Eldbjørg Hemsing’s latest album release FIRE RITUAL is featuring Oscar and Grammy winning composer Tan Dun and the Oslo Philharmonic, in a premiere recording of violin concerto “Fire Ritual – A music Ritual for Victims of war“
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.
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.
“…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.
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.
On May 23, 2018 Radio France has featured the debut album of Eldbjørg Hemsing, giving the top rating for this release.
The broadcast also featured the entire 1st movement of the Borgström violin concerto.
Please click here for the audio stream with the review starting at 40min21sec.
“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.