F e a t u r e d A r t i s t

A n n e - S o p h i e M u t t e r

Anne-Sophie Mutter, born in Rheinfelden in southern Germany, has since her debut with Herbert von Karajan in the 1977 Salzburg festival, become one of the most sought after and admired violinists.

Ms. Mutter started playing the violin at the age of 5, and have since been associated with tutors such as Erna Honigberger and Aida Stucki, a pupil of Carl Flesch. She soon enjoyed considerable success in several competitions, and notably the Lucern Festival in 1976. This drew the attention of Maestro Karajan and she auditioned for him in Berlin shortly after, at the age of 13.

Since her highly acclaimed Berlin debut with Karajan and the Berliner Philharmoniker in 1978, her live performances as well as her recordings have attracted quite some attention and praise. After some years of focusing mainly on the canonized works of the german central repertoire; from the concertos of Bach through Mozart and Beethoven, to the concertos of the great romantics, Anne-Sophie Mutter has increasingly turned her attention to contemporary music, ranging from Strawinsky, Berg and Bartók to more recent composers such as Witold Lutoslawski, Krzysztof Penderecki, Norbert Moret and Wolfgang Rihm.

Anne-Sophie Mutter is currently working with Beethoven's violinsonatas (with Lambert Orkis), and will perform them around the world in the coming year. From these performances, a set of recordings is sceduled to be released.

Ms. Mutter's admirable span of repertoire and of course her wonderful technique and musical intuition have given her a well deserved place among the greatest of violinists. She has performed with several of the worlds finest orchestras and conductors, and she has recieved numerous prizes, awards and distinctions.

Selected Discography




W.A. Mozart: Violinconcertos nos. 2 & 4, Divertimento no.1,K.136
Anne-Sophie Mutter, violin
The Philharmonia Orchestra, Riccardo Muti
1997.EMI Classics (Red Line) CDR 5 69865 2

Although the Mozart concertos have never been among my favorites of the genre, I find it hard not to be charmed by Ms. Mutter's elegant tone, and highly raffined phrasing. And since this recording is now available at budget price in EMI's Red Line series, it certainly is a recommendable investment.



L.v. Beethoven: Violinconcerto (Cadenzas: Fritz Kreisler)
Anne-Sophie Mutter, violin
Berliner Philharmoniker, Herbert von Karajan
1980. Deutsche Grammophon 413 818-2 GH

This is probably the one recording Ms. Mutter has made, that has dissapointed me the most. Her account, of what in my opinion is not only the greatest work of the genre, but perhaps of the entire Western musical tradition, regretably does not do it justice.
Again I can only admire her absolutely wonderful tone, but my main objection here is her extremely detailed line. The dynamic force of the work, the colossal forward momentum is hardly noticable at all, as her attention for the violin's line completely overshadows it. Maestro Karajan too, is unusually patient, in this recording, and lacks the alertness one has grown accustomed to from him.
I would much rather go with Gidon Kremer's great performance with Harnoncourt and The Chamber Orchestra of Europe (Teldec). Or even Nigel Kennedy's raw and unpolished performance with Klaus Tennstedt (EMI).

Joh. Brahms / F. Mendelssohn*: Violinconcertos, op.77 (Cadenza: Joseph Joachim), op.64*
Anne-Sophie Mutter, violin
Berliner Philharmoniker, Herbert von Karajan
Deutsche Grammophon (Masters) 445 515-2 G MA


Joh. Brahms / R. Schumann*: Violinconcerto (Cadenza: Joseph Joachim), Fantasie, op.131* (Transcription: Fritz Kreisler)
New York Philharmonic Orchestra, Kurt Masur (Live Performance)
1997. Deutsche Grammophon 457 075-2 GH

These two, are both recordings I find very fulfilling, although they could hardly be more different (Brahms).
Ms. Mutter's Mendelssohn is quite simply wonderful. Her classisistic approach to this early romantic concerto, brings out the life and elegance it posesses eminently. The Schumann Fantasie on the 1997 recording also comes off fairly well.
But it is primarily the Brahms concerto that catches my attention. Ms. Mutter's first recording of this concerto has sometimes been said to be too static, and lacking in Brahms' wonderfully flowing passages. This may well be right, but I find the slightly static manner fitting and even enhancing to the monumentality of the music. The second recording, with Masur, couldn't be more different from the one with Karajan. Here Ms. Mutter's tone is a floating and fragile one. This is probably the most personal approach to this concerto I have heard, and I have no trouble recommending it warmly, although even here, if I had to chose one recording, I would chose Gidon Kremer in his new recording with Harnoncourt (Teldec).

J. Sibelius: Violinconcerto, Serenades nos. 1&2, Humoresque no.1, op.87, no.1
Anne-Sophie Mutter, violin
Staatskapelle Dresden, André Previn
1995. Deutsche Grammophon 447 895-2 GH

This is a recording Ms. Mutter has recieved her fair share of critisism for. It has been virtually butchered in several medias, and I personally believe that quite a bit of that critisism has been unjust. It isn't her finest performance, however I feel that the concerto benefits from her tone and flow. Perhaps Maestro Previn and The Staatskapelle will have to take their share of the negativity. Anyway, I have enjoyed this disc, and although Victoria Mullova is wonderful in this concerto, I have no problem in recommending it.

