Homecoming av Eldbjørg Hemsing for fiolin solo. Variasjon over en folketone fra Valdres. Fra albumet Grieg: Violin Sonatas – Hemsing: Homecoming, som er vinner av Spellemannsprisen 2020 i kategorien Klassisk.
Anmeldelser av albumet:
“The violin tone of the young Norwegian Eldbjørg Hemsing has something spacious, immediate, unseen, nothing pretentious about it. This goes wonderfully with the three violin sonatas by Edvard Grieg. Hemsing and her piano partner Simon Trčeski do not doubt for a second the quality, intensity, imagination and touching beauty of this music, which is pulsating with a sense of landscape, natural sensations and passion. One can really say that [Eldbjørg] plays so brilliantly and convincingly in her “mother tongue” that it must captivate everyone. The violinist’s joy in inventing music is demonstrated by her fine variations on a folk tune.”
20th Januar 2020
Fascinating is the dream-like cooperation between Eldbjørg Hemsing and Simon Trpčeski in dynamics and pace, the ball being delivered and picked up, the artful dribbling, the gestural liveliness of their interaction.
12th February 2020
Once more, just a big applaud. Eldbjørg Hemsing has this time considered the violin sonata of Edvard Grieg (1843-1907). And in musical collaboration with Macedonian pianist Simon Trpceski, the musical magic that Grieg adds to his writings is created.
10th March 2020
6 of 6
Grieg’s violin syndicates are well-trodden terrain, but there is always room for a recording as good as this one. Hemsing and Trpčeski prefer fast pace, and their interpretations are full of energy and momentum, without compromising clarity.
23rd March 2020
5 of 6
Hemsing and Trpčeski present a fine performance with a narrative character: the music takes a descriptive, almost visual quality, thanks to their striking musicality. The pianist’s first movement opening consists of only two chords, but in that short span he is able to create a real sense of mystery. The violinist opens just as imaginatively, with her energetic, almost breathless playing that reflects the youthfulness of the writing.
24th March 2020
Eldbjørg Hemsing approaches this music vehemently and directly. This condenses into a clear, wonderfully fine, structurally bright course through music that sounds impetuous and natural in the first two sonatas, which are only two years apart; only in the later 3rd sonata from 1886 does it sound somewhat more serene. This then consequently leads to a short composition of the 30-year-old’s own, performed as a soloist: “Homecoming”, variations on a folk song from Valdres, takes up this apparently folkloristically warm, yet artistically invented, late-romantic, intense Grieg tone and gives it a modern touch.
28th March 2020
5 of 6
Those who have had the opportunity to hear it and see it on stage know that this artist of great talent also has a side which some define as “exhibitionist”, but which we will rather qualify as demonstrative and charismatic (the notice uses moreover this last word to define it). This outer side is here erased by a particularly keen sense of listening from one’s partner. The osmosis is so adequate in each of the sonatas that it induces in the listener a real emotional participation in the mosaic aspects of the first sonata, with in particular, in the second movement, this imitative echo of a typical Norwegian violin, the Hardanger , whose structural characteristics allow the sound to lengthen.
13th April 2020
The Grieg violin sonatas are very special. They are highly sophisticated, yet always leave room for implements from the folk music. With these sonatas, Grieg wanted to show the world that he also mastered large formats. Perhaps this is why Eldbjørg Hemsing’s interpretations emphasize the mature side of the compositions and leave only the absolutely necessary space for song and dance. Nevertheless, she manages to keep up the momentum and temperament. Her instrumental intensity resembles that of her companion on the piano, Simon Trpceski, whose playing is powerful and clearly structured, yet allows the violin to run smoothly. Hemsing, as a soloist, plays her own work Homecoming, in which she creates variations on a quiet folk song from Valdres, a region in Norway.
15th April 2020
5 of 6
It is when the sound streams out of the speakers that it becomes more than clear that Eldbjørg Hemsing is the real thing. Elements from folk music are an integral and natural part of her playing style. These are marked by the bouncy of the strokes, the mercury-like ornaments, the flexible use of vibrato, the superb rhythmic precision of the double strokes, and the unsentimental right-to-point approach to Grieg’s dewy sonatas. It is simply a freshness, vitality and nuance of the game that I find to be extremely appealing.
9th May 2020
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