
gypsy idiom; his tone is sultry and seductive.’
www.Allmusic.com
'The
Israeli duo of Hagai Shaham and Arnon Erez turn in very enjoyable
performances and Shaham's technique is such that the difficulties of
the violin part are never apparent; double stopped passages are
despatched with ease, fast passage work is clean and
exciting... the
performances are wonderfully idiomatic, recapturing through
Joachim's arrangements some of the authentic gypsy spirit that was,
necessarily, pushed out in Brahms' piano duet originals. In the
seventh dance, one of the more overtly virtuosic arrangements
replete with its own mini cadenza, Shaham's use of portamento is
seductive and the little dashes of colour that Joachim introduces –
delicate trills added occasionally below and above the melody – are
executed with nonchalant ease and style…. the performances are
wonderfully idiomatic, recapturing through Joachim's arrangements
some of the authentic gypsy spirit that was, necessarily, pushed out
in Brahms' piano duet originals. In the seventh dance, one of the
more overtly virtuosic arrangements replete with its own mini
cadenza, Shaham's use of portamento is seductive and the little
dashes of colour that Joachim introduces – delicate trills added
occasionally below and above the melody – are executed with
nonchalant ease and style… In sum then, this is a finely performed
and recorded disc and if I wouldn't necessarily recommend listening
to all the Hungarian Dances in one sitting, these stylish and
virtuosic readings give considerable pleasure.’
www.MusicalCriticism.com
‘In the spotlight is the violinist Hagai
Shaham, with his distinctive violin sound. Not without reason and
without exaggeration critics compare him regularly with the great
Jascha Heifetz, although the two violinists lived generations apart,
there are still amazingly similar. Like Heifetz it is also true for
Shaham: expression is top priority… As we listen, it seems that
Hagai Shaham is playing in the familiar image of a Gypsy violinist…
whose goal is to bring his audiences to tears.’
www.dradio.de
‘Violinist Hagai Shaham and pianist Arnon Erez
play them with fire, flamboyance and an authentic gypsy
rambunctiousness. Like the famous Viennese Waltz that requires a
slightly halting rubato to produce an authentic effect, these
Hungarian gypsy dances must be played with a certain abandon if they
are to sound like the folk music that is their source. Both
musicians inhabit this music as if born to it. It is often difficult
to overcome the urge to dance. This is music that dazzles one not
with its profundity but with its passion. I can think of no better
recording to lift your spirits than this splendid release. The
Joachim Variations in E minor that round out this disc are similar
in style and make a superb filler…The violin sounds especially rich
and full…This CD is an exciting, life-affirming disc to all who
yield to its charms.’
Audiophile Audition
Ernest Bloch - violin suites
Paul
Ben-Haim - Solo sonata
-
Bloch - Baal Shem Suite, Suite
Hebraique, two suites for violin solo
-
Ben-Haim - Solo sonata,
Berceuse Sefaradite, Improvisation and Dance
Hagai Shaham, violin
Arnon Erez - piano
Hyperion CDA67571 (74m DDD)
BBC Magazine Choice March 2007
’Suite success’
‘Both composers are served
extremely well on this beautifully recorded disc, Hagai
Shaham giving a totally convincing performance of
Bloch's well-known Baal Shem…The overall impact is all the more
powerful for the sure sense of pacing both artists demonstrate
throughout the recital, qualities that stand Shaham in particularly
good stead in steering a clear sense of direction through the more
discursive melodic lines of the unaccompanied Suites or the slow
movement of the Ben-Haim Sonata. …Improvisation and Dance,
brilliantly dispatched by both artists, would perhaps make a welcome
alternative to Ravel's much-played Tzigane.’
BBC Magazine
‘ Hagai Shaham possesses
the ideal kind of silver-toned, narrow-vibratoed purity to make
these occasionally melodramatic pieces ring true. Rather than fall
back on a well-upholstered, opulent sound, he streamlines his tone,
adding a special kind of intensity to Bloch's soaring
climaxes.
Shaham strikes just the right balance between
interpretative cool and swashbuckling bravado in Baal Shem, whose
second movement -the popular Nigun - can sound decidedly
over-wrought in the wrong hands…. The solo Suites are difficult to
bring off convincingly, yet Shaham sounds completely in his element,
bringing warmth and sparkle to music that can easily seem cold and
unyielding….Shaham sounds right inside this elusive idiom
(Ben-Haïm)and
the recording is excellent throughout.'
