Bruch & Korngold
Bruch: Violin Concerto No. 1 in G minor, Op. 26; Korngold: Violin Concerto in D major, Op. 35; Excerpt,Korngold: Die Tote Stadt, Op. 12;Glück, das mir verblieb 'Mariettas Lied' (Perf. on Violin); Much Ado About Nothing, Op. 11, Suite IV. Intermezzo 'Garden Scene' (Arr. Spindler for Violin & Orchestra);Die stumme Serenade, Op. 36

Bomsori
Bamberger Symphoniker
Jakub Hrůša
Deutsche Grammophon (DG) DG40329
More information here.
There's something particularly satisfying about hearing two cornerstone violin concertos paired together, especially when they're delivered with the lyrical conviction that Bomsori brings to her second Deutsche Grammophon release. The Korean violinist has chosen wisely in coupling Max Bruch's evergreen G minor concerto with Erich Wolfgang Korngold's luscious offering—two works that showcase the violin's capacity for both tender introspection and blazing virtuosity.

The partnership with Jakub Hrůša and the Bamberger Symphoniker proves inspired. Over three days of recording in Bamberg's Joseph-Keilberth-Saal, a remarkable chemistry developed between soloist and orchestra that permeates every track. The partnership is immediately apparent in the opening of the Bruch, where Bomsori—following in the footsteps of her mentor Yong Uck Kim, who also recorded this concerto—demonstrates her singing tone and natural ease with the orchestra's accompaniment.

Her approach to the beloved slow movement is particularly compelling, taken at a slightly more expansive pace than we might expect, yet sublimely expressive in its unhurried unfolding. When she launches into the final movement, the marriage of beautiful sonority and rhythmic vitality creates a wonderfully unified conclusion with the orchestra.

However, it is in the Korngold that Bomsori truly captivates the listener's imagination. From those stupendous opening notes, she signals her intent to take us on an emotional rollercoaster, her rich, glorious tone immediately establishing the cinematic quality that makes this concerto so dazzling. Her crisp line-shaping and understanding of the work's theatrical DNA prove riveting—quite magical, in fact.

The Bamberger Symphoniker, perfectly balanced throughout, brings remarkable detail and resonance to the proceedings. This warmth continues through the final four selections—excerpts from Korngold's operatic and theatrical works that round out the programme beautifully. The slow, flowing Garden Scene from Much Ado About Nothing and the well-known Marietta's Lied from Die tote Stadt benefit from the orchestra's rich accompaniment, while pianist Thomas Hoppe joins Bomsori for intimate transcriptions of Ohne dich and Schönste Nacht from Die stumme Serenade.

This is an enjoyable disc that captures both spirit and substance, cementing Bomsori's reputation as a violinist who combines exceptional technique with deeply personal musical expression. While the distant orchestral balance occasionally intrudes, the overall achievement speaks to an artist coming into her own on the international stage.