DEBUT CD REVIEW IN RESMUSICA

“…an outstanding artist with a warm tone, accurate and precise playing… Eldbjørg Hemsing gives the second movement, the Scherzo, a bewitching and hypnotic interpretation, unforgettable. The other three movements, in the pure style of the Russian musician, place this perfectly controlled version at the level of the greatest recordings. The Vienna Symphony, conducted by the rigorous and experienced Estonian Olari Elts (born in 1971), shares the outstanding merits and contributes to making this recording a subject of legitimate lust and curiosity.”

Jean-Luc Caron | ResMusica | 1 May 2018

Three decades separate the Borgström and Shostakovich concertos for violin and orchestra, representatives of two irreconcilable, if not contradictory, worlds admirably defended on the BIS label.

Norwegian violinist Eldbjørg Hemsing (born 1990), an outstanding artist with a warm tone, accurate and precise playing, has a very honorable career. Her subtle understanding of music is regularly emphasized. This recording, if necessary, furnishes us with a new proof.

The concerto for violin in G major by his compatriot Hjalmar Borgström (1864-1925), a contemporary of Carl Nielsen, returns to the light. He deserves it amply. The fame of this pupil from Leipzig (where he traveled in 1887), who was an ardent defender of German orchestral music and program music, was eclipsed by the eruption of the new modernity emerging around the First World War. His lack of enthusiasm for Norwegian musical nationalism and its icon Edvard Grieg surely contributed to his marginalization. However, the Kristiania Concerto, which was premiered in 1914, was well received because of its rich and abundant melodic writing, passionate, lyrical, rhapsodic, and some splendidly orchestrated passages. In the Adagio there are a few repetitive steps that are strikingly reminiscent of a section of Samuel Barber’s Violin Concerto (1941)!

Shostakovich’s Concerto for Violin No. 1 in A minor (1948, revised in 1955), written for David Oistrakh and valiantly defended by him (and recorded twice), transports us to another world, fascinating, exuberant and dark, alternately marked by harshness, caricatural dancing and insistent hammering, a concealed confession of the true state of mind of a rebellious and wounded creator. Eldbjørg Hemsing gives the second movement, the Scherzo, a bewitching and hypnotic interpretation, unforgettable. The other three movements, in the pure style of the Russian musician, place this perfectly controlled version at the level of the greatest recordings (David Oistrach, Maxime Shostakovich, EMI, 1972, Lydia Mordkovich, Neeme Jarvi, Chandos, 1989, Yefim Bronfman, Esa-Pekka Salonen, Sony, 2003).

The Vienna Symphony, conducted by the rigorous and experienced Estonian Olari Elts (born in 1971), shares the outstanding merits and contributes to making this recording a subject of legitimate lust and curiosity.

DEBUT CD REVIEW IN RHEINISCHE POST

Musik aus tiefster Geigerseele

The wonderful Violin Concerto in G major op. 14 from 1914 is a real hit, and you can be thankful to the Swedish label BIS for letting the work now appear at its best. The solo part is played by the fabulous young Norwegian Eldbjørg Hemsing: she impresses with a brilliant technique, her tone is bright and soft – and the grandeur of a free violinist soul is enthroned above everything. The 27-year-old artist, of whom there is still a great deal to hear, brings the work, which one can hear wonderfully carefree, so to speak, back into the repertoire. The Wiener Symphoniker, under the direction of Olari Elts, assists masterfully. This SACD is rounded off by a no less impressive performance of the Violin Concerto No. 1 in A minor by Dmitri Shostakovich, which captures the edges and abysses of the music.

Wolfram Goetz | Rheinische Post | 5 Mar 2018:

Die einen kamen aus dem hohen Norden nach Deutschland, um hier tief in die Tradition der klassischen Musik einzudringen und die letzten Weihen zu empfangen. Dann kehrten sie zurück, kümmerten sich um die authentische Musik ihrer Heimat und um die Art, wie sie selbst als Komponisten in dieser nationalmusikalischen Thematik eine eigene und unverwechselbare Stimme fanden. Für Hjalmar Borgstrøm war das nicht der richtige Plan. Der 1864 in Oslo geborene Komponist ging 1887, als 23-Jähriger, nach Leipzig, aber er dachte nicht daran, sich die zentraleuropäischen Errungenschaften alsbald wieder abzuschminken. Er war infiziert von der Macht der Programmmusik, er genoss das volle Programm von Johannes Brahms, Franz Liszt und Richard Wagner und stand einem norwegischen Idiom fern (wie es etwa, selbstverständlich auf wundervollem Niveau, bei Edvard Grieg der Fall gewesen war).

