Liza Ferschtman

Violin Concerto, Op. 35 | Serenade after Plato’s “Symposium”

Price: € 14.95
Format: SACD
Label: Challenge Classics
UPC: 0608917275520
Catnr: CC 72755
Release date: 02 February 2018
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Label
Challenge Classics
UPC
0608917275520
Catalogue number
CC 72755
Release date
02 February 2018

"...the great Dutch violinist Liza Ferschtman is not part of the star system. However this almost provocative CD is of astonishing quality. Thanks also to the surround excellent recording of  two live flawless performances."

Classic Voice, 05-4-2019
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About the album

Korngold’s Violin Concerto was completed in 1945. This is a beautiful, late Romantic work that harks back clearly to Korngold's earlier compositional style, when he was a younger man living in Vienna. But had he really turned his back on film music he was used to compose in America? Every movement of the Concerto is scattered with fragments from a range of his film scores. The Violin Concerto was a huge success at its premiere, not least due to the performance by Jascha Heifetz as soloist.
The 1950s, a period when Korngold's career and indeed his life were drawing to a close, were a most productive time for Leonard Bernstein. He was achieving major successes on Broadway with his musicals.
The Serenade for violin, strings, harp and percussion had its premiere in Venice in 1954. There were two factors behind the composition. He had accepted a commission from the Koussevitzky Foundation. Also, he had long been promising a new piece for his close friend, the violinist Isaac Stern. Both of these commitments coincided in the Serenade, an extremely lyrical, five-movement work, akin to a violin concerto.
Op dit album speelt violiste Liza Ferschtman een unieke combinatie van twee lyrische concerten, gecomponeerd in de Verenigde Staten, negen jaar na elkaar. Het vioolconcert van Erich Wolfgang Korngold stamt uit zijn latere periode en Serenade van Leonard Bernstein markeert het moment dat hij tot wasdom kwam. Je hoort in de wonderschone opname duidelijk dat de violiste haar hele ziel en zaligheid in het spel legt, een genot om naar te luisteren.

Liefde en spiritualiteit basis van serenade

Bernsteins Serenade is deels geïnspireerd op de filosofische tekst Symposium van Plato die een banket beschrijft, waarop vooraanstaande personen uit de tijd van de Griekse filosoof, verschillende perspectieven op liefde en spiritualiteit uiteenzetten. Liza: "Voor mij draaien beide werken op dit album om de liefde. In Bernsteins Serenade zelfs letterlijk, als je het beziet vanuit het perspectief van de verschillende filosofen die aanwezig waren op Plato's symposium. Alhoewel het, zoals Bernstein zelf zegt, in klassieke zin geen programmatisch stuk is. In Korngolds concerto worden de liefde, en de liefde voor het leven, zo rijkelijk en genereus gedeeld, dat je als luisteraar en uitvoerder, niet anders kunt dan je door de muziek te laten omhelsen en optillen."

Laatromantische 'filmmuziek'

Korngold voltooide zijn Vioolconcert in 1945. Het is een mooi, laatromantisch werk dat duidelijk teruggrijpt op Korngolds eerdere compositiestijl, toen hij als jongeman in Wenen woonde. Maar had hij nu werkelijk de filmmuziek die hij in Amerika gewend was te componeren de rug toegekeerd? Het lijkt er niet op, elk deel van het concert zit vol met een keur aan fragmenten uit de soundtracks van zijn films. De première van het Vioolconcert was een groot succes, wat niet in de laatste plaats te danken was aan het optreden van solist Jascha Heifetz.

Successen op Broadway

De jaren vijftig, een periode waarin Korngolds carrière, en sterker nog zijn leven, tegen het eind liepen, waren een zeer productieve periode voor Leonard Bernstein. Hij behaalde met zijn musicals grote successen op Broadway. De Serenade voor viool, strijkers, harp en percussie beleefde zijn première in Venetië in 1954. Er waren twee factoren die meespeelden bij de compositie. Ten eerste had Bernstein een opdracht van de Koussevitzky Foundation geaccepteerd en hij had zijn goede vriend, de violist Isaac Stern, al lange tijd een nieuw werk beloofd. Beide verplichtingen vielen samen tijdens het componeren van de Serenade, een zeer lyrisch, vijfdelig werk, lijkend op een vioolconcert.


Enthousiaste recensies
De pers was laaiend enthousiast over Liza Ferschtman's Serenade. Na haar optreden in New York schreef The New York Times: "Mevrouw Ferschtman bracht een laserachtige puurheid en intensiteit in Bernsteins Serenade. Haar geluid was teder en glanzend in de lange frases van het eerste deel en verleidelijk versluierd in het tweede. In de snelle spiccato passages van het derde deel liet ze een vinnigheid horen die meer dan bevredigend was."

