Liza Ferschtman, Violin
Reviews
Constantly Illuminating
Gramophone, 1 April 2011
These are fine, thoughtful performances, noteworthy in several respects. The balance between orchestra and violin is very natural, giving the soloist no special advantage; this, and the fact that the wind instruments are given a particularly prominent profile, imparts an unusual but not unwelcome perspective. The passage in the Concerto's first movement where the violin soars aloft over a soft string accompaniment and where most violinists slow right down, is here played, most delicately, at a speed closer to the basic tempo - and we can hear with unusual clarity the horns intoning the opening drum motif. And when the key-changes and the timpani, along with trumpets, reclaim the motif, the effect is magical.
Liza Ferschtman chooses for her first-movement cadenza the adaptation by Wolfgang Schneiderhan of Beethoven's cadenza for his arrangement of the work as a piano concerto. It is not easy to bring off this wonderful piece on the violin, but, aided by the NSO's timpanist, Peter Prommer, she succeeds triumphantly. I also warm to her playing of the finale - not as fast as Thomas Zehetmair but tremendously spirited - and, throughout the programme, the the way the orchestra matches her clear, unfussy phrasing. In both Concerto and Romances, Ferschtman's tempi are almost identical to Christian Tetzlaff's.....
It's almost impossible to give a top recommendation for such often-recorded music but Ferschtman's interpretation is constantly illuminating.
Duncan Druce
Beethoven Violin Concerto and Romances No. 1 and No. 2. Conductor: Jan Willem de Vriend, Netherlands Symphony Orchestra
Beethoven, Violinconcerto And Romances
NRC Handelsblad by Mischa Spel, 12 November 2010
**** 4 stars
After releasing her highly praised solo-cd at the beginning of this year Liza Ferschtman has now chosen for the “real” firm repertoire. This recording has to withstand the comparison with all the other giants in the violin world. That is what you might think. But in reality you have the feeling that you hear something completely new when you listen tot the interpretation of Ferschtman and the Netherlands Symphony Orchestra. Ferschtman plays the Violin concerto in a style that clearly fits the Orchestra’s playing, that inspired and stimulated towards a authentic classical performance under the baton of Jan Willem de Vriend: spontaneous, daring, gracious.
(...)
Also the interaction between Ferschtman and the orchestra at the beginning of the Rondo sounds notable fresh, playful and equivalent.
As well as the Romanze G major: it sounds refreshing: contemplative, and pleasantly light.
The rather long and almost never heard cadenza (composed by Beethoven for the piano version of his concerto and “re-edited” by Wolfgang Schneiderhan for violin and timpani) underlines the feeling that this is a performance which truly adds something to the numerous recordings that already exist.
Hats Off!
Parool, 5 February 2010
Hats off, caps off, fezzes off, any headgear off for violinists who dare take on the sonatas and partitas of Johann Sebastian Bach and the sonatas of her twentieth century Belgian musical successor, Eugène Ysaÿe. And even more hats, caps and fezzes off for violinists who are so skilled that the listener forgets that she takes gigantic technical leaps to be able to create music that is nigh impossible to play.
We do not have enough hats, caps and fezzes for the fearless Dutch violinist, Liza Ferschtman. In her second CD for the Challenge label, her rendition of Bach's Sonata no. 1 and Partita no. 3, and Ysaÿe's Sonata no.2 are simply heavenly.
Just the opening arpeggio in Bach's Sonata no. 1 alone you want to listen to a hundred times, let alone the rest of the CD. Pure poetry. Has it ever been so beautifully played? And Ferschtman maintains this incredible quality throughout the whole CD. The fugues are clear, the tone is always perfect, and the musical depth, with its constant secretive melancholy, cannot be compared.
Ysaÿe's Sonata, that starts with a citation from Bach and is drenched with the Dies Irae motif, as the finale, is utterly spectacular. Buy it.
Erik Voermans
Ferschtman Owned The Stage - And Made The Music Her Own
Norrköpings Tidningar, 15 September 2009
She is young and musically gifted, just like so many others, but Liza Ferschtman has something special. Although Sibelius Violin Concerto is performed frequently, she succeeded in making the music her own. Already from the first note she expressed empathy, intensity and variation, without exaggerating or slacking. Ferschtman is very much appreciated by the Norrköping audience and will certainly win further fame for her charming style and great musicianship.
Youthful Power And Brilliance
Bergens Tidende, 14 May 2009
The soloist Liza Ferschtman stepped in on short notice instead of Vilde Frang. The young Dutch violinist has played in the Risør Festival in Norway earlier, but this was her first meeting with Bergen. Beethoven's Concerto for violin and orchestra demands maturity and musicality andit was a great surprise to hear this young and gifted violinist. Her playing was brilliant, it glowed and had presence, and it with her intense and dynamic expression it was clear that Liza Ferschtman feels close to Beethoven.
Liza Ferschtman
Telegraaf, 1 March 2006
“The world at Ferschtmans feet”
Tchaikovsky Violin Concerto
Limburgs Dagblad, 1 February 2006
“Her vision of the Tchaikovsky Violin concerto is by no means ordinary. Besides her virtuoso playing, its lyricism was particularly striking, getting everything there was out of the melodic passages. (…..) the beginning of the slow movement, in particular, was so beautiful you could cry.”
When She Played The Piece Seemed To Expanded To A Larger Size
Haaretz, 1 January 2006
“The hallmark of this concert in Rishon Le’zion yesterday was its soloist, Dutch violinist Liza Ferschtman. Thanks to her it was possible again to realize that there is no such thing as an ‘over-played’ piece; that music is thing with life of its-own, and always relevant even after the thousandth time; and that one does not need to be “original” and to invent a new ‘interpretation’ to a piece in order to bring it to life.
Ferschtman played the Tchaikovsky violin concerto - no question a well known piece, and having seen many great performances. And still, in a hall in a mall in Rishon, far away from the music centers of the world and even further from 19th century Moscow, this piece rose and got new life.
It’s hard to point at what exactly made that happen, the clear sound of the young soloist, who managed to bring beauty to even the most screechy moments of the concerto, or her clean intonation, which was achieved with her unbelievably quick left hand, or her winning personality. Probably all of the above, and especially her ability to play with authenticity, and not to be afraid of taking time. When she played the piece seemed to expanded to a larger size than it’s normal size, having all the time in the world. “