Und als Borgstrøm zurück war in Oslo, da fiel der Erfolg seiner Musik nur matt aus: Man sehnte sich zumal nach dem Ende des Ersten Weltkriegs nach Esprit, nicht nach Erdenschwere. Norwegen schaute nach Frankreich, und Borgstrøm musste sein Geld als Musikkritiker verdienen. In dieser Profession war er allerdings hoch angesehen, er galt als Instanz. Dabei ist das wundervolle Violinkonzert G-Dur op. 14 aus dem Jahr 1914 ein echter Knüller, und man kann dem schwedischen Label BIS dankbar sein, dass er das Werk jetzt in Bestbesetzung hat aufnehmen lassen.

Den Solopart spielt die fabelhafte junge norwegische Eldbjørg Hemsing: Sie prunkt mit einer glänzenden Technik, ihr Ton ist leuchtend, hat Schmelz – und über allem thront die Grandezza einer freien Geigerseele. Die 27-jährige Künstlerin, von der man noch sehr viel hören wird, holt das Werk, das man wunderbar unbeschwert hören kann, sozusagen zurück ins Repertoire. Dabei helfen die Wiener Symphoniker unter Leitung von Olari Elts meisterlich mit.

Abgerundet wird diese SACD durch eine nicht minder beeindruckende, die Kanten und Abgründe der Musik einfangende Wiedergabe des Violinkonzerts Nr. 1 a-Moll von Dmitri Schostakowitsch.

ELDBJØRG HEMSING STORMEN ARTIST IN RESIDENCE

Eldbjørg Hemsing named 2018 ‘Artist in Residence’ at Stormen Konserthus

Violinist Eldbjørg Hemsing is the ‘2018 Artist in Residence’ at Stormen Konserthus Bodø Norway, where she will perform in concert and recital on several occasions throughout the year. The iconic concert hall, which is situated in Bodø in the far North of Norway, was unveiled in 2014 and has been praised for both its world-class acoustics and initiative in presenting musical excellence. In her first appearance at Stormen Eldbjørg Hemsing will perform Massenet’s Thaïs: Méditation at the New Year’s Gala Concert (5 January 2018), together with the Nordnorsk Opera og Symfoniorkester – Arctic Philharmonic and conductor Henrik Schaefer. She returns in spring to perform Hjalmar Borgström’s Violin Concerto in G major, op. 25 (9 March) with the Nordnorsk Opera og Symfoniorkester – Arctic Philharmonic and Eva Ollikainen – Conductor, with an additional performance at KulturHuset i Tromsø. Also featured in the Residency are performances of Dvořák ́s Mazurek and Halvorsen’s Norwegian Dances for Violin and Orchestra at the NOSO ́s outdoor concert at Nordland Musikkfestuke, whilst her final appearance will be a specially programmed recital with the acclaimed Macedonian pianist Simon Trpčeski. “I am honoured to be appointed Stormen’s ‘2018 Artist in Residence” commented Eldbjørg Hemsing. “I can’t wait to get up to the North again where I have such fond memories of previous performances and where the wild and powerful nature gives a different dimension of musical inspiration. I am particularly proud to be performing Borgström’s violin concerto which is a piece that I have become passionate about and which deserves much more attention than it currently receives. He is a Norwegian composer who was famous at the beginning of the 20th century but whose name has completely dropped from programmes both at home and abroad.”

About Stormen Konserthus Bodø / Stormen Concert Hall Bodø

Stormen Konserthus Bodø / Stormen Concert Hall Bodø’s world-class acoustics ensure optimal conditions for classical masterpieces as well as the performances of pop/rock shows, theatre, dance and conferences.The large hall seats 900 people and offers some of the worlds best acoustics for classical music. Variable acoustic panels and a full size flytower and orchestra pit makes this hall equally suitable for opera, ballet, pop, jazz, rock and theatre. Our Steinway grand piano was carefully selected by Leif Ove Andsnes. The small hall seats 240, the chamber hall around 80. The foyers are well suitable for concerts and receptions, and legendary club venue Sinus (460 capacity) has the perfect atmosphere for jazz and rock. “We are very proud to appoint Eldbjørg Hemsing as the ‘2018 Artist in Residence’. She has truly established herself as a top international artist and we look forward to the variety of her virtuoso performances at our concert hall.” Rolf-Cato Raade, director Stormen.