Works for violin solo by Liza Ferschtman

Liza Ferschtman

Works for violin solo

Format: CD
Label: Challenge Classics
UPC: 0608917235128
Catnr: CC 72351
Release date: 04 January 2010

Hi-res download at Spirit of Turtle

1 CD
		Hi-res download at Spirit of Turtle

Label
Challenge Classics

UPC
0608917235128

Catalogue number
CC 72351

Release date
04 January 2010

"Ferschtman brings to both composers appropriate degrees of coolness, passion and control, and a mastery of technique that can render the severest of demands subservient to musical logic and taste."

The Strad, 01-6-2010

Album

Artist(s)

Composer(s)

Press

About the album

There are two ages between the lives and work of Johann Sebastian Bach and Eugène Ysaÿe. Two ages of difference and of similarities.
Bach emerged as a phenomenal composer, a genius, in the first half of the 18th Century. He left an enormous repertoire. Ysaÿe was to be a famous violinist in the beginning of the 20th Century. He also composed, but produced not as much as his illustrious predecessor.

Ysaÿe, violinist to the backbone, took the Sonatas and Partitas of Bach as an inspiration for his Sonatas for Violinsolo (1924). Just like Bach he put the Sonata nr. 1 in the key of g minor. Also the dividing of the Sonata in four movements – alternating between slow and fast – he derived from Bach. This composer was, as becomes perfectly clear, his big example.

Alleen een viool. Bespeeld door een expressief violiste. Kan het mooier?
In deze opname van alleen vioolmuziek van Johann Sebastian Bach en Eugène Ysaÿe speelt violiste Liza Ferschtmann de sterren van de hemel. De stukken van Bach en Ysaÿe wisselen elkaar af en dat staat borg voor ruim een uur gefascineerd luisteren. "Met de haar eigen combinatie van flair, stijlgevoel en virtuoze techniek speelt Liza Ferschtman deze veeleisende werken met een stralende klank." Hans Quant, Luister, maart 2010.

De levens en werken van Johann Sebastian Bach en Eugène Ysaÿe zijn 2 eeuwen van elkaar verwijderd. Eeuwen vol verschillen en overeenkomsten. Bach was in de 1e helft van de 18e eeuw een fenomenaal componist en genie. Hij liet een enorm repertoire achter. De Belgische Ysaÿe werd als een bekend violist gezien, in het begin van de 20ste eeuw. Ook hij componeerde, maar liet lang niet zoveel composities na, als zijn beroemde voorganger. Ysaÿe, violist in hart en nieren, gebruikte de vioolmuziek van Bach als inspiratie voor zijn Vioolsonate (1924). Voor Ysaÿe was Bach duidelijk zijn grote voorbeeld.

Liza Ferschtmann werd geboren als dochter van bekende Russische musici. Haar vader was cellist en haar moeder pianiste. Op haar 5e kreeg ze al vioolles van de bekende violist Philippe Hirschhorn. Nog vele belangrijke leraren zouden volgen, waaronder Herman Krebbers. Liza Ferschtman geldt, zoals haar website beschrijft, "als een van de meest interessante muzikale persoonlijkheden van deze tijd. Met haar gepassioneerde spel en grote podiumuitstraling weet zij het publiek te raken." Ze heeft gespeeld met grote orkesten, zoals het Koninklijk Concertgebouworkest, het Rotterdams Philharmonisch Orkest en het London Philharmonic. In 2006 ontving Ferschtman de Nederlandse Muziekprijs; de hoogste onderscheiding voor musici in Nederland.

Zwei Jahrhunderte liegen zwischen Johann Sebastian Bach und Eugène Ysaÿe. Zwei Jahrhunderte von Unterschieden und Parallelen. Eugène Ysaÿe, Geiger par excellence, nahm die Sonaten und Partiten von Bach als Inspirationsquelle für seine Sonaten für Solovioline im Jahr 1924. Liza Ferschtman zählt zu den markantesten Persönlichkeiten der jungen Generation europäischer Geigersolisten. Ihre Auftritte beeindrucken aufgrund ihrer musikalischen Expressivität, gepaart mit Perfektion und intellektuellem Anspruch. Aus einem Elternhaus russischer Musiker stammend, verkörpert sie das musikalische Ideal der sog. 'Russischen Schule'. Liza Ferschtman erhielt 2006, im Alter on 27 Jahren, bereits den 'Dutch Music Award', für klassische Musiker die höchste Auszeichnung der Niederlande.

