Track Listing

1. Violin Concerto in E minor, Op. 64: Allegro molto appassionato
2. Violin Concerto in E minor, Op. 64: Andante
3. Violin Concerto in E minor, Op. 64: Allegro non troppo - Allegro molto vivace
4. Violin Concerto in D major, Op. 77: Allegro non troppo
5. Violin Concerto in D major, Op. 77: Adagio
6. Violin Concerto in D major, Op. 77: Allegro giocoso, ma non troppo vivace

Product Details

• Amazon Sales Rank: #36197 in Music
• Released on: 1995-03-14
• Number of discs: 1
• Dimensions: .21 pounds

Customer Reviews

Mellow Mendelssohn and Bright Brahms Amid the Berlin Philharmonic
If you haven't heard these recordings, you have a nice surprise ahead of you. The Mendelssohn dates from 1981 and the Brahms from 1982. Because of the recording dates, you've got the young protege, Anne-Sophie Mutter, firmly under the leadership of the old master, Herbert von Karajan, with that marvelous orchestra to draw on for generous support.

Ms. Mutter has never been closer since then to the gentler ways of performing these pieces as she is here. The accompaniment is very well balanced and perfectly complements the solos.

Being used to a lot of fire from Ms. Mutter, some may complain that these performances aren't sizzling enough.

I found that her interpretation of Mendelssohn was delightfully restrained which allowed for the heavenly aspects of the piece to emerge. I was equally pleased with her Brahms where her violin seems to literally sing to us in a beautiful human voice. Beneath the surface, you can feel the controlled power of Mutter, von Karajan, and the Berlin Philharmonic. It's like watching heavyweights delicately dancing ballet to exquisite chamber music. You know there's the power there to blow us away, but that they want to enrapture us instead.

This recording will appeal most to people who like to hear classic pieces of the repertoire performed in ways that aren't the typical fare.

Karajan and Mutter match perfectly, but not for me
Even though I consider Karajan the greatest maestro of his generation, as an accompanist he tended to exhibit faults I don't find when he's on his own. In both these concertos there's a concern for overall smoothness, mellow tone, and precise balance. Karajan's lovely young protegee, Mutter, matches his approach perfectly. She spins one of the most consistent tones of any violinist and shows no desire to crowd the spotlight. The result wins admiration for being harmonious, but where's the individuality and drama?

In the Mendelssohn concerto we get dreamy melodic lines but no real delight and magic--it's all rather charmless, without joy. Mutter is careful not to show off with brilliant pyrotechnics, which is too bad--if you're going to dazzle, this is one work that will take off into ethereal heights. The Brahms finds Karajan developing a broad sound picture that's simply too bland. The rugged, struggling temperament of this composer has been carefuly suppressed, and at no times does Mutter seem to throw caution to the wind. Having said that, I much prefer this reading to the celebrated EMI recording with Perlman and Giulini--it's even more faceless and correct.

Of course, tastes differ, and I must confess that Mutter never went on to make any recordings I really love, so perhaps I should be discounted as a non-fan. If you value precise technique and clean tone without much 'intervention" on the soloist's part, here you are. I will stick with Menuhin/Furtwangler, Heifetz/Reiner, and Mullova/Abbado, among quite a few that shine with more vibrancy than this CD.

Anne-Sophie is an angel with a violin
The same day I received this CD of Brahm's violin concerto with Anne-Sophie I heard, after listening to her version, a performance of another violinist playing live with the Boston Symphony Orchestra. I was shocked how ordinary his performance sounded even though the audience gave him a strong ovation at the finish.

Her renditions of widely known works are in a class by themselves. She has so much expressiveness used wisely and effortlessly you forget the limitations of the instrument and technique. She doesn't seem to have any. Since David Oistrakh, the Soviet violinist whose recordings end by 1960 or so, she is the finest I have heard.

Some say her earliest (and she was a child prodigy) performances are the most exciting. I've heard her play Sibelius' concerto and I don't notice anything but a continuation of her genius on the instrument. If you are like me, you will want to get every performance she has recorded.