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Anne-Sophie Mutter|Williams: Violin Concerto No. 2 & Selected Film Themes

Williams: Violin Concerto No. 2 & Selected Film Themes

Anne-Sophie Mutter

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Certainly, releases of John Williams' music, often conducted by the composer himself, have sold well, but his remarkable late-life creativity has been insufficiently appreciated (and he's at work on a score for Indiana Jones 5). The Violin Concerto No. 2 heard here was composed for Anne-Sophie Mutter in 2021, when he was 89, and as if that were not enough, Williams conducts the Boston Symphony Orchestra crisply and with good control. He could certainly be forgiven for resting on his considerable laurels, but this does not happen, either compositionally or as a conductor. The violin concerto has entirely fresh structural ideas. Those coming from Williams' work as a film composer will recognize his essential voice, but it is grafted onto novel relationships between the violin and orchestra. Consider the opening Prologue movement, where Williams leaves a space near the beginning for improvisation on Mutter's part. Her contribution has a hint of jazz but is not a jazz solo. Then Williams ingeniously reintegrates the violin into the orchestral texture. The "Rounds" of the second movement are not the folk polyphonic form but murmuring "circular" figures in the orchestra, overlaid with Impressionistic and, here, jazz-like harmonies. The entire concerto holds one's attention, and Mutter's performance reflects close empathy between soloist and conductor. The program closes with arrangements of three of Williams' big movie themes, and here, Mutter pours on the sentiment. So there is something for everyone in this remarkable document, a best-seller in the spring of 2022.
© TiVo

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Williams: Violin Concerto No. 2 & Selected Film Themes

Anne-Sophie Mutter

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Violin Concerto No. 2 (John Williams)

1
I. Prologue
00:11:12

Boston Symphony Orchestra, Orchestra, MainArtist - John Williams, Composer, Conductor, MainArtist - Shawn Murphy, Producer, Recording Engineer, StudioPersonnel - Anne-Sophie Mutter, Violin, MainArtist, AssociatedPerformer - Christoph Stickel, Mastering Engineer, StudioPersonnel - Nick Squire, Recording Engineer, StudioPersonnel - Bernhard Guettler, Producer, Recording Engineer, StudioPersonnel - Cole Barbour, Asst. Recording Engineer, StudioPersonnel

℗ 2022 Deutsche Grammophon GmbH, Berlin

2
II. Rounds
00:09:28

Boston Symphony Orchestra, Orchestra, MainArtist - John Williams, Composer, Conductor, MainArtist - Shawn Murphy, Producer, Recording Engineer, StudioPersonnel - Anne-Sophie Mutter, Violin, MainArtist, AssociatedPerformer - Christoph Stickel, Mastering Engineer, StudioPersonnel - Nick Squire, Recording Engineer, StudioPersonnel - Bernhard Guettler, Producer, Recording Engineer, StudioPersonnel - Cole Barbour, Asst. Recording Engineer, StudioPersonnel

℗ 2022 Deutsche Grammophon GmbH, Berlin

3
III. Dactyls
00:06:00

Boston Symphony Orchestra, Orchestra, MainArtist - John Williams, Composer, Conductor, MainArtist - Shawn Murphy, Producer, Recording Engineer, StudioPersonnel - Anne-Sophie Mutter, Violin, MainArtist, AssociatedPerformer - Christoph Stickel, Mastering Engineer, StudioPersonnel - Nick Squire, Recording Engineer, StudioPersonnel - Bernhard Guettler, Producer, Recording Engineer, StudioPersonnel - Cole Barbour, Asst. Recording Engineer, StudioPersonnel

℗ 2022 Deutsche Grammophon GmbH, Berlin

4
IV. Epilogue
00:08:17

Boston Symphony Orchestra, Orchestra, MainArtist - John Williams, Composer, Conductor, MainArtist - Shawn Murphy, Producer, Recording Engineer, StudioPersonnel - Anne-Sophie Mutter, Violin, MainArtist, AssociatedPerformer - Christoph Stickel, Mastering Engineer, StudioPersonnel - Nick Squire, Recording Engineer, StudioPersonnel - Bernhard Guettler, Producer, Recording Engineer, StudioPersonnel - Cole Barbour, Asst. Recording Engineer, StudioPersonnel

