Vilde frang biography of albert
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Vilde Frang
Norwegian classical violinist
Vilde Frang Bjærke (born 19 August 1986) is a Norwegianclassicalviolinist.
Early life and education
[edit]Born in Oslo, Norway, Frang began playing the violin by the Suzuki method at the age of four.[1] She grew up in a musical family with both her father and her sister playing the double bass.[2] In the years 1993–2002 she studied with Stephan Barratt-Due, Alf Richard Kraggerud and Henning Kraggerud at the Barratt Due Institute of Music in Oslo.[3]
Frang made her soloist debut at the age of ten with the Norwegian Radio Orchestra.[4] In 1998 she was introduced to Anne-Sophie Mutter, who became her mentor and later appointed her a scholarship holder in the Anne-Sophie Mutter Foundation.[5] She was aged twelve in 1999 when Mariss Jansons engaged her as a soloist with the Oslo Philharmonic.[6]
From 2003 to 2009 Frang continued her studies in Germany, with Kolja Blacher at Hochschule für Musik und Theater Hamburg and Ana Chumachenco at the Kronberg Academy.[4][7] Frang received a 2007 Borletti-Buitoni Trust Fellowship and also had lessons with Mitsuko Uchida in London.[3]
Career
[edit]In 2007, Frang's debut with the London Philharmoni
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Vilde Frang
Deal with
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Alexander Lonquich, Vilde Frang & Nicolas Altstaedt
Johannes Brahms (1833 – 1897) composed five trios with piano. Three of them are for the standard piano trio forces, while the other two employ wind instruments: French horn (Trio in E flat major Op. 40) and clarinet (Trio in A minor Op. 114). All of them are among the composer’s best known works and are masterpieces of Romantic chamber music. Their extraordinary technical and expressive demands represent a challenge for even the most experienced ensembles, and it is no different for the opening concert of the Weekend of Chamber Music, which will introduce the festival’s artist-in-residence, the pianist Alexander Lonquich, the cellist Nicolas Altstaedt, and the violinist Vilde Frang.
The concert opens with the Trio C major Op. 87, which Brahms wrote in 1882 at a time when his life was undergoing major changes. After the success of his first two symphonies, he clearly turned away from the career of a piano virtuoso and dedicated himself more to composing. It so happens that in her diary, Brahms’s close friend Clara Schumann was unsparing in her harsh criticism: “Brahms plays more and more coarsely. Now it&rsqu