This must surely be among the boldest, sweetest, most sensual and most provocatively phrased accounts of Brahms’s Violin Concerto ever recorded. And I can tell you with some confidence, after having recently surveyed a whole host of ‘historic’ violinists playing the same work, that not one of them waives the rules with as much nerve as Anne-Sophie Mutter does here.
Celebrated German violinist Anne-Sophie Mutter is joined by pianist Lambert Orkis for this performance of three violin sonatas by Johannes Brahms
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.