However, to Wicks’ credit as a performer, one’s attention early on becomes focused on her artistic abilities, which were clearly exceptional. It’s hardly noticeable, but you can detect a slight flatness to the sound. Also on the downside: the Brustad Violin Concerto is a mono recording. Heavy applause follows the conclusion of both works. Between the movements of both works you can hear the orchestra shuffling their scores, the audience shifting in their seats, throats being cleared. Now the bad news: these are both concert performance recordings even though the booklet doesn’t say so. It’s obviously the better-known work, but the Brustad could use more exposure. The same holds true for the Walton Concerto (1938/39): a performance of high contrast and real lyrical power. Wicks’ performances here are virtually flawless. Bruch: Violin Concerto No 1 (soloist/director: Joshua Bell).
4, of 1963, is a freewheeling, energetic, and thoroughly Romantic affair with long cadenza sequences liberally placed throughout the three movements. Prom 32 (part 1): Beethoven, Bruch and Walton. Though Wicks was born in America and took her major music lessons here, she spent her busy adolescence back in Norway where, among other things, she became friends with Norwegian composer Bjarne Brustad. from recordings of Waltons Violin Concerto Available versions:- Salvatore Accardo, LSO, Richard Hickox Sergej Azizian, Copenhagen PO, Joshua Bell. This disc highlights the virtuoso talents of violinist Camilla Wicks.