1. Scherzo in C minor for violin & piano (from the FAE-Sonata)	5:52
2. Sonata for Violin and Piano in G minor - 1. Allegro vivo	5:16
3. Sonata for Violin and Piano in G minor - 2. Intermède (Fantasque et léger)
4. Sonata for Violin and Piano in G minor - 3. Finale (Très animé)	4:19	
5. Sonata for Piano and Violin in E minor, K.304 - 1. Allegro	11:57
6. Sonata for Piano and Violin in E minor, K.304 - 2. Tempo di minuetto	6:08	
7. Sonata for Violin and Piano in A - 1. Allegretto ben moderato	6:34
8. Sonata for Violin and Piano in A - 2. Allegro- Quasi lento- Tempo 1 (Allegro)	9:01
9. Sonata for Violin and Piano in A - 3. Recitativo - Fantasia 
(Ben moderato - Largamente - Molto vivace)	8:02
10. Sonata for Violin and Piano in A - 4. Allegretto poco mosso	6:21
11. Hungarian Dance No.2 in D minor	2:56            play
12. Hungarian Dance No.5 in G minor	2:41
13. Beau Soir	3:08                                play

Anne-Sophie Mutter – violin
Lambert Orkis – piano

DG has done the world a great service in recording this recital for posterity. Mutter revels in the inspiration of the moment without losing her grip on structure. Buy this disc! If it were possible I would be even more emphatic, for Deutsche Grammophon has done the world a great service in recording this recital for posterity. Mutter demonstrates not only a formidable technique but also a searching interpretative mind. Far from being afraid of taking risks in the concert hall, this performance shows Mutter revelling in the inspiration of the moment whilst never losing her grip on the architectural whole.

Whether holding back on certain phrases in the Debussy Sonata or exquisitely grading tone colour as the Mozart sonata moves in and out of the shadows, nothing feels either accidental or formalised. Fluctuations of tempo are distinctly greater than has recently been the norm. ---Christopher Dingle, BBC Music Magazine

The end of the Franck sonata is dangerously close to the hurried side of exhilarating, whilst the flourish at the conclusion of the Debussy is almost thrown away, but the occasional moments when Mutter seems almost fallible, far from being a weakness, only add to the overwhelming sense of humanity in the performance. Mutter is partnered by the excellent Lambert Orkis who on this evidence deserves to be heard more often. Grammy Award winning violinist Anne-Sophie Mutter was born in Rheinfelden in Baden (Germany). She embarked on inter¬national career as a soloist in 1976 at the Lucerne Festival and made her first recording for Deutsche Grammophon at the age of 14: Mozart violin concertos with Karajan and Berliner Phil¬harmoniker, with whom she later also recorded the Mendelssohn, Bruch, Brahms and Beethoven. ---Christopher Dingle, BBC Music Magazine

The violinist has also committed herself to alleviating the medical and social problems our times and gives regular benefit concerts to this end. She has been the recipient numerous important honours and distinctions from the governments of Germany, Austria and France, as well as from the states of Bavaria and Baden-Württemberg and the city Munich. In 2008 she was awarded the international Ernst von Siemens Music Prize and donated half of the prize money to the Anne-Sophie Mutter Foundation, whose objective is to further increase worldwide support for promising young musicians. The same year also received Leipzig’s Mendelssohn Prize. Her recordings have been crowned with innumerable prizes including Grammy award for Best Chamber Music Performance and Best Instrument Soloist.

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CD 1:
Jean Sibelius (1865 - 1957)
Violin Concerto in D minor, Op.47

1) 1. Allegro moderato [15:55]
2) 2. Adagio di molto [8:26]
3) 3. Allegro, ma non tanto [7:15]

Anne-Sophie Mutter
Staatskapelle Dresden
André Previn

Krzysztof Penderecki (1933 - )
Metamorphosen, Konzert für Violine und Orchester Nr. 2

4) 1. Allegro ma non troppo [14:22]
5) 2. Allegretto [3:21]
6) 3. Molto [4:33]
7) 4. Vivace [2:06]
8) 5. Scherzando [5:07]
9) 6. Andante con moto [8:34]

Anne-Sophie Mutter
London Symphony Orchestra
Krzysztof Penderecki

CD 2:
Béla Bartók (1881 - 1945)
Sonata No.2 for violin & piano, Sz.76

1) 1. Molto moderato [8:03]
2) 2. Allegretto [11:44]

