Mutter's Beethoven Concerto was recorded live at the final subscription concerts of Karl Masur's long tenure as the New York Philharmonic's music director, and the beautifully played orchestral part is a tribute to his leadership. Mutter plays with a silken tone and astonishing technical command of her instrument–absolute ease in the stratospheric tessitura of the solo part, and an amazing array of microdynamic adjustments that display the infinite variety of pianissimos at her command.
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.
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.
Judging simply by timings, Mintz and Sinopoli seem to have decided on a middle path in their approach to the first movement of this concerto: they take nearly a minute less over it than Mutter and Karajan (also on DG), about a minute and a half more than Perlman and Giulini on EMI. Using ears rather than a stopwatch, however, they seem to be giving by far the slowest performance of the movement that I have heard in years. It is a reading from which anything which might savour of soloistic display has been expunged, in which no note, even one of a flourish of semiquavers, is allowed to be 'merely' decorative. Mutter is fond of polishing every note like a jewel, too, but the very opening of the concerto in hers and Karajan's reading sounds positively sprightly set beside the newcomer. The moment Mutter enters the speed slackens markedly, but Karajan watchfully assures that the pulse returns with each tutti, and a sense of momentum is present throughout, even during the soloist's most wayward rhapsodizings.