Lees ook de recensie van René Seghers in Luister magazine, april 2018.


Korngold vollendete sein Violinkonzert 1945. Es ist ein wunderschönes, spätromantisches Werk, und Korngolds früherer Stil aus der Zeit, in der er als junger Mann in Wien lebte, klingt deutlich durch. Doch hatte er sich wirklich von der Filmmusik, die er in Amerika komponierte, abgewendet? Jeder Satz des Konzertes ist durchsetzt von Fragmenten aus einer Reihe seiner Filmmusiken. Das Violinkonzert war bei seiner Premiere ein großer Erfolg, nicht zuletzt dank Jascha Heifetz’ Darbietung als Solist.

Die 1950er, eine Zeit, in der Korngolds Karriere und auch sein Leben sich zum Ende neigten, waren für Leonard Bernstein eine höchst produktive Zeit, und seine Musicals feierten große Erfolge am Broadway.

Die Serenade für Violine, Streicher, Harfe und Perkussion wurde 1954 in Venedig uraufgeführt. Zwei Aspekte stehen hinter der Komposition: Zum einen hatte er einen Kompositionsauftrag der Koussevitzky Stiftung angenommen. Zum anderen hatte er einem engen Freund, dem Violinisten Isaac Stern, schon lange ein neues Stück versprochen. Beides führte schließlich zur Serenade, einem äußerst lyrischen, fünfsätzigen Werk, das dem Violinkonzert ähnelt.

Artist(s)

Dutch violinist Liza Ferschtman is known for her passionate performances, interesting programs and communicative qualities on stage. The daughter of Russian musicians, Liza Ferschtman grew up 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 2006 she received the highest accolade awarded to a musician in the Netherlands, the Dutch Music Award.

Liza Ferschtman's worldwide appearances include: BBC National Orchestra of Wales and London Philharmonic, Dallas and San Francisco Symphony Orchestras, Essen Philharmonic, Staatskapelle Weimar and Schleswig-Holstein Festival Orchestra, Orchestre National de Belgique and Flanders Symphony Orchestra, Radio Symphony Orchestra of Prague, Malmö Symphony and Bergen Philharmonic, Yomiuri Nippon Orchestra, Malaysian Philharmonic, Hong Kong Philharmonic as well as virtually every Dutch orchestra, including the Royal Concertgebouw Orchestra and the Rotterdam Philhamonic. Amongst the Conductors with whom she has worked are: Stefan Blunier, Frans Brüggen, Christoph von Dohnányi, Claus Peter Flor, Neeme Järvi, Yakov Kreizberg, Zdeněk Macál, Jun Märkl, Gianandrea Noseda, Marc Soustrot, Leonard Slatkin, Thomas Søndergård, Karl-Heinz Steffens, Mario Venzago, Jan Willem de Vriend and Jaap van Zweden.

An avid chamber musician, Liza Ferschtman has collaborated regularly with artists such as Jonathan Biss, Nobuko Imai, Elisabeth Leonskaja, Christian Poltera, Lars Anders Tomter and Alisa Weilerstein, counting as her duo partners Enrico Pace and Inon Barnatan. Appearing at venues such as Alice Tully Hall (New York), Wigmore Hall (London), Musikverein (Vienna), Concertgebouw (Amsterdam), Liederhalle (Stuttgart) and Beethoven Haus (Bonn), she is also present at major international Chamber Music festivals. Moreover, Ms. Ferschtman has been the artistic director of the Delft Chamber Music Festival since 2007, one of the most admired festivals in the Netherlands.

Recent highlights have been the performance of Bach's complete solo works in Amsterdam and a concert tour with the Budapest Festival Orchestra under Iván Fischer of which The New York Times wrote: "…with Dutch violinist Liza Ferschtman bringing refined beauty and character to the solo part of the Bernstein [Serenade] …the concert was nothing short of revelatory". In 2015/16 she will be looking forward to concerts with the Residentie Orkest The Hague, the Nuremberg Symphony, Staatskapelle Weimar, and Bremen Philharmonic. She will further perform a tour with the Concertgebouw Chamber Orchestra through Germany. Chamber music projects with different partners take her to the Schumannfest Düsseldorf, to Utrecht, Amsterdam and the Norwegian Risør Festival.

Liza Ferschtman's recording of the Beethoven Concerto and Romances was received with great critical acclaim, as were other recordings with concertos by Dvořák and Röntgen, solo works by Bach and Ysaÿe (STRAD CD choice of the month), and duo works by Beethoven and Schubert. Her latest CD features solo works by Bach, Biber, Bartók and Berio (Challenge Classics).

