Violinist Paul Huang presents two American concertos from the mid- Twentieth century that celebrate the expressive and narrative qualities of his instrument. Two scores that are at once luxuriant and intimate, blending the post-Romantic spirit of old Europe with the modernity of the New World and the lyricism of Hollywood.

After two initial chamber music albums recorded with Helen Huang, violinist Paul Huang, recipient of the Avery Fisher Career Grant in 2015, confirms in the concerto repertoire his strong affinity for the lyrical qualities of his instrument. He chose to record the concertos by Barber and Korngold for their broad, expressive melodies, their sumptuous harmonic language and their climaxes of great emotional transparency, which echo the spirit of late Romanticism associated with Brahms, Tchaikovsky, or Bruch. Korngold himself said that he had composed his concerto “for a Caruso of the violin rather than for a Paganini.” This is sure to appeal to the thirty-something violinist, who was drawn to his instrument at a very young age “because of its singing tone, a sound that resembles the human voice.”

These two American concertos offer Huang the stimulating challenge of painting worlds that are both luxuriant and intimate, using the refined palette of a chamber musician. To meet this challenge, he is joined by the London Philharmonic Orchestra and Jun Märkl, a conductor with whom he frequently collaborates in concert.