sandraliedhaga

Glarean Magazin – Sensibles Gespür für die intimen Passagen (de)

19. September 202117. January 2022 by sandraliedhaga

von Christian Busch, 1. Mai 2020, Glaen Magazin

Die junge norwegische Cello-Virtuosin Sandra Lied Haga (geb. 1994 in Oslo) legt im CD-Label Simax/Naxos mit Tschaikowskis „Rococo Variationen“ und Dvoraks Cello-Konzert ein beeindruckendes Album-Debüt vor, das einige andere renommierte Aufnahmen in verschiedener Hinsicht übertrumpft.

„Fragt nach dem Zauber nicht,
der mich erfüllt!
Ihr könnt die Seligkeit ja doch nicht fassen,
die seine Liebe mich hat fühlen lassen,
die Liebe, die nur mir, mir einzig gilt.“

Aus diesem von Antonin Dvorak um die Jahreswende 1887/1888 vertonten Lied „Lasst mich allein“ von Ottilie Kleinschrod spricht ein seliges, in seiner unvergleichlichen Liebe ruhendes Herz, das sich – zum Schutz seiner kostbaren Liebe – der Welt verschliesst. Es ist das Lieblingslied von Dvoraks Schwägerin, der Gräfin Josefine Kaunic – und der Schlüssel zu Dvoraks berühmtem, 1895 in der Neuen Welt komponierten Konzert für Violoncello und Orchester op. 104 in h-moll.

Heimweh, Bestürzung über die schwere Erkrankung seiner Jugendliebe, aber auch optimistische Aufbruchsstimmung standen bei Dvoraks bedeutender Komposition mit symphonischen Ausmassen Pate. Als er vom Tode seiner ehemaligen Klavierschülerin erfährt, ändert er seine Partitur und integriert das schon im 2. Satz zitierte Lied auch in das Finale – das Konzert wird nun endgültig zum Hohelied der Liebe.

Aus Norwegens unendlicher Weite stammend

Aus der unendlich weiten Perspektive norwegischer Landschaft stammend, war Sandra Lied Haga schon im Alter von drei Jahren Teilnehmerin des Förderprogramms junger Talente am Barrat Due Institute of Music in Oslo und wurde, längst auf vielen internationalen Festivals präsent, jüngst mit dem Equinor Classical Music Award 2019 ausgestattet. Ihr zur Seite steht in dieser Aufnahme mit Konzertmitschnitten vom Februar und März 2019 aus der Great Hall des Moskauer Konservatoriums das State Academic Symphony Orchestra of Russia „Evgeny Svetlanov“ unter der Leitung von Terje Mikkelsen.

Und was man dort hört, ist schlicht überwältigend. Schon die konzentrierte, massvolle, bedächtige, aber niemals schleppende Einleitung lässt erkennen, dass es nicht um ein paar schmissige Effekte oder das blosse Auskosten „schöner Stellen“ geht, sondern um den Spannungsbogen, den „grossen Atem“ und die Seele des Werks.

Man staunt darüber, wenn Lied Haga ihren Part mit unverbrauchter Natürlichkeit, sicherem Instinkt und grosser Virtuosität zu einer überzeugenden, faszinierend schönen und berührenden Darbietung gestaltet. Fernab von Routine und Klischees gelingt ihr der fliessende Übergang von den extrovertierten Ausbrüchen bis zu den Momenten der wunderbar intimen, gesanglichen Introspektive.

Hohelied der Liebe

Der zweite, aus dem Liedmotiv geformte Satz mutet wie ein inniges Liebesduett – über den Ozean hinweg – an, zunächst scheinbar zerbrochen, dann intensiviert durch die Nachricht der Erkrankung. Dass gerade die lyrischen Stellen – auch dank der grossartigen Partnerschaft zwischen Orchester und Solisten – besonders gelungen sind, liegt an der insgesamt sehr stimmigen und werkgetreuen Deutung Lied Hagas, die – von Mikkelsen und dem Orchester auf den vielzitierten „Händen getragen“ – dem Werk mit feinem Gespür und beglückender Sensibilität begegnet. Doch ragen diese berückend schön gespielten Momente nicht heraus, sondern sondern fügen sich nahtlos in die geschlossene und stimmige Darbietung. Es entspinnt sich ein über drei Sätze andauernder, intensiver Dialog, der Dvoraks letztes grosses Werk als „Hohe(s) Lied der Liebe“ geradezu neu entdeckt.

