Customer Reviews

Mozart: Violin Concertos 3 & 5 / Mutter, Karajan, Berlin Philharmonic Orchestra

5 star:		(6)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This is perhaps the finest rendition of the Mozart violin concertos I have heard in a long, long time. They were both composed during a period of great triumph and happiness of Mozart's personal and musical life, truly emanate wonderful energy, whimsicality, and depth of Mozart's personality. It is brought to life and powered by a precocious, intelligent and young Mutter. At just 13, she brings great insight and technical mastery to these works. Digitally remastered and re-released after 20 years of its first entrance to the music market, this recording avoids the all-too-frequent overly virtuosic attempts at tackling the difficulty of Mozart's compositions. I think anyone would enjoy having this album in their collection and listening to it for a mood boost.

Having reviewed the 1998 Repin/Menuhin recording of Mozart concertos #2, 3, and 5, I am now happy to review this recording by Sophie Mutter and von Karajan, made twenty years earlier in 1978. It is #3 that shines on this disc. Mutter had played #3 with von Karajan a year previously to recording, at the Salzburg Mozart Festival. Overall the pace is easy, but not overrelaxed. The feeling is that, instead of Mutter having stepped out of her Conservatory of Music and onto the stage of the Berlin Philharmonic, that indeed the Philharmomic had decided to pay a visit to the Conservatory. There are very few recordings of von Karajan in which his restraint with respect to the solo performer is so well-achieved. The symphony takes a breath with every breath of Mutter's, almost by telepathy it seems. The slow movement is very slow, much slower than the Menuhin/Repin recording, and the overall effect is to bring out the outstanding simplicity of the music. It is remarkable. The third movement is very nicely phrased, and Mutter pulls off a "zinger" of a cadenza in the middle. The march is oh-so-German in this recording, like a stroll. As for #5, it is less polished than #3, but only slightly less. The very slow solo intro in the first movement is nearly perfect, unlike the pushing and pulling in the Repin recording. The tendency is for the soloist to hang back while the orchestra moves right ahead: and in Mutter's recording, she almost makes the same mistake that Repin did in hanging back too long, but immediately corrects her tempo and falls into line with von Karajan. The second and third movements of #5 are played well by Mutter, but I think Repin's playing is more mature, more like Sophie Mutter's commanding 1980 performance of the Beethoven violin concerto. One could easily fill a shelf with all of the available Mozart violin concerto recordings, but I think that between Repin and Mutter one gets an overall feeling for the music, and it is Mozart's genius that shines through no matter who the performer is. Again, #3 is the delight here, and well worth the purchase. Recommended.

Listening to this recording it is hard to believe the soloist is merely 14 years old. Her playing sounds far more mature, helped by the great Herbert Von Karajan and the incomparable Berlin Philharmonic. Anne-Sophie Mutter plays like someone easily twice her age, and Von Karajan resists his usual tendencies to make Mozart "fluffy". The combination results in a wonderous performance.

This is Anne-Sophie's first recording of Mozart, and her first recording ever I think. Here she plays the concertos with a modern listener's approach, more romantically. Mutter is true to Mozart though, and does not take away anything and definitely adds purity, and absolute sweetness of tone to these works. This recording of Mozart is more original and "pure" than her most recent one that has just come out.

I'd say it's a must buy for Mozart and Anne-Sophie lovers alike.

Perhaps Mutter's youth saved her from over-coloring these favorite Mozart concertos. Karajan's BPO, as usual, plays with just the right balance. The performance is in all ways wonderful and sparkles. Good recording quality too, considering its D-G.

I listened to other's Mozart Violin Concerto recording but none really comes close like this. Unlike other's uncertain interpretation of Mozart, her interpretation and intonation are confident, solid and perfect. I don't think no one else can play Mozart like Mutter does.

Anne-Sophie Mutter's performance (as usual) is excellent. She has stunning accuracy, and pronounces each note. She has excellent artistry. I think the selections don't showcase her like some of her othe CD's do, but it would still be a good addition to your music library.

I bought this in vinyl over 20 years ago, and it sits up in my attic with my old turntable. What a treat to hear this again, and to see the original cover. I have read that there are other re-releases of this same recording on the market, but this latest DG product is the one you want to buy.

The virtuoso as cute tyke has always been a winning attraction, and here Mutter is at her youngest and most sparkling. The abuandant mannerisms are still years off, and her playing comes across as brilliant but natural and unforced. There are no gerat insights, but we don't expect them from one so young. Mutter's secret weapon on this CD is Karajan, who gives her accompaniments that are vibrant and full of brio. In fact, it's ironic that this recording might be the best Mozart Karajan ever recorded. The Berlin Phil. actually plays with charm; this is Mozart in a smiling mood. Neither Concerto #3 nor #5 is a masterpiece by any stretch, and I would hesitate to buy a ticket to hear them in concert, but they make a lovely vehicle for Mutter on disc. By the way, DG's sound is still a bit shrill and metallic as far as the violin is concerned, even in this remastering.

It's a gimme at this level the technique is there, as we find on this CD, regardless of the age of the solist. However, von Karajan's interpretation seems hastily prepared, with a legato strategy that smothers the subtle contrasts in articulation, tempo and dynamics that is a central part of Mozart's essence. Szell's versions are a real cut above this.