W. Lutoslawski / I. Strawinsky*:Chain 2, Partita for Violin and Orchestra / Violinconcerto*
Anne-Sophie Mutter, violin, Phillip Moll, piano (Partita)
BBC Symphony Orchestra, Witold Lutoslawski (Chain2 & Partita)
The Philharmonia Orchestra, Paul Sacher (Strawinsky)
1988. Deutsche Grammophon 423 696-2 GH

This recording was the first to appear in Anne-Sophie Mutter's line of twentieth century repertoire. And let it be said: Her Strawinsky is without comparison the finest I have heard. There aren't many recordings, of any repertoire, in my collection I would prefer to this one. Ms. Mutter's lyric intensity in the second Aria is matchless, and her alertness to sudden changes of mood or temperament makes this a reference recording. Her virtuosity is as always impressive, and provides the most able vehicle for the music.
The Lutoslawski pieces are executed with the ardour and virtuosity demanded, and are, I'm sure, to the composer's liking. I haven't heard either of them on other recordings. The Partita is, by the way, dedicated to Anne-Sophie Mutter.

B. Bartók / N. Moret*: Violinconcerto no.2 / En Ręve: Concerto for violin and chamber orchestra*
Anne-Sophie Mutter, violin
Boston Symphony Orchestra, Seiji Ozawa
1991. Deutsche Grammophon 431 626-2 GH

The Bartók concerto must be among the most difficult to play for a violinist, with its almost inhuman demands on technique. It is only fitting then that such an accomplished musician should record it. And a stunning performance it is, with Ms. Mutter meeting every demand in virtuosity as well as in lyricism.
The performance of Moret's etheric and transparent concerto is no less satisfying. Ms. Mutter is carrying the music forward brilliantly with lines fragile, sharp or fully rounded in tone. Her virtuosity is unfailing as is her ability to render the transparency of the music. This is quite simply stunning musicianship.

A. Berg / W. Rihm*:Violinconcerto "Dem Andenken eines Engels" / Violinconcerto "Gesungene Zeit"*
Anne-Sophie Mutter, violin
Chicago Symphony Orchestra, James Levine
1992. Deutsche Grammophon 437 039-2 GH

Alban Berg's violinconcerto must be among the most beautiful ever written. How ironic it is that a musician who as a teenager declared that she hated this work, should make the finest recording of it, that I've come across. This recording is nothing less than magnificent. How anyone can render the intensity and lyric concentration of this music to such perfection is truly a mystery.
Wolfgang Rihm's concerto, which here is performed by it's dedicatee, is also blessed with Anne-Sophie Mutter at her very best. "Time Chant" is as Berg's concerto a two movement piece, and as the composer writes in the cover booklet: It should be chanted not "played". I have not heard any other recordings of this work, but Ms. Mutter's account of it is nevertheless impressive in it's beautiful transparency. This is Anne-Sophie Mutter's best disc, and is thus NOT to be missed.

K. Penderecki / B. Bartók*: Violinconcerto no.2 "Metamorphosen" / Sonata for violin and piano no.2*
Anne-Sophie Mutter, violin, Lambert Orkis, piano (Bartók)
London Symphony Orchestra, Krzysztof Penderecki
1997. Deutsche Grammophon 453 507-2 GH

The second Penderecki concerto is Ms. Mutter's latest recording. The concerto, which is dedicated to her, is here given it's premiere recording. It recieved it's premiere performance in 1995, with Anne-Sophie Mutter and Mariss Jansons. This is a wonderfully large and bold piece of music, almost romantic in stature. Again Ms. Mutter proves her prowess in contemporary music. Although this is the only recording of "The Metamorphoses" so far, it will be an Herculean task to outshine Ms. Mutter for those who will follow her.
The Bartók sonata is a performance from the Berlin Recital, and completes a highly recommendable disc.

There aren't many of todays violinists who can proudly look back on a production like Anne-Sophie Mutter's. The slogan "You can never go wrong with a Mutter" is almost true - But then which violinist have only impeccable recordings behind him? I find her recordings of classic and romantic repertoire very interesting, seen as a whole, but in my opinion it is her twentieth century repertiore which is most admireable. Her Berg and Strawinsky are milestones i the catalouge, and in my opinion, reference recordings.

As I am sure you have noticed there are several of Anne-Sophie Mutter's recordings, I'haven't commented on here. She has also recorded the Bach concertos, the Bruch concerto, the Brahms sonatas, his double concerto and made several encore discs. I can only apologize for not having included any of her chambermusic here. The reason for this is quite simply that I haven't heard it.
For a more detailed discography you may visit Ms. Mutter's own web site

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Anne-Sophie Mutter: Face to face with Beethoven

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© 1998 arne.mork@yahoo.com

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