Tag: Gustavo Dudamel

Eldbjørg Hemsing with new recording release ‘Grieg – The Violin Sonatas’

on By
Credits: Photography by Nikolaj Lund

Following the acclaimed recordings of concertos by Borgström and Shostakovich, Dvořák and Suk, and by Tan Dun, Eldbjørg Hemsing is following in the footsteps of her great-great-grandfather, who once inspired Edvard Grieg to compose one of his most famous works. Joint by Macedonian pianist Simon Trpčeski, Eldbjørg is embarks the journey of Grieg violin sonatas on her latest release on BIS Records.

As a celebrated ambassador of Norwegian cultural heritage, Eldbjørg Hemsing was always going to turn to Edvard Grieg eventually – a composer who is central to both Norwegian music history and the Romantic era in general. Hemsing’s new recording of Grieg’s three violin sonatas on BIS Records also has a much more personal biographic background, however.  

In 1848, Ludvig Mathias Lindeman received funding from the Collegium academicum of Christiania (Oslo) University to collect folk tunes for Edvard Grieg. During his travels across Norway, he stayed in Valdres and met Hemsing’s great-great-grandfather Anders Nielsen Pelesteinbakken, who sang a tune to him. Lindeman noted it down and Grieg later found it in the collection. The small fragment of the folk tune must have caught the composer’s attention and he subsequently used the melody as the inspiration and main theme of one of his greatest works for solo piano, the Ballade, Op. 24. 

Over 170 years later, Eldbjørg Hemsing is presenting her own interpretation of Grieg’s three sonatas for violin and piano. The sonatas are considered to be representative of different stages in Grieg’s artistic development and were composed over a period of 20 years. The second violin sonata can be seen as one of Grieg’s great successes in capturing the musical identity of his native country, particularly in the sequences based on peasants’ dances. Because of her passion for preserving Norway’s rich folk music heritage – as demonstrated in her previous projects such as the second ever recording of Hjalmar Borgström’s violin concerto – Hemsing was keen to explore the compositions of her famous fellow countryman, who so profoundly shaped the Norwegian cultural identity. 

Alongside the Grieg sonatas, Eldbjørg Hemsing is also presenting her first original composition „Homecoming – Varitations on the folk tune from Valdres“ as a testament to the personal significance of this new recording and its history. Moreover, in pianist Simon Trpčeski Hemsing has found a strong musical partner, an internationally acclaimed artist praised for celebrating the rich folk traditions of his own native country, Macedonia.  

Grieg Violin Sonatas will be available exclusively on Apple Music from February 21st 2020. The album will be released globally from March 6th 2020 on all streaming platforms as well as in physical format in your closest CD shop.

Review: Dvořák&Suk Recording in The Strad (UK)

on By

A splendid combination of purity and sweeping, Heifetz-like intensity

The Strad | By Julian Haylock, 16. November 2018

Dvořák’s sole Violin Concerto is not among his most free-flowingly spontaneous scores. It took him four years (on and off) to complete, by which time the intended dedicatee Joseph Joachim had grown tired of the project and, despite having already advised on several changes, was still unhappy about what he considered the terse bridge between the first and second movements and over-repetitious finale.

Only comparatively recently has it become virtually standard repertoire, yet is remains a problematic work requiring sensitive and impassioned advocacy to sound its best. This it receives in spades from Eldbjørg Hemsing, who sustains high standards of intonational purity and beguiling tonal lustre throughout even most awkward of passages. She also shapes phrases with a chamber-scale dynamic suppleness, in contrast to the majority of recorded players, whose tendency towards special pleading often leads to over-projection.

However, the star turn here is the Suk Fantasy, which sounds (no bad thing) like an evacuee soundtrack from the Golden Age of Hollywood, with Hemsing hurling herself into the fray with an almost Heifetz-like intensity and swashbuckling bravado. Alan Buribayev and the Antwerp Symphony Orchestra provide sterling support and the commendably natural recording opens out seductively when the SACD-surround track is activated.

