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The discography of twin concerts

Obviously, this album has entered into our competition 'Vote for the classical album of 2016' and not necessarily because it was awarded by Gramophone, but because Vilde Frang has successful discographic antecedents. In 2010, the Norwegian violinist released her first album of twin concertos in an unexpected association, Jean Sibelius's Suite for Violin and Orchestra in D Minor, beside Serghei Prokofiev's Piano Concerto No. 1 in D-Flat. And in 2012, she put together on a record Carl Nielsen's Concerto for Violin and Orchestra alongside Piotr Ilyci Tchaikovsky's Violin Concerto in D Major, Op. 35. Albums which after piqueing the public and critique's interest, have been really apreciated.

For the album released on the 26^th February this year, Vilde Frang proposed to enclose Erich Wolfgang Korngold's Violin Concerto in D Major, Op. 35 and Benjamin Britten's Violin Concerto. It's an enclosing at least surprising, if not two works from two different worlds. Korngold's score abounds in Romantic elements, it is luxuriant, rich, somewhat surprising, if we consider the fact that the score was written in 1945, proving the fact that style is less connected to an era and more a state of spirit. On the other hand, the Britten Concerto is undeniably modernist, with his edgy style, though still tonal and accessible, a score signed several years before Korngold Concerto, in 1938-1939. Maybe these two works were enclosed on an album because both were written during the Second World War, both were created in the United States, by a star composer known in Hollywood for his movie tracks, Erich Wolfgang Korngold and by a pacifist young man, Benjamin Britten, who left Great Britain to settle down in New York, shortly before his country entered the war in 1939. Both composers became 'wonder children', both their works are centred around D Major, even though Britten does not officially admit it. That D Major is considered to be the most natural tonality which the violin can express, a D Major which has gathered the most important concertos written until now for this instrument, signed by Beethoven, Brahms, Tchaikovsky or Stravinsky.

A Fresh and Convincing Performance

Regarding Vilde Frang, The Guardian writes: 'Her sound is superb - icy, fiery, whispered, ultra-rich - and her phrases pour out fearlessly, urgently. It's a fresh and convincing performance.' Vilde Frang is an artist whose evolution grows rapidly. She debuted at barely 12 years old as a soloist of the Oslo Philharmonic Orchestra, under the baton of Mariss Jansons. She was rewarded for this artistic performance with Credit Suisse Young Artists Award, a prize which also included her debut at the Lucerne Festival with the Vienna Philharmonic under Bernard Haitink. She was supported at the beginning of her career by the Anne-Sophie Mutter Foundation. Today, Vilde Frang is appreciated by the audience of the grand halls in the entire world for her artistically perfect interpretations, a virtuosity which is also highlighted on this recent album. However, beyond this virtuosity, Vilde Frang draws out all the passion and the melodic richness of the score signed by Erich Wolfgang Korngold. She has the adequate tone for every moment of this work's music, the music which is continuously moving, anticipating and creating with promptitude the cinematographic unfolding of its script. The sound of her violin, a Jean-Baptiste Vuillaume from 1864 is wonderful, and supported by the solid accompaniment of Frankfurt Radio Symphony Orchestra, under the baton of James Gaffigan. The violinist declares that she long wanted to record the Korngold Concerto. And the performance was worth the wait.

The greatest trump card of this album is the surprising contrast with which the violinist succeeds in entering Benjamin Britten's musical world. Britten's concerto is performed with a dry tone, frail sometimes, but to which Vilde Frang can add her own lyrical nuances, adding warmth and softening the composer's edgy style. The Strand Magazine writes in the recommendation of this album: '… she brings an effortless lyricism and an unreal, shining sweetness of tone, no matter how high she soars. She … produces sounds that are as beguiling as her technique is astonishing.'

This is the reason why I invite you on the 26^th and 27^th September at 12:15 to listen to violinist Vilde Frang, the recent Gramophone awarded artist, at CD Review.