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Sibelius: Violin Concerto,Op.47 / Serenades Nos. 1 & 2 / Humoresque

Jean Sibelius (Composer), André Previn (Conductor), Staatskapelle Dresden (Orchestra), Format: Audio CD

4.5 104 ratings

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Sibelius: Violin Concerto Op. 47; Serenades; Humoresque

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Track Listings

1	Con for vn and orch in d, op. 47: Allegro moderato
2	Con for vn and orch in d, op. 47: Adagio di molto
3	Con for vn and orch in d, op. 47: Allegro, ma non tanto
4	Ser no.1 in D, op. 69a: Andante assai
5	Ser no. 2 in g, op. 69b: Lento assai
6	Humoresque no. 1 in d, op. 87 no. 1: Commodo

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MUTTER / PREVIN / DRESDEN

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The very first notes of this extraordinary performance show how thoughtfully Anne-Sophie Mutter has approached the work. Sibelius's marking for the solo violin is dolce ed espressivo, which for most violinists would mean "with vibrato." But Mutter plays senza vibrato and achieves a hauntingly expressive effect over the muted pianissimo oscillations of the orchestral violins. Happily, she sustains this high level of engagement with the score through the entire account, playing the taxing solo part with riveting intensity, making every note count, producing a gloriously rich and varied tone, and giving the listener a memorable musical experience in the process. The effect of all this on André Previn and the Staatskapelle Dresden, to paraphrase Mark Twain, appears to have been prompt and electric. They give a spectacular reading of the score, one notable for both its sonorous depth and its sense of atmosphere. --Ted Libbey

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Product Dimensions ‏ : ‎ 6.38 x 5.67 x 0.39 inches; 3.53 Ounces
Manufacturer ‏ : ‎ Deutsche Grammophon
Item model number ‏ : ‎ 1990946
Original Release Date ‏ : ‎ 1996
Date First Available ‏ : ‎ July 25, 2006
Label ‏ : ‎ Deutsche Grammophon
ASIN ‏ : ‎ B000001GRK
Number of discs ‏ : ‎ 1

Best Sellers Rank: #86,757 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #105 in Classical Serenades & Divertimentos
- #1,142 in Classical Concertos

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4.5 104 ratings

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A splendid rendition

Reviewed in the United States on January 27, 2005

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The post-Karajan Mutter continues to impress me with her growing musical maturity, and her in-depth exploration of the Sibelius is yet another testament to her artistry. As with all of her recordings, her fabulous tone is evident throughout, as is a technique that is more than equal to the challenges of the composer. I would dispute the one reviewer who argues that she slows down in the more technically challenging passages; certainly one cannot make that claim in the 3rd movement, which is certainly as brisk in its tempi as any recording available on the market today, and in any case, Mutter has always had a tendency to try and draw everything she can out of each note. A particularly notorious example of this would be her youthful recording of the Beethoven concerto with Karajan, where slow tempi cause the whole piece to become absolutely bogged down to a level beyond redemption. One certainly cannot find anything of that sort in this recording of the Sibelius, which remains a coherent performance throughout.

So why only 4 stars? Well, first and foremost, Previn & the Dresden Staatskapelle really seems to be phoning in their performance at times, and with a concerto like this, such a defect can cause quite a bit of damage. This could be due to mike placement as much as anything, but whether it is the sound engineer or the performers themselves, the result is an ensemble that sounds at times disengaged and at others overwhelmed by the soloist.

Also, as another reviewer has observed, a 47-minute CD at full price (where a third of the music consists of nice but relatively inconsequential compositions), simply put, is a ripoff. Why not fill it out a little? Put all six Humoreskes on the recording, or a tone poem if you like, or perhaps a lesser known piece like the Suite Mignonne. There are plenty of options, but none is explored here. Consumers expect a full CD for full price, so DG should deliver accordingly.

However, the consumer should be have nothing to complain about when it comes to Mutter's performance. She certainly appears to be fulfilling all of her potential as an artist.

22 people found this helpful

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J. G. Lewis

A Vibrant Interpretation of one of the Finest Works of the 20th Century

Reviewed in the United States on June 3, 2011

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DG presents here a hauntingly strong rendition of the Sibelius Violin Concerto, a work completed in 1904. The first version being finished in 1903, but upon complaint by critics, Sibelius set it to a "thoroughgoing overhaul"... and this masterpiece was thereby produced. His revised edition was certainly demonstrative of fine musicianship, but yet may even exhibit philosophical underpinnings! But firstly, concerning other reviews here: I would reply that Ms. Mutter's violin does stand out, but this is a concerto where one really does desire the violinist to be duly prominent; it was not overdone.