Review: Dvořák & Suk Recording in Concerti (DE)

on By

Effortless Intensity

Eckhard Weber | Concerti | 8. November 2018

She practically grew up with this work, she says. Indeed, young violinist Eldbjørg Hemsing feels noticeably at home in Dvořák’s Violin Concerto. The way she makes her instrument sing with an amazingly nuanced and beguiling tone full of vibrancy has compelling intensity. Nothing sounds laboured here, everything seems to happen spontaneously in this music. The Antwerp Symphony Orchestra under Alan Buribayev is extremely present and sensitive in this interaction and unfolds a tremendously broad spectrum of colours. The folkloristically inspired finale of the Violin Concerto impresses with light-footed verve and shimmering airiness. A new benchmark recording has been achieved here in every respect. The longingly agitated modernity of the fantasy of Dvořák’s pupil and son-in-law Josef Suk with its subtle shades and surprising changes additionally shows the great potential of Hemsing and her colllaborators.

Review: Dvořák&Suk Recording in Süddeutsche (DE)

on By

“…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

on By

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.

ELDBJØRG HEMSING IN BR-KLASSIK KLICKKLACK

on By

Portrait of Eldbjørg Hemsing in “KlickKlack” | BR-KLASSIK | 7th May 2018

“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.

DEBUT CD REVIEW IN KLASSIK HEUTE

on By
Credits: Photography by Nikolaj Lund

“9/10 Stars – Eldbjørg Hemsing succeeds with a convincing debut which makes curious for further releases of this young artist.”

Norbert Florian Schuck | Klassik Heute | 18th May 2018

Es ist immer wieder erfreulich, wenn junge Interpreten ihr CD-Debüt dazu nutzen, Werke zu präsentieren, die man nicht alle Tage zu hören bekommt. So hat sich die norwegische Geigerin Eldbjørg Hemsing entschieden, ihre erste Aufnahme als Konzertsolistin mit dem 1914 uraufgeführten Violinkonzert ihres Landsmannes Hjalmar Borgström zu eröffnen.

Im Beiheft erfährt man, dass Borgström – er schrieb seinen Namen demonstrativ mit ö statt ø – sich für die zeitgenössische deutsche Musik stark machte und bei Edvard Grieg, der ihm Desinteresse an norwegischer Nationalidiomatik vorwarf, auf Unverständnis stieß. Nun rekurriert Borgströms Konzert tatsächlich nicht offensiv auf Volksmusiktopoi, doch klingt das Werk weder nach Wagner, noch nach Brahms, und schon gar nicht nach Strauss oder Reger. Stattdessen hört man deutlich, dass Borgström ein Generationsgenosse Halvorsens und Sindings ist. Mittels einer reichen Klangfarbenpalette – immer wieder begegnen interessante Instrumentationseinfälle – entfaltet der Komponist unter weitgehendem Verzicht auf handwerkliche Kunststücke schlichte, gesangliche Melodien, aus deren Wendungen man, Grieg zum Trotz, durchaus auf einen Skandinavier schließen kann. Für das Soloinstrument ist das Konzert anspruchs- und wirkungsvoll geschrieben, ohne ein Virtuosenstück zu sein. Sein introvertierter Charakter zeigt sich nicht zuletzt darin, dass sowohl der Kopfsatz, als auch das Finale, die beide nur mäßig schnell sind, leise enden. Die Interpretation, die ihm durch Eldbjørg Hemsing und die Wiener Symphoniker unter Olari Elts zuteil wird, dürfe sich gut dazu eignen, dem schönen Werk Freunde zu gewinnen. Der kantable Gestus des Stückes kommt Hemsing offenbar entgegen. Sie besitzt ein sicheres Gespür für die abwechslungsreiche Gestaltung wie für die Verknüpfung der einzelnen Phrasen, so dass in ihren Händen die Musik stets in angenehmem Fluss bleibt. Vom Vibrato macht sie dabei reichlichen, aber nicht übermäßigen Gebrauch.