Anne-Sophie Mutter
Lambert Orkis

Norbert Moret (1921 - )
En reve

3) 1. Lumière vaporeuse [7:13]
4) 2. Dialogue avec l'Étoile [5:44]
5) 3. Azur fascinant (Sérénade tessinoise) [6:40]

Béla Bartók (1881 - 1945)
Violin Concerto No.2, Sz.112

6) 1. Allegro non troppo [16:16]
7) 2. Andante tranquillo [9:58]
8) 3. Allegro molto [12:13]

Anne-Sophie Mutter
Boston Symphony Orchestra
Seiji Ozawa

CD 3:
Igor Stravinsky (1882 - 1971)
Concerto en re for violin and Orchestra

1) 1. Toccata [5:51]
2) 2. Aria I [4:09]
3) 3. Aria II [5:13]
4) 4. Capriccio [5:49]

Anne-Sophie Mutter
Philharmonia Orchestra
Paul Sacher

Witold Lutoslawski (1913 - 1994)
Partita (for Violin and Orchestra)

5) 1. Allegro giusto [4:14]
6) 2. Ad libitum [1:12]
7) 3. Largo [6:22]
8) 4. Ad libitum [0:47]
9) 5. Presto [3:51]

Anne-Sophie Mutter
Phillip Moll
BBC Symphony Orchestra

Witold Lutoslawski
Chain 2 Dialogue for Violin and Orchestra

10) 1. Ad libitum [3:48]
11) 2. A battuta [4:58]
12) 3. Ad libitum [4:58]
13) 4. A battuta - Ad libitum - A battuta [4:27]

Anne-Sophie Mutter
BBC Symphony Orchestra
Witold Lutoslawski

CD 4:
Maurice Ravel (1875 - 1937)

1) Tzigane [10:01]

Anne-Sophie Mutter
James Levine
Wiener Philharmoniker

Wolfgang Rihm (1952 - )
"Gesungene Zeit" 1991/92 - Music for violin and orchestra

2) 1. Beginning: quasi senza [14:27]
3) 2. Takt 179: meno mosso [9:56]

Alban Berg (1885 - 1935)
Violin Concerto "To the Memory of an Angel"

4) 1. Andante - Allegro [11:31]
5) 2. Allegro - Adagio [16:12]

Anne-Sophie Mutter
Chicago Symphony Orchestra
James Levine

The 11 20th-century violin works included on Anne-Sophie Mutter's meaty four-CD compilation were recorded between February 1988 and January 1997. Mutter is a dazzling performer. Her performance of the Sibelius Violin Concerto throbs with new-dawn optimism. Her intense dialogue with pianist Lambert Orkis is spiked with wit in Bartók's Violin Sonata No.2 , the only chamber piece in the set. Her version of Ravel's Tzigane casts the Romany as the innocent, passionate romantic. She plays Stravinsky's Concerto en ré with jaunty Soldier's Tale jocularity, broods ominously in Berg's dark Violin Concerto and barks and bites through Bartók's Violin Concerto No.2 .

Strangely, no works from the 1940s through 1970s are included. Mutter ignores the claims of concerti by Barber, Korngold, Britten and Goldschmidt. This would matter more if the very recent works were not played with such scintillating, original verve. All but one were written for Mutter and the recordings have the power and excitement of definitive first performances. Lutoslawski's Partita in particular, with its ad lib movements for violin and piano alone, breakneck speeds and expressively ornamental quarter-tones elicits Mutter's greatest virtuosity. The little-known French composer Norbert Moret's En Rêve beautifully creates the weightless, surreal substance of a dream with Mutter's sinuous solo at the centre. Rihm's Gesungene Zeit sirens inspiringly at almost dog-whistle pitch while Penderecki's six-movementMetamorphosen turns the soloist from assiduous grub to flitting vivacissimo butterfly.