Actually, Andre Previn does an excellent job in maintaining a fine proportion between soloist and the orchestra. He knows how to, and does, rally the latter when called for and needed. Indeed, I would submit that Mr. Previn's conducting is so much an example of good balance, that I think the conductor did add to the work. And I have listened to other recordings, but nowhere is the balance as fine as I find it here, and compared to the Mutter, I will at times find the violin solo flagging. Therefore, this certainly is a passionate performance, but I think technically well done too, which makes it so outstanding.

But the meaning behind the music? I might suggest an illumination of the disturbing and pathetic struggle of Western Society to maintain a generally upright attitude, one illustrative of freedom and good will, against the barbarism and inhumanity, the cruelty, that would later come to characterize the 20th century. His final manuscript for this concerto stands supreme not only among Sibelius' own work, but among the entirety of 20th century concertos and symphonies - there with with Rodrigo's Aranjuez and Durufle's Requiem. I am uncertain if even Sibelius himself realized the beauty of his creation. One of the great late-Romantic concertos, not to be missed, and neither is Anne-Sophie Mutter's performance.

7 people found this helpful

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Luis Felipe Rasmuss

Great performance of the Sibelius' classic concerto

Reviewed in the United States on December 25, 2012

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I bought this CD for my grandmother as she does not use the internet and her recording of Sibelius' Violin Concerto had too much buzz since it was an original cassette tape converted into a CD. Having had an audiophile-like sound equipment, I decided to listen to it before giving it to her: it was truly an amazing experience. Anne-Sophie Mutter does not fail to bring the finnish essence to this piece, which really made me glad. Although I've watched many performances of this concerto (Maxim Vengerov, Sarah Chang - live and etc), this one had a nice feeling on it which made it quite particular.

3 people found this helpful

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Brigitte Hughes

Great CD in great condition!

Reviewed in the United States on May 18, 2017

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No one can top this wonderful artist in her expression of any classical music!

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Herb Allen

Five Stars

Reviewed in the United States on January 5, 2015

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incredible performance

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Andre Arnold

Das Konzert, das eigentlich gar keines ist...

Reviewed in Germany on May 20, 2010

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Jean Sibelius hat sich lange Zeit gelassen, bis er sein Violinkonzert in d moll op. 47 veröffentlichte. Es dauerte lange, bevor er mit der Instrumentierung zufrieden war. Nach der Uraufführung des Stückes war er der Ansicht, dass er einen ganz großen Wurf erlangt habe. Und das zurecht, denn bis heute gehört dieses Konzert zu den verhältnismäßig wenigen Werken des großen Finnen, die sich in den Konzertsälen halten können.

Das Werk beginnt mit einem recht schnell zur Sache kommenden Allegro moderato. Das Hauptthema, das Sibelius für diesen Satz vorsah, ist genial, das erkennt der geneigte Hörer schnell. Unglücklicherweise aber verzichtete er darauf, dieses Thema auch nur ein einziges Mal im Tutti spielen zu lassen. Die Violine dominiert das Geschehen unentwegt, von der ersten bis zur letzten Minute. Immer wieder gewinnt man den Eindruck, dass da doch noch etwas kommen müsse, dass da doch etwas fehle.
Dem Adagio des zweiten Satzes hingegen tut die starke Dominanz der Solovioline erstaunlich gut. Sie singt und schwebt nur getragen von einigen tiefen Streichern, gelegentlich auch im konzertanten Wechsel mit den hohen Streichern und Bläsern.
Im Finale dasselbe Spiel wie im Kopfsatz: Wieder lässt sich leider, leider nur erahnen, wie herrlich alles hätte sein können, wenn das gesamte Konzert nicht zu einem Konzertstück für Violine mit Orchesterbegleitung degeneriert wäre.

Als Zugabe gibt's zwei angenehme, leidenschaftlich getragene Serenaden für Violine und Orchester op. 69, Nr. 1 in D Dur, Nr. 2 in g moll. Hierbei handelt es sich mehr oder minder um Gelegenheitswerke des finnischen Komponisten. Dennoch ist man beim Hören geneigt, die weite der finnischen Seenlandschaft vor sich zu sehen.

Weiterhin wird eine Humoreske für Violine und Orchester in d moll op. 87,1 eingespielt. Dieses weniger ambitionierte Werk hat nicht viel Humoriges, ist eher traurig und melancholisch.

Anne Sophie Mutter, eine Geigerin mit atemberaubender Technik, aber teilweise zu wenig Einfühlungsvermögen, spielt alle Stücke schnörkellos, fehlerfrei und sehr transparent. Auch lässt sie es in dieser Aufnahme nicht an Wärme und Gefühl mangeln. Begleitet wird sie von der einwandfrei spielenden Staatskapelle Dresden unter Leitung ihres Mannes André Previn. Die Aufnahmequalität ist ausgezeichnet.

