Following the custom of the past few decades, this disc marks the recording debut of a talented, young, and beautiful violinist. The cynic might say these are the very qualities chosen by record companies to sell discs, but there is no question about Norwegian-born Vilde Frang being genuinely gifted. Let's just say the fact that her picture also makes an attractive album cover is icing on the cake.Jean Sibelius (1865-1957) wrote his Violin Concerto in 1903, revising it in 1905, and it's been going strong in the repertoire ever since. Ms. Frang takes a far sweeter and more relaxed view of it than does Heifetz in the classic stereo recording I'm used to hearing, which is colder, more hard edged, and more thrusting. Not that Ms. Frang doesn't open things up as the Concerto goes on, but it is the soaring lyricism of Frang's interpretation that lingers on in memory.
While I wouldn't go so far as to say she sentimentalizes the music, she does caress and finesse it lovingly enough possibly to make a believer out the composer's most-hardened critics. That is to say, for those listeners who usually find Sibelius a little too icy, this recording may be the perfect solution for them. The second movement Adagio is as purely Romantic as anything Sibelius wrote, and Ms. Frang exploits just that feature. In the final movement, Sibelius adopts a more driving tone, and here Ms. Frang becomes appropriately more animated. The music commentator Donald Tovey once wrote that the Concerto's finale possessed "...the spirit of a polar explorer. [The finale] evidently a polonaise for polar bears...." Cute line, and I suppose it applies playfully enough here.
Sergei Prokofiev (1891-1953) wrote his First Violin Concerto in 1914. Usually, its opening section sounds more Romantically inclined than the Sibelius, but with Ms. Frang they're both quite similar in their gentle repose. The violin glides along like a bird on the wing, soaring, climbing, and darting as the music demands. Oddly, Prokofiev wrote the middle segment as a brief Scherzo rather than as a traditional slow movement. The composer was full of surprises, and Ms. Frang plays it with evident pleasure. The closing Andante is darkly misty, with yet a moderate pace, and again Ms. Frang's stylish performance wins one's heart.
Filling out the program, we find three short, charming gems, Sibelius's Humoresques for violin and orchestra. I wouldn't call any of the interpretations on the disc definitive, but they are certainly engaging and delightful.
Sonically, mark this 2009 recording as one of EMI's better efforts, well within the mold of their best work of the Sixties and Seventies. We hear a wide stereo spread; a big, open sound field; a strong dynamic impact; a pleasantly warm, ambient bloom; and a decent sense of depth. My only concern is that the violin seems placed too far to the left, slightly upsetting the symmetry of the music's tonal balance; nevertheless, the violin is well integrated into the orchestral setting, with just enough transparency on the strings to simulate a realistic violin sound. In all, violin placement or no, the audio does justice to the reading.
JJP
