Korngold Violin Concerto

Ilya Gringolts plays with a ferocity that – in tandem with taut rhythmic control – adroitly avoids even the slightest hint of frenzy. And yet, for all its intensity and firmness of grip, there’s an equally riveting sense of spontaneity to his playing, too – particularly in Adams’s Concerto, with its intricately variegated, continuous solo part. Gringolts phrases assertively and with such expressive agility that at times in the first movement it sounds as if the violin and orchestra are working independently yet in sync, like separate gears in a great machine.

The star of this consistently first-rate disc of music by Korngold is violinist Philippe Quint, whose focused tone, incisive intonation, athletic technique, and expressive phrasing ideally suit the composer's supremely Romantic Violin Concerto. This strong-willed account is deeply emotional and immensely appealing; Quint's opening Moderato is noble, his central Andante amorous, and his concluding Allegro assai vivace exuberant. Carlos Miguel Prieto leads the Orquesta Sinfónica de Minería in a dynamic reading that sounds less like an accompaniment and more like a partnership of equals. In the purely orchestral Overture to a Drama and Concert Suite from Much Ado About Nothing, Prieto and the Mexican orchestra turn in a pair of tremendous performances.

Andrew Haveron and John Wilson deliver a fresh and intensely idiomatic reading of Korngolds Violin Concerto, coupled with the formidable String Sextet. One of the most sought-after violinists of his generation and a laureate of some of the most prestigious international violin competitions, Andrew Haveron studied in London at the Purcell School and the Royal College of Music. As a soloist, he has collaborated with conductors such as Jií Blohlávek, Sir Colin Davis, Sir Roger Norrington, David Robertson, Stanisaw Skrowaczewski, and John Wilson, performing a broad range of well-known and less familiar concertos with many of the finest orchestras in the UK. In 1999 he was appointed first violinist of the internationally acclaimed Brodsky Quartet.

On this disc, the playing's the thing and it is fabulous. Originally made in 1979 and 1980, these recordings capture Perlman at his incomparable peak. The effortless perfection of his technique leaves you gasping in disbelief; even the infamously unplayable passages in the Sibelius Finale are tossed off with easy nonchalance, and he avoids the false accents often heard in the treacherous opening theme. And Perlman's toneis warm, mellow, pure, and constantly expressive; its golden glow is like burnished copper on the low strings, like radiant sunshine up high, and he can vary it instantaneously with bow and vibrato to fit the music.

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.

Pavel Šporcl's two most recent projects have manifested his remarkable stylistic flexibility. Vivaldi's Four Seasons and the crossover CD Gipsy Way with the Roma cimbalom band Romano Stilo earned the violin virtuoso richly deserved enthusiasticresponses on the part of critics and listeners alike. With this new CD, Šporcl returns to classical music. Well, sort of… When listening to Korngold's violin concerto it becomes obvious that the composer had devoted to film music over a long period, yet it may be the composition's directness and figurativeness that have made it so popular among the world's leading violinists. On the other hand, Richard Strauss's Concerto for Violin and Orchestra in D major, Op. 8, does not appear inconcert programmes and recordings so often.

Korngold began work on his Violin Concerto in 1937, following his father’s suggestion that the main theme from his score for the Errol Flynn epic Another Dawn would make a good basis for a concerto. The work remained dormant while Korngold was exiled to Hollywood after the Anschluss. He resumed work on it in 1945, and fully revised it. Premiered by Jascha Heifetz in 1947, the Concerto is widely performed and recorded, and is certainly Korngold’s best-known concert work. Widely considered the greatest composer-prodigy since Mozart, Korngold composed the String Sextet in 1914, when he was only seventeen years old. It shows his fully developed style and assured idiomatic writing for the ensemble. Andrew Haveron leads the Sinfonia of London Chamber Ensemble in the Sextet, and is joined by John Wilson and the RTÉ Concert Orchestra in the Violin Concerto.