Fazit: Es gibt Aufnahmen, bei denen die Interpretation besser ist als das Werk selbst. Diese Aufnahme gehört dazu.

10 people found this helpful

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Scriabinmahler

A self-indulging performance

Reviewed in the United Kingdom on November 15, 2010

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I'm sorry to disagree with the enthusiastic 5 star reviews, but this performance of Sibelius' violin concerto by Mutter was completely exhausting listening experience for me after the first listening, and almost sickening after the second listening. I listened to it for the third time, desperately trying to find out something positive about it, but the more I listened to it, the more futile the effort, I felt, so I had to stop my CD player in the end.

As the Amazon's critic points out, the opening of the concerto is very impressive and amazingly atmospheric with chillingly haunting tone of the violin, almost like whispering, which is followed by the elegiac crying out as if coming from the deepest part of soul. That grips one's attention straight way and one is filled with anticipation of an epic journey into the desolate, aurora-lit landscape of the north, that is, only first 5 minutes or so. Gradually, the northern landscape turns into a stage under a spotlight where a celebrated opera diva screams, gasps, blubbers, wallowing in emotionalism. As if that is not enough, she starts to slow down and stretch lyrical passages disproportionately, trying to stuff more of her own beautiful playing into the music, thus impeding natural flow of the music and destroying its own beauty. The orchestra, which emerges here and there out of oblivion, seems totally at a loss, at times, to restore the music on the right track.

The slow movement starts off promisingly with darkly coloured tone of the violin and nobly controlled passion, but by the time you reach 3'12" the music is so much dragged down that the entry of the orchestra is bewilderingly lacking in momentum, and from then on, the orchestra gradually retreats as a misty backdrop (Sibelius' magnificent orchestration is diluted down to a mere background music), while the soloist's playing becomes increasingly self-indulging with every phrase unnaturally elongated.

Mutter's technical prowess is mind blowing in the last movement and first minute or so is just fine, but soon her playing becomes over frenzied and again one gets the impression that she is competing against the music as if trying to squeeze as much of her own expression as possible into every bar. The result is a rather grotesque mixture of technical showmanship and hysteria. When the orchestra yields feeble final coda, one is left with a sense of desolate despair - the slaughter of one great music is complete. The recording balance is too much on the side of the soloist, which heighten the impression that the orchestra is continually under the attack and bullied to submission by one hugely inflated ego.

There are breath taking moments aplenty in this performance, but there's no sense of overall perspective at all. The music is dissected into little pieces and smothered by the performer's too much eagerness to impress. This is a typical example of 'Music serves a performer,' not the other way around. I have no objection to emotional and artistic expressiveness, but every good artist knows, the more powerful is the expression, the greater power of intellectual objectivity one must possess. Listen, for example, to David Oistrakh's performances of the same concerto. Or, Jacqueline Du Pre's renditions of Elgar's cello concerto. Theirs are intensely passionate and profoundly affecting performances, yet they never seemed to lose sight of the composers' vision and perspective, since they had solid intellectual backbone to build their performances on and to focus firmly on the music, not on themselves.

11 people found this helpful

Mr A J Webb

Stunning performance and recording

Reviewed in the United Kingdom on March 27, 2021

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This version of the Sibelius violin concerto is my favourite and has replaced Oistrach’s classic performance for me! She has virtuoso skill, great power and great delicacy at the same time. The orchestral backing by the Dresden Staatskapelle under Andre Previn is also beautifully balanced so the orchestra and soloist genuinely make a concerto together. This gorgeous orchestra has that feeling of great power being available without ever straining. The quality of the recording is absolutely top notch to my hearing. This CD is a true pleasure and highly recommended.

dr c

Wow. That is genius

Reviewed in the United Kingdom on November 24, 2021

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I have heard her playing with husband Andre Previn @Barbican….marvellous, butinmy opinion the Sibelius could have been written for her. Simply out of this world! Genius lady

Imperium Brittani

Superb Sibelius from Anne-Sophie Mutter.

Reviewed in the United Kingdom on May 14, 2018

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Anne-Sophie Mutter's Sibelius is very much her own: played with great passion, warm and lyrical - the Sibeliusian frost has thawed and Mutter's violin radiates warmth. She plays with unquestionable brilliance, nuanced elegance and has total command of her instrument - Mutter gives a fine virtuoso performance that's full of mystery and poetry. Previn and the Dresden Staatskapelle don't disappoint and provide the perfect backdrop.... the iron grey skies and ice-cold blizzards are present and correct, but are countered by Mutter's warm and glowing contribution. Of course, Mutter isn't all "sweetness and light" - this is Sibelius, after all - there are dark undercurrents which unsettle, and Mutter's violin conveys the feeling of isolation and bleakness with great feeling and consummate professionalism. Excellent sound quality and superb performance - recommended.

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