℗ 2022 Deutsche Grammophon GmbH, Berlin

5
John Williams: Theme (From "The Long Goodbye")
00:05:54

Boston Symphony Orchestra, Orchestra, MainArtist - John Williams, Composer, Conductor, MainArtist - Shawn Murphy, Producer, Recording Engineer, StudioPersonnel - Anne-Sophie Mutter, Violin, MainArtist, AssociatedPerformer - Christoph Stickel, Mastering Engineer, StudioPersonnel - John H Mercer, Author - Nick Squire, Recording Engineer, StudioPersonnel - Bernhard Guettler, Producer, Recording Engineer, StudioPersonnel - Cole Barbour, Asst. Recording Engineer, StudioPersonnel

℗ 2022 Deutsche Grammophon GmbH, Berlin

6
John Williams: Han Solo and the Princess (From "Star Wars: The Empire Strikes Back")
00:05:26

Boston Symphony Orchestra, Orchestra, MainArtist - John Williams, Composer, Conductor, MainArtist - Shawn Murphy, Producer, Recording Engineer, StudioPersonnel - Anne-Sophie Mutter, Violin, MainArtist, AssociatedPerformer - Christoph Stickel, Mastering Engineer, StudioPersonnel - Nick Squire, Recording Engineer, StudioPersonnel - Bernhard Guettler, Producer, Recording Engineer, StudioPersonnel - Cole Barbour, Asst. Recording Engineer, StudioPersonnel

℗ 2022 Deutsche Grammophon GmbH, Berlin

7
John Williams: Marion's Theme (From "Indiana Jones and the Raiders of the Lost Ark")
00:04:23

Boston Symphony Orchestra, Orchestra, MainArtist - John Williams, Composer, Conductor, MainArtist - Shawn Murphy, Producer, Recording Engineer, StudioPersonnel - Anne-Sophie Mutter, Violin, MainArtist, AssociatedPerformer - Christoph Stickel, Mastering Engineer, StudioPersonnel - Nick Squire, Recording Engineer, StudioPersonnel - Bernhard Guettler, Producer, Recording Engineer, StudioPersonnel - Cole Barbour, Asst. Recording Engineer, StudioPersonnel

℗ 2022 Deutsche Grammophon GmbH, Berlin

Descrição do álbum

Certainly, releases of John Williams' music, often conducted by the composer himself, have sold well, but his remarkable late-life creativity has been insufficiently appreciated (and he's at work on a score for Indiana Jones 5). The Violin Concerto No. 2 heard here was composed for Anne-Sophie Mutter in 2021, when he was 89, and as if that were not enough, Williams conducts the Boston Symphony Orchestra crisply and with good control. He could certainly be forgiven for resting on his considerable laurels, but this does not happen, either compositionally or as a conductor. The violin concerto has entirely fresh structural ideas. Those coming from Williams' work as a film composer will recognize his essential voice, but it is grafted onto novel relationships between the violin and orchestra. Consider the opening Prologue movement, where Williams leaves a space near the beginning for improvisation on Mutter's part. Her contribution has a hint of jazz but is not a jazz solo. Then Williams ingeniously reintegrates the violin into the orchestral texture. The "Rounds" of the second movement are not the folk polyphonic form but murmuring "circular" figures in the orchestra, overlaid with Impressionistic and, here, jazz-like harmonies. The entire concerto holds one's attention, and Mutter's performance reflects close empathy between soloist and conductor. The program closes with arrangements of three of Williams' big movie themes, and here, Mutter pours on the sentiment. So there is something for everyone in this remarkable document, a best-seller in the spring of 2022.
© TiVo

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