At 35, you are no longer a “tomboy”; the term wild and lively child, rarely used today, nevertheless characterizes the passionate and at the same time controlled playing of the exceptional Norwegian violinist Vilde Frang. Without pomp or glamour, she pulled off a memorable performance on two evenings in the Kaisersaal de la Residenz at the Würzburg Mozart Festival with the Scottish Chamber Orchestra. The second concert, conducted by Maxim Emelyanychev, includes Mozart’s Symphony in D major K. 97 and Symphony No. 41 in C major K. 551, Robert Schumann’s only violin concerto.
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In his introduction to the concert, Dr. Hansjörg Ewert summed up the difficulties of comparing the D major symphony, possibly written by the then 14-year-old Mozart in Rome in 1770, with the “Jupiter” symphony, premiered in 1788 “as the crowning achievement of symphonic creativity”: There are two different categories; but it is no exaggeration for the musicologist from the University of Würzburg to compare the early work with an “Aperol Spritz” and the late work with a heavy red wine on the last evening. That the symphony of 1170 can actually be attributed to Mozart no longer really has any interest in listening. It is enough if the “inflections of comic operas” – like the fixed pieces of operatic overtures – arouse the anticipation of more deeply moving music.
Mesmerizing violin sounds
But before the “Jupiter” symphony, thanks to the close direction of the conductor, the British orchestra succeeded in creating an excellent example of collaboration and equal musical creation between the orchestra and the solo instrument with the violin concerto by Robert Schuman. Remarkable because the work of the violinist Vilde Frang opens up all the possibilities for her to fully develop her technical skills.
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But she resists the temptation to make a name for herself at the expense of the orchestra. She achieves an equal interaction in the three movements, which above all radiate boundless passion and deep sadness.
In the slow movement, the violinist seems to linger in thoughtful melancholy, only to bring out her wonderful transparent sound even more in a virtuosic finale. In such moments, her lecture is strongly reminiscent of Anne-Sophie Mutter, thanks to whose foundation she received a scholarship from 2003 to 2009. As an encore for the soloist, a polyphonic Austrian imperial anthem by Joseph Haydn is like a delicious praline which melts on the tongue.
Fans of the Mozart Festival have good memories of the gracious Vilde Frang, because in 2010 she intervened at short notice with the Dutch violinist Janine Jansen, who was ill, then the following year with “the Academy of St Martin in the Fields” with a purely Mozart program to inspire.
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After the intermission, the Scottish Chamber Orchestra offers a worthy interpretation of Symphony No. 41 in C major, which in the four movements is nourished by the contrast between the solemn emphasis, sometimes in fanfare, energetic on the themes and the beautiful phrases melodic. . The Andante brings out the richness of Mozart’s last symphonies, even without trumpets or timpani.
The finale is magnificent, neither strident nor aggressive nor rhythmically excessive, closing a fantastic concert experience. fero