Customer Reviews

Violin Sonatas 1-3

5 star:		(7)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I do not, myself, know much about violin music or violinists; however, I recently gave this CD timidly to a good friend of mine who I respect highly for his musical taste, who is an also an aficionado of violin performance, and he loved it! His remarks were that it is a relatively little known recording, and that it shows Anna-Sophie Mutter at a fresh point of her career, where she still has a very natural and fairly traditional style of playing. He said that for Brahms fans who prefer a more traditional interpretation, it is an excellent listen.

A-SM. what i love about A-SM is that when you puchase one of her recordings, you know that you're guaranteed to get at least the basics: flawless technique and intonation, amazingly rich, lush sound, beautiful vibrato, etc...but what you can also always count on is her unflagging musicality and musical intelligence. her music always says SOMETHING (even if, god forbid, you don't really care for what she says). apply all of this to the brahms sonatas, and what you get is pure magic. it certainly helps that she is so at home with the music (brahms always seems to fit her like second skin -- her recent recording of the brahms concerto is everything you could ever expect or want of a brahms piece). the only complaint i might have about this cd is that weissenberg seems to have been miked from quite a distance. the violin sings and soars over and beyond the piano, the result being a work for violin with piano accompaniment as opposed to chamber music between the violin and piano. this is unfortunate, as weissenberg's playing is exquisite here. having said that much, this is by far the best recording of the brahms' violin and piano sonatas i've heard.

a few side by side comparisons of the delightfully impish Scherzo of Sonata NO.3 reveal this partership to be the most nimble and closest to the spirit of the score (marked Presto,though you'd never believe it from Stern,Perlman etc.)
Weissenberg is no slouch,as he has shown from his incredible DG recording of Bach's Italian Concerto and no doubt he had some say in the tempo.

I enjoy the music on this CD. It is a 1983 performance of the three sonatas for violin and piano composed by Brahms (7 May 1833 Hamburg - 3 April 1897 Vienna). On violin, is Ms Anne-Sophie Mutter (b.1963) who has developed into a world-reknowned performer. As an aside, rough calculations on my part place Ms Mutter at 20 years old for the time of this recording (Don't ask me what I was doing at twenty; it was not nearly as impressive ;D). On piano, is Mr Alexis Weissenberg (b.1929) who, by all accounts, is also world-reknowned for his controversial interpretations. Both of these performers benefited from their association with Mr Herbert von Karajan (1908-89), conductor of the Berlin Philharmonic commencing in 1955. Perhaps, it is that common association which brought these very different individuals together on this project. It is interesting to me, on a human level, to consider Mr Weissenberg as accomplished professional working with the prodigy, Ms Mutter. The notes are historically accurate and at the same time, tersely uninformative. While I learn the date of the complete catalogue of Brahms' compositions, I learn nothing more about the Violin Sonatas, themselves. In my opinion, this tarnishes the CD as a fine introduction to Brahms' Music or Chamber Music in general. On the other hand, the performance is compelling. I enjoy this interpretation because it is unadorned. It does go beyond merely a faithful rendition as there is plenty of passion, especially in the third sonata. I feel the character of the sonatas emerges gracefully without having to compete with the personalities of the performers. If you are starting to listen to music of the late 1800's, this is a fine value. At the same time, if you are familiar with these sonatas, hearing Ms Mutter and Mr Wiessenberg is a unique treasure itself.

Weissenberg has been always considered as a controversial artist certainly because his way of playing piano was under some influence of an uncomparable teacher, W.Landowska who was an outstanding harpsichord artist. His touch is sometime too technical, hard...and critics have been tough with him, but in this record one thing is sure, he gives a full dimension to the violin played by A.S Mutter, the perfect complement to add the value needed and it is at his honour. Nothing too much, just what is needed with a perfect touch and balance. I was surprise by the energy deployed by this young violonist. Since it has been confirmed by her most recent version of the Brahms concerto (with K.Masur). The three sonates are well played and we must admit that her progress have been fantastic compared to the time she was playing Mozart concerto adagio in 1978 under the baguette of Karajan. Here is some sensible, emotional violin sound with some added energy when needed. Alexis Weissenberg is the perfect companion to balance a so nice execution. No doubt, an excellent record to have.

Weissenberg has been always considered as a controversial artist certainly because his way of playing piano was under some influence of an uncomparable teacher, W.Landowska who was an outstanding harpsichord artist. His touch is sometime too technical, hard...and critics have been tough with him, but in this record one thing is sure, he gives a full dimension to the violin played by A.S Mutter, the perfect complement to add the value needed and it is at his honour. Nothing too much, just what is needed with a perfect touch and balance. I was surprise by the energy deployed by this young violonist. Since it has been confirmed by her most recent version of the Brahms concerto (with K.Masur). The three sonates are well played and we must admit that her progress have been fantastic compared to the time she was playing Mozart concerto adagio in 1978 under the baguette of Karajan. Here is some sensible, emotional violin sound with some added energy when needed. Alexis Weissenberg is the perfect companion to balance a so nice execution. No doubt, an excellent record to have.

These 1983 performance of Brahms' three violin sonatas on the EMI label were recorded when Anne-Sophie Mutter was just 20 years old but had already taken the world by storm as the Wunderkind put before the world by Herbert von Karajan. Alexis Weissenberg, the pianist, was 54 and had already had a career of 25 years (since 1947, but with a ten-year break).

Weissenberg's 1966 comeback had also been advanced by association with von Karajan. So here we have two Karajan protegés -- a fiery 20-year-old and a seasoned professional -- playing some of the most dramatic and passionate works in the Romantic violin sonata literature. I thoroughly enjoyed it, these are outstanding performances.

Anne-Sophie Mutter returned with fresh recordings of the Brahms sonatas last year on the DG label (see this recording. I haven't heard those yet, but some comparative listening on how her readings have changed and grown over the last 27 years would certainly be an enjoyable use of an afternoon. One of these days!

Intelligent, passionate, flawless, engaging -- yes. It is hard to fault a performance that gives so much, yet there is something to pause over.

This performance never lets up on its intensity, even when you might expect the music to become expansive and receptive. S-M's vibrato remains tight even in the slow passages. Every phrase feels so authoritatively pronounced that it seems almost attacked as much as played.

Every note is crafted and filled with passionate intensity. Yet I would have liked to feel that they were letting the music come through them (there is a lot to come through), rather than working so hard to push the music toward us.

If you like to be engaged by the intense personalities of performers, where you frequently notice the interpretation, you will probably like this performance.

For a performance in which the musicians appear to be more moved than moving, try the one by Perlman and Ashkenazy.

This is a full DDD CD - excellent quality. Anne-Sophie Mutter is a delight. This CD is an excellent value for anyone who enjoys classical music. A definite buy.

This is a great buy for your money...the recording is clear and Anne Sophie-Mutter easily handles the somewhat tricky violin work. Brahms was never really known for his violin sonatas but this is some of his best composing next to his third symphony, if you liked Vivaldi"s "Manchester Sonatas" you will like this also.