Artist(s)

Liza Ferschtman

Dutch violinist Liza Ferschtman is known for her passionate performances, interesting programs and communicative qualities on stage. She is equally at home on the concert stage with concertos, chamber music, recitals and solo works. In 2006 she received the highest accolade awarded to a musician in the Netherlands, the Dutch Music Prize.
Born into a family of Russian musicians, Liza Ferschtman was constantly surrounded by music.
One of her earliest major influences was the violinist Philipp Hirschhorn, a close family friend. She received her formal training from Herman Krebbers at the Amsterdam Conservatory, Ida Kavafian at the Curtis Institute in Philadelphia and David Takeno in London.
In recent years Liza Ferschtman has performed with all significant Dutch Orchestras, including the Royal Concertgebouw and the Rotterdam Philhamonic. She has been soloist of the Orchestre National de Belgique, European Union Youth Orchestra, Yomiuri Nippon Orchestra, Malaysian Philharmonic, Schleswig-Holstein Festival Orchestra, Bremen Philharmonic, Radio Symphony Orchestra of Prague, Malmö Symphony, and Bergen Philharmonic. Conductors she has worked with include Stephan Blunier, Frans Bruggen, Christoph von Dohnanyi, Claus Peter Flor, Neeme Järvi, Yakov Kreizberg, Zdenek Macal, Jun Maerkl, Gianandrea Noseda, Marc Soustrot, Leonard Slatkin, Thomas Sondergard, Karl-Heinz Steffens, Mario Venzago and Jaap van Zweden.
An avid chamber musician, Ms. Ferschtman has collaborated regularly with artists such as Inon Barnatan, Jonathan Biss, Nobuko Imai, Elisabeth Leonskaja, Enrico Pace, Christian Poltera, Lars Anders Tomter and Alisa Weilerstein. In addition to appearances at numerous international Chamber Music festivals, she has performed at venues such as the Alice Tully Hall in New York, the Library of Congress in Washington, Wigmore Hall in London, the Brahms Saal at the Vienna Musikverein, as well the Concertgebouw in Amsterdam.
Liza Ferschtman has been the artistic director of the Delft Chamber Music Festival since 2007, one of the reputable festivals in Europe. During her tenure the festival has become widely known for adventurous programming with dynamic performances by artists from around the globe.
Highlights in the past season were the performance of the complete solo works by Bach in Amsterdam and a concert tour to Budapest, Amsterdam, New York and Montréal with the Budapest Festival Orchestra. Playing under the baton of Iván Fischer, Ms. Ferschtman received outstanding reviews for her rendition of Bernstein's "Serenade" with this orchestra.
During the current season Liza Ferschtman is scheduled to make her debuts with the BBC National Orchestra of Wales and the London Philharmonic Orchestra, the Philharmonic Orchestra of Essen, the Staatskapelle Weimar and the Flanders Symphony Orchestra. She will perform chamber music at the Liederhalle in Stuttgart and the Beethoven Haus in Bonn and will be present in the Netherlands with several recitals.
Ms. Ferschtman's recording of the Beethoven Concerto and Romances was received with great critical acclaim, as well as her other recordings with concertos by Dvorak, Röntgen, solo works by Bach and Ysaye, (STRAD CD choice of the month), and duo works by Beethoven and Schubert. Her next CD will be solo works by Bach, Biber, Bartok and Berio (Challenge Classics).

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Composer(s)

Johann Sebastian Bach

Johann Sebastian Bach was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and hundreds of cantatas. His music is revered for its technical command, artistic beauty, and intellectual depth. Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.

Bach's abilities as an organist were highly respected during his lifetime, although he was not widely recognised as a great composer until a revival of interest in and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.

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Eugène Ysaÿe

Eugène-Auguste Ysaÿe was a Belgian violinist and composer. He received his first violin lessons from his father at the age of five. At seven years old, he already gave his first public concert. However, it didn't go as his father would have liked it. Eugène didn't try his hardest and at one moment the Conservatory of Liège even refuse to take him because of his bad performance. In 1873, he received 12 lessons from Henryk Wieniawski. Since he admired Wieniawski so much, these lessons had an enormous impact on his career. In 1880, he became the concert master for one year of the Bilse Orchestra in Berlin, the direct predecessor of the Berliner Philharmoniker. In 1896, he was appointed professor at the Conservatory of...

Eugène-Auguste Ysaÿe was a Belgian violinist and composer. He received his first violin lessons from his father at the age of five. At seven years old, he already gave his first public concert. However, it didn't go as his father would have liked it. Eugène didn't try his hardest and at one moment the Conservatory of Liège even refuse to take him because of his bad performance.
In 1873, he received 12 lessons from Henryk Wieniawski. Since he admired Wieniawski so much, these lessons had an enormous impact on his career. In 1880, he became the concert master for one year of the Bilse Orchestra in Berlin, the direct predecessor of the Berliner Philharmoniker. In 1896, he was appointed professor at the Conservatory of Brussels. At this point, it was clear Ysaÿe was not just a masterful violinist, but also a great composer.

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Press

Ferschtman brings to both composers appropriate degrees of coolness, passion and control, and a mastery of technique that can render the severest of demands subservient to musical logic and taste.
The Strad, 01-6-2010