Zorman retraces Ben-Haim’s musical journey with plenty of technical panache, passion and colour. He’s well supported by conductor Philippe Bach and, in the chamber pieces, Amy Yang’s characterful piano: the pair’s Berceuse Sfaradite, based on a Sephardic folk song, is a particularly sweet plum.
In Winter Park, the Bach Festival welcomed violinist Itamar Zorman, who finds new emotional depths in the music he plays. Zorman joined the Bach orchestra for its “Concertos by Candlelight” program and then performed a duo program with pianist Adam Golka, who also finds the feeling behind every note.
Die Kompositionen, dic da Duo Itamar Zorman (Violine) und Liza Stepanova (Klavier) am Samstagabend ins ausvorkaufte Klösterle mitgebracht hat, werden nur selten bel Konzerten geslelt. Nicht nur deswegen war die Veranstaltung etwas Besonderes. Ausuahmsweise kam Bürgermeister Thilo Schreiber zu Beglnn des Ahends auís Podium. Denn mil diesem Konzertübergub Hans Dietmar Bürgel, auf dessen Initiative bin die Beilhe, “Klassik im Klūsterle” wieder ins slāditsche Kulturieben zurūckgckchrlist, den Stab an seinen Nachfolger Moritz Winkelmann (wir hericheten).
Beogradska filharmonija: "Za znalce" - dirigent Vladimir Kulenović, solista Itamar Zorman (violina), Velika dvorana Kolarčeve zadužbine
Veoma emotivno finale ciklusa "Za znalce" Beogradske filharmonije. Jer, Vuk Kulenović nije više sa nama, jedan zrak sunca ičezao je iz našeg sluha.
Piše: Zorica Kojić
16. maj 2017. 19:30
An appealingly light-hearted and light-textured program marked the end of the Chamber Orchestra of the South Bay’s main 2016-17 season. Mr Klaus had noted some particularly difficult features of the solo violin-writing in Dvořák’s Violin Concerto in A Minor Op.53 B.108, like its first entry: within a handful of bars there are wide leaps, double-stopping, and rapid arpeggios ending on a high E, but guest soloist Itamar Zorman took them all in his stride, and went on to deliver a sensitive and mellifluous performance of the entire concerto.
The two soloists were Israeli violinist Itamar Zorman...and German cellist Leonard Elschenbroich, who has become a regular and welcome visitor to Ireland. They balanced and blended so well that they created the illusion of some kind of mega-instrument, a hyper-cello of Brahms’s imagining that could only be made flesh through two instruments and two players.
The star of the performance was, however, violinist Itamar Zorman, whose gorgeous line furled and unfurled around a part which can in the wrong hands be repetitive, mechanical, and dry. The centerpiece of the work has the eponymous soldier playing his violin for a princess, who is healed on her sickbed and compelled to dance. When Zorman had led the ensemble through this climax, I did not find the mythical claims to be too unbelievable.
Music | August 29, 2016 | 0 | by Edward Forstman
STOLPE. Sie gehört seit langem zu den wichtigsten Standbeinen der Festspiele MV – jene Konzertreihe, die als „Junge Elite“ für den oft genug besonderen Kunstgenuss sorgt: mit einem Repertoire jenseits des Mainstreams und mit einer Musikauffassung, die die Ergebnisse akademischen Studierens mit der Frische unverschlissener Professionalität zu verbinden weiß.
Zorman comments in the liner notes that he wanted his debut recording to reflect an actual concert. In November 2014, he and Yi played the Hindemith and Brahms at Carnegie’s Weill Recital Hall—a striking performance—and this release only confirms the two musicians’ talents. Recorded in Germany by Thomas Eschler at the hr-Sendesaal in Frankfurt am Main, the disc boasts rich sound, with just the right amount of reverberation.
Born in Tel-Aviv in 1985, Itamar knew from before he was a teenager that he wanted to be a concert violinist. That was in spite of a brief divergence in sports as a 14 year old: Itamar knew that his future lay not on the basketball court, but on the concert stage. Now 28, and holding a master’s degree and Artist Diploma from Juilliard, Mr. Zorman has since won several prestigious prizes.
‘I hope you will enjoy it, even though it’s quite nightmarish,’ were the words Itamar Zorman used to introduce Schnittke’s Violin Sonata no.2, ‘Quasi unable sonata’ (1968). Zorman was right on target, and the piece made an impressive display for his talents and those of Kwan Yi, his equally gifted pianist. The duo also gave a vigorous reading of Brahms’s Third Sonata, combining sumptuous tone (Zorman plays a 1745 instrument made by Pietro Guarneri of Venice) with carefully considered phrasing.
Few pieces test an ensemble’s internal cohesion like Messiaen’s “Quartet for the End of Time.”...On Saturday, the quartet was played in brilliant and gripping fashion by clarinetist Charles Neidich, violinist Itamar Zorman, cellist Lionel Cottet, and pianist Mitsuko Uchida, during the second weekend of concerts at Marlboro Music. Though they have no lengthy history of playing together and vary greatly in age and career status — Zorman and Cottet are in their 20s, while Neidich and Uchida are world-renowned
This young man has a real thing for silence. A reputation to be a “violin whisperer” precedes him. In the recital hall of the Old Heidelberg University, Itamar Zorman fully lives up to it. Although he does not wear this reputation like a billboard advertisement. Still it is present even in the sound space of the grandly conceived and presented First Violin Sonata of Prokofiev.
To kick-off the concert under the baton of Giuseppe Lanzetta, chief conductor of the Orchestra da Camera Fiorentina in Florence [the orchestra presented] the Violin Concerto in D minor, op. 47 by Jean Sibelius with Itamar Zorman from Israel as a soloist, winner of, among others, the 2011 Tchaikovsky Competition in Moscow and the International Violin Competition in Freiburg.