Blick für das Wesentliche

Mit demselben unverstellten Blick für das Wesentliche nehmen die Ausführenden auch Peter Tschaikowskys „Rokoko-Variationen“ ins Visier. Konzeptionell folgerichtig greifen sie dabei auf das Original zurück, statt auf die auf Wunsch von Tschaikowskys Cellisten Wilhelm Fitzenhagen geänderte Fassung, welche dem Solisten eine grössere Bühne der Selbstdarstellung bot.
Auch hier bestaunen wir den klaren, natürlich-schönen Ton der jungen Norwegerin, die in grossem Einvernehmen mit Orchester und Dirigent die Reminiszenz des Komponisten an eine andere Zeit, nämlich die Klangwelt des 18. Jahrhunderts (vor allem die des jungen W.A. Mozart) zum Leben erweckt.

Sandra Lied Haga legt also mit diesen zwei Romantik-Einspielungen ein grossartiges Debütalbum vor. Ihr Ton ist von natürlicher „nordischer“ Klarheit, doch ebenso zeigt sie ein sensibles Gespür für die intimen Passagen dieser Standardwerke des romantischen Repertoires. Sie erliegt nie der Versuchung einer Selbstdarstellung, sondern dringt werkgetreu zum Kern der Werke vor, auch dank ihrer gleichwertigen Partner. Damit stellt sie so manche Aufnahme renommierter Künstler und Plattenlabels in den Schatten. Eine schöne Entdeckung.

Peter Tchaikovsky: Variations on a Rococo Theme op. 33 (Original Version); Antonin Dvorak: Celle Concerto in B Minor op. 104 – Sandra Lied Haga (Cello), The State Academic Symphony Orchestra of Russia ‘Evgeny Svetlanov‘, Terje Mikkelsen, Simax Classics (Naxos)

Lesen Sie im Glarean Magazin zum Thema Cello-Musik auch über Sol Gabetta: Cello-Konzert von Edward Elgar

KLASSISK MUSIKK – Sandra Lied Haga REVIEW (NO)

15. September 202117. January 2022 by sandraliedhaga

Skrevet av Martin Anderson, oversatt fra engelsk av Mona Levin – KlassiskMusikk.com

Hovedinntrykket ved denne innspillingen er av dyp intimitet med musikken. Uansett hvor velkjent den er, synes musikerne – orkesteret så vel som solisten – å behandle den med samme blanding av fintfølelse og spenning som du merker når noen legger en nyfødt baby i armene dine.