Back to the Future is an impressive if unbalanced survey of 20th-century violin music. The fact that it is the work of one of the era's greatest virtuosos, however, more than compensates for its shortcomings. ---Rick Jones, Editorial Review

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Henri Dutilleux (1916 - )

1) Sur le même accord [8:43]

Anne-Sophie Mutter
Orchestre Philharmonique de Radio France
Kurt Masur

Béla Bartók (1881 - 1945)
Violin Concerto No.2, Sz.112

2) 1. Allegro non troppo [16:16]
3) 2. Andante tranquillo [9:58]
4) 3. Allegro molto [12:13]

Anne-Sophie Mutter
Boston Symphony Orchestra
Seiji Ozawa

Igor Stravinsky (1882 - 1971)
Concerto en re for violin and Orchestra

5) 1. Toccata [5:51]
6) 2. Aria I [4:09]
7) 3. Aria II [5:13]
8) 4. Capriccio [5:49]

Anne-Sophie Mutter
Philharmonia Orchestra
Paul Sacher

Ordinarily when a violinist is the whole show, I find it hard to be entirely enthusiastic -- Bartok, Stravinsky, and Dutilleux wrote orchestral parts that demand great conducting, not just great fiddling. But Mutter is an exception, her presence being so commmanding that she can overcome Seiji Ozawa's pallid accompaniment in the Bartok Second. Her approach is large-scaled and roceful, without a show of tics and mannerisms. There's not a lot of Hungarian flavor, but the sheer volume of sound, purity of tone, and bow technique count for a lot. The BSO plays gorgeously and DG's recording is ful and detailed, with especially fine violin tone.

Mutter also dominates with a robust, forward performance of the Stravinsky concerto, and even though her approach is more showy and romantic than Paul Sacher's trim neo-classical accompaniment, the two are sympathetic partners, and once again Mutter is capable of so much variety and shading in hr palying that she gives added interest to Stravinsky's score, which can sound a little dry and mechanical -- or to be more polite, chaste and discreet. Still, I would turn to Vengerov or Perlman for more character and fire in this work.

Which leaves the raison d'etre for this Cd, the Dutilleux concerto that Mutter commissioned. The notoriously slow and painstaking French master gave her a 9 min. bijoux that isn't quite a concerto but a study in delicate colorations and refined orchestral tints. I doubt that anyone would call it a major work -- for one thing, none of the composer's ideas stray far from devices we've encountered many times -- but eveyr minute is agreeable. Mutter is accompanied by Kurt Masur. He does a credible job, but one suspects that a less aloof conductor would have found more meat on the delicate bones of this score. --- Santa Fe Listener (Santa Fe, NM USA)

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Igor Stravinsky (1882-1971)
Violin Concerto in D major
1. Toccata 5:51
2. Aria I 4:09
3. Aria II 5:13
4. Capriccio 5:49

Anne-Sophie Mutter, violin
Philharmonia Orchestra
Paul Sacher, conductor

Witold Lutosławski (1913-1994)
Partita for violin, orchestra & obbligato piano
"For Anne-Sophie Mutter"
5. Allegro giusto 4:14
6. Ad libitum 1:12
7. Largo 6:22
8. Ad libitum 0:47
9. Presto 3:51
(Erstaufnahme / First Recording / Premier enregistrement)

Chain 2, dialogue for violin & orchestra Ad Libitum
"For Paul Sacher"
10. Ad libitum 3:48
11. A battuta 4:58
12. Ad libitum 4:58
13. A battuta—Ad libitum—A battuta 4:27
(Erstaufnahme / First Recording / Premier enregistrement)

Anne-Sophie Mutter, violin
BBC Symphony Orchestra
Witold Lutoslawski, conductor

This Deutsche Grammophon pairs works by Igor Stravinsky and Witold Lutoslawski, displaying Anne-Sophie Mutter's strong interest in 20th century repertoire. Paul Sacher conducts Philharmonia in the Stravinsky, while Lutoslawski conducts the BBC Symphony Orchestra in his pieces. The Lutoslawski was subsequently reissued in the label's "Echo 20/21" series, while the Stravinsky appeared again on a 2005 disc.

Igor Stravinsky's Violin Concerto (1931) was written at the height of his neoclassical period. It is in four movements of which the outer two are extrovert, while the inner two (called "arias") more subtle and mysterious, though all begin with the same D-E-A chord. I have a peculiar relationship with Stravinsky, as I find that I enjoy his music when it's playing, but nothing calls me back to it. These foursquare, slightly vulgar rhythms are fun, but I don't detect any mystery which makes me want to explore the piece again and again. Here Paul Sacher conducts Philharmonia, taking a more meditative pace in the arias than I've heard elsewhere.

