Marrying Paganini's best- loved violin concerto, his first, to Louis Spohr's "Gesangsszene" concerto (Song Scene), the intention here is to illustrate the singing style in both these works and the influence of the bel canto operatic movement in the styles of both composers. The works differ vastly, the Spohr traces a distinct Beethoven sound, but Hahn is more than comfortable in both arenas. Her approach to the Paganini does it tremendous justice, the kitsch tendencies overcome with aplomb. Amidst the technical fireworks, Hahn's sensitivity to phrasing and character go above and beyond the call of duty. Karen Dervan