Sunday Times, 20th July 2014 “The formidably gifted Ferschtman is clearly a musician driven by a sense of adventure. This bold, ingenious set, juxtaposing works by two giants of the high baroque with two giants of the 20th century, reveals a player of deep insight, intensity and imagination.
This is a baroque piece played on a modern instrument. People treat it like it's a crime. After all, she is a Classical violinist and not Baroque like Rachel Podger and others. Stop being boring and comparing things... It's a beautiful piece played on a great instrument and with a great performance. Music is not made with just one instrument.
It doesn't matter that she is playing on an altered violin with a modern bow. Her interpretation is in the true Baroque style: clarity of counterpoint, discrete separation of voices, minimal vibrato, et al. But above all, she stresses the actual meaning of the word 'Baroque': bizarre, eccentric, grotesque. Biber's music was disturbing and wild to the ears of his contemporaries, and Ferschtman recaptures those dark qualities in her magnificent interpretation.
La interpretación me parece sublime pero agradecería una menor atención de la cámara hacia los espectadores presentes. Me interesa el manejo del arco más que los oyentes.
А вы говорите: Бах, Гендель! Почему то у Лизы смычок не барочный и струны не жильные! Это ладно! А вот ,что сын этого скрипача композитора, оказывается, был начальником отца Моцарта в соборе Зальцбурга, вот это да!! Наверное сын Бибера и подсадил юного Леопольда Моцарта на серьезное занятие скрипкой. А он в свою очередь передал любовь к этому чудному инструменту своему сыну- Вольфгангу!
Sorry that I have to be purist but Violonists during Biber's time played without chinrests, had gut strings and used a bit less vibrato. Apart from that it is quite good.
@@pvonsoosten, how stupid of you to say that - shows a complete lack of musical understanding! But then every deaf listener of uninformed - meaning non-HIPP - recordings has no musical understanding!
Wonderful. This should have over one million views.
it should!!
she is magical! I adore every moment, so honest feelings
Spellbinding, and so joyful! Thank you.
Excellent!! A very bold counterpoint by Biber.
This makes me so happy. What talent.
this is the best modern version of this piece
Before to be so sure listen Elicia Silverstein
Try Reinhard Goebel's version
This is beautifully played - and marvellous, unique piece. 🎻
She is "una Deusa""!!!
Wow that was amazing, i love it!!
Happy 375th Birthday, Heinrich Ignaz Franz!!!
Passionately and beautifully played.
Божественная игра!
Outstanding performance
es impresionante como independiza las diferentes voces
Beautiful!
Maravilloso!!!
Magical!
Absolutely stunning~
♥️💕💕
Superb performance. Amazing ho something so mathematical can be so emotionally exiting.
With Love and admiration from Israel.
Sunday Times, 20th July 2014
“The formidably gifted Ferschtman is clearly a musician driven by a sense of adventure. This bold, ingenious set, juxtaposing works by two giants of the high baroque with two giants of the 20th century, reveals a player of deep insight, intensity and imagination.
My God 😮
This is a baroque piece played on a modern instrument. People treat it like it's a crime. After all, she is a Classical violinist and not Baroque like Rachel Podger and others. Stop being boring and comparing things... It's a beautiful piece played on a great instrument and with a great performance. Music is not made with just one instrument.
Thanks Ryan! We completely agree with you❤
@@24classicsvideo ☺️
It doesn't matter that she is playing on an altered violin with a modern bow. Her interpretation is in the true Baroque style: clarity of counterpoint, discrete separation of voices, minimal vibrato, et al. But above all, she stresses the actual meaning of the word 'Baroque': bizarre, eccentric, grotesque. Biber's music was disturbing and wild to the ears of his contemporaries, and Ferschtman recaptures those dark qualities in her magnificent interpretation.
@Jason Hurd, I agree fully with your analysis
Brutal😮
此曲只應天上有，人間能得幾回聞
so low views, why such legendary plays have to be this hidden :(
because if they weren't hidden, they would not be legendary ;)
This is how magic works.
La interpretación me parece sublime pero agradecería una menor atención de la cámara hacia los espectadores presentes. Me interesa el manejo del arco más que los oyentes.
#Frieden
Божественное исполнение Пассакалии?
Не?,а!!!!!!!!! Браво Элизабет!
А вы говорите: Бах, Гендель! Почему то у Лизы смычок не барочный и струны не жильные! Это ладно! А вот ,что сын этого скрипача композитора, оказывается, был начальником отца Моцарта в соборе Зальцбурга, вот это да!! Наверное сын Бибера и подсадил юного Леопольда Моцарта на серьезное занятие скрипкой. А он в свою очередь передал любовь к этому чудному инструменту своему сыну- Вольфгангу!
!!!!!!!!!!!!!!!!
vom Feinsten das Feinste
Not at all bad for a modern set up. I'd pay to hear that.
Great interpretation but the experimental audience setting is not appropriate.
Impeccable rendition.
Poco colore
Sorry that I have to be purist but Violonists during Biber's time played without chinrests, had gut strings and used a bit less vibrato.
Apart from that it is quite good.
I think as long as the music is respected by the musician and not sacrileged then it's fine!
At least she's not playing it at a world record speed on an electric violin from outer space.
A real purist would complain about the soloist not having the plague, like the composer assumed they would.
@@pvonsoosten, how stupid of you to say that - shows a complete lack of musical understanding! But then every deaf listener of uninformed - meaning non-HIPP - recordings has no musical understanding!
That woman sitting next to her looks so creepy...
I wonder if Bieber would walk around in a room full of sitters, and pose for them as this. Embarrassing.
Poor people.
Looks too embarassed...