For over two decades Witold Lutoslawski wrote music where the harmonies were derived from 12-tone chords and for much of the work the ensemble was left to play without the conducted to produce unusual quasi-aleatoric textures. In the early 1980s, however, he began to revert to a rather more conventional style, abandoning total chromaticism and writing fewer ad libitum sections.

In "Chain 2" (1984), a "dialogue for violin and orchestra" one still feels that the form is boundlessly expanding, avoiding any stale constraints of classicism. The title refers to the composer's new technique of beginning new sections before the last is fully completed, giving the work a certain momentum that propels the music forward. While emphatically not a violin concerto (he was at work on a piece earning such a name just before his death), Lutoslawski's love for the instrument is so great that the work displays all manner of violin technique and mood.

Lutoslawski was so impressed with Anne-Sophie Mutter's performance in the premiere of "Chain 2 " that he orchestrated a work originally for violin and piano especially for her. The resulting "Partita" (1988) immediately strikes the listener who has followed Lutoslawski's work chronologically as strait-jacketed. The occasionally interludes for solo violin and piano don't are interesting. But that doesn't change the fact that the main of the work finds inspiration in Baroque music, and even if there are no major or minor keys, the work still approximates a sort of stale tonality.

The performances and sound quality are excellent, even if these aren't the most interesting pieces from the two composers. If you're interested in this music, I'd suggest going for the reissues, as the Stravinsky reissue also has an excellent Dutilleux premiere, while the Lutoslawski reissue combines Mutter's recordings with the dedicatee's performance of the Piano Concerto. --- Christopher Culver, amazon.com

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SERGE PROKOFIEV (1891-1953)
Sonata for Violin and Piano in D major, op. 94a
1) I. Moderato (7:34)
2) II. Scherzo: Presto (4:47)
3) III. Andante (3:36)
4) IV. Allegro con brio (6:57)

GEORGE CRUMB (*1929)
Four Nocturnes (Night Music II)
5) Notturno I: serenamente (2:42)
6) Notturno II: scorrevole, vivace possible (1:28)
7) Notturno III: contemplativo (2:11)
8) Notturno IV: con un sentimento di nostalgia (2:38)

ANTON WEBERN (1883-1945)
Four Pieces op. 7
9) I. Sehr Iangsam (1:15)
10) II. Rasch (1:32)
11) III. Sehr Iangsam (1:31)
12) IV. Bewegt (1:09)

OTTORINO RESPIGHI (1879-1936)
Sonata for Violin and Piano in B minor
13) I. Moderato - Agitato - Tempo I (9:19)
14) II. Andante espressivo (8:05)
15) III. (Passacaglia) Allegro moderato me energico (7:46)

ANNE-SOPHIE MUTTER, violin
LAMBERT ORKIS, piano

To capture the brilliant partnership between violinist Anne-Sophie Mutter and pianist Lambert Orkis, one only has to look to their riveting recording of Beethoven's Violin Sonatas. Over the course of those four CDs, the pair revealed themselves to be a lively, sympathetic team. The same description could be used for this single-CD recital, featuring four very different 20th-century compositions from four very different composers. The spiky nature and high notes of Prokofiev's Sonata stand in direct contrast with George Crumb's Four Nocturnes, a fragmented but short sonic journey filled with subtle harmonics and stark, hallucinogenic movements. Moving to Webern's Four Pieces, Mutter and Orkis literally define the essence of collaboration--there is no "star" here, other than the composer's somber work. The pair end the recital on its most gorgeous note: Respighi's Sonata for Violin and Piano in B minor. The richly lyrical, Romantic composition is the perfect showcase for the duo, and they deliver an electrifying performance. While Webern and Crumb may be acquired tastes, the Respighi piece is something everyone will love, filled with beautiful, expressive singing lines. These are great performances--Mutter's tone is impeccable and Orkis showcases his ever-increasing versatility. Great recorded sound, too. --Jason Verlinde, amazon.com

