Much Ado, the solo debut album by Korean-American violinist Danbi Um is as striking for the young musician’s choice of “old world” repertoire as her virtuoso interpretations and the sumptuous sound she draws from her 1683 “ex-Petschek” Nicolo Amati violin.

Danbi conjures memories of a musical Golden Age, a sensibility instilled in her by a roster of internationally renowned tutors.

The title track by Eric Korngold’s Shakespeare-inspired suite sits alongside arrangements of works by fellow Austro-Germanic composers Fritz Kreisler and Richard Wagner. Hungarian gipsy music infuses compositions by Johannes Brahms, Jenő Hubay and Ernő Dohnányi, juxtaposed with music by Jewish composers Ernst Bloch, Joseph Achron and Leo Zeitlin.

ERICH WOLFGANG KORNGOLD (1897–1957)
4 Pieces from the incidental music to Shakespeare’s Much Ado About Nothing Op.11 (arranged by the composer)
1. I. The Maiden in the Bridal Chamber (2.55)
2. II. Dogberry and Verges (March of the Watch) (2.05)
3. III. Scene in the Garden (4.59)
4. IV. Masquerade (Hornpipe) (2.02)

RICHARD WAGNER (1813–1883)
5. Albumblatt in C WWV 94 (arr. August Wilhelmj) (4.19)

JOHANNES BRAHMS (1833–1897)
6. Hungarian Dance No.17 (arr. Fritz Kreisler) (3:59)

JENŐ HUBAY (1858–1937)
7. Scčnes de la Csárda No.3 Op.18 ‘Maros vize’ (6:32)

ERNŐ DOHNÁNYI (1877–1960)
Ruralia hungarica Op.32c
8. II. Andante rubato (Gypsy Andante) (5:26)

JOSEPH ACHRON (1886–1943)
9. La Romanesca (3:29)

LEO ZEITLIN (1884–1930)
10. Eli Zion (arr. Joseph Achron) (5:24)

JOSEPH ACHRON
11. Hebrew Dance Op. 35, No. 1 (6:06)
ERNEST BLOCH (1880–1959)
12. Avodah (5:43)

FRITZ KREISLER (1875–1962)
13. Viennese Rhapsodic Fantasietta (8:33)

The recording opens on the four pieces within Korngold: Much Ado About Nothing, Op. 11: suite for violin (or cello) & piano; the earnestly delicate The Maiden in the Bridal Chamber, the strident Dogberry and Verges (March of the Watch), the sweepingly ornate Scene in the Garden and the feisty Masquerade (Hornpipe), before we get brought forth the stunningly exuberant stillness of Wagner: Albumblatt In das Album der Fürstin M., WWV 94 and the forthright, yet nonetheless cultured Brahms: Hungarian Dance No. 17 in F sharp minor.

Along next is the loud and proud Hubay: Scène de la csárda No. 3 Maros vize, Op. 18 and the sheer decadence within Dohnányi: Ruralia Hungarica No. 6 Op. 32 / A: Gipsy Andante, and they are in turn followed by the furrowed yearn of Achron, J: La romanesca, the embroidered Zeitlin: Eli Zion, a solid ascetic within Achron, J: Hebrew Pieces (2), Op. 35: No. 1, the recording rounding out on the regimented Bloch, E: Sacred Service (Avodath Hakodesh), closing on the flourishing Kreisler: Viennese Rhapsodic Fantasietta.

A multiple award winner – Danbi has taken top prizes at the Yehudi Menuhin and Naumberg International Violin Competitions, and Astral Artists’ Auditions – she has been praised by The Strad as an “utterly dazzling” artist with a “marvelous show of superb technique.”

A resident of New York City, Danbi performs regularly with the Chamber Music Society of Lincoln Center, and further afield with the Chamber Orchestra of Philadelphia, Washington D.C.’s Phillips Collection, and the Rockport, Moab, Saratoga Performing Arts and Santa Fe Music Festivals.

Musicians:
Danbi Um, violin
Amy Yang, piano

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