Über ihren Lehrer Boris Kuschnir ist Eldbjørg Hemsing Enkelschülerin David Oistrachs. So verwundert es nicht, dass sie sich dem Oistrach gewidmeten Violinkonzert Nr. 1 von Dmitrij Schostakowitsch besonders verbunden fühlt und dieses als zweites Stück auf der CD erscheint. Auch dem von Borgströms Idiom sehr verschiedenen Stil Schostakowitschs erweist sie sich als vollauf gewachsen. Namentlich zeigt sich dies in den raschen Sätzen des Werkes, in denen die Vorzüge ihres Spiels auch bei forscherer Artikulation deutlich werden.

Olari Elts lässt die Wiener Symphoniker in beiden Violinkonzerten als verlässlichen Partner agieren, dessen Spiel mit dem der Solistin trefflich harmoniert. Auch er ist ein Musiker, der es versteht, die einzelnen Klänge in große Bögen einzubetten. Hervorheben möchte ich diesbezüglich den Beginn der Passacaglia im Schostakowitsch-Konzert, der übrigens – wie auch der Anfang des Borgström-Konzerts – zeigt, dass die Wiener Symphoniker über einen ausgezeichneten Pauker verfügen.

Das Klangbild der Aufnahme hält weitgehend mit der Qualität der Darbietungen Schritt. Das Verhältnis von Soloinstrument und Orchester ist insgesamt ausgewogen, was allerdings auch den Kompositionen zuzuschreiben ist: Aller stilistischen Unterschiede ungeachtet eint Borgström und Schostakowitsch ihre Vorliebe zu durchsichtiger Instrumentation mit prägnanten Klangmischungen, so dass selbst bei deutlicher Fokussierung der Aufnahme auf das Soloinstrument – wie hier geschehen – die orchestralen Effekte nicht an Wirkung einbüßen. Einzig in der fugierten Durchführung von Schostakowitschs Scherzo tritt die Violine etwas zu deutlich hervor. Hier wäre eine stärkere Akzentuierung der jeweils themenführenden Instrumente wünschenswert gewesen. Den insgesamt sehr guten Eindruck, den die CD hinterlässt, schmälert dies jedoch kaum. Eldbjørg Hemsing ist ein überzeugendes Debüt gelungen, auf weitere Veröffentlichungen der jungen Künstlerin darf man neugierig sein.

DEBUT CD REVIEW IN THE STRAD

on By

“…Eldbjørg Hemsing […] makes a good start with this powerful performance. A gorgeous, open-hearted piece, full of flowing lyricism, to which she brings warm and beautiful playing… Hemsing weaves steadily and unfussily, but with increasing emotional intensity. The finale scuttles along brilliantly.”

Tim Homfray | The Strad | 9th May 2018

The Norwegian composer Hjalmar Borgström was famous in his day but quickly fell into obscurity, his music bedded in the Germanic 19th century and considered old-fashioned and ‘not Norwegian enough’ at the beginning of the 20th. His compatriot Eldbjørg Hemsing wants to bring him back to notice, and makes a good start with this powerful performance of his 1914 Violin Concerto.

It is a gorgeous, open-hearted piece, full of flowing lyricism, to which she brings warm and beautiful playing. Her phrasing is supple and nuanced, flecked with neat little touches of vibrato and variations of dynamic. The central Adagio is far-ranging, moving from musing opening to a jaunty central section, and on to something more torridly passionate before leading straight into the dancing finale. Hemsing deftly handles all the transitions.

It is a bit of a gear-change from Borgström to austere Shostakovich (Bruch would have worked nicely). Hemsing weaves steadily and unfussily, but with increasing emotional intensity, to the climactic double-stops of the first movement. In the Scherzo she plays with an edge of violence, biting and snapping. The orchestra matches her vivid playing, but the recording sets it in the background, in a resonant acoustic. She is as fine in the third movement as the first in progressively ratcheting up the tension before easing down into the cadenza, which in its turn grows steadily to a searing climax. The finale scuttles along brilliantly.

DEBUT CD REVIEW IN PIZZICATO

on By

“PIZZICATO SUPERSONIC AWARD: An excellent interpretation of Shostakovich’s first Violin Concerto is paired with the almost unknown, yet interesting concerto written by Norwegian composer Hjalmar Borgström, which equally experiences a more than adequate performance.”

