Please help us raise £6,500 to record a new CD of works for violin and piano by Nimrod Borenstein and Edward Elgar, performed by acclaimed artists: the British violinist Rupert Marshall-Luck and the German pianist Michael Korstick.
With many world premieres, scores of performances and multiple recordings of his music, the British-French-Israeli composer Nimrod Borenstein is much in demand. Leading artists and orchestras who play his work include Vladimir Ashkenazy, the Philharmonia Orchestra, the BBC Philharmonic Orchestra, the Oxford Philharmonic, Roberto Prosseda, Dmitry Sitkovetsky, and many others.
The son of a renowned artist, Nimrod’s first musical experience came as a child on holiday in France, when on a family walk through a forest they came across an outdoor concert. “I just stopped and refused to move until the concert was finished two hours later. And I told my parents then and there that I wanted to learn violin and be a musician,” recalls Borenstein. In 1984 he won the competition of the Cziffra Foundation and became one of its Laureates. He moved to London in 1986 to pursue his studies as a violinist with Itzhak Rashkovsky at the Royal College of Music. He was then awarded the highest scholarship from the Leverhulme Trust to study composition at the Royal Academy of Music (where he is now an Associate).
Borenstein’s music is steadily rising in popularity, with his ‘Suspended’, op.69, in particular proving a huge international success with more than 150 performances (from the Edinburgh International Festival to the Taipei Arts Festival) since its premiere in January 2015 at the Royal Opera House, Covent Garden. Recent months have seen various notable premieres including the choral work ‘And there was light’ performed by Ex Cathedra, his Concerto for Piano, Trumpet and strings orchestra debuted and recorded by the English Symphony Orchestra, and the world premiere of his Cello Concerto no.2, performed by Corinne Morris and the BBC Philharmonic Orchestra. Nimrod’s substantial catalogue continues to develop and currently numbers more than eighty works including ballet, concertos, orchestral and chamber music as well as vocal and solo instrumental pieces.
This planned new recording pairs four of Borenstein’s works for violin and piano – ‘Confession’, ‘Nocturnal Fantasia’, ‘Souvenirs’ and the ‘Sonata Concertante’ – with works of similar magnitude by Edward Elgar: ‘Salut d’Amour’, ‘Chanson de Matin’, ‘Chanson de Nuit’ and the Violin Sonata. The pairing is a happy one for Borenstein, as Elgar is a composer for whom he has long held a deep admiration and for whom he has a strong affinity. Both he and Elgar trained initially as violinists, and the outputs of both feature short works for violin as well as more substantial pieces. This new recording will therefore reveal much about how these two composers have risen to the challenge of writing for the medium of violin and piano – the similarities and the differences.
A fresh view
This recording has extra significance as it will use the new Urtext edition of Elgar’s Violin Sonata, edited by Rupert Marshall-Luck and recently issued by the noted German publisher G. Henle Verlag. Completed in 1919, the Sonata was composed in the depths of the West Sussex countryside, where, removed from the distractions of London, Elgar found inspiration to write music that, as his wife, Alice, commented in her diary, was “different from anything else of his”. The new edition of this magnificent Sonata uses all the available sources – sketches, autograph fair copies, proofs and the first edition – and removes several errors and omissions, casting a fresh light on the piece.