Bio:
Augustin Hadelich is one of the great violinists of our time. From Adès to Paganini, from Brahms to Bartók, he has mastered a wide-ranging and adventurous repertoire and is often referred to by colleagues as a "musician's musician.” Named Musical America’s 2018 "Instrumentalist of the Year", he is consistently cited around the world for his phenomenal technique, soulful approach, and insightful interpretations.
Mr. Hadelich will appear with over 25 North American orchestras in the 2019/2020 season, including the symphony orchestras of Boston, Cleveland, New York, Montréal, Cincinnati, Pittsburgh, Minnesota, Houston, Oregon, Seattle, Toronto, and numerous others. International highlights of the 2019/2020 season include performances with the Philharmonia Orchestra (London), and the NDR Elbphilharmonie Orchestra (Hamburg), as well as engagements with the BBC Philharmonic, Danish National Symphony, Deutsche Oper Berlin, Finnish Radio Orchestra, Hong Kong Philharmonic, Oslo Philharmonic, WDR Radio Orchestra Cologne, and the Bavarian Radio Chamber Orchestra.
In addition to every major orchestra in North America, worldwide Mr. Hadelich has appeared with the Bavarian Radio Orchestra, Royal Concertgebouw Orchestra, London Philharmonic, Munich Philharmonic, City of Birmingham Symphony, Belgian National Orchestra, Orchestre National de Lyon, Orquesta Nacional de España, Norwegian Radio Orchestra, Rotterdam Philharmonic, São Paulo Symphony, the radio orchestras of Frankfurt, Saarbrücken, Stuttgart, and Cologne, and the Academy of St. Martin in the Fields. Engagements in the Far East include the Hong Kong Philharmonic, Seoul Philharmonic, Singapore Symphony, NHK Symphony (Tokyo), and a tour with the New Zealand Symphony Orchestra. He has been Artist-in-Residence with the Bournemouth Symphony (UK), Fort Worth Symphony Orchestra, and the Netherlands Philharmonic Orchestra. He made his BBC Proms debut in 2016 and his Salzburg Festival debut in 2018.
Mr. Hadelich has collaborated with such renowned conductors as Thomas Adès, Marin Alsop, Stefan Asbury, Herbert Blomstedt, Thomas Dausgaard, Stéphane Denève, Christoph von Dohnányi, Thierry Fischer, Alan Gilbert, Gustavo Gimeno, Hans Graf, Miguel Harth-Bedoya, Manfred Honeck, Jakub Hruša, Carlos Kalmar, Louis Langrée, Hannu Lintu, Cristian Macelaru, Klaus Mäkelä, Jun Märkl, Juanjo Mena, Ludovic Morlot, Andris Nelsons, Sakari Oramo, Andrés Orozco-Estrada, Peter Oundjian, Vasily Petrenko, Carlos Miguel Prieto, David Robertson, Donald Runnicles, Jukka-Pekka Saraste, Lahav Shani, John Storgårds, Leonard Slatkin, Yan Pascal Tortelier, Krzysztof Urbanski, Osmo Vänskä, Edo de Waart, and Jaap van Zweden, among others.
Augustin Hadelich is the winner of a 2016 Grammy Award – “Best Classical Instrumental Solo” – for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes, with the Seattle Symphony under Ludovic Morlot (Seattle Symphony MEDIA). Recently signed to Warner Classics, his first release on the label – Paganini’s 24 Caprices – was released in January 2018. One of Germany’s most prestigious newspapers, Süddeutsche Zeitung, wrote about this recording: “Anyone who masters these pieces so confidently has, so to speak, reached the regions of eternal snow: he has reached the top.” His second recording for Warner Classics, the Brahms and Ligeti concertos with the Norwegian Radio Orchestra under Miguel Harth-Bedoya, followed in April 2019. Other recent discs include live recordings of the violin concertos of Tchaikovsky and Lalo (Symphonie Espagnole) with the London Philharmonic Orchestra on the LPO label (2017), and a series of releases on the AVIE label including an album of violin concertos by Jean Sibelius and Thomas Adès (Concentric Paths), with Hannu Lintu conducting the Royal Liverpool Philharmonic Orchestra (2014), which was nominated for a Gramophone Award and listed by NPR as one of their Top 10 Classical CDs of that year.
Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed, including Carnegie Hall, Lincoln Center, Chicago’s Symphony Hall, the Kennedy Center, Wigmore Hall/London, and the Concertgebouw in Amsterdam. Other distinctions include an Avery Fisher Career Grant (2009); a Borletti-Buitoni Trust Fellowship in the UK (2011); the inaugural Warner Music Prize (2015); a Grammy Award (2016); as well as an honorary doctorate from the University of Exeter in the UK (2017).
Augustin Hadelich plays the violin "Leduc, ex-Szeryng" by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust.
Management/Booking:
General Management:
Patricia Handy
Schmidt Artists International, Inc.
21 West 74th Street, Suite 1C
New York, NY 10023 U.S.A.
Tel: +1 (212) 421-8500 [email protected]
www.schmidtart.com
Europe, Far East
Enrico Fischer
Konzertdirektion Schmid
Adalbertstraße 66, 10179 Berlin, Germany
T +49 (0)30 / 5213702-26 [email protected]
The Recôncavo is an almost invisible center-of-gravity. Circumscribing the Bay of All Saints, this region was landing for more enslaved human beings than any other such throughout all of human history. Not unrelated, it is also birthplace of some of the most physically & spiritually uplifting music ever made. —Sparrow
"Dear Sparrow: I am thrilled to receive your email! Thank you for including me in this wonderful matrix."
—Susan Rogers: Personal recording engineer for Prince, inc. "Purple Rain", "Sign o' the Times", "Around the World in a Day"... Director of the Berklee Music Perception and Cognition Laboratory
I'm Pardal here in Brazil (that's "Sparrow" in English). The deep roots of this project are in Manhattan, where Allen Klein (managed the Beatles and The Rolling Stones) called me about royalties for the estate of Sam Cooke... where Jerry Ragovoy (co-wrote Time is On My Side, sung by the Stones; Piece of My Heart, Janis Joplin of course; and Pata Pata, sung by the great Miriam Makeba) called me looking for unpaid royalties... where I did contract and licensing for Carlinhos Brown's participation on Bahia Black with Wayne Shorter and Herbie Hancock...
...where I rescued unpaid royalties for Aretha Franklin (from Atlantic Records), Barbra Streisand (from CBS Records), Led Zeppelin, Mongo Santamaria, Gilberto Gil, Astrud Gilberto, Airto Moreira, Jim Hall, Wah Wah Watson (Melvin Ragin), Ray Barretto, Philip Glass, Clement "Sir Coxsone" Dodd for his interest in Bob Marley compositions, Cat Stevens/Yusuf Islam and others...
...where I worked with Earl "Speedo" Carroll of the Cadillacs (who went from doo-wopping as a kid on Harlem streetcorners to top of the charts to working as a janitor at P.S. 87 in Manhattan without ever losing what it was that made him special in the first place), and with Jake and Zeke Carey of The Flamingos (I Only Have Eyes for You)... stuff like that.
Yeah this is Bob's first record contract, made with Clement "Sir Coxsone" Dodd of Studio One and co-signed by his aunt because he was under 21. I took it to Black Rock to argue with CBS' lawyers about the royalties they didn't want to pay. They paid.
MATRIX MUSICAL
The Matrix was built below among some of the world's most powerfully moving music, some of it made by people barely known beyond village borders. Or in the case of Sodré, his anthem A MASSA — a paean to Brazil's poor ("our pain is the pain of a timid boy, a calf stepped on...") — having blasted from every radio between the Amazon and Brazil's industrial south, before he was silenced. (that's me left, with David Dye & Kim Junod for U.S. National Public Radio) ... The Matrix started with Sodré, with João do Boi, with Roberto Mendes, with Bule Bule, with Roque Ferreira... music rooted in the sugarcane plantations of Bahia. Hence our logo (a cane cutter).