Uwe Krusch | Pizzicato | 7th May 2018

Eröffnet wird diese CD mit dem Violinkonzert von Hjalmar Bjorgström. Wie so viele Norweger hatte er seine Ausbildung in Deutschland, in seinem Fall in Leipzig erhalten. Fand er auch das Studium an und für sich wenig als bereichernd, so inspirierte ihn die reiche Musikkultur, weswegen er lange verweilte. Als er dann endlich nach Norwegen zurückkehrte, war er so in dieser Welt verfangen, dass er dem hochromantischen Stil treu blieb und sich auch nicht darum bemühte, Elemente der norwegischen Musik in sein Wirken aufzunehmen. Das registrierte Grieg mit Verwunderung.

Das Violinkonzert von Borgström ist also diesem romantischen Stil verbunden und, wie der neutrale Titel anzeigt, auch ohne programmatischen Hintergrund, wenn es auch einen narrativen Charakter hat.

Klassisch ist die dreisätzige Form und man hat immer wieder den Eindruck, alte Bekannte wie Brahms, Mendelssohns, Schumann zu treffen, da es die Sprache seiner berühmten Vorgänger intuitiv übernimmt. Dennoch kann man ihm kein Plagiat vorwerfen. Das Stück entwickelt durchaus einen eigenen Charme und ist handwerklich nach allen Regeln meisterhaft gestaltet. Nur hinkt es den neuen musikalischen Entwicklungen zur Entstehungszeit 1914 hinterher.

Eldbjorg Hemsing kann geigerisch aus dem Vollen schöpfen. Ihr Spiel strahlt Souveränität aus, es ist temperamentvoll und bietet dem Hörer einen klaren und schlackenlosen Ton. Dadurch kann sie diese Rarität im Repertoire so ausleuchten, dass das vielleicht ein wenig biedere Werk trotzdem erstrahlt und man mit Interesse bei der Stange bleibt. Ihre hochentwickelten gestalterischen Fertigkeiten setzt sie danach für eine durch und durch überzeugende Darstellung von Shostakovichs erstem Konzert ein. Dieses eine breite Palette von Stimmungen abbildende Werk durchdringt sie mit derartiger Tiefe der Darstellung, dass es eine reine Freude ist. Besonders die Passacaglia lebt von der auch die kleinsten Nuancen auslotenden und herauskitzelnden Ruhe, bevor sie die Burlesque kunstvoll ausgetanzt.

Gemeinsam mit den galant zupackenden Wiener Symphonikern unter Olari Elts werden alle Farben der beiden Werke effektvoll zur Geltung gebracht. Die ausgezeichnete Technik der Aufnahme vervollständigt die positiv zu benennenden Punkte.

ELDBJØRG HEMSING IN CLASSICAL MUSIC MAGAZINE

on By

Eldbjørg Hemsing prominently featured in May 2018 issue of CLASSICAL MUSIC magazine (UK)

Violinist Jack Liebeck curates this strings edition of Classical Music encompassing his many artistic passions, from music education and photography through to practical advice for performers on maintaining healthy technique and taking instruments on tour. Professors Brian Cox, Robert Winston and Brian Foster explore the relationship between science and music; the benefits of hand therapy for common musicians’ injuries; CITES and travelling with instruments; the art of photographing performers; and what happens when students exercise their rights as consumers in higher education?

Plus, violinist Eldbjørg Hemsing turns up the Romantic heat in Norway; Joanna MacGregor celebrates the 70th anniversary of Dartington International Summer School; Orchestra Manager of the Year Sue Mallet; percussionist and conductor Thomas Søndergård; the role of a recording producer; Gallicantus tackle Orlande de Lassus’s sibylline prophecies; and osteopathy for musicians.

