Does learning about the biography of a composer inform how you might approach performing a piece?
I like to learn about the composer, but I do try to wait until I have an idea of what the music is saying on its own. It is worthwhile to let the content of the work show itself in its own way. Music can be a puzzle to interpret. That is a good thing, though. After I have learned a piece, I look up information about the composer and the composition to compare what is out there to what I have initially concluded. Then I adjust my approach, if needed.
What do you remember about previous experiences here at Abravanel Hall and in Utah?
I remember the first time I played there. It was snowy, and I was playing in the New Year's Eve gala. After the late-night reception with dancing, my dad and I walked around a little bit, and we saw the little lights covering the Tabernacle's trees, reflecting off the snow. It was beautiful. I remember noticing the Jazz and wondering what they did. I was not very sports-aware at the time. Turns out, not jazz! I was in Salt Lake City one year on Halloween. I loved working with Thierry last time and am very happy to be returning.
Do you have time to watch films, and are there film scores you especially admire?
I do watch films. I went to see ["The Dark Night Rises"] in Copenhagen, with Danish subtitles. I have to make myself listen for the soundtrack. I often get caught up in the movie while the music works its magic. However, since I am musically attuned, I think I am more influenced than others by the moods and spirit of the music. My favorite film score is the one to "The Village" by James Newton Howard but I'm biased. I learned so much playing that, being in the middle of the creative process and watching it swirl around me.
It is not so easy to play a film score by itself. They often require special instrumentation from the orchestra, and without the film to give visual cues, a new approach needs to be found in order for the experience to be complete for the audience. That is because the soundtrack is written as part of an experience. Film composers can write great music that stands alone from the movies. Composing for emotional impact gives them an advantage.
Did working with pop singer-songwriter Josh Ritter teach you anything about performance or composition?
Working with Josh was part of a long progression that has gotten me to where I am today. It was indeed influential. Anytime I get to pick someone's brain about their creative process, I learn something. When we toured together, I also got to see how he presented his music to the audience. He has such a way onstage it's impressive.
You have been quoted as saying, "Great music can be quite comfortable and relaxing, and you can sleep as long as you don't snore." If you ever caught someone sleeping during a performance of yours, wouldn't you be offended?
No, I wouldn't be offended at all. The important thing is that the person has a positive experience. Being hypnotized by music to the point that you drift off to another place isn't as bad as it seems. And anyway, you shouldn't sit there focusing on staying awake. You'll miss all the best parts. Follow the music and the things that interest you, instead.
Will we be lucky enough to hear anything from your "27 Pieces" project?
That is a project for violin and piano together, and I am still premiering those works. It is a big part of my life at the moment; maybe next time I'll have some solo versions ready to go.
Hilary Hahn with the Utah Symphony
When • Friday and Saturday, Nov. 16-17, at 8 p.m.
Where • Abravanel Hall, 123 W. South Temple, Salt Lake City
Tickets • $27-$77, at www.ArtTix.org or 801-355-2787
On the program • Mozart's Symphony No. 41 ("Jupiter"), the Adagio movement from Mahler's Symphony No. 10 and Korngold's Violin Concerto.