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   1. Vivaldi: Concerto for Violin and Strings in E, Op.8, No.1, R.269 "La Primavera" - 1. Allegro  3:36
   2. Mozart: Violin Concerto No.3 in G, K.216 - 3. Rondo (Allegro) 6:22  
   3. Mozart: Violin Concerto No.5 in A, K.219 - 2. Adagio 11:15 
   4. Beethoven: Violin Romance No.2 in F major, Op.50 8:27 
   5. Massenet: Thais / Acte Deux - Meditation 6:43   
   6. Kreisler: Liebesleid 4:24  
   7. Previn: Tango Song and Dance (dedicated to Anne-Sophie Mutter) - 2. Song. Simply 5:03   
   8. Brahms: Hungarian Dance No.6 in D flat - transc. for Violin and Piano by Joseph Joachim 3:46 
   9. Gershwin: Porgy and Bess - Summertime 2:14  		play
 10. Sarasate: Carmen Fantasy, Op.25 - Introduction. Allegro moderato 3:22  
 11. Sarasate: Carmen Fantasy, Op.25 - 1. Moderato 2:26  
 12. Sarasate: Carmen Fantasy, Op.25 - 2. Lento assai 2:12 	play 
 13. Sarasate: Carmen Fantasy, Op.25 - 3. Allegro moderato 2:06   
 14. Sarasate: Carmen Fantasy, Op.25 - 4. Moderato 2:28

Performers: 
Anne-Sophie Mutter – violin
Lambert Orkis - piano (6,8)
Trondheim Soloists (1)
London Philharmonic Orchestra (2,3)
New York Philharmonic (4) 
Vienna Philharmonic Orchestra (5, 10-14)
James Levine - conductor (5, 10-14)
Kurt Masur - conductor (4)
Andre Previn (7,9)

Although this CD's title, Simply Anne-Sophie, implies trifles, and the selection here, taken from the violinist's previous recordings, is not challenging, there's nothing simple about Mutter's virtuosity or commitment to the music. The Meditation from Thais is ravishing, "Summertime" sings as it should, the Four Seasons excerpt is fresh and dashing, the Rondeau from Mozart's Third Concerto is filled with energy, and the Adagio from the Fifth is warm and meltingly played. The CD ends with Sarasate's Carmen Fantasy, which makes up in jaw-dropping skill what it lacks in musical substance. Accompanied by orchestras led by Kurt Masur and James Levine and with pianists André Previn and Lambert Orkis, this collection is a great introduction to Mutter's gifts and a grand entertainment. --Robert Levine, Editorial Reviews

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J.S. Bach: Violin Concerto No.1 in A minor, BWV 1041
1. 1. Allegro moderato		3:36 	
2. 2.Andante		6:41 	
3. 3. Allegro assai	3:10 	

J.S. Bach: Violin Concerto No.2 in E, BWV 1042
4. 1. Allegro		7:44 	
5. 2. Adagio		7:11 	
6. 3. Allegro assai	2:30 	

7.Gubaidulina: In tempus praesens (Concerto for Violin and Orchestra)	32:47

Anne-Sophie Mutter – Violin, Conductor (1-6)
Trondheim Soloists (Trondheimsolistene)  (1-6)
London Symphony Orchestra (7)
Valery Gergiev – Conductor (7)

Two years before the release of this disc, German violinist Anne-Sophie Mutter told Musical America she intended to stop performing "when I reach my 45th birthday," that is, in June 2008. Shortly afterwards, however, she told the Washington Post she'd been "misinterpreted," and that she intended to keep playing as long as she could "bring anything new, anything important, anything different to music."

The question, of course, is: has she? Let us take this 2008 Deutsche Grammophon disc as a measure. Half the repertoire is extremely familiar -- Bach's solo violin concertos in A minor and E major -- and half is totally unfamiliar -- Sofia Gubaidulina's concerto for violin and orchestra called In tempus prasens. Mutter had recorded Bach's concertos 25 years earlier with Salvatore Accardo and the English Chamber Orchestra. Those performances were lovely and lyrical, but plain vanilla readings; these performances, while no less lovely, are much more expressive and dramatic. As always, Mutter's tone is silken and her technique impeccable. But now her interpretations are much freer. With no concessions made to historically informed performance practice, Mutter's playing is filled with vibrato, portimento, and glissando, as well as with a very flexible sense of tempo rubato in the cadenzas. Leading the Trondheim Soloists, who probably need very little guidance in these works, Mutter's current take on Bach is surely new and different, though whether or not it's important remains to be seen.

But what does not remain to be seen is the importance of Mutter's account of Gubaidulina's concerto. In its five-movement-in-one structure, Gubaidulina's work embodies a dramatic religious narrative -- the journey from hell to heaven -- within the form's traditional opposition of soloist and orchestra. Mutter, who commissioned and encouraged the concerto, delivers a premiere recording that is, for all intents and purposes, definitive. Her soaring tone, smooth legato, and subtly nuanced colors make the most of the work's opportunities for virtuoso display, but her clear-headed, warm-hearted interpretation makes the most of the work's opportunities for emotional and spiritual growth without ever tipping over into histrionics. Accompanied by the masterful Valery Gergiev leading the consummately professional London Symphony Orchestra and recorded in translucent digital sound, Mutter's In tempus prasens is not only new and different; it is clearly important and those listeners interested either in Mutter or in contemporary music will be obliged to hear this disc. ---James Leonard, Rovi

In Tempus Praesens is Sofia Gubaidulina's second violin concerto, composed for Anne-Sophie Mutter and premiered by her last year. Although a number of Gubaidulina's recent works seemed to have been repeating the same rhetorical tricks, the five-section structure of the concerto is more convincing: a progression from darkness to light in which the solo violin gradually assumes the role of the dominant partner through a claustrophobic dialogue with the orchestra. There are moments in the work, such as its transcendent ending, that recall Berg's concerto, though Gubaidulina's brooding orchestral sonorities generate her own musical world. The new piece is nicely complemented by two of Bach's violin concertos, in which Mutter is partnered by the Trondheim Soloists, whose performing style is a hybrid between modern techniques and period ideas: they use baroque bows but on metal stringed instruments. The results are lively, though unremarkable. It's the Gubaidulina that will sell the disc to the composer's admirers. --- Andrew Clements, theguardian.com

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01. Pablo de Sarasate - Zigeunerweisen Op. 20
02. Henryk Wienawski - Legende en sol mineur Op. 17
03. Giuseppe Tartini - Sonate g-moll "Teufelstriller-Sonate"
04. Maurice Ravel - Tzigane - Rapsodie de Concert pour Violon et Orchestre
05. Jules Massenet - Meditation aus "Thai's"
6-10. Pablo de Sarasate - Fantaisie de Concert sur des motifs de l'opera "Carmen", Op. 25
11. Gabriel Faure - Berceuse en re majeur Op. 16

Anne-Sophie Mutter – violin
Wiener Philharmoniker
James Levine – conductor

Anne-SophieMutter obviously had fun making this disc. In the quiet pieces (Massenet, Ysaÿe, Fauré) which serve as interludes, she plays with her usual exquisite taste. In the showpieces, though, she goes to town, sliding, scooping, exaggerating, and letting all the stops out. The gypsy inflection she uses in Ravel's Tzigane and Sarasate's Zigeunerweisen is delicious. Even a ridiculous orchestral arrangement of Tartini's Devil's Trill Sonata is more amusing than offensive. With James Levine and the Berlin Philharmonic providing uncommonly alert and powerful support, and Deutsche Grammophon's realistic sound, this disc is a real treat for violin lovers. --Leslie Gerber, Editorial Reviews

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Wolfgang Rihm 
1. Lichtes Spiel	17:08
Krzysztof Penderecki
2. Duo concertante	5:02
Wolfgang Rihm
3. Dyade	12:34
Sebastian Currier
4. Time Machine - 1. Fragmented Time	2:36
5. Time Machine - 2. Time Delay	4:18
6. Time Machine - 3. Compressed Time	1:28
7. Time Machine - 4. Overlapping Time	3:44
8. Time Machine - 5. Entropic Time	6:25
9. Time Machine - 6. Backwards Time	1:39
10. Time Machine - 7. Harmonic Time	8:51

Anne-Sophie Mutter – violin
Roman Patkolo – double bass

New York Philharmonic
Michael Francis – conductor (1)
Alan Gilbert – conductor (2-10)

The extraordinary German violinist Anne-Sophie Mutter is one virtuosa who takes a deep (as opposed to dutiful) personal interest in the music of her time, working through her Anne-Sophie Mutter Foundation to enlarge the available contemporary violin repertoire.