> More details in the digital and print version of CLASSICAL MUSIC

DEBUT CD REVIEW IN CRESCENDO

on By

Eldbjørg Hemsing: Der verschollene Norweger

“…jointly with Wiener Symphoniker and Conductor Olari Elts, Eldbjørg Hemsing presents an interpretation which is convincing, rich of colors and personal. With consistently brilliant sound and flexible expression, Eldbjørg Hemsing makes this album absolutely worth listening to.”

Crescendo | Sina Kleinedler | 20 February 2018

Zwei Entdeckungen auf einem Album: Die norwegische Violinistin Eldbjørg Hemsing und das Violinkonzert ihres Landsmannes Hjalmar Borgström (1864–1925). Borgström war zu Beginn des 20. Jahrhunderts als Kritiker und Komponist bekannt. In Vergessenheit geriet seine Musik höchstwahrscheinlich dadurch, dass er sich weigerte, eine typisch skandinavische Klangsprache zu adaptieren – wie Grieg es getan hatte. Dennoch zog das 1914 geschriebenes Violinkonzert Hemsing sofort in seinen Bann, auch weil dessen Klangsprache sie an ihre Heimat erinnerte. Im Kontrast zu Borgströms romantischem Werk steht Dmitri Shostakovichs erstes Violinkonzert. Seine Klangsprache ist weniger pastoral, eher dramatisch und schmerzerfüllt, doch auch hier schafft Hemsing es gemeinsam mit den Wiener Symphonikern und Olari Elts eine überzeugende, farbenreiche und persönliche Interpretation zu präsentieren. Mit durchweg brillierendem Klang und flexiblem Ausdruck macht Eldbjørg Hemsing dieses Album absolut hörenswert.

MUSIKKULTUR – ELDBJØRGS ÆRA

on By

Eldbjørg Hemsing står foran sitt store, internasjonale gjennombrudd. Med seg på reisen har hun en norsk fiolinkonsert som har vært glemt i hundre år.

Publisert 05.02.2018 | Ingvild Amdal Myklebust

Hovedscenen på Nationaltheatret i Oslo har aldri vært større enn den maidagen i 1996. På klakkende bunadsko inntar hun flomlyset sammen med storesøster Ragnhild på åtte. Bak seg aner hun konturene av det tunge sceneteppet og av moren som viser dem riktig neieteknikk. Foran dem venter et bekmørkt folkehav. Hun vet at kongefamilien sitter der ute. Og Wenche Foss som hun møtte i stad. Snart er de framme ved scenekanten. Da skal de løfte opp felene til haka og spille Briskjehauga slik de pleier. Bare en meter igjen nå.

> Weblink to Full Article

FORTE FEATURE FILM WITH ELDBJØRG HEMSING

on By

“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:

MOMENTS OF ETHEREAL BEAUTY

on By

“Moments of ethereal beauty as the violin’s melody intertwined with those of the woodwinds” – Reviewed at National Concert Hall, Dublin on 3 November 2017

“Dvořák’s Violin Concerto in A minor is at times an elusive concerto to pull off: true to violin concertos of this era, it is not short on virtuosic bravura passages yet its subtle, restless character is a much harder selling point. This was the focus of the soloist, Norwegian rising star Eldbjørg Hemsing as she eloquently meditated on the more wistful writing of the first movement. At times, as high up on the G string in the recapitulation of the opening Allegro, she overindulged in vibrato which obscured the tender lyricism but there were moments of ethereal beauty as the violin’s melody intertwined with those of the woodwinds. The octaves and double stops glowed with passion while the scales and arpeggio were executed with laser-like precision. Her luminous tone added lustre to the ruminative lyricism of the second movement while the NSO responded with a warm and sensitive accompaniment. It was in the mercurial finale that musician and music struck the most rewarding balance. The Slavic folk tune glistened with meticulous light-hearted good cheer, with sharp rhythmic delineations from the orchestra. Capturing the exquisite, ephemeral soundscape, Hemsing expertly handled the shifting cross rhythms and the fiendish octaves, bringing this concerto to an energetic and satisfying close.” > Video Excerpt from Concert of Eldbjørg Hemsing with RTE Symphony Orchestra under Miguel Harth-Bedoya