Hemsing Festival is an international chamber music festival in Aurdal in Valdres, and the artistic leaders are Eldbjørg and Ragnhild Hemsing. The two sister founded the festival in their hometown in 2013 and it takes place each year in week 8.
Eldbjørg Hemsing and her sister Ragnhild Hemsing are Artistic Directors of the Hemsing Festival. The festival´s goal is to facilitate “intimate encounters with great music”. The magical mood created by close contact between the audience and the musicians means a lot.
“…mit der 28 Jahre alten Eldbjørg Hemsing begeistert nun wieder eine junge Geigerin aus Norwegen. Hemsing ist nicht nur eine feinsinnige und kluge Interpretin, sie entlockt ihrer Guadagnini auch einen sehr persönlichen, unverwechselbaren Geigenton. Zart, intim und filigran wirkt er im Kern, dabei aber selbst im gehauchten Piano noch sinnlich und klangvoll.”
Julia Spinola | 2. Oktober 2018 | Süddeutsche Zeitung
Es muss etwas Verzauberndes in den nordischen Fjorden und Berglandschaften liegen. Nachdem die bereits mehrfach preisgekrönte Vilde Frang die internationalen Podien erobert hat, begeistert mit der 28 Jahre alten Eldbjørg Hemsing nun wieder eine junge Geigerin aus Norwegen. Mit Musik des weitgehend unbekannten norwegischen Komponisten Hjalmar Borgström hatte sie im April ihr Debüt gegeben. Auch auf ihrer zweiten CD meidet sie jetzt die ausgetretenen Pfade und spielt neben Antonín Dvořáks Violinkonzert die selten zu hörende Fantasie in g-Moll für Violine und Orchester von Dvořáks Schwiegersohn Josef Suk. Hemsing ist nicht nur eine feinsinnige und kluge Interpretin, sie entlockt ihrer Guadagnini auch einen sehr persönlichen, unverwechselbaren Geigenton. Zart, intim und filigran wirkt er im Kern, dabei aber selbst im gehauchten Piano noch sinnlich und klangvoll. Im leidenschaftlichen Forte, etwa im Eröffnungsthema des Dvořák-Konzerts, beginnt dieser eindringlich singende Ton irisierend zu leuchten. Mit ein wenig Fantasie hört man hier den großen David Oistrach heraus, dessen Schüler Boris Kuschnir Hemsings Lehrer war.
“KlickKlack”, music magazine for Classical Music, Jazz and good Pop Music, is the only format in which two world stars – cellist Sol Gabetta an percussionist Martin Grubinger – are giving the TV viewers a very close experience on how professional artist work, rehearse and perform. The imagery is modern, the camera extremely subjective.
Eldbjørg Hemsing has been guest of Martin Grubinger in the BR-KLASSIK “KlickKlack” feature from 7th May 2018, beside Michael Sanderling, Chief Conductor of Dresden Philharmonic, Gautier Capuçon, French cellist, and pianist Jens Thomas.
Rating 6/6 Stars: “Eldbjørg Hemsing’s wide spectrum of sound and delicate virtuosity fits this concerto very well. She shows a technique and a virtuosity that is admirable. This recording can in many ways be regarded as Hemsing’s masterpiece – and she has passed this exam with flying colors.”
These are two widely different violin concertos for which Eldbjørg Hemsing has collaborated with the Vienna Symphony Orchestra. And you are captured by her violin playing, which makes both of these concertos perfect.
Hjalmar Borgström (1864-1925) and his music have in many ways received a new spring in recent years. His opera “Thora on Rimul” and not least the orchestral works “Hamlet” (for piano and orchestra) and “Tanken”, as well as the violin sonata, have helped give Borgström the place he deserves in music history. His music is not “Norwegian” in the sense that he walks in Grieg’s footsteps. He stayed for long periods in Germany and gained much of his inspiration from European music life.
The quality of this “forgotten” concert is very good. And Eldbjørg Hemsing’s wide spectrum of sound and her delicate virtuosity fits this concerto very well. She has a musical timbre range that is impressive, something she greatly utilizes in this violin concerto.
That she knows well and masters the music of Dmitri Shostakovich (1906-1975) is beyond doubt. His first violin concerto is intense with its rhythmic and intense sound colors, and its is undoubtedly a masterpiece.
A number of great violinists have recorded this work – and the first was David Oistrakh, to whom the concerto is dedicated.
Hemsing has studied this work with the Ukrainian musician and Professor Boris Kushnir – a very good choice as she performs this concerto with a solid dose of Eastern European understanding. There is not a single tone that remains anonymous in her interpretation. She shows a technique and a virtuosity that is admirable.
Supporting her, Eldbjørg Hemsing has the very good Vienna Symphony Orchestra, attentively and skilfully led by Estonian conductor Olari Elts.
This recording can in many ways be regarded as Hemsing’s masterpiece – and she has passed this exam with flying colors.
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