Review: Fire Ritual Recording in The Strad

The Strad Issue: June 2019 
Description: ‘World music’ violin concertos receive fiery, thrilling performances

Theatrical, charismatic and intricately detailed, these two violin concertos by Tan Dun are the perfect showcase for his sensuous sound world.

As a teenager Tan became the conductor of a travelling Peking Opera troupe: echoes of its colourful style are never far from his delicate textures, recorded here with brilliance and vibrancy.

The first concerto, ‘Rhapsody and Fantasia’, grew out of an ancient opera melody. From this, Tan conjures an eclectic but immensely likeable work that somewhat improbably pits dance-worthy beats (in two movements entitled ‘hip-hop’) against a rich seam of lyricism from the violin.

Under the baton of the composer himself, Norwegian Eldbjørg Hemsing shows a deep affinity for this music, from the lush, yearning lyricism of the Rhapsody’s middle-movement Malinconia to the more esoteric Fantasia, in which lovely pinpricks of orchestral detail add shade to the violin’s searching lines.

The five-movement ‘Fire Ritual’ of 2018 builds on the earlier work’s sense of ceremonial, the violin pitted against the war-like, powerfully expressive declamations of the orchestra.

After the brittle march of the third movement, the tumult clears for the solo violin to emerge. The shared, gorgeous melody of strings and soloist in the fourth movement gives way to a final, sorrowing melody from the violin, perfectly judged by Hemsing: a haunting end to a compelling disc.

CATHERINE NELSON

https://www.thestrad.com/reviews/eldbj%C3%B8rg-hemsing-tan-dun/8915.article

Review: Fire Ritual Recording in Süddeutsche Zeitung

« It is thanks to the young talents who not only want to ride old war horses, but also present new things, that the instrumental concerto as a genre will never die out. Norwegian violin princess Eldbjørg Hemsing already made a name for herself as an archaeologist when she successfully excavated the unconventional, surprisingly attractive violin concerto from 1914 by her fellow countryman Hjalmar Borgstrøm. Now she shows her interest in contemporary music. Together with the Oslo Philharmonic, conducted by the composer, she plays two Tan Dun concerts: “Rhapsody and Fantasia” and “Fire Ritual”, which was written for Hemsing. These pieces, in which Beijing opera, percussion thunderstorms and the most modern composition techniques blend together ingeniously, offer Hemsing every opportunity to fully unfold her sound fantasy. This ranges from flashing top notes and sharp glissandi to the imitation of traditional Chinese singing techniques or almost soundless whispering. This sounds attractive, enchanting and demands a soloist of eminent quality, like Hemsing. (Bis)»

https://www.sueddeutsche.de/kultur/klassikkolumne-noble-wehmut-1.4296605

Review: Dvořák&Suk Recording in Süddeutsche (DE)

“…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.

REVIEW OF DVORAK&SUK RECORDING IN FANFARE

Fanfare Review of Eldbjørg Hemsing’s second solo album release

“…flawless intonation, a lovely tone, and, in the bargain, magical phrasing. The finest musicians possess both a keen, unique musical insight, and the technical ability to communicate those insights to their audiences. Hemsing is such an artist. And throughout, Hemsing plays with a true sense of joy that is irresistible… If you are looking for a superb version of the Dvořák Violin Concerto in first-rate sound, the new Hemsing BIS issue gets my unqualified recommendation… This new BIS recording by Eldbørg Hemsing documents the work of a major artist.”

Ken Meltzer | Fanfare | 2 August 2018

Earlier this year (Issue 41:6, July/August 2018), my Fanfare colleagues Colin Clarke and Jerry Dubins offered the highest praise for a debut disc on the BIS label, featuring Norwegian violinist Eldbørg Hemsing performing the Shostakovich Concerto No. 1, and the Concerto in G, op. 25 by Hjalmar Borgström. Now it is my turn to do the same for Ms. Hemsing’s subsequent release, a pairing of the Dvořák Violin Concerto with two works by his pupil and son-in-law, Czech composer Josef Suk, the Fantasy in G minor, and Liebeslied, op. 7, no. 1.

To be sure, the recorded competition in the Dvořák Concerto is strong. My favorites are a 1950s EMI version with Nathan Milstein, the Pittsburgh Symphony Orchestra, and William Steinberg, and an early-1960s Supraphon disc with Josef Suk (the composer’s namesake and grandson) as soloist, and Karel Ančerlleading the Czech Philharmonic. Hemsing’s new version belongs in that august company. After appearing as soloist in the January 1, 1879 world premiere of the Brahms Violin Concerto, Joseph Joachim requested Dvořák to write a similar work for him. Joachim did not ultimately perform the premiere of the Dvořák Violin Concerto (that honor went to the distinguished Czech violinist František Ondříček). Nevertheless, Joachim worked closely with Dvořák in the creation of the Violin Concerto, with the expectation that it would serve as a showcase for his talents. Of course, Joachim was one of the greatest violinists of the 19thcentury, and the Dvořák Concerto demands a virtuoso of the highest order. Hemsing is more than equal to all of the challenges. Throughout, the soloist is often called upon to play mercilessly exposed passages in the highest reaches of the instrument. Hemsing dispatches these episodes with flawless intonation, a lovely tone, and, in the bargain, magical phrasing. Much the same may be said about all of the virtuoso sections of the work. I don’t think the adjective “breathtaking” to describe Hemsing’s playing is at all hyperbolic. But focusing upon isolated passages in Hemsing’s interpretation risks not doing it justice. To me, the most compelling aspect of Hemsing’s account of the Dvořák Concerto may be found in her grasp of the work’s overall architecture. Throughout, I had the distinct impression that the soloist was approaching each portion with the intent of seamlessly connecting it to what follows. The finest musicians possess both a keen, unique musical insight, and the technical ability to communicate those insights to their audiences. Hemsing is such an artist. And throughout, Hemsing plays with a true sense of joy that is irresistible. While I don’t think that the Antwerp Symphony Orchestra, under the direction of Alan Buribayev, equals the tonal richness and vibrant playing of Pittsburgh/Steinberg and Czech Philharmonic/Ančerl, their contribution is of a high level. And the gorgeous recorded sound on the new BIS release offers a far more realistic and thrilling sonic picture than that offered by the prior recordings I mentioned, each well more than a half-century old. If you are looking for a superb version of the Dvořák Violin Concerto in first-rate sound, the new Hemsing BIS issue gets my unqualified recommendation.

