The great violinist Mischa Elman once defended his fans' fondness for encores by joking that, by the end of the concert, he was finally warmed up and ready to play. By that measure, Hilary Hahn's recital at Jordan Hall on Friday was the epitome of preparedness. Interspersed throughout Hahn's program were nine encores, part of a group of 27 commissioned by the violinist, a fresh supply of such appendant repertoire.
Reflecting both the nature of encores and, perhaps, current compositional practice, most of the new encores came in genre packaging. “First Sigh” and “Third Sigh,” by Spanish composer Antón Garcia Abril, were languid arabesques with hints of Latin rhythms, spinning off coils of decoration. Kala Ramnath's “Aalap and Tarana” was a bewitching dose of Indian color, accompanied by sitar-like inside-the-piano string buzzing. In “Ford's Farm,” Mason Bates offered fiddle music of unusual intricacy if familiar, rootsy accent; a Chinese vernacular informed Du Yun's “When a Tiger Meets a Rosa Rugosa,” sliding, wavering lines bumping up against bristling torrents of notes.