Press

...the great Dutch violinist Liza Ferschtman is not part of the star system. However this almost provocative CD is of astonishing quality. Thanks also to the surround excellent recording of  two live flawless performances.
Classic Voice, 05-4-2019

Liza Ferschtman need not fear any comparisons…(her) imaginative design of each phrase and the closeness of its conception!
Fono Forum, 12-11-2018

I have nothing but enthusiasm for this release, and I look forward to getting to know this violinist’s work better. In an era dominated by conservatory-trained bots, she is the real thing.
Fanfare, 02-7-2018

The Dutch violinist Liza ferschtman manages to do this with sovereign and unforced playing, which emphasizes the immense beauty of this music in a classically balanced way.
Audio.de , 29-6-2018

Here again, Ferschtman takes a subtly shaded approach, the brilliance and energy of her performance thoroughly compelling. The moments when the texture clears and the solo violin emerges alone are particularly entrancing, and Ferschtman’s artistry and flair never falter.
The Strad, 17-5-2018

All concerned respond to its moods with the utmost sensitivity, evoking the Symposium's varieties of love with a refinement that eludes bigger names and might have surprised the composer too. Ferschtman's intonation is well-nigh flawless.
Gramophone, 11-5-2018

A qualified welcome for this new disc; the Bernstein certainly gets a fine performance.
Music Web International, 04-5-2018

Again, though, Ferschtman's playing makes the most of its strengths, eloquent, flexible and fleet-fingered.
Concerto, 25-4-2018

Ferschtman brings Erich Wolfgang Korngold to life in a stunning way.
Luister, 13-4-2018

5 for performance and 5 for recording!
WDR3, 13-4-2018

These are straightforded, well-paced performances that are eminently serviceable for both works. Soloist Liza Ferschtman playing is elaborated and technically accurate.
Pizzicato, 06-4-2018

Her account is impassioned. Her great technical accuracy joins to a driving expressivity, in a travel among endless colour nuances
Amadeus Magazine, 01-4-2018

Liza Ferschtman interprets the piece as an intimate dialogue. The fact that the Dutch violinist reads the score more sensitively and is therefore probably more in line with the mood of the music and closer than her German colleague is especially in the fourth movement.
Deutschlandfunk, 26-3-2018

I’m very happy with this new combination Korngold/Bernstein and Liza’s reading of both.
HRAudio, 10-3-2018

Swoon and swinging with violinist Liza Ferschtman in top form.
De Gelderlander, 28-2-2018

What seems to be incompatible is masterfully combined: that not only applies to Liza Ferschtman, but also to recording technician and editor Bert van der Wolf, who has made a harmonious whole of two incompatible recording spaces.
Opus Klassiek, 28-2-2018

**** Liza Ferschtman sharply captures the character of the two concerts: the creamy mercy of Korngold with the Prague Symphony Orchestra under Jirí Malát and Bernstein's intense dialogues about the love she has with the Arnhem Philharmonic Orchestra and conductor Christian Vásquez. The violinist does what she can do best: painting colors with great musicality, evoking images and telling stories.
NRC Handelsblad, 20-2-2018

Win the Album of the Week of star violinist Liza Ferschtman
Classic FM, 19-2-2018

Ferschtman finds the very diverse characters convincing, with freedom and imagination
De Volkskrant, 16-2-2018

A very beautiful performance, a masterful CD!
Stretto, 11-2-2018

She keeps a clear statement with great care for details and adds more than a shred of extra inner meaning to the more meditative music ... The fact that Korngold's Violin Concerto also sounds colorful and pretty passionate in all its bitterness, is trusted to Liza Ferchtman and makes this publication a deserved success.
Musicalifeiten, 05-2-2018

Again a beautiful album by Liza Ferschtman that you should not miss.
Mania, 02-2-2018

Dazzling! Radio 4 CD of the week!
Radio4, 30-1-2018

It brought him and us The Serenade to Plato's Symposium, musical dialogues about the beautiful and dark sides of love. The Gelders Orkest and violinist Liza Ferschtman opened the Bernstein year in the Netherlands with this masterpiece.
Luister, 19-1-2018

Violinist Liza Ferschtman shows with the Serenade another side of the composer in het Muziekgebouw.
Het Parool, 17-1-2018

Both masterpieces touch you directly in the heart.
Daily Classical, 14-1-2018

Liza Ferschtman on tour with Bernstein’s 'Serenade'
BBC Music Magazine, 01-1-2018

Play album

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