6 out of 6 stars rating

Dette er mitt første møte med Sandra Lied Hagas spill, og jeg ble blåst over ende av kvaliteten i hennes musisering. Vanligvis spiller ikke Tsjaikovskijs Variasjoner over et rokokkotema noen særlig rolle for meg (hovedsakelig på grunn av banaliteten i selve temaet), men hun tvinger meg til å lytte ved å finne oppriktighet i hver note. Terje Mikkelsen får tilsvarende oppmerksomt spill fra sine Moskva-musikere, særlig fra treblåserne. Tett mikrofonlyd plukker opp pusten hennes, noe som er lett irriterende (det du ikke finner i partituret, bør du ikke kunne høre i innspillingen), men det utvider også fornemmelsen av intimitet med musikken, som om du sitter ved siden av henne på podiet. Dvořák har et mer episk lerret: Der Lied Hagas intimitet i Tsjaikovskij skaper en kammermusikalsk virkning i stort format, griper og holder hun på oppmerksomheten i Dvořák som en erfaren historie-formidler, en som trekker deg inn i fortellingen på oppslukende måte, mens hun får deg til å trekke pusten i spenning selv om du vet alt om hvordan den folder seg ut. Det er vannmerket på fremragende fremførelse. Hun får deg til å lytte til velkjent musikk som om den var flunkende ny, og begge komponistene er særdeles heldige med sine utøvere her; spesielt er den langsomme satsen i Dvořák intet mindre enn utsøkt. Og det er ikke bare et spørsmål om en spesielt god solist: Mikkelsen og hans moskovitter spiller også med glans. Dessuten er innspillingslyden eksepsjonelt klar – du kan høre hver tråd i teksturen – og akustisk varm. Innspillingen ble gjort i de hellige hallene i Moskva-konservatoriet – et sted der mer musikkhistorie er skapt enn nesten noe annet sted. George Hall bidrar med et tankevekkende CD-hefte. Arve Tellefsen fortalte meg en gang at han måtte til Danmark for å videreutdannes som fiolinist fordi det ikke fantes musikkundervisning på høyt nok nivå i Norge da han var ung. Vel, det bildet er totalt endret. Norge synes å spinne ut førsteklasses musikere på rekke og rad, og Sandra Lied Haga er uten tvil enda en ung norsk solist med en stor karriere foran seg blant de største utøverne i dag. I mellomtiden anbefaler jeg denne innspillingen med stor begeistring, og med takknemlighet for en time med den slags inspirerte musisering som lyser opp en mørk sjel.

Tsjaikovskij Variasjoner over et rokokkotema, op. 33 (originalversjon); Dvořák: Konsert for cello og orkester, Op. 104
Sandra Lied Haga (cello); Evgeny Svetlanov State Academic Symphony Orchestra of Russia, dir. Terje Mikkelsen Simax PSC 1363 (62 minutter)

THE INDEPENDENT – CLASSICAL REVIEWS (EN)

14. September 202117. January 2022 by sandraliedhaga

Michael Church, Wednesday 01 July 2020 – The Independent

Jonathan Biss brings his complete recorded Beethoven cycle to a triumphant conclusion, while the cellist Sandra Lied Haga deploys her warm and passionate sound with two works by Tchaikovsky and Dvorak

“There is a new contender in the world of the cello: a 25-year-old Norwegian called Sandra Lied Haga. She started on the cello at three – dwarfed by her instrument – but swiftly rose to prominence, winning competition after competition, and charming everyone with her sound. She made her Wigmore Hall-debut aged twelve; The two works on this new CD at Simax Classics allow her ample scope to deploy her warm and passionate sound”

Full article available on the following link

KLASSISK MUSIKK – Sandra Lied Haga REVIEW (EN)

14. September 202117. January 2022 by sandraliedhaga

Written by Martin Anderson, published Norwegian article translated by Mona Levin – KlassiskMusikk.com

The abiding impression of this recording is one of a deep intimacy with the music: no matter how familiar it might be, the musicians – the orchestral players as much as the soloist – seem to treat it with the same mix of delicacy and excitement that you feel when someone hands you a newborn baby.

6 out of 6 stars rating

This was my first encounter with Sandra Lied Haga’s playing, and I was blown away by the quality of her musicianship: normally I can take or leave Tchaikovsky’s Variations on a Rococo Theme (largely because of the banality of the theme itself), but she compels me to listen by finding sincerity in every note. Terje Mikkelsen gets equally attentive playing from his Moscow musicians, the woodwinds especially. Close microphones pick up her breathing, which is a source of mild annoyance (if it’s not in the score, you shouldn’t be able to hear it in the recording), but it also increases that feeling of intimacy with the music, as if you were sitting next to her on the stage. On the more epic canvas of the Dvořák, the intimacy that made the Tchaikowsky seem like chamber music writ large here has the effect of catching and holding your attention as an experienced story-teller might, engrossing you in the narrative and somehow persuading you to catch your breath with excitement even when you know how the tale will unfold. That is the hallmark of an outstanding performance – that you listen to the music as new – and both composers are served superbly well by their interpreters here; the slow movement of the Dvořák in particular is nothing less than exquisite. And it’s not simply a question of a particularly good soloist: Mikkelsen and his Muscovites likewise cover themselves with glory. Moreover, the recorded sound is of exceptional clarity – you can hear every strand of the texture – and the acoustic warm: the recording was made inside the hallowed walls of the Great Hall of the Moscow Conservatoire – a space inside which more music history has been made than almost anywhere else. George Hall supplies a thoughtful booklet note. Arve Tellefsen once told me that he had to go to Denmark for his further training as a violinist since teaching of the requisite quality wasn’t available in the Norway of his youth. Well, look how things have changed within the lifetime of that fine man and musician: Norway seems to be spinning off first-rate musicians like sparks off a Catherine wheel, and Sandra Lied Haga is plainly another young Norwegian destined for a career among the major performers of her day. In the meantime I recommend this recording with every enthusiasm, and with gratitude for an hour of the kind of inspired music-making that refreshes the jaded soul.

