Activity Report

Hilary Hahn

Hilary Hahn

@violincase

Followers: 483,670Posts: 2,593Following: 1,440

Official. 3x-Grammy-winning violin soloist Hilary Hahn. Creator of #100daysofpractice.

View all posts from @violincase

Day 100! Congrats to all of us!

I hope you’ve found this season an interesting development in methodology. I wanted to reach out a little bit more this year and have goals that we worked towards as a community. Thank you so much for your participation, comments and support of each other along the way.

Happy practicing as you go forward, and be kind to yourself! ❤️

Here endeth Season 8.

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My acceptance mini-speech (approximately):
“Thank you so much. I’m feeling emotional. My voice is shaking a bit! This is a huge honor.
“I want to share one thought: Over the past few years, I’ve been thinking a lot about the expression, “The show must go on.” I’ve come to realize it’s not despite everything — the show must go on BECAUSE OF everything.
“Look at all of us, thousands of stories, thousands of people in the same room, together. Music did that.
“Thank you.”

#AveryFisherPrize #recipient #2024 #unboxing

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Hilary Hahn’s recording of Ysaÿe’s Violin Sonatas won the Instrumental category at this year’s Gramophone Classical Music Awards (presented with Presto Music) as well as Recording of the Year 🎉

Hilary Hahn sat down with us on the evening of the Gramophone Awards ceremony to explore the importance of legacy in music ⭐️

Watch the full interview on our YouTube!

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⭐ It’s icons recognizing icons as superstar violinist Hilary Hahn joins our Music Director Designate Xian Zhang to perform Beethoven’s Violin Concerto with the Symphony on June 12, 14 & 15 at Benaroya Hall. We are HERE. FOR. IT.

🎟️ Still looking for tickets? Use promo code HILARY at seattlesymphony.org before selecting your seats to waive all handling fees. Don’t be left without a seat to this starry program.

Disclaimer: Limit 4 tickets per household.

📷: Photo by Brandon Patoc

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Hilary Hahn’s final concert of spectacular Beethoven Concerto week drew a roaring crowd, and she played two heartfelt encores: Steven Banks’ “Through My Mother’s Eyes” and Bach’s Chaconne, on my teacher Camilla Wicks’ Carl Albert Nürnberger bow. It was truly a meaningful tribute to Camilla Wicks from the one and only Hilary Hahn. 😍☺️
@violincase @sfsymphony @sfsymphonymusicians @esapekkasalonen.official
#hilaryhahn #violinist #beethoven @pursuingmastery #bach

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Star violinist Hilary Hahn shone with Esa-Pekka Salonen & the Symphony in an all-Beethoven program. Catch her perform tonight & Sunday at Davies Symphony Hall.

📷: Kristen Loken

#HilaryHahn #Violin #EsaPekkaSalonen #SFSymphony #Beethoven

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🎻 We're excited to welcome six extraordinary artists to our College Division string faculty this fall!

Joining our violin faculty:
Stella Chen (@stellafaychen)
Hilary Hahn (@violincase)
Midori
Sheryl Staples
Mark Steinberg

Joining our cello faculty:
Nina Lee (@ninaleecello)

Welcome to Juilliard! 💙 Click the link in our bio to learn more about these distinguished artists who will be mentoring the next generation of musicians.

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Hi everyone! We’ve got one week left till day 100, if my count is correct!

This week’s prompt is: long focus. Each day this week, pick something to do that will occupy your mind actively (not passively), tech-free, and relatively uninterruptedly for a long stretch of time. Whether that’s devoting half a day to reading a book, spending an evening tinkering with a piece you haven’t gotten your mind around yet, sitting down to a long conversation with a friend, conjuring a plan for your practice going forward, dedicating a few hours to contemplating creativity at a museum, or maintaining a calm mindset for an entire day by being constantly aware of cues that distract or aggravate you and then working on always returning to a steady state of mind — pick something that is a little bit difficult for you personally to stick to and make yourself see it through.

It might seem like you don’t have the time to do this on such short notice, but I guarantee you that you can figure it out for one week; maybe, for you, it boils down to approaching something you would normally do with a more intentional mindset. This is training for long-term practice and progress on your instrument.

My plans along these lines for this week involve reading, mental equilibrium in combination with nature, painting or drawing, editing a volume of music, practicing holistically, and reviewing a new concerto. What comes to mind for you?

As always, please comment respectfully with your practice-related ideas, and happy practicing! ❤️

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The tide is going out on Season 8 of #100daysofpractice! Just a few weeks to go.

Last week, while following my own prompt, I realized that my violin needed some exercising of its own. So I played loudly and ugly, pushing up not only against my own limitations but against those of my violin, which then proceeded to free itself and start speaking more clearly as a result.

This week’s prompt is: push past the edge. Find a boundary/inability/resistance in your playing or instrument and really dig into and through it until you break into a new realm. Don’t give up. Don’t stop at uncomfortable. Examine and keep going, keep trying, keep grappling.

If this prompt means something to you, please commment this week! Staying practice focused and respectful as always in this project, please share your discoveries from last week and how this week can build from there. What do you consider to be potentially ugly in your playing? What do you tend to avoid because you feel the pushback in your hands, breath, mind or instrument? What have your breakthroughs been in the past, and what do you hope to arrive at by the end of Week 13?

Keep at it! And happy practicing. ❤️

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Season 8, week 12, here we are!

This week, let’s focus on full-volume, big-scale practice. This is something many practicers struggle with, for various reasons. So many of us have had issues with neighbors. Also, playing “big” is much more likely to add strain to one’s body. There’s an old taboo around being overheard. Somehow it feels less private, and sometimes we just need mental quietude.

All that said, I love the feeling of practicing powerfully at my full range. It’s important to do, because when we perform, we need to be ready. So I’d like to encourage you to explore this prompt: positive, big practice.

Some suggestions:
Don’t do that thing where you pretend you’re performing, so you critique yourself extra harshly because it’s not “good enough” for the stage.
Don’t get upset if you practice full volume and make a mistake - fumble notes, break your tone, have a memory slip, etc.
Don’t test yourself or judge yourself.

Do get curious about what it feels like to play at your full range.
Do ask yourself what you need more of.
Not: “more good intonation” or something equally snarky and unhelpful.
More like: “more consistency in my intonation between dynamic levels/ more ___ in my vibrato/more ___ to my sound/ more agility in my dynamics”… whatever you might notice your playing would benefit from.

Adjacent prompt: find one more way this week to practice unapologetically. Neighbor having a loud party? Practice time! Everyone out to lunch? Kids got the zoomies? Big game on tv but you’re in another room and not into it? Practice time!

However you dig in this week, happy practicing! ❤️

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Week 11, here we are!

Last week focused on articulation, a very specific set of techniques that ultimately requires coordination between the hands, mind and expression.

This week, I’ve started separating the hands. I’ve wanted a more agile feeling in my left hand lately, so a couple of days ago, I started practicing entire concerti without the bow. True, I can’t check intonation as well while making no sound, but I know where the notes are and intonation isn’t as scientific as one would think; your fingers can adjust in the moment, later, to where your ear tells them to go.

Separating the hands has allowed me to base my practice on how I want playing to feel, rather than what I hear or what I want to hear. I also found passages where I was unknowingly interrupting my left-hand rhythm by making time for the bow to do something technical.

Next, I’ll see if I can find a good way to work on the bow with very little left-hand involvement. And then it’ll be interesting to coordinate the two again.

So the prompt for this week is: Separate, Reunite. Find some way to work for extended periods on individual hands or aspects of your playing WITHOUT engaging other aspects like you normally would. Pay attention to what you’re able to discover without the mental noise of so much multitasking. Then, once you’ve gotten comfortable with the separation, bring the elements back together and see if you can maintain those separate awarenesses simultaneously.

I’m so curious to read what you experience; please comment with your plans, discoveries and results! As always, let’s keep the comments practice-focused and respectful.

Happy practicing! ❤️

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Hilary Hahn and Tiler Peck reunited on stage at David Geffen Hall on February 27 for the final Kravis Nightcap event of the NY Phil’s 2024–25 season. The program — curated by Hilary and featuring original choreography by Tiler — included works by J.S. Bach, Ysaÿe, Walker, @jmontymusic, @carlos_simon_music, and @maxrichtermusic. A lineup of stellar guest artists joined Hilary and Tiler on stage, including @amarynolmedaviolin, cellist @sethparkerwoods, pianist @conorlhanick, and Tiler’s fellow New York City Ballet dancers @indiabradleyy and @roman.julian.mejia.

📸: @erinbaiano

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