Solid State Symphony

When Vilde Frang programs violin concertos in unexpected pairs, such as her 2010 coupling of Jean Sibelius' Violin Concerto in D minor with Sergey Prokofiev's Violin Concerto No. 1 in D major, or her 2012 disc of Carl Nielsen's Violin Concerto matched against Pyotr Il'yich Tchaikovsky's Violin Concerto in D major, the results are quite fascinating. For this 2016 release on Warner Classics, Frang plays the Violin Concerto in D major, Op. 35 of Erich Wolfgang Korngold and the Violin Concerto, Op. 15 of Benjamin Britten, and the works invite comparisons because they are so dramatically different.

Mendelssohn's reputation is solid as a "happy" Romantic; if (as some have claimed) he lacks passion, he makes up for it with exquisite sensibility and controlled emotion. These qualities are featured in Claudio Abbado's take on these seven overtures. …Fair Melusina Overture, inspired by a Kreutzer opera in which a husband learns his wife must turn into a mermaid once a week, and condemns her to her mermaid state forever. Gendered passages (sweet and then stern) compete with each other in a piece which gives oboes a workout. Melusina is a solid entree; the other six are desserts.

In the opening funeral movement, the rich and rock solid sound of the orchestra is quite ear-catching. To borrow some critic's word, it is 'beefy', a quality that is hard to find in Asian orchestras. Based on this and previous CD releases that feature Chung/SPO, it is clear that under maestro Chung's leadership the Seoul Philharmonic Orchestra has grown into a world class ensemble with the unique sonority and high discipleship.

Nikolai Lugansky and Sakari Oramo conclude their Rachmaninov cycle with the Second and Fourth Concertos, generally matching the proficient (though somewhat generic) standards characterising earlier releases in this series. The Second’s ample rubato and incisive climaxes are far better judged than in the recent, horrifically indulgent Lang Lang/Gergiev recording (DG, 4/05). And although Lugansky’s piano dominates in the mix, the first movement’s rolling arpeggios do not pull focus from the orchestra who, of course, have all the thematic material. In the slow movement I’d prefer a firmer, chamber-like profile between the pianist and first-desk wind soloists. You’ll also glean more ferocity and shapely characterisation from Stephen Hough, Krystian Zimerman, Sviatoslav Richter and Julius Katchen throughout the finale, but this is not to disparage Lugansky’s fleet, assured and world-class fingerwork.

The Collector's Edition - Celebrating a groundbreaking label - The true legacy of a legendary label. Long hailed as an audiophile's label, Mercury represents an important milestone in the history of classical recordings. A s The New York Times described, 'One feels oneself in the living presence of the orchestra'. 60 years after the landmark first recording, Mercury Living Presence: The Collector's Edition celebrates this special anniversary.