Tchaikovsky Variations on a Rococo Theme, op. 33 (original version); Dvořák: Concerto for Cello and Orchestra, Op. 104
Sandra Lied Haga (cello); Evgeny Svetlanov State Academic Symphony Orchestra of Russia, dir. Terje Mikkelsen Simax PSC 1363 (62 minutes)

Glarean Magazin – Sensitive feeling for the intimate passages (EN)

13. September 202118. April 2024 by sandraliedhaga

The young Norwegian cello virtuoso Sandra Lied Haga (born in Oslo in 1994) makes an impressive album debut on the Simax/Naxos CD label with Tchaikovsky’s „Rococo Variations“ and Dvorak’s Cello Concerto, outdoing several other renowned recordings in various ways.

„Don’t ask about the magic,
that fills me!
You can’t believe the bliss,
that his love made me feel,
the love that is only for me, only for me.“

From this song „Leave me alone“ by Ottilie Kleinschrod, set to music by Antonin Dvorak at the turn of 1887/1888, speaks a blessed heart, resting in its incomparable love, which – to protect its precious love – closes itself off from the world. It is the favourite song of Dvorak’s sister-in-law, Countess Josefine Kaunic – and the key to Dvorak’s famous Concerto for Violoncello and Orchestra op. 104 in B minor, composed in the New World in 1895.

Homesickness, dismay at the serious illness of his childhood love, but also an optimistic mood of departure were the inspiration for Dvorak’s important composition of symphonic dimensions. When he learns of the death of his former piano pupil, he changes his score and integrates the song quoted in the second movement into the finale – the concerto now finally becomes the Song of Songs of Love.

Coming from Norway’s infinite vastness

Coming from the infinitely wide perspective of the Norwegian landscape, Sandra Lied Haga was already at the age of three a participant in the Young Talent Promotion Programme at the Barrat Due Institute of Music in Oslo and, long since present at many international festivals, was recently awarded the Equinor Classical Music Award 2019. In this recording of concert recordings of February and March 2019 from the Great Hall of the Moscow Conservatory, she is accompanied by the State Academic Symphony Orchestra of Russia „Evgeny Svetlanov“ conducted by Terje Mikkelsen.

And what you hear there is simply overwhelming. Even the concentrated, measured, thoughtful, but never sluggish introduction makes it clear that it is not about a few snappy effects or the mere savouring of „beautiful passages“, but about the tension, the „great breath“ and the soul of the work.
One is amazed when Lied Haga shapes her part with unspent naturalness, sure instinct and great virtuosity to a convincing, fascinatingly beautiful and touching performance. Far away from routine and clichés, she succeeds in making the smooth transition from the extroverted outbursts to the moments of the wonderfully intimate vocal introspection.

Song of Love

The second movement, formed from the song motif, seems like an intimate love duet – across the ocean – at first seemingly broken, then intensified by the news of illness. The fact that the lyrical passages in particular – also thanks to the great partnership between orchestra and soloists – are particularly successful is due to the overall very coherent and faithful interpretation of Haga’s song, which – carried by Mikkelsen and the orchestra on the much-quoted „hands“ – meets the work with fine feeling and delightful sensitivity. However, these enchantingly beautifully played moments do not stand out, but rather fit seamlessly into the closed and coherent performance. An intensive dialogue develops over three movements, which almost rediscovers Dvorak’s last great work as the „Song of Love“.