Strad Magazine
‘Shaham revels in Bloch's demanding yet
imaginatively idiomatic violin writing. In the solo suites, as well
as the more extravagantly emotional pieces with piano
on
Jewish themes, he enters wholeheartedly into the
feeling of the music yet retains a measure of balance and restraint
- the vibrato isn't exaggerated and a feeling of rhapsodic freedom is achieved
without sacrificing natural flow. …Shaham's playing of the central
Lento e sotto voce (Ben Haim solo sonata) is stunningly beautiful.
And the "Improvisation and Dance", a folk-style showpiece after the
manner of the Bartok rhapsodies, inspires both Shaham and Ercz to
brilliant feats of virtuosity.’
Gramophone Magazine
‘'The vibrancy of Hagai
Shaham’s tone and his willingness to engage in
expressive devices, apparent from the first notes of Ernest Bloch’s
Baal Shem, promises visceral performances of commanding
penetration… (compared with Stern’s recording of Nigun)
Stern’s violin always almost startlingly in the fore, emerged
without the clear definition of Shaham’s. But musically, Shaham is
striking, too, balancing ardent and reflective passages in the first
movement, “Vidui,” and bringing more than a perfunctory sense of
exaltation to the suite’s last, “Simchas Torah,” which he concludes
with breathtaking panache. In the Suite hébraïque, he characterizes
each of the movements so strongly that a new listener wouldn’t even
need to read their titles to divine their programmatic content.
(on the solo suites) … they hold a
listener’s interest and sound as though they should be as grateful
to the performer as to the listener. (Ben-Haïm’s Solo Sonata)
Hagai Shaham sounds as
much at home in this kind of ethnic material as in the hushed
sections of the second movement or in the bold, virtuosic gestures
of the third…Those drawn in any way to these composers should find
Shaham’s advocacy convincing. Strongly recommended, however, to all
kinds of listeners.'
Fanfare
Magazine
‘In
the line of his preceding discs devoted to Bloch, Hagai
Shaham is affirmed definitely as the interpreter of
choice in this challenging and profound music, which requires not
only real virtuosity but also musical intelligence and a rare
sensitivity. In the two admirable Suites for
solo violin, Shaham reaches, by fullness and the generosity of his
playing, a spiritual overturning. Outclassing the recording left by
Menuhin in 1975, this new version of the young Israeli violinist
dominates without question the discography of these superb
works.
A remark that is worth equally for the Ben Haïm offered in
complement; this confirms the height of sight of the musician as
much as his affinity with this repertoire.’
Diapason
‘Such
a fine soloist as Hagai Shaham…Baal Shem receives an excellent
performance. Shaham projects the ecstasy of the climaxes
marvelously… a fine release of worthwhile and (‘Nigun’ aside!)
relatively neglected repertoire.”
International
Record Review
‘Following his excellent recording of the
sonatas by Grieg , Hagai Shaham presents here
Bloch and Ben Haïm CD…The interpreters approach these composers with
fervour and feverish enthusiasm which they put at the
service of Grieg. They impose a great rhapsodic freedom, yet without
any mannerism. The sound of Hagai Shaham is
powerful, at the same crusty and melting’
Le Monde de la
Musique
‘These performances are truly inspiring. Shaham
is unafraid of liquid, quick portamenti in the Baal Shem Suite and
he is at pains to balance Hebraic fervour with high lying lyricism…
Shaham intelligently varies his tone here – this is not an
understated Nigun but it is one that says a lot without saying too
much. The joyous buoyancy and culminatory exultation of the finale show how adept the
duo has been throughout – they pace the suite extremely well…played
with exceptional clarity by Shaham…The playing is insightful,
expressive, and thoroughly idiomatic. These two musicians make an
articulate and important statement about both composers’ work.’
MusicWeb-International
‘Shaham's fiddle weeps with an
expressive rich, dark tone, especially in the Nigun’Classics FM Magazine
‘Hagai
Shaham supplements the integral works for violin
and piano of Bloch, which he started successfully two years ago. One
finds in the ‘Baal Shem’, ’Suite Hebraique’ and the two rare Suites
for violin solo, the same qualities as in the previously released
works: bow mastery, superb sonority, phrased elegantly and
intelligently, giving the interpretation sensuality or spirituality.
Three works of Ben-Haim also profit from a reading of a very first
class’
Classica Magazine
‘Shaham’s first disc of Bloch's music for
violin and piano drew raving reviews from critics and listeners
alike. This second should be a barnstormer like the initial
foray…Performances are simply electrifying, and the relentless
tension that they create is almost unbearable.’
Classical Net
‘Shaham reveals a
penetrating intensity, exalted and colorful at once’
‘Incantational and dancelike, the Baal Shem
suite allows for Shaham's expressive powers to vent fully,
especially in the familiar Nigun section. But Simchas Torah, too - the
celebration of The Law - finds mellow ecstasies in the hands of
Shaham and Erez. Fluid in pitch and dynamics, Shaham reveals a
penetrating intensity in this suite, exalted and colorful at
once.
