Een verzameling van korte muziekwerken of zo u wil encores uitbrengen biedt de muzikant de gelegenheid diverse kanten van zijn of haar kunnen te laten horen. Zo ook met het nu uitgebrachte album Homage van violiste Vilde Frang. Vilde brengt een meer dan boeiend programma van korte stukken voor viool met op de piano voortreffelijk begeleid door pianist Jose Gallardo. Werken van ondermeer Wieniawski, Debussy, Kreisler, Scriabin, Schubert, Gluck en Mendelssohn. Het spel van Vilde is echt expressief, elke toon is kristalhelder gevormd en haar grootste kwaliteit is haar vermogen om de muzikale frase vorm te geven en zo haar uitstekende muzikaliteit te tonen. Bedoeld als een eerbetoon aan de spelers van de Gouden Eeuw, zoals Fritz Kreisler en Leopold Auer, ook alle hulde voor Vilde Frang!
Homage
Vilde Frang (viool), José Gallardo (piano)
Vilde Frang’s Encores is more than a captivating programme of short pieces for violin and piano, it is also a homage to the players of the Golden Age of the Violin, such as Fritz Kreisler, Leopold Auer and Joseph Szigeti. The recital includes music originally conceived not just for the violin, but also for piano, orchestra or voice, and proves once again, as BBC Music Magazine wrote, that “Frang has the knack of breathing life into every note, whether by variations in phrasing, attack, tone or dynamic.”
Vilde Frang has conceived the album as something of a homage to her illustrious predecessors. Born in 1986, she is clearly very much a violinist of today, and – as a Norwegian trained in Germany – she did not grow up in the Central and Eastern-European tradition of Heifetz, Kreisler, Auer and Szigeti. That being said, she brings her own, distinctively captivating magic to her instrument. As Gramophone wrote of her performance of the Korngold concerto, a work that has its roots in the composer’s glorious late-Romantic scores for Hollywood: “Frang has a winning way with the rubato that makes the melodies yearn and smile, but there’s a fragile thread of silver woven through her passagework that bounces off the glinting accompaniment of the Frankfurt RSO as an opalescent gown catches the light in a mirrored ballroom. Fresh thought illuminates each phrase and she has the technique to bring off every idea, from the wild caprice of the first movement’s dash to the double-bar, to a coquettish (or demure?) restraint in the finale’s big tune.”