An eye for the essential

With the same undisguised eye for the essential, the performers also take aim at Peter Tchaikovsky’s „Rococo Variations“. Conceptually logical, they fall back on the original, instead of the version modified at the request of Tchaikovsky’s cellist Wilhelm Fitzenhagen, which offered the soloist a larger stage for self-expression.
Here, too, we marvel at the clear, naturally beautiful tone of the young Norwegian who, in great agreement with orchestra and conductor, brings to life the composer’s reminiscence of another time, namely the sound world of the 18th century (especially that of the young W.A. Mozart).

Sandra Lied Haga thus presents a great debut album with these two romantic recordings. Her tone is of natural „Nordic“ clarity, but she also shows a sensitive feeling for the intimate passages of these standard works of the romantic repertoire. She never succumbs to the temptation of self-portrayal, but penetrates the core of the works faithfully, also thanks to her equal partners. In this way she outshines many a recording by renowned artists and record labels. A beautiful discovery. ♦

Peter Tchaikovsky: Variations on a Rococo Theme op. 33 (original version); Antonin Dvorak: Celle Concerto in B Minor op. 104 – Sandra Lied Haga (cello), The State Academic Symphony Orchestra of Russia ‚Evgeny Svetlanov“, CD-Label Naxos

PIZZICATO – EDELSTEIN AUF BAUSCHUTT (DE)

13. September 202117. January 2022 by sandraliedhaga

Pizzicato – Rezension von Remy Franck

Auf ihrer Debüt-CD stellt sich die 1994 in Oslo geborene Sandra Lied Haga mit zwei Schwergewichten der Cello-Literatur vor. Ein Risiko war das für sie nicht, nach allem was man in den beiden Werken zu hören bekommt. Besonders charakteristisch ist wohl ihr voller, satter und ungewöhnlich reicher Celloklang. Lupenfreine Intonation, eine klare und sichere Phrasierung sowie eine hinreißende Kantabilität zeichnen ihr Spiel aus, das zu berückendsten Pianissimi und einer ebenfalls tollen Virtuosität fähig ist.

Das Cellokonzert von Dvorak spielt sie wunderbar sensibel, mit herrlichen Klangfarben, hinreißend lyrisch und immer wieder auch mit hochvirtuosem Elan. Nicht nur im langsamen Satz kann sie sich wirklich stark in die Musik vertiefen, denn ihr Spiel erreicht das ganze Konzert über eine phänomenale Eloquenz.

Auch in der Originalfassung von Tschaikowskys Rokokovariationen ist der schöne und intensive Klang ihres Cellos (ein Guidantus von 1730 aus Bologna) absolut hinreißend. Sie spielt mit einem sicheren Gespür für die Musik, faszinierendem Raffinement, stilvoll, charmant und in den langsamen Teilen bewegend gefühlvoll.

Leider hat sie mit dem Svetlanov-Orchester nicht den passenden Partner. Das Spiel der Russen klingt manchmal schlampig und es fehlt ihm generell an Flexibilität, Geschmeidigkeit und Klangqualität. Letztlich wirkt das wie ein Edelstein auf einem Haufen Bauschutt. Das kostet die CD Punkte, obwohl das Spiel der Cellistin eigentlich höchstbewertet hätte werden müssen.

On her debut CD, the 26-year-old Norwegian Sandra Lied Haga presents herself with two heavyweights of the cello literature. It was not a risk for her, after all what you can hear in the two works. Especially characteristic is her full and unusually rich cello sound. Flawless intonation, a clear and secure phrasing as well as a ravishing cantabile distinguish her playing, which is capable of the most enchanting pianissimos and an equally great virtuosity.Her account of Dvorak’s Cello Concerto is very sensitive and colourful, enchantingly lyrical and from time to time it also shows one highly virtuosic verve. Not only in the slow movement can she really immerse herself in the music, because her playing achieves a phenomenal eloquence throughout the entire concerto.Even in the original version of Tchaikovsky’s Rococo Variations, the beautiful and intense sound of her cello (a Guidantus from 1730 from Bologna) is absolutely enchanting. She plays with a sure feeling for the music, fascinating refinement, stylish, charming and in the slow parts movingly soulful. Unfortunately with the Svetlanov Orchestra she does not have the right partner. The playing of the Russians sometimes sounds sloppy and generally lacks flexibility, suppleness and sound quality. In the end, it looks like a gem on a pile of rubble. This diminishes our rating, even though the cellist’s playing deserves the highest praise.