(Suite hebraique) Shaham has his
violin chanting and pining in equal measure, stridently pleading or
coaxing, as the music requires… At several moments, the piercing
sound of Shaham's instrument recalls Joseph Szigeti's cat-gut
realizations of this emotional music.’
Audiophile
Audition
‘Not
only does this seem to
be
Bloch's forte, but violinist Hagai
Shaham's as well. Shaham's playing in these two works (Baal Shem and
Suite Hebraique) is replete with a heavy right arm; a deep, throaty
sound; and fast, aggressive vibrato — in other words, an ideal
gypsy-like timbre that suits these compositions perfectly’
Allmusicguide.com
‘Hagai Shaham follows his
disc of Bloch's Violin Sonatas with an equally splendid release of
the composer's other violin music… Shaham sails through them with
brilliance, capturing the rhapsodic opening of the first movement of
Suite No. 1 along with its vigorous final movement, as well as the
Second Suite's soaring, lyrical Andante and its virtuoso
finale.
Baal Shem Suite and Suite hébraïque, played with colorful
zest... In Ben-Haïm solo sonata Shaham lends an improvisatory feel
to the rhythmically powerful first movement, recalls the lyricism of
shepherd's pipes in the pastoral second, and revels in a stomping,
virtuosic finale based on the Hora. A pair of attractive folk-based
works close the recital, played by Shaham and Erez with tonal beauty
and idiomatic flair. An irresistible disc!’
Editorial Reviews,
Amazon.com
‘Hagai
Shaham has a singing round, soft and noble tone. It
is passionate… contrasts and rests are well plumbed. …in the
introverted central movement of the Ben-Haïm solo sonata - Shaham
had here a great moment, held back his Vibrato strongly, played
completely in itself, with great warmth; one loses himself gladly in
the soft Melisma, shaded Glissandi and Portamenti’
klassik-heute.com
 Grieg - The Violin
Sonatas
Going on Grieg, this partnership offers playing
that's often irresistible
‘Hagai Shaham plays the
livelier ones (short works - Puck and Scherzo Impromptu) in true
virtuoso style, and he’s equally successful in the gentler pieces –
warm and relaxed for At Home, intense and pleading in Lonely
Wanderer. …The playing is outgoing and communicative, and each
movement makes a distinct, positive impression (sonatas)… in
vivacious movements like the 2nd
sonata, the sheer verve of the playing is irresistible. The dance
like sections of the third sonata make a similar impression and its
‘big’ tune is wonderfully well graded’ with the cumulative,
immediate effect of a fine live performance… an extremely enjoyable
issue’
Gramophone
Magazine
‘…powerful players…Shaham makes
full use of his sweetly lyrical sound…fine performances, lovely warm
recording’
BBC Radio
3
'Any rival versions to this Hyperion disc
will have to be truly exceptional, for this issue is, in almost
every respect, going to be hard to beat. The recording quality is
first-class - the balance between the instruments is ideal, and the
performances have clearly been thought through with considerable
musicianship. This is a first-rate issue'
International
Record Review
‘Hagai
Shaham sounds commanding and strong-minded in the
First, a work early in Grieg’s output. And he plays with aching
poignancy in the introduction of the G-Major Sonata’s first
movement, while in the main allegro vivace he returns to a manner
both authoritative and propulsive… He and Erez open the Third Sonata with a
whirlwind that recalls the same passage in Kreisler’s recording with
Rachmaninoff… Shaham’s tone sounds thick and viscous—in fact,
almost Elman-like… Shaham’s (CD) never flags, and should appeal to
those who conceive these sonatas as high-flown Romantic rhetoric in
an almost concerto-like vein… a strong recommendation.’
Fanfare
Magazine
‘
In these brilliant, exuberant and flawless performances
technical means and exquisite interpretations are bound together in
a pure and attractive manner…Prick up your ears especially for the
magnificent transition to melancholy in the Allegretto
tranquillo of Sonata no.2…this is a superb duo...’
Luister,
Holland
‘Following beautiful discs of Bloch and
Hubay, Hagai Shaham offers us a
remarkable album of Grieg. Dominated by musical quality
without fault, these interpretations are also worth for perfect
balance between the two instruments … In the three sonatas Shaham
knew how to preserve a mixture of simplicity and thrifty lyricism
which characterizes them... A beautiful good album …’
Diapason,
France
‘…None of these versions
(Heifetz, Elman, Menuhin, Amoyal among others) can offer us the
lyricism and poetry which are the most outstanding characteristics
of these works, as in this recording of Hagai
Shaham/Arnon Erez… this
recording makes us listen to the principal motives without
"blending" with the other voice. One can find here great homogeneity
of style and a perfect balanced sound as they succeeded in
emphasizing all the melody, harmonic and rhythmic innovations
imagined by Grieg. Here Hagai Shaham and
Arnon Erez sign one of the
more beautiful recordings of these three Sonatas.’
Classica-Repertoire, France
‘For
each (sonata) has its own distinctive personality, while each also
finds the composer in full command of the duo combination as a
partnership of equals. Full marks then to the collaboration of
Shaham and Erez, and to the Hyperion recording, which has such a
natural perspective. For example, the violin tone in climactic
passages, such as the second movement of Op. 8, is particularly
imposing and effective.
The two players bring to the music a
spontaneous flow… As a mark of their success, great moments such
as the arrival of the ‘big tune’ in the dance-like finale of the
Sonata No. 3 can be heard for all they are worth.’
Music-Web
International
‘Sterling performances by violinist
Hagai Shaham and pianist
Arnon Erez demonstrate not
only the variety of Grieg's musical ideas, but also his
accessibility.’
Living.Scotsman.com
'Violinist Hagai Shaham and pianist
Arnon Erez meet the dark
clay/tone of the third Sonata with full-sweet ripe ones, a technical
perfection and a rhythmic operational readiness level. With momentum
and conviction they go into the music, fire themselves as it were
mutually on... They follow Grieg’s instructions exactly,
without ever through-spelling the notes in academic routine
only’.
www.dradio.com
 Jenö
Hubay - Violin Concertos
Hagai Shaham, violin
BBC Scottish Symphony Orchestra/Martyn
Brabbins
Hyperion CDA67498 (73m DDD)
Classic FM Disc of the Month
Blazing romance: Hagai Shaham is simply
stunning in two of Hubay's unfairly neglected concertos
'I was bowled over when Hubay's Violin
Concertos Nos 3 and 4 appeared in 2003. It wasn't only the quality
of the music and the music-making but the soloist's dazzling
technique and silky, seductive tone that put me in mind of Jascha
Heifetz (and I can pay no higher compliment). Could this second
volume possibly match it? The answer is 'absolutely' You wonder why
all three works are not in the repertoire of every violinist. But
then not every violinist sounds like Shaham. He really is something
very special indeed Earmarked for one of my discs of the year.'
Classic FM
Hagai Shaham
plays Hubay with beguiling purity and intensity
'Hagai Shaham does wonders for these neglected
scores, playing with beguiling purity throughout the range, and a
heart-felt intensity that makes the most of Hubay's penchant for
soaring E-string melody.'
BBC Music Magazine
Gramophone
2006 Critics Choice
‘Hagai Shaham is something
very special indeed with a sound that reminds me of Heifetz at his
most silkily seductive. Both of these blazingly works should be in
concert halls the world over’
'This excellent disc follows up the earlier Hyperion
issue from these same performers of Jeno Hubay's other two violin
concertos, Nos 3 and 4 As in the earlier disc, Hagai Shaham plays
not just with brilliance but with great imagination, avoiding any
idea that this is just superficial display music.'
Gramophone
Magazine
'With Shaham, Hubay's legacy is in very safe
hands indeed. He delivers these works with a solid technique and
commanding authenticity.'
International Record Review
'Hagai Shaham is a
supple soloist and gives the music all the support he can.'
The Guardian
'One finds in
this album all the qualities of the soloist which had allured us in
the preceding volume, smoothness of stamps, agility, plume, sobriety
of style... Shaham displays once again a sparkling virtuosity'
Diapason
‘The Second Concerto’s Larghetto
is very beautiful, particularly as spun out by Hagai
Shaham in this virtuosic but always lucid and
expressively apt interpretation. … As suggested already, Shaham is
fully up to the music's considerable technical demand’
Classics
Today.com
‘Shaham's playing reveals his
love and knowledge of Hubay's scores with performances of supreme
artistry and dexterity, and in his hands these works are projected
in their true light.’
Classical.Net
‘Stunningly played here by
Hagai Shaham…The virtuosic
demands of Hubay’s music are more than adequately met by the
formidable technique of violinist Hagai Shaham. One has to admire
and be grateful to such musicians as he, for learning the music on
this disc…’
Musicweb.uk.net
‘All played with finesse and
considerable, energized devotion by Mr. Shaham …As much a sonic
treasure as a rich contribution to the Romantic violin legacy, this
disc is a keeper.’
Audiophile
Audition
‘Spun with idiomatic phrasing and
splendid legato by Hagai Shaham, whose
dazzling playing throughout the disc makes him an outstanding
advocate for a composer who deserves our attention.’
Amazon.com (editorial review)
 Jenö
Hubay - Violin Concertos
-
Violin Concerto #3 in G minor Op. 99
-
Variations sur un theme hongrois Op. 72
-
Violin Concerto #4 in A minor Op. 101
Hagai Shaham, violin
BBC Scottish Symphony Orchestra/Martyn
Brabbins
Hyperion CDA67367 68m DDD
Strad Magazine CD
"Choice of the month"
' the
jaw-dropping virtuosity of Hagai Shaham. Whatever Hubay throws at
him, Shaham negotiates it with apparently nonchalant ease and
invariably spotless intonation. He possesses the kind of
lightweight, quicksilver sound and the fast, narrow vibrato that is
ideal in this kind of music, playing throughout with tremendous
sweep and passion. Recommended with the utmost enthusiasm.'
Strad
Magazine
Awarded FIVE STARS
for performance; Top recommendation
'Aaron Rosand championed it in the '70s for
Vox, but this superb recording outshines it in every way outstanding
soloist in Hagai Shaham. His playing allows you to bask uncritically
in the pleasurable inevitability of it all. Hubay's own discs make
me doubt if he ever played quite as well as his "grand pupil" does
here. '
BBC
Magazine
'these last two of Hubay's four violin
concertos make a most attractive addition to Hyperion's emergent
series of Romantic violin concertos The Israeli soloist Hagai Shaham
has the advantage of having been taught by one of Hubay's pupils,
Ilona Feher. Not only does he relish the Hungarian inflections in a
winningly idiomatic way, he plays with an ethereal purity in the
many passages of stratospheric melody. As so often, Martyn Brabbins
proves a most sympathetic partner, drawing committed playing from
the BBC Scottish Symphony Orchestra, helped by beautifully balanced,
cleanly focused recording.'
Gramophone
'Hagai Shaham offers a deftly turned, heartfelt
performance that presents the work in the best possible light. His
tone is appropriately mellow for the melodic interest, portamento
deployed naturally, with dazzling virtuosity generating maximum
interest in the sections of passage-work where musical development
potentially sags. …a brilliant mix of passion and fireworks more
than carries the day…. Although the Third Concerto was championed
and recorded by Aaron Rosand in the 1970s, Shaham has the current
field to himself. He and Brabbins need fear no comparisons.'
International
Records Review
'It would be difficult to find a more
appropriate choice than Hagai Shaham, who studied with Hubay's
student Ilona Feher, to reintroduce Hubay's engaging and idiomatic
works. his tone appeals by its very sensuousness-as smooth as satin
and as rich as honey. Shaham, who has no competition in these two
works, plays them with great stylistic authority, providing all the
dash the showy but never meretricious parts require (his double
stops in the Fourth Concerto's last movement slice with surgical
precision, and his tone and preternaturally pure intonation never
fail him in the big passages). Recommended, principally on account
of Shaham's sympathetic account of the Third Concerto, to all kinds
of listeners.'
Fanfare Magazine
'Israeli violinist
Hagai Shaham, a former student of one of Hubay's students, makes a
fantastic case for them in glowing, flamboyant renditions.'
Classic FM
Magazine
'Hagai Shaman plays like a foremost virtuoso,
performing with total equanimity, managing the most difficult
passages, which flow from his instrument with ease, and backed by an
orchestra on top form.'
HIFi+
'The israeli violinist Hagai Shaham performs
with an exemplary style and plume with a virtuosite immaculee,
Shaham shown here of a beautiful engagement and a fine
sensitivity.'
Diapason
'The Hungarian's Third Violin Concerto is a
masterly exercise in the vein of Mendelssohn, complete with passages
of astonishing virtuoso display, which the soloist Hagai Shaham
accomplishes m suitably florid style. The 11 Hungarian Variations
and the "Antique" Fourth Concerto make similarly exiting
listening.'
The
Independent
'an outstanding violinist'
The
Guardian
'Shaham's combination of grace, wit, and
ardency, well supported by Brabbins, shows Hubay's lightweight
romanticism in its best light.'
Irish Times
'Hagai Shaham plays
like a major virtuoso, always front and center: he's fearless in
passage-work, attacks the big cadenza in the Third Concerto's finale
like a tiger, manages excruciatingly high positions with aplomb (in
the Variations especially), and genuinely seems to be enjoying
himself with this beautifully crafted music. Hubay was a composer of
substance, and this disc makes a very strong case for him. Do try to
hear it!'
www.classicstoday.com
'One notable feature of Shaham's playing is
that any vestige of the old besetting sin of the Hubay school, the
nagging, slow vibrato certainly hasn't survived - he plays with
clarity and at all times demonstrates flexible vibrato usage. In the
third movement Adagio - the longest of the four - Shaham brings
chocolaty lower string expressivity to his expert cantilever,
buttressing the theatrical and dramatic opening paragraphs with
great warmth and feeling…Shaham plays with fire and sensitivity
auspicious release.'
MusicWeb (UK)
'The
sonorous, round and broad tone that is the main beauty of the
Hubay-school is unmistakable in Shaham's performance here of the
composer's Concerti Nos. 3 and 4 and Variations on a Hungarian
Theme. All three works are virtuosic display pieces comparable to
the concertos of Wieniawski and Vieuxtemps. There are pyrotechnics
aplenty for the daring and necessarily brave soloist!'
iClassic.com
 Jenö
Hubay - Scenes de la Csarda
Hagai Shaham -
violin
Arnon Erez - piano
Hyperion CDA67441/2 150' DDD
'Hagai Shaham's achievement here is heroic, and
a monument to violin-playing. To get two-and-a-half hours of
virtuosic gypsy-in-a-tailcoat music under the fingers is one thing,
but to construct all these varied passions around the sometimes very
similar works speaks of serious artistry. Please don't listen
straight through, though, unless your addiction to the csarda style
is already unbeatable. Take Hubay's Hungarian concoctions one a day,
for a couple of weeks, and wait for the effect to sink in. By then,
Shaham's tone as he digs once more into the G-string will be-a daily
anticipated pleasure, the eloquent music he makes from the high-wire
fireworks almost taken for granted Shaham's sustained bowing and the
Bull's-Blood-with-goulash tone he so often draws from his
instrument's lower register a tribute to a unique act of devotion to
the cause.'
Fanfare Magazine
Awarded FIVE STARS for performance; Top
recommendation
'It's music that
needs passionate advocacy if it's not to sound trite, and Hagai
Shaham, who already made an outstanding disc of two of Hubay's
concertos, has it in his soul. The rubato is imaginative and
natural…and every note is cherished, whether richly sustained on the
G string, or touched only briefly in a welter of semiquavers or
sequence of harmonics. Double stops are sonorous both as part of a
legato line and when attacked as punctuation on faster
music…together with the shorter pieces in the Poems hongrois, these
CDs invigorate an area of the violin repertoire with astonishing
aplomb.'
BBC
Music Magazine
'Gypsy campfire'
music from players who really understand the idiom
'If ever there were a case of 'the singer, not
the song' it's here with these Scenes de la Csarda' attractive music
played with the sort of heart-tugging abandon that many of us only
know from old 78s. Hagai Shaham is another shining symbol of what I
call the Fiddlers Renaissance' players not afraid to wear their
hearts on their sleeves…who take up the old traditions with fervour
and conviction Shaham really digs into the piece, much as he does
elsewhere, his tone firm and even, his vibrato varied to reflect
different levels of intensity and his use of slides geared to
genuine expressive ends, and not as a patronizing afterthought
designed to 'show us how they used to play'Indeed, I'd describe
Shaham's playing as a stylistic cross between Rosand with his
famously rich tone and the fragile ardour of Joseph Hassid. So, a
happy tale from start to finish….with style and panache….this seems
set to become a benchmark production.'
Gramophone
'Once more, it features the admirable Hagai
Shaham, who imbibed Hubay's Hungarian tradition through his teacher
Ilona Feher. Shaham's scintillating bowing, lustrous
double-stopping, bold pizzicatos and twinkling harmonics serve the
colouristic demands of this music superbly. His tone, in turn virile
and crystalline, is shaded with a far more focused vibrato than that
associated with Hubay's lineage…the performances' balance of
flamboyance and refinement aptly reflects the salon style quality
and commitment of the playing, beautifully recorded, gives
considerable if unchallenging pleasure.'
Strad
Magazine
'Here is, with no doubt, the most beautiful
homage to the founding father of the Hungarian school of
violin…Shaham ignites with a very vocal sonority, magnificent
timbre, while finding a correct equilibrium between the classical
manner and the traditions of the autodidact players of Central
Europe.... An exemplary performance…the smallest of the least detail
and the sobriety giving him indisputable authority. An engraving
full of 'juice' and finesse... A rare issue, performed in a masterly
manner'
Diapason
'Ordinarily it could get a bit tiresome to
listen to more than two hours of Hubay at a single sitting, but it
is never tiring to listen to Hagai Shaham and Arnon Erez play. Hagai
Shaham, has tremendous flair, extraordinary technical facility, and
an organic musical sense that makes it difficult to stop listening.
This recording is something that every violinist would want to hear,
particularly people who admire the Hungarian tradition this
recording serves not only as a great source of entertainment but
also as a reference work.
American Record Guide
'Shaham plays with
unusual of delicacy and refinement…'
Irish Times
'Great instrumental
virtuosity…commendable flair and passion'
Mid Sussex
Citizen
'What fabulous music! ... As for the Shaham's
playing, well, it is quite superb - gutsy, colourful, passionate and
sensitive - but not overdone. Shaham's inimitable, innate and
absolutely secure playing is totally inside this vibrant music.
Fireworks and pathos there are a-plenty, but there's nothing from
Shaham that detracts in the sense of him being demonstrative for its
own sake. His belief in the music shines through, and his technical
bravura, while secondary, is a joy in itself. A wonderful set, then,
of exhilarating and moving music, fantastically performed - with
intrinsic generosity. Ultimately, though, one salutes Hagai Shaham's
fabulous playing and his identity with this impressive music. Scènes
de la Csárda could certainly be one of the records of the year.'
Classicalsource.com
'Immense talent of the violin wizard Hagai
Shaham...these are a fitting conclusion to what is a truly joyful
set. Both Jewish artists bring the nomadic nature of the music to
the fore…'
Classical Net.com
 Ernest
Bloch - Violin Sonatas
Hagai Shaham -
violin
Arnon Erez - piano
Hyperion CDA67439 69' DDD
A superb
partnership shines on a superb recording
'Shaham again triumphantly 'scales the heights'
with mostly true intonation, a warm tone and meaty double-stops this
is a digital front-runner'
Gramophone
'Intoxicating performances guaranteed to set
the pulse racing'
BBC Music Magazine
'Hagai
Shaham…(compared to Isaac Stern's recording of the first sonata)
plays with similar intensity if not with equally ecstatic frenzy
Hagai Shaham, who has championed the music of violinist-composers
Joseph Achron and, more recently, Jenö Hubay, produces a steely
rather than a sumptuous tone. His grandiloquent oratorical
flourishes, as well as his edgy technical display, therefore flash
like tempered steel, however, leaving the least trace of coldness So
another disc or so from Shaham could encompass everything Bloch
wrote for the violin (and perhaps even include the concerto). Given
the strong appeal of this initial offering, that's a consummation
devoutly to be wished. Highly recommended.
Fanfare
Magazine
'Played with lean intensity and dead-centre
intonation reminiscent of the young Heifetz, these neglected works
come fizzing off the page to mesmerising effect'
Classic FM
Magazine
'Bloch first Sonata given a 'devastating
performance' on the second sonata (Poéme mystique) Hagai Shaham
finds a high flown romantic warmth and sublime lyricism - it's the
perfect antidote. If there is any justice, this fine new recording
will win these undervalued works new friends…. please try these
sonatas, weather or not you already know them'
BBC Radio 3
review
'Hagai Shaham confirms a remarkable talent,
which goes far beyond the technical performance this disc is
essential at the head of a rather thin, but high level catalogue (of
this repertoire)'
Diapason
‘Hagai Shaham deploys in
this recording an authority without brutality, virtuosity without
dilution of the matter… in addition shows a diversity of tone, an
imagination (“magic” beginning of the second movement, intensity
thereafter) and an admirable generosity.’
Le Monde de la
musique
'Bloch of emotions: vehemence and serenity,
doubt and certainty, poetry, brutality, sensuality, spirituality:
the interpretation delivered to us by Hagai Shaham and Arnon Erez is
one of incredible richness.' 'But it is especially the
interpretation of the five works which confers all its richness.
There Hagai Shaham signs one of the most beautiful versions of these
work: all is translated in a subtle and inspired manner with a bow
in absolute control, sumptuous sonority and a vibrato of infinite
diversity in this album, Hagai Shaham and Arnon Erez, whom one will
never praise enough their virtues as performers and especially of
interpreters, reach the level of excellence'
Classica -
Repertoire Magazine
'In both works, Shaham meets Bloch's extreme
technical demands without flinching; and his timbral control is
dazzling throughout (his ability to spin silk at the top of his
register is especially astonishing).'
International
Record Review
'Here Shaham and Erez play with wonderful
empathy and understanding, undoubtedly this is music that they feel
with a deep passion. The aching Molto quieto is also very beautiful
whilst the concluding Moderato really kicks off a whirlwind of
activity that has Shaham on true top form…this whole disc is a
definite must for lovers of solo violin especially those with a
penchant for Bloch's unique music.'
Classical Net.com
'It's
a credit to Shaham and accompanist Arnon Erez that this work carries
such a punch. Bloch's knowledge of the violin - he was taught by a
master in Ysaye - means that the passagework is frequently taxing,
but with this completely under his fingers Shaham has no worry With
superbly characterized performances like these, this disc fills a
gap in the repertory.'
musicOMH.com
 Stempenyu - the violin music of Joseph Achron
Hagai Shaham, violin
Arnon Erez, piano
Biddulph Recordings - LAW021 78' DDD
'The quasi-mystical intensity of Shaham's
reading throbs like Heifetz's with the ecstasy of ritual declamation
His off-the-string bowings strike sparks, and his rapid passagework
glitters; but ... he also communicates the mystery of more somber
numbers. His powerful tone ... intensifies the effect of both the
soaring Romantic and the insinuating Hebrew passages ... an
impressive a technique as anyone except Heifetz could bring'
Fanfare
Magazine
'An exceptionally welcome release ...
outstanding lyric quality ... Through the richness of his tone,
superior vibrato usage, expressiveness of phrasing and top-drawer
facility, he fulfills his potential in striking fashion. It is a
treat to hear such tonally satisfying violin playing when
commonplace sound, even among accomplished artists, is so
prevalent'
Strad Magazine
Awarded FIVE STARS for performance
'Shaham's distinctive musical personality and
cutting edge ... performed here with such brilliance and
commitment...'
BBC Music Magazine
'Shaham's approach
achieves and ideal balance between expressive colouring ... and
collaborative restraint. Hagai Shaham inhabits the same stylistic
world as his great forebearers. He obviously respects past masters,
and yet his playing eschews specific imitation (in his handling of
those pieces recorded by Heifetz, Elman, Kaufman and others)'
Gramophone
Featured on the COVER CD and as one of THE TOP
NEW RELEASES
Awarded FIVE STARS for performance
'Hagai Shaham shows himself to be a master of
colour and vocal nuance. His sonorous G string enriched by sensitive
portamenti contrasts beautifully with floated passages on the middle
strings and high tessitura cantabile at the top of the violin'
Classic
CD
 VIENNESE JEWISH COMPOSERS
Violin
sonatas by Hanns Eisler, Kurt Roger, & Bruno Walter
Hagai
Shaham - violin
Arnon Erez - piano
Classic Talent- 2910 93 (63:56 mins)
'Hagai Shaham and Arnon Erez deliver an
exciting and imaginatively shaped performance of the Eisler, easily
outshining a rival version on Berlin Classics in terms of urgency.
The closely miked recording enhances the work's immediacy of impact,
but is perhaps less appropriate for the Roger and Walter.
Fortunately, the clinical sound doesn't detract from the passion and
warmth of the playing, with Shaham's gorgeously opulent tone
sounding especially persuasive in the Roger.'
BBC Music
Magazine
'Hagai Shaham and Arnon Erez--technically
solid, artistically imaginative and open to the stylistic
particularities of each sonata. The well-balanced, close-perspective
recording creates an appropriately intimate setting. A fine release,
well worth investigating.'
Classics Today
'Hagai Shaham and Arnon Erez create a well
balanced and cooperative dou. Fantastic violin playing, perfect
virtuosity and ideal way of expression…'
Luister
(Holland)
 Bloch
- Suite Hebraïque
Hagai Shaham (violin)
Atlas Camerata Orchestra
Dalia Atlas
NAXOS
8.557151 [62:43]
(CD Released June 05)
'This will be a surefire winner for Bloch I
greatly liked Shaham's sturdy singing tone.'
musicweb-international.com
'Hagai Shaham is the infinitely expressive
soloist in the Suite'
The Guardian
'lovingly recorded in
Haifa with an excellent violin soloist, Hagai Shaham'
Classicalcdreview.com
'given a warm and characterful performance by
violinist Hagai Shaham'
Classicstoday.com
 Mozart
- violin concertos
Shlomo Mintz (violin/viola)
Hagai Shaham (violin)
English Chamber Orchestra
AVIE AV2058 (3 DISCS)
(CD Released Feb.
2005)
Strad Magazine
'Selection of the Month'
'The
Concertone, with Hagai Shaham is jauntily delightful…. The two
violin soloists sound as alike as peas in a pod and bounce their
phrases off one another with obvious enjoyment. Shaham is again on
his best Classical behaviour in the wonderful Sinfonia
concertante.'
Strad Magazine
Penguin Guide Top 100 CDs
'The Concertone, is captivating, agreeably
lightweight, while both here and in the lyrically flexible account
of the inspired Sinfonia concertante Hagai Shaham proves an
admirable violin partner'
Penguin CD Guide
'Hagai Shaham joins
Mintz in the Concertone, and the two achieve an even balance in
their many dialogues throughout the work, especially those in the
slow movement.'
Fanfare Magazine |
