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.
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.
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.
The Israel Philharmonic Orchestra is a cultural ambassador for Israel, and is regarded as one of the best orchestras in the world. Recorded in the Mann Auditorium, Tel Aviv in March 2010, this concert sees the Israel Philharmonic conducted in this all-Beethoven programme by the eminent conductor and violinist Itzhak Perlman. After the Egmont Overture, Perlman and the orchestra are joined by the Perlman/Schmidt/Bailey Trio for the beautiful ‘Triple’ Concerto. The programme concludes with the rousing and evocative ‘Pastoral’ Symphony.
60 CD box set. Selection of Ludwig Van Beethoven works recorded by David Zinman & Tonhalle Orchestra Zurich (Symphonies), Yefim Bronfman, David Zinman & tonhalle Orchestra Zurich (Piano concertos), Pinchas Zuckerman & Marc Neikrug (Violin Sonatas), Anner Bylsma & Jon Van Immerseel (Cello Sonatas), Seraphin Trio (Piano Trios), Alexander String Quartet (String Quartets), Yukio Yokoyama, Robert Casadesus, Justus Frantz, Vladimir Horowitz, Gerhard Oppitz & Charles Rosen (Piano Sonatas), Eugene Ormandy & Philadelphia Orchestra (Christ On The Mount Of Olives), Wolfdieter Maurer & Tokyo Oratorio Society (Mass in C Major), David Zinman & Tonhalle Orchestra Zurich (Missa Solemnis) and many other great artists.
Claudio Arrau was past his prime when, in the mid-1980s, he offered these final thoughts on the late sonatas, but he was still a sovereign interpreter, with a sense of line and grasp of form few other exponents of this music have possessed in comparable degree. Where an interpreter like Pollini emphasizes the energy in Beethoven’s writing for the piano, Arrau conveys its mass, giving these sonatas a symphonic treatment.
Five Piano Concertos and the Piano Sonata No. 32, opus 111, recorded in stereo in 1962 and 1964, respectively, by Wilhelm Kempff [1895-1991] and the Berlin Philharmonic Orchestra under Ferdinand Leitner [1912-96]. The sonata, the composer’s last, is certainly more than a mere filler, from the opening hesitancy of the ‘Allegro con brio ed appassionato’ to the extended closing section of the second movement.