Piotr Tchaikovsky: Rokoko-Variationen (Originalversion); Antonin Dvorak: Cellokonzert op. 104: Sandra Lied Haga, Cello, Russian State Symphony Orchestra Evgeny Svetlanov, Terje Mikkelsen; 1 CD Simax PSC 1363; Aufnahme 02/2019, Veröffentlichung 08/05/2020 (61’67)

KLASSISK CD BLOGSPOT – STOR KLANG FRA UNG MUSIKER (NO)

1. September 202117. January 2022 by sandraliedhaga

Trond Erikson – Klassisk CD Blogspot

Den 26 år gamle Sandra Lied Haga har allerede utviklet en utrolig fintfølende klang i sitt instrument som enkelt sagt er vidunderlig. På denne innspillingen er det musikk av Peter Tsjaikovsky (1850-1893) og Anton Dvorak (1859-1904) som tolkes. Peter Tsjaikovskys «Rokokkovariasjoner» innleder denne plata før Lied Haga gir det beste i Dvoraks cellokonsert i h-moll.

Og til den siste først. Her møter vi en moden musiker som behersker sitt instrument til fulle. Og når vi titter på hennes veiledere opp gjennom årene blir jeg ikke overrasket over hennes eminente spill.
I Dvoraks meget kjente, og eneste “ekte” cellokonsert møter vi en utøver som virkelig får lov å briljere. Spesielt er det hennes følsomme spill som fascinerer. Og om man kan si at hver eneste tone har en mening – så passer det utmerket på denne tolkningen. (Dvorak er registrert med en konsert i A-dur også, men den er et arrangement av hans pianokonsert).

Cellokonserten er på denne innspillingen koblet med Tsjaikovskys «Rokkokovariasjoner». Det har de virkelig legendariske cellister gjort før henne – og akkurat det gir oss et hint om at denne musikeren skjønner at hun og hennes cello vil bli sammenlignet med en rekke andre strålende innspillinger. Slikt er ambisiøst – noe som trengs i en ung musikers liv.

Talentet står uimotsagt. Lied Haga er ett av våre virkelig store navn på en kommende stjernehimmel. Men jeg har en snikende følelse av at hun kan modnes enda mer. Spesielt i samspillet med orkesteret virker det litt som celloen sitter i førersetet hele veien. Og i Dvoraks konsert hadde det vært enda bedre å hente fram det samspillet mellom solist og orkester som kunne løfte denne tolkningen til den absolutte øverste hylle.

Men bevares. Dette er en liten gave til alle som elsker den romantiske konserten. Og du får godt utbytte av denne meget dyktige cellistens spill i en innspilling som er gjort i Tsjaikovskys egen konsertsal på Moskva Musikkonservatorium. Det må ha vært spesielt!

Terje Mikkelsen leder State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” trygt og godt, men som sagt kunne Dvoraks musikk hatt godt av en enda bredere samspill-pensel.

Sandra Lied Haga begynte å spille cello bare tre år gammel, og hun er den yngste som er tatt inn ved Barratt Dues Musikkinstitutt. 12 år gammel debuterte hun i Wigmore Hall, etterfulgt av studier ved Razumovsky Academy i London, samt 6 år med Truls Mørk som lærer. I 2017 mottok Sandra ‘De Unges Lindeman-pris’, og hun er også tildelt Equinors prestisjtunge Talentstipend.

SANDRA LIED HAGA: Tsjaikovsky og Dvorak
Sandra Lied Haga, cello
State Academic Symphony Orchestra of Russia “Evgeny Svetlanov”
Dirigent: Terje Mikkelsen
Simax Classics PSC 1363 (2020)
Spilletid: 61.55