In her first BIS recording, Eldbørg Hemsing made a conscious decision to pair a highly-familiar work (Shostakovich 1) with one that has languished in obscurity (Borgström G Major). Hemsing follows a similar approach in the new release, although both Josef Suk and his Fantasia in G minor are both far better known than the Borgström Concerto. Indeed, the Suk Fantasia has frequently appeared as a disc companion to the Dvořák Concerto. Suk was a highly accomplished composer (and for that matter, violinist), who was capable of individual, expressive, and emotionally powerful music (his Asrael Symphony, for example). The Suk Fantasy strikes me as a rather episodic work, but one containing many attractive episodes that certainly afford the soloist the opportunity to display both technical and interpretive prowess. It’s not surprising that Hemsing plays this work superbly as well. But here, I think that the intensity Ančerl and the Czech Philharmonic bring to their 1965 recording with the wonderful Suk (the younger) make a better overall case for the piece.

The BIS recording concludes with Stephan Koncz’s transcription for violin and orchestra of Suk’s Liebeslied, from his Six Piano Pieces, op. 7. It’s a lovely, romantic work that Hemsing plays with great affection.

The booklet includes brief commentary from Hemsing, an essay on the works by Philip Borg-Wheeler, and artist bios (in English, German, and French). Thisnew BIS recording by Eldbørg Hemsing documents the work of a major artist. If you are at all interested in hearing her, and/or are in the market for recordings of the featured works, please do not hesitate. Very highly recommended.

DEBUT ALBUM ENTERING GERMAN TOP 20 CHARTS

Borgström violin concerto and Shostakovich violin concerto no. 1

With her solo debut recording Eldbjørg Hemsing entered the Top 20 of the German Classic Charts of May 2018, representing the timeframe from April 13 until May 10, 2018. The album which has been released as high-resolution (SA)CD on the acclaimed Swedish label BIS is featuring violin concertos by Hjalmar Borgström and Dmitri Shostakovich, recorded with the Vienna Symphony Orchestra and Olari Elts.

  1. Ludovico Einaudi – Elements
  2. Katja Riemann, Lucas & Arthur Jussen – Saint-Saëns: Der Karneval der Tiere
  3. Riccardo Muti & Wiener Philharmoniker – Neujahrskonzert 2018
  4. Tōnu Kaljuste & NFM Wrocław Philharmonic – Arvo Pärt: The Symphonies
  5. Ludovico Einaudi – Islands | Essential Einaudi
  6. Gautier Capuçon – Intuition
  7. Daniel Hope & Zürcher Kammerorchester – Handel Arias
  8. Menahem Pressler – Clair De Lune
  9. Midori Seiler & Concerto Köln – Vivaldi: La Venezia di Anna Maria
  10. Alexandre Riabko, Hamburg Ballet & John Neumeier – Nijinsky: A Ballet By John Neumeier
  11. Jonas Kaufmann – L’Opéra
  12. Nuria Rial & Maurice Steger – Baroque Twitter
  13. Cecilia Bartoli & Sol Gabetta – Dolce Duello
  14. Jonas Kaufmann – Dolce Vita
  15. Jóhann Jóhannsson – Englabörn & Variations
  16. Nils Mönkemeyer – Baroque
  17. Bjarte Engeset – Grieg: Complete Orchestral Works
  18. Diego Fasolis, Julia Lezhneva & I Barocchisti – Vivaldi: Gloria
  19. Eldbjørg Hemsing – Borgström & Schostakowitsch: Violinkonzerte
  20. The King’s Singers – Gold

> Weblink to German Classic Charts of May 2018 at “Concerti”

FORTE FEATURE FILM WITH ELDBJØRG HEMSING

“Forte” is the new feature film from David Donnelly(“Maestro“) on three strong, utmost remarkable and ouststanding women who are achieving unlikely success in classical music: Norwegian violinist Eldbjørg Hemsing, Argentinian composer and conductor Lucía Caruso and Russian-born violinist Tatiana Berman from the United States.

Story: Forte is the international story of three women who are challenging industry norms by making their own rules in a musical genre steeped in tradition. A young Norwegian soloist champions a rare, self-discovered composition and risks a promising career to bring it to life. A small-town girl, born and raised in the Russian Arctic, gives up an executive position at a top artist management corporation to create her own international maverick agency. An Argentinian composer gets the opportunity of a lifetime. And a cultural entrepreneur and mother of three struggles to balance her family and career. The one thing these bold, game-changing individuals have in common is: strength.

Direction/Production: Forte is written and directed by David Donnelly, founder of Culture Monster and director of the acclaimed hit documentary Maestro. It is produced by David Donnelly and Anastasia Boudanoque, founder of Primavera Consulting. Executive Producer is Roland Göhde of the Göhde Foundation.

Filming Locations: Sintra, Portugal; Cincinnati, Ohio; Paris, France; London, England; New York, New York; Rhinecliff, NY; Mendoza, Argentina; Aurdal/Oslo, Norway; Berlin, Germany; Moscow, Russia

> Forte website
> Forte on Facebook

The first official trailer of “Forte” is out now: