Hand it to violinist Anne-Sophie Mutter. At an age when many performers are content to rest on their laurels, she has stepped out into new territory, forming Mutter's Virtuosi, an ensemble of young players connected to her Anne-Sophie Mutter Foundation. Moreover, she has tentatively incorporated influences from the historical performance movement, although she does not play an early violin in the mostly Baroque and Classical-era program here. Sample the fierce attacks in the Vivaldi Concerto for three violins and orchestra, RV 551, or, for that matter, the Four Seasons movement that is included as one of the encores. Leading Mutter's Virtuosi from the violin, she draws a nice contrast between Vivaldi and Bach; the latter, even as influenced as he was by the Italian manner, never adopted the full-scale sense of operatic drama. Mutter also leads the group in the intriguing Nonet by André Previn, her ex-husband, which, while not a Baroque work, has a neoclassical sense of symmetry with its two string groups pivoting on a single double bass. Among the three encores are also two pieces by John Williams, arranged for Mutter by the composer. The program proper ends with the Violin Concerto No. 2 in A major, Op. 5, of Joseph Boulogne (or Bologne), Chevalier de Saint-Georges, the hot Caribbean-French composer of Mozart's day; Mutter delivers probably the best available performance of this rather grand work. One might take issue with this or that here, but the plain fact is that the album, taken from a live 2022 performance at the Vienna Musikverein, is a great deal of fun and shows this great violinist in fine form as she passes on her secrets to young followers. This album made classical best-seller charts in the late autumn of 2023.© James Manheim /TiVo

John Williams’ Violin concerto No. 2 is dedicated to violinist Anne-Sophie Mutter and draws inspiration from her style, energy and playing. Given her fame and success, the American composer often found himself humbly reflecting upon what exactly his work could offer her during its composition.John Williams put his all into this work, drawing upon his vast understanding of the symphonic repertoire (and evidently his exceptional memory!). There’s no specific references within this composition since it’s woven from musical elements from all over the place. It’s a composite piece, but it’s ultimately rather personal.Anne-Sophie Mutter’s melodic playing is given the opportunity to really shine on this recording, since the composition includes all manner of violin techniques and styles (and provides luxurious orchestration). Originally created on the 24th of July 2021 by the Boston Symphony Orchestra, conducted by the composer on his ninetieth birthday, Concerto No. 2 was recorded shortly afterwards in October of the same year. It was also coupled with new arrangements of a variety of film music (The Long Goodbye, Star Wars and Raiders of the Lost Ark), which were made especially for Anne-Sophie Mutter. © François Hudry/Qobuz

Released in 1976, Jeff Beck's Wired contains some of the best jazz-rock fusion of the period. Wired is generally more muscular, albeit less-unique than its predecessor, Blow by Blow. Joining keyboardist Max Middleton, drummer Richard Bailey, and producer George Martin from the Blow by Blow sessions are drummer Narada Michael Walden, bassist Wilbur Bascomb, and keyboardist Jan Hammer. Beck contributed no original material to Wired, instead relying on the considerable talents of his supporting cast. Perhaps this explains why Wired is not as cohesive as Blow by Blow, seemingly more assembled from component parts. Walden's powerful drumming propels much of Wired, particularly Middleton's explosive opener, "Led Boots," where Beck erupts into a stunning solo of volcanic intensity. Walden also contributes four compositions, including the funk-infused "Come Dancing," which adds an unnamed horn section. While Walden's "Sophie" is overly long and marred by Hammer's arena rock clichés, his "Play With Me" is spirited and Hammer's soloing more melodic. Acoustic guitar and piano predominate the closing ballad, "Love Is Green"; Beck's electric solo gracefully massages the quiet timbres. Wired is well balanced by looser, riff-oriented material and Walden's more intricate compositions. Walden and Hammer give Wired a '70s-era jazz-rock flavor that is indicative of their work with the Mahavishnu Orchestra. Bascomb's throw-down, "Head for Backstage Pass," finds Bailey skillfully navigating the mixed meters while Beck counters with a dazzling, gritty solo. Hammer's "Blue Wind" features an infectious riff over which Beck and Hammer trade heated salvos. As good as "Blue Wind" is, it would have benefited from the Walden/Bascomb rhythm section and a horn arrangement by Martin. One of Wired's finest tracks is an arrangement of Charles Mingus' "Goodbye Pork Pie Hat." Beck's playing is particularly alluring: cleanly ringing tones, weeping bends, and sculpted feedback form a resonant palette. Bailey and Middleton lend supple support. Within a two-year span, the twin towers Blow by Blow and Wired set a standard for instrumental rock that even Beck has found difficult to match. On Wired, with first-rate material and collaborators on hand, one of rock's most compelling guitarists is in top form.© Mark Kirschenmann /TiVo

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