NEW ALBUM

NEW ALBUM

“Frang is clearly a new star in the violin firmament”

THE GUARDIAN

“Frang's vigour, irreverence and imagination make her a vital and refreshing force”

BBC MUSIC ONLINE

“A fusion of high technical ability and charismatic artistic realisation”

SÜDDEUTSCHE ZEITUNG

“Adroit, impassioned, never shallow, Frang is the real thing”

THE TIMES

“Vilde Frang shows she can do everything”

Washington Post

“Versatile and mature, Frang is a captivating talent”

MUSO MAGAZINE

KORNGOLD & BRITTEN: VIOLIN CONCERTOS - Warner Classics, February 2016

KORNGOLD & BRITTEN:
VIOLIN CONCERTOS
Warner Classics, February 2016

“I’ve dreamed of recording these two works together for a long time,” says Vilde Frang of the violin concertos of Erich Wolfgang Korngold and Benjamin Britten – two highly contrasted pieces that constitute a unique pairing on CD, and which have some fascinating points in common.

Both concertos on this new disc were written when their composers were in the USA around the time of World War II: the Korngold was completed in 1945, the Britten in 1939. In the course of the 1930s Korngold, an Austrian Jew, had become a prominent Hollywood composer, but could not return to his homeland after 1938; the young Britten, a pacifist, left the UK for New York shortly before the declaration of war in 1939. Both composers had been child prodigies and both concertos are centred around the key of D, the most ‘natural’ key on the violin and the tonal focus for the violin concertos of Beethoven, Brahms, Tchaikovsky and Stravinsky.

Korngold’s enveloping late-Romanticism is a world away from the more austere (but still sensitive and expressive) aesthetic that typifies Britten. Many musical commentators have identified a thread of anxiety in the concerto – hardly surprising in view of the year of its genesis. Perhaps this resonates especially strongly with Frang, who feels that a sense of vulnerability is crucial to the creative process of exploring and interpreting a piece of music.

James Gaffigan, the young American conductor who collaborates with her and Frankfurt Radio Symphony on this recording, points out that her soaring imagination is complemented by consummate craftsmanship and professionalism. “There are very few people who are so full of fantasy, but who can also work with a conductor in such an extremely detailed way – and her tone and the variety of tools she can apply on her instrument are incredible.”

Reviews of Vilde Frang’s previous discs bear witness to the results she achieves in large-scale concertos of the 19th and 20th centuries: “Frang has the knack of breathing life into every note, whether by variations in phrasing, attack, tone or dynamic – just a few of the weapons in her impressive musical armoury,” said BBC Music Magazine, while The Strad magazine, an authority in the world of stringed instruments, had this to say about her Sibelius: “Even bearing in mind such timeless accounts of the Sibelius as those by Jascha Heifetz [the violinist who premiered the Korngold concerto in 1947], Isaac Stern and Christian Ferras, Vilde Frang is just that extra bit special. [She] weaves an emotional narrative that is utterly spellbinding … What makes this recording so special is not so much Frang’s seductive, sinewy yet voluptuous tone, nor her effortless technical mastery; it is her startling emotional sincerity and inspired musical imagination that rivet the attention. Phrases that one has heard turned with indifference countless times before are nurtured and caressed by Frang with such daring expressive openness and honesty that it feels as though the music’s inner soul is being revealed for the very first time.”

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