~ Anne-Sophie Mutter
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~ Pablo Sarasate
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Mendelssohn: Violin Concerto Op.64; Piano Trio Op.49; Violin Sonata in F major (1838) ~ Anne-Sophie Mutter |
~ Anne-Sophie Mutter
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Mendelssohn: Violin Concerto; Shostakovich: Violin Concerto No. 1 ~ Felix [1] Mendelssohn |
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| 1. Tango Song and Dance (dedicated to Anne-Sophie Mutter) - Andre Previn |
| 2. Hungarian Dance No. 1 - Brahms (arr. Joseph Joachim) |
| 3. Hungarian Dance No. 6 - Brahms (arr. Joseph Joachim) |
| 4. Hungarian Dance No. 7 - Brahms (arr. Joseph Joachim) |
| 5. Summertime, from Porgy & Bess - Gershwin (arr. Jascha Heifetz) |
| 6. It Ain't Necessarily So, from Porgy & Bess - Gershwin (arr. Jascha Heifetz) |
| 7. Bess, You Is My Woman Now, from Porgy & Bess - Gershwin (arr. Jascha Heifetz) |
| 8. My Man's Gone Now, from Porgy & Bess - Gershwin (arr. Jascha Heifetz) |
| 9. Schön Rosmarin - Kreisler |
| 10. Caprice Viennois op. 2 - Kreisler |
| 11. Liebesleid - Kreisler |
| 12. Sonata for Violin and Piano No. 1 in A major, op. 13 - Faure |
The disc's highlights are the Fauré, played with stunning brilliance and a soaring, shimmering tone, and Previn's piece, written for Mutter and premiered by her. The first movement sounds like a boogie-woogie parody of a waltz, the second is a calm, simple melody, the third is a ferocious, rhythmically irregular, jazzy run-around. The piece is tailor-made for Mutter's virtuosity, gorgeous tone and unlimited palette of colors, and she obviously enjoys every minute of it. However, playing jazz is clearly a new departure for her; four numbers from Gershwin's Porgy and Bess in the Heifetz transcription sound manufactured and unspontaneous and the style, with its vocal inflections, seems alien to her. The contrast with Previn's natural stylistic mastery, as he partners her here and in his own piece, is almost embarrassing. (Lambert Orkis plays the rest of the programme.)
Strangely enough, Mutter also shows little affinity for the gypsy idiom in Brahms's Hungarian Dances, which sound aggressive and exaggerated, or the Viennese lilt of three Kreisler favorites, where she substitutes manipulation for charm. And the excessive use of colour becomes a mannerism, such as turning her vibrato on with full, throbbing intensity or completely off for a "white", eerie sound, without transition and often without discernible reason. However, the record certainly offers some glorious fiddling. --Edith Eisler, Amazon.com
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95% buy the item featured on this page: Anne-Sophie Mutter - Tango Song and Dance£11.69 |
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