Her website lists the 14 world premieres she has given to date. Composers who have been commissioned to write works for her include Wolfgang Rihm, Kryzysztof Penderecki, Sofia Gubaidulina, and André Previn, her ex-husband. This release is DG’s way of honoring her serious commitment to new music in this, her 35th season onstage. (To further celebrate that milestone, the yellow label is simultaneously releasing Anne-Sophie Mutter: ASM35, The Complete Musician, a limited-edition, 40-CD box set containing the violinist’s entire DG discography, along with a hardbound book. Budget-minded Mutter buffs will be pleased to know that a specially priced, two-CD set of highlights from that hefty omnibus also is available.)

All four of these world-premiere recordings amply justify Mutter’s advocacy as well as her zealous efforts to get them in front of the widest possible public. Both orchestral recordings, Sebastian Currier’s Time Machines and Wolfgang Rihm’s Lichtes Spiel, derive from concert performances she gave with the New York Philharmonic at Avery Fisher Hall in June 2011 and November 2010, respectively, during her season-long residency with that ensemble.

Per its title, Currier’s 2007 quasi-concerto explores the relationship between one’s perception of music moving in time, and time itself. It is cast in seven sections, each with “time” in its title, a few lasting barely longer than one minute, the last (and longest), ‘Harmonic Time,’ nearly nine minutes in duration. The coloristic, rhythmic and timbral variety of this music is enormous, ranging from the mechanistic, Ligeti-like buzzing of the opening section, ‘Fragmented Time’; to the jumpy perpetual-motion of the third, ‘Compressed Time’; through the luminous stillness of the final section. The music holds together almost despite itself, within a basically tonal idiom that makes up in sly cleverness what it may lack in sheer originality.

Rihm’s violin-and-orchestra Lichtes Spiel (‘Light Games’, 2009) and chamber duo Dyade (2010-11) are the latest in a series of works the German composer has written for Mutter. (His Gesungene Zeit, or ‘Time Chant’, she recorded with the Chicago Symphony Orchestra and James Levine for DG in 1991.) For Lichtes Spiel (subtitled ‘A Summer Piece’) Mutter requested that Rihm write for a Mozart-sized orchestra. He has the violinist spinning elegiac, post-Bergian lyricism over an ensemble laced with flickering lights, like Shakespeare’s will-o’-the-wisps in A Midsummer Night’s Dream. Along with Gesungene Zeit, this is one of Rihm’s most accessible concertante pieces.

Mutter’s expert duo partner in both Dyade and Penderecki’s Duo concertante (2010) is Roman Patkoló, a young Slovak double bassist who earlier this year became the first recipient of her foundation’s Aida Stucki Award, a $14,000 prize meant to help young string players realize their career ambitions.

The Rihm, all 17 minutes of it, is a now-pensive, now-agitated dialogue in which the stringed instruments trade musical personas before merging into a single voice. The brief Penderecki duo opens and closes with a solemn, cadenza-like Andante, with a skittish, scherzando-style section in the middle. Mutter and Patkoló play to each other’s considerable strengths in both works.

So, too, do the Philharmonic players make model collaborators under conductors Alan Gilbert and Michael Francis. The recordings convey the bracing vitality and spontaneity of Mutter’s performances. Altogether one of the more enjoyable contemporary collections to reach me in many a month. --- John von Rhein, theclassicalreview.com

Anne-Sophie Mutter has always been an advocate for commissioning and performing new works. While Deutsche Grammophon takes a look back at her career, the Yellow Label also acknowledges the tremendous amount of work she has done to expand the violin repertoire for future generations with this all-new recording of world-premiere works. All works were performed during the violinist's New York Philharmonic Artist-in-Residency series of concerts during the 2010 | 11 season.

Features Wolfgang Rihm's Lichtes Spiel (Mutter with NYPhil) and Dyade für Violine und Kontrabass (Mutter with Roman Patkoló, double bass); Sebastian Currier's Time Machines (Mutter with NYPhil); and Krzysztof Penderecki's Duo concertante per violino e contrabbasso (Mutter with Patkoló). ---Editorial Reviews

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1. Brahms: Violin Concerto in D, Op.77 - 1. Allegro non troppo		22:57	
2. Brahms: Violin Concerto in D, Op.77 - 2. Adagio		9:24
3. Brahms: Violin Concerto in D, Op.77 - 3. Allegro giocoso, ma non troppo vivace - Poco più presto	7:54	
4. Schumann: Fantasy for Violin and Orchestra in C major op.131 - Moderato semplice ma espressivo	13:20

Anne-Sophie Mutter – Violin
New York Philharmonic
Kurt Masur - Director

In his book of the 1914 St. Petersburg chess tournament, Dr. Siegbert Tarrasch, bitter adversary of world champion Emanuel Lasker, generously conceded that Lasker's magnificent play in that event (he won it in a blistering finish) had made him worth his huge fee. Norman Lebrecht has recently documented the fees paid to artists like Anne-Sophie Mutter. From the evidence of her recording of the Brahms concerto with the New York Philharmonic, her playing, like Lasker's, has made her worth it!

