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Classical - Released January 1, 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Choc de Classica - Hi-Res Audio
Even though Anne-Sophie Mutter recorded most of the great violin concertos early in her career, working closely with Herbert von Karajan and the Berlin Philharmonic, she hadn't recorded the Violin Concerto in A minor of Antonín Dvorák. This 2013 recording with Manfred Honeck and the Berlin Philharmonic fills that gap in her legacy, and this is an exceptionally bright and passionate performance, well worth the wait. Mutter is impeccable in execution and warm in expression, especially in the infectious Finale, and her presence is quite vibrant, thanks to Deutsche Grammophon's expert microphone placement that separates the violin from the orchestra and puts it front and center in the mix. The orchestra is full and robust, though at no point does it overwhelm Mutter, because Honeck carefully grades the dynamics to appropriate levels at each entrance and balances the sections so the ensemble is evenly placed in the background. The rest of the program offers the Romance in F minor and the Mazurek in E minor, both played to the same high standards as the Concerto, and an encore with pianist Ayami Ikeba of the perennial favorite, the Humoresque in G flat major, which Mutter gives a charming lilt. This CD is a pure delight, and Mutter's fans should be sure to add it to their collections.
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Classical - Released January 1, 2008 | Deutsche Grammophon (DG)

Booklet Distinctions 5 de Diapason - 4 étoiles du Monde de la Musique
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Classical - Released January 1, 2002 | Deutsche Grammophon (DG)

Hi-Res Distinctions Hi-Res Audio
"Personal maturity and humility are vitally important in the face of Beethoven's tragic character." That quotation opens the booklet included in DG's deluxe packaging of Anne-Sophie Mutter's new recording of Beethoven's Violin Concerto and violin Romances. The statement ironically illuminates the two fundamental flaws of Mutter's performances: they are themselves neither mature nor humble. Is it humility that caused Mutter to overload her performance of the concerto with incessant tempo rubato, deliberately twisting Beethoven's classically shaped concerto into a series of disjunct and disparate gestures? Is it humility that caused Mutter to burden her performances of the two Romances with a tone so lush and an interpretation so sensual that Beethoven's coy little charmers become lascivious seductresses? And is it maturity that caused Mutter -- arguably one of the greatest violinists of her generation -- to impose her interpretive will on Beethoven, arguably one of the greatest composers who ever lived? For all the many beauties of Mutter's performance -- and her performance is often drop-dead gorgeous -- her interpretation is so self-serving, so lacking in either maturity or humility, that one cannot recommend it except as an exercise in empty beauty.
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Classical - Released January 1, 2003 | Deutsche Grammophon (DG)

Hi-Res Distinctions Hi-Res Audio
Anyone would assume from the title Tango Song and Dance that this album contains performances of Piazzolla and friends, representing an effort on the part of Anne-Sophie Mutter to cash in on the recent tango craze. Actually, the only tango-related piece here, the title composition by Mutter's husband André Previn, was written in 1997 before that trend really got started in classical music. Instead, Tango Song and Dance offers a collection of dance-inflected pieces that diverges from Mutter's usual serious fare but benefits equally from her commanding musical personality. These performances are great fun and, for the most part, will take you back to the days of the star virtuoso. Previn joins Mutter on piano for his own work, and their complementarity -- he is suave, she intense -- is delightful. The work sounds not like Piazzolla but like Ravel composing a tango; its final movement is in a 7/8 time that cleverly trips up the tango feel. Some reviewers have reproached the liberties Mutter takes with the Joseph Joachim transcriptions of three Brahms Hungarian Dances, but it's hard to imagine that Joachim, in Brahms' own time, would have done any less. Only in a group of selections from Gershwin's Porgy and Bess does Mutter seem out of her element; she executes the Jascha Heifetz arrangements flawlessly, but despite former jazzman Previn's presence, it ain't got that swing. Mutter's usual sideman Lambert Orkis returns to the keyboard for three Fritz Kreisler encores, however (Previn plays only on the Gershwin and his own piece), and Mutter takes command once again with swooping, sentiment-drenched thrills. Fauré's Violin Sonata No. 1, Op. 13, a tuneful piece with a whiff of the music hall, makes an unexpected but satisfying conclusion. In all, a wonderful outing for a great artist who deserved to lighten up.
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Classical - Released January 1, 2012 | Deutsche Grammophon (DG)

Hi-Res Distinctions Hi-Res Audio
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Classical - Released January 1, 2014 | Deutsche Grammophon (DG)

Booklet Distinctions 4 étoiles Classica
Celebrating 25 years of musical partnership, violinist Anne-Sophie Mutter and pianist Lambert Orkis present a double-disc collection that demonstrates the duo's artistic aims, looking backward to past achievements and facing forward to new prospects. Featuring fresh performances of Massenet's Méditation and Ravel's Pièce en forme de Habanera, and offering world-premiere recordings of Penderecki's La Follia and Previn's Violin Sonata No. 2, this album provides sufficient evidence to show that Mutter and Orkis are as vital and dynamic as ever and that they aren't content to rest on their laurels. However, laurels are here in abundance, if one regards the reissues of older performances as high points of their career as chamber musicians. The recordings of violin sonatas by Beethoven, Brahms, Mozart, and Fauré are staples of Deutsche Grammophon's catalog, and as core works in the repertoire, they receive committed interpretations from Mutter and Orkis, while the shorter pieces by Kreisler, Brahms, and Debussy are attractive encores that give the program lighter moods. Considering the mix of old and new material, this package may attract longtime collectors, but it seems best suited as an introduction for newcomers.
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Classical - Released January 1, 2005 | Deutsche Grammophon (DG)

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Classical - Released January 1, 2008 | Deutsche Grammophon (DG)

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Concertos - Released January 1, 2005 | Deutsche Grammophon GmbH, Hamburg

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Classical - Released January 1, 2000 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1999 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1993 | Deutsche Grammophon (DG)

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Classical - Released January 6, 2014 | Warner Classics

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Classical - Released January 1, 1988 | Deutsche Grammophon (DG)

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Anne-Sophie Mutter in the magazine
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