Virtuoso violinist Anne-Sophie Mutter created a sensation at Berlin’s Neue Heimat venue, recreating the impact of her legendary 2013 Yellow Lounge appearance, when she attracted one of the biggest crowds in the history of Deutsche Grammophon’s ground-breaking “classical-goes-clubbing” series. Now she’s pushing the electric atmosphere to the limit by making the first-ever live Yellow Lounge recording. The ground-breaking project, co-produced by Deutsche Grammophon and ZDF, is set for global release in August, with German TV broadcasts in the summer and autumn, and a special documentary to follow in 2016. Deutsche Grammophon President Mark Wilkinson welcomed Mutter’s return to the Yellow Lounge: “Last night, in Berlin, a part of classical music changed for ever. Anne-Sophie Mutter is breaking down boundaries, and taking risks without compromising her art – ultimately pushing on a door through which we hope others will follow.”
To mark her highly publicised performance at the 2011 Classic Brits, DG are releasing this stunning 2CD set of some of her very best recordings. Arranged chronologically, the compilation’s sequence offers a comprehensive look at Anne Sophie Mutter’s Deutsche Grammophon career — from her Mozart debut in 1978 to her Brahms Sonatas in 2010, with all of her musical partners.
In May of 2015, violinist Anne-Sophie Mutter gave a truly unique concert: rather than standing on stage in one of the world’s renowned well-tempered grand concert halls, she spent two evenings playing in a tiny graffiti-scrawled nightclub in Berlin. Recorded in front of a standing-room only audience, this new release includes popular works by Bach, Copland, Gershwin, Tchaikovsky, Vivaldi and many more. Mutter is joined by Mahan Esfahani, Lambert Orkis and the Mutter Virtuosi.
A bestseller in Anne-Sophie Mutter’s Deutsche Grammophon catalogue since its first release more than 20 years ago, this album is a feast of lollipops with a varied and well-balanced mix of flavors. It combines highly virtuosic works by Sarasate and Tartini with lyrical pieces like Fauré’s Berceuse and Massenet’s well-known Meditation from “Thaïs”. It is unashamedly a fun record, and even Mutter has rarely played with such freedom and warmth, obviously enjoying these display pieces every bit as much as the repertory concertos and new works that are her staple diet. The gipsy flavours of the two Sarasate pieces, as well as of Ravel's 'Tzigane', sound even more exotic than usual, and rarely have I heard the brilliant sound section, with its Hungarian fire, sound quite so exciting with a stunning accelerando at the end. The tender repose which she then brings to the Massenet ''Meditation'' is thus all the more affecting.