In 1978, it was natural to wonder what would happen when the youthful purity and grace of Mutter's Mozart Third Concerto (DG 2531 049, now available on DG 429 814-2) gave way to more mature, though not necessarily more insightful, musicianship. Works like Brahms's Concerto provide a good chance to assess how freely her musical impulses continue to flow. And the good news is that there is still a rich vein to be tapped. Compassing her expressive ends less through mannered portamentos (some of these are, in fact, a bit ungainly) than through firmly controlled dynamics, articulation, and vibrato, she has developed more as a classical than as a romantic violinist—but one nevertheless as capable of flamboyant gesture as Stern or Oistrakh. Although her earlier recordings suggested she might, Mutter still does not possess the strong personality of Szigeti, whose 1928 performance of Brahms's Concerto with Sir Hamilton Harty and the Halle Orchestra was exceptionally tough (although she comes close in the finale), or of Kreisler, whose 1927 reading with Blech is at once magisterial and sweet-tempered; still in all, hers is as strong-minded and individual as violin playing comes nowadays.

Joseph Hellmesberger branded Brahms's as a concerto against the violin (remember Sarasate's displeasure at having to stand about while the oboe played the "only good melody" in the slow movement), and violinists fall into two main camps: those who regret that Joseph Joachim disturbed the flow of Brahms's pianistically conceived ideas, and those who regret that Brahms took so few of Joachim's suggestions. Mutter, apparently in the first camp, plays a concerto solo, not a symphonic obbligato, and the engineers have supported her point of view. But the prominence they have accorded her is not altogether inappropriate: compared to Mutter's angular strength, the orchestral statement, although richly textured, seems soft edged. Despite its merits, however, her second recording of the Brahms reveals little that wasn't compassed in her 1982 account with Karajan and his smoothly powerful orchestral juggernaut, now available on DG 415 565-2, and even lacks the brash tonal edge of that reading's visceral finale. But it's still propulsive and virtuosic; and what it may have lost in precocious freshness, it has gained in greater overall coherence—a mark, after all, of musical maturity. In its combination of virtuosity and control—and its close miking—her performance recalls another—Leonid Kogan's with the Philharmonia Orchestra conducted by Kiril Kondrashin (Angel 35690 and S-35690, reissued on Seraphim S-60059). A comparison is unavoidable with the maturing but a bit younger Ginette Neveu's 1949 live recording with Antal Dorati (Music & Arts CD-837), in which David K. Nelson (Fanfare 18:4, pp. 124-26) found evidence that her playing was becoming "more rough-edged and probing (more like Szigeti)"—more like Szigeti, in fact, than Szigeti himself dared to sound! In contrast, Mutter has steel-wooled some of the rough surfaces that made her earlier recording approach Neveu's from 1949.

Schumann's infrequently heard Fantasy is familiar principally from recordings by German violinists Aida Stücki (Vox PL 7680. Mutter studied with Stikki at the Winterthur Conservatory after the death of her first teacher—was that how she became aware of the work?) and Suzanne Lautenbacher (the latter now available in VoxBox CDX-5027. Kogan and Valéry Klimov also recorded it, but with piano). More extroverted than Schumann's concerto, the Fantasy's violinistic brilliance alone might have been expected to keep it alive; and Mutter's straightforward virtuosity, hardly inappropriate in such a work, helps to prop up its slenderer musical content. The pairing, although not especially generous at 53:35, is an apt one, the Fantasy serving as an extended encore with a strong connection to the main program. Mutter's is first-rate Brahms that could be strongly recommended even without any discmate, but with Schumann's Fantasy, it's all the more desirable— not quite Lasker in St. Petersburg 1914, but worth its price nonetheless. ---Robert Maxham, FANFARