Album insights
Reynaldo Hahn was born on August 9, 1874, as the youngest of twelve children in Caracas, Venezuela. He first learned Spanish but later moved to Paris when he was three. At the age of six, he showcased his talent by singing operetta numbers in Princess Mathilde's salon, accompanying himself on the piano. Despite this unusual gift, his abilities were underestimated as an adult, as some viewed him as a mere amateur due to his performances. This perception affected the reception of his compositions in more formal concerts.
Joining the Paris Conservatoire at 11, Hahn embarked on a journey that included studying various musical disciplines under Massenet, his teacher. His talent in composition was evident at the age of 17, leading to successful partnerships with publishers like Heugel. While renowned for his Lieder compositions, his true passion lay in opera and operetta, gaining him widespread popularity for their broader appeal to the masses.
Hahn's interests extended to literature, and in 1894 he met Marcel Proust, a relationship that inspired Proust's depiction of the musician Santeuil. Their enduring romantic bond, which lasted until Proust's death in 1922, possibly influenced Hahn's numerous musings on artistic and societal matters. As a conductor, he gained recognition for his sensitive interpretations of Mozart, whose works resonated deeply with him.
Multilingual and well-traveled due to his upbringing and extensive journeys, Hahn fled Paris in 1940 because of his partially Jewish heritage. Despite missing the literary companionship he once shared with Proust, Hahn remained an eccentric figure until his demise in January 1947. Known for his uncomplicated yet charming musical style, Hahn's compositions exuded freshness, directness, and a nostalgic flair akin to Mendelssohn or Fauré.
Hahn's C major Violin Sonata of 1926 evokes Fauré's style from half a century earlier. The fluid, lyrical first movement shares a kinship with Fauré's A major Sonata of 1877, exhibiting French elegance and expressiveness. The spirited Scherzo and the melancholic yet yearning final movement highlight Hahn's emotional depth and stylistic finesse.
His smooth melodic lines are evident in shorter works like Soliloque et Forlane (1937). Both the Nocturne (1906) and Romance (1901) showcase delicate elegance punctuated by passionate intensity. Hahn's skillful adaptation of Victor Hugo's poem in Si mes vers avaient des ailes (If my verses had wings) for cello and piano pays tribute to Boëllmann's musical style, embracing arpeggiated piano figures and clear harmonic restraint. Similarly, his Piano Quartet (1946) transitions from graceful melodies to fervent expressions, culminating in a captivating finale.
Jeremy Filsell © 2004
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