Long admired for her powerful playing and respected as a champion of new music, Anne-Sophie Mutter is the recipient of numerous pieces composed especially for her by the leading contemporary masters. Henri Dutilleux wrote his nocturne for violin and orchestra, Sur le même accord, for Mutter, and this live, world-premiere recording of the debut performance demonstrates why composers trust her with their music.
Two stars from different generations, artists of the highest calibre, mark their first collaboration with an album devoted to one of the supreme landmarks of classical music.
This is a live recording, made at a pair of concerts in May, and ‘live’ is undoubtedly the word for it. All the performances have an improvisatory quality, interpretative decisions seemingly made before your very ears. At the beginning of the Prokofiev it is as though Mutter and Orkis, realising that the audience in the Beethovensaal are already uncommonly silent and attentive, had decided after a quick glance at each other to begin the Sonata almost confidingly, with quiet tenderness and muted colour.
It is one of the highlights in the calendar of every classical music fan in Berlin - and beyond: On New Year‘s Eve, the Berliner Philharmoniker invite an exceptional soloist for a festive gala. Together the musicians bid farewell to the old year and welcome the new. In 2015, the orchestra has invited German violinist Anne-Sophie Mutter. Together, they performed works by Saint-Saëns, Massenet, Ravel, Poulenc and Chabrier.
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.
The idea is for the music to be the most important thing in a performance, not the performer, not the performer's dress, not the performer's hair, not the performer's smile, not the performer's figure. If all that mattered in a performance of classical music was how sexy the violinist looked, Lara St. John would be the greatest performer of classical music who ever lived and Gidon Kremer would be laughed off stage. But in classical music, it is the music that matters most, not how well the violinist fills a designer gown…
From 1976, when Herbert von Karajan – already a legend – met the prodigiously gifted 13-year-old Anne-Sophie Mutter until his death 13 years later, she was the only violinist to appear with him in concert and on disc. This 5-CD set contains all the concertos they recorded together for Deutsche Grammophon. It includes the concertos by Mozart, Beethoven, Mendelssohn, Bruch and Brahms; but now, for the first time, there is also the Tchaikovsky Concerto, as well as the Beethoven Triple Concerto with Mark Zeltser and Yo-Yo Ma, and the Brahms Double Concerto with Antonio Meneses.
Staples of the violin repertoire, the three violin sonatas of Johannes Brahms, project three entirely different characters: the G major Sonata's solemn, lonely beauty; the exuberance and freedom of the A major Sonata; and the aggressive, agitated D minor Sonata. As much as the sonatas contrast with one another, so to does Anne-Sophie Mutter's playing of them. Her vision throughout this Deutsche Grammophon collaboration with pianist Lambert Orkis seems to be built on creating broad distinctions in dynamic range, tempo, and tone color.