For the Record, Op. 334: Himari; cellist Pablo Ferrández

May 23, 2025 at 07:11 AM · Greetings,

Himari is an incredible talent, both musically and technically and I am looking forward to seeing her stellar career.

Having said that, I hesitantly suggest here that there are some slight questions about this recording to my mind. I can understand Decca wanting to snap up such a potentially great artist and I guess the world of the artist is such that beginning a recording career as early as possible is necessary????? I am certainly not an expert on this subject. However, if one really listens to her playing I think it is fair to say that this is not a technically perfect rendition of the work as one would expect from a finished artist. I think we should at least look beyond the fully justified hype and recognize this, if it is true. That being the case, why would I want to pay for a work in progress, albeit a brilliant one. In my opinion this kind of talent might be better of spending a few more years studying as well as concertizing and seeking advice /coaching from violinsts who are also extraordinary thinkers. For example, Would Tetzlaff be a good mentor?

I think it is the responsibility of the music world, including recording companies to p@lay the longer game so that this kind of talent can truly be fully realized rather than simply having us express admiration for an awesome talent with some way to go.

Idle thoughts,

Buri

May 23, 2025 at 11:24 AM · Buri so you do agree that she should already start concertizing. But I suppose, at least if we are talking about concertizing at the top level, with the top orchestras and concert halls, then also selling recordings is intrinsically linked to that, you can't do one without the other, economically speaking, that's how the system works I suppose.

May 23, 2025 at 11:59 AM · I can't help but think that violinists, like cheese, benefit from a period of (quiet?) maturation.

May 23, 2025 at 08:39 PM · Greetings?

Jean. I absolutely do think she should be concertizing although within sensible limits for her age. Part of her route to maturity is very much playing with great orchestras, learning from conductors and discovering all the pitfalls and complexities of playing with orchestras. I wouldn’t be at all dissatisfied with this performance at a live concert. Recordings are a different ball game. And if Decca now pushes her for (heaven forbid) a Bruch /Mendellssohn pairing for example, when will she record them again when I think she will be. So much better? Of course artists mature all the time re-record,but I just have an uneasy feelingl that there is a quite big jumping of the gun for the wrong reasons here.

Cheers,

Buri

May 24, 2025 at 07:52 AM · I think we all agree Buri. I was basically not contributing much, just saying "it's the system". Conclusion, "the system" is bad but that's what you argued in the first place.

May 28, 2025 at 08:03 PM · Dear Buri,

I am glad to know that you feel Himari is an incredible talent. She is, in fact, an astounding violin talent. Her depth of musicality and maturity are truly breathtaking - listen carefully to the new Decca recording of Amy Beach's Romance. It will bring tears to your eyes. I am curious to know which of the Decca pieces you find to be less than perfect - I will assume you are referring to Waxman's Carmen Fantasy as it is certainly the most technically demanding of the three works on Decca's new EP. You may know of me as I wrote the recent article on Nathan Milstein that appeared in The Strad and on Violinist.com. In addition to studying for many years with Ivan Galamian and Dorothy DeLay at Juilliard and Aspen, I participated in Milstein's Zurich master classes in the seventies. I think I know a little bit about great violin playing! Though I do not believe anything in life is absolutely perfect, I do not agree with you about Himari's debut recording on Decca. The three pieces already released are played as perfectly as anyone playing the violin today. Of course, I suppose one must consider your definition of perfection. I would like to know what it is that you find to be good enough for a live concert but not acceptable for a recording. Artists always have some way to go, even those in their sixties, seventies and eighties, so that is not a reason, in my opinion, not to record a very young artist. I believe that a musical phenomenon such as Himari should be recorded so that her playing is well documented at all stages of her amazing musical life. By the way, I am the one who brought Himari to the attention of Decca Records - I hope you don't find me guilty!