Wydawnictwo: Challenge Classics
Nr katalogowy: CC 72635
Nośnik: 1 SACD
Data wydania: maj 2014
EAN: 608917263527
Nr katalogowy: CC 72635
Nośnik: 1 SACD
Data wydania: maj 2014
EAN: 608917263527
Nasze kategorie wyszukiwania
Epoka muzyczna: współczesna, 20 wiek do 1960, barok
Obszar (język): włoski, węgierski, niemiecki
Instrumenty: skrzypce
Rodzaj: sonata
Hybrydowy format płyty umożliwia odtwarzanie w napędach CD!
Epoka muzyczna: współczesna, 20 wiek do 1960, barok
Obszar (język): włoski, węgierski, niemiecki
Instrumenty: skrzypce
Rodzaj: sonata
Hybrydowy format płyty umożliwia odtwarzanie w napędach CD!Bartok / Berio / Biber: Biber - Bartok - Berio - Bach
Challenge Classics - CC 72635
Wykonawcy
Liza Ferschtman, violin
Liza Ferschtman, violin
Nagrody i rekomendacje
Utwory na płycie:
Biber:
Passagalia C.105
Bartok:
Sonata for Solo Violin
Berio:
Sequenza VIII for violin
Bach:
Partita nr 2, BWV 1004
Passagalia C.105
Bartok:
Sonata for Solo Violin
Berio:
Sequenza VIII for violin
Bach:
Partita nr 2, BWV 1004
The daughter of well-known Russian musicians, Liza Ferschtman took her first violin lessons from Philip Hirschhorn at the age of five. Her other, most significant teachers were Herman Krebbers, Ida Kavafian at the celebrated Curtis Institute of Music in Philadelphia and David Takeno in London. In early 2013 she appeared with the Budapest Festival Orchestra and Ivan Fischer, making her debut in Budapest, Montreal and the Avery Fischer Hall in New York, a concert that was described by the New York Times as 'nothing short of revelatory'. A passionate chamber music devotee, Liza performs with musicians such as Elisabeth Leonskaja, Jonathan Biss, Alisa Weilerstein, Christian Poltera, Julius Drake, Nobuko Imai, Lars Anders Tomter, Marie Luise Neunecker, Sharon Kam
Bach's Chaconne is the focal point, to which the works of Bartok and Berio make strong references , making it the core of this programme. Biber's Passacaglia provides focus, with its persistent repeated cadence of the four falling notes. This pulse underpins the entire recital: sometimes hidden and barely audible, like a sort of primeval pulse (as in the Berio), and sometimes quite clear. Bartók's Sonata is a real masterpiece, It's the pinnacle of what is possible on the violin, without having virtuosity as its objective. The consonance - or actually the battle - between two notes lies at the heart of Berio's Sequenza VIII. This also presents us with a degree of ugliness. But after the powerful confrontations, as the music gradually subsides in volume these two notes end up forming a brotherly union. The battle has led to some good after all.
Liza Fertschmann This is an invitation: an invitation to join me in an adventure. It would normally take place in the concert hall, because the combination of pieces I'm presenting to you here is not a typical programme for a CD. It's an overwhelming recital that demands a great deal not only from me as the musician, but also from you as the audience. When I play this recital in a concert setting, which I've done on many occasions, I always find it to be a battle, where I'm reaching for my own limits and for the audience's limits. But this is a constructive battle. The battle is the pathway and at the end of it we're in a better place. From the stage, I can take the audience by the hand as stunning beauty alternates with uncomfortable and what can even be almost ugly sounds. These are exactly the pieces I wanted to record. This is a highly personal programme, It's a programme of contradictions: the ostensible simplicity of Biber and Bach contrasting with the complexity of Bartók and Berio. It's emotional but at the same time highly cerebral.
Bach's Chaconne is the focal point, to which the works of Bartok and Berio make strong references , making it the core of this programme. Biber's Passacaglia provides focus, with its persistent repeated cadence of the four falling notes. This pulse underpins the entire recital: sometimes hidden and barely audible, like a sort of primeval pulse (as in the Berio), and sometimes quite clear. Bartók's Sonata is a real masterpiece, It's the pinnacle of what is possible on the violin, without having virtuosity as its objective. The consonance - or actually the battle - between two notes lies at the heart of Berio's Sequenza VIII. This also presents us with a degree of ugliness. But after the powerful confrontations, as the music gradually subsides in volume these two notes end up forming a brotherly union. The battle has led to some good after all.
Liza Fertschmann This is an invitation: an invitation to join me in an adventure. It would normally take place in the concert hall, because the combination of pieces I'm presenting to you here is not a typical programme for a CD. It's an overwhelming recital that demands a great deal not only from me as the musician, but also from you as the audience. When I play this recital in a concert setting, which I've done on many occasions, I always find it to be a battle, where I'm reaching for my own limits and for the audience's limits. But this is a constructive battle. The battle is the pathway and at the end of it we're in a better place. From the stage, I can take the audience by the hand as stunning beauty alternates with uncomfortable and what can even be almost ugly sounds. These are exactly the pieces I wanted to record. This is a highly personal programme, It's a programme of contradictions: the ostensible simplicity of Biber and Bach contrasting with the complexity of Bartók and Berio. It's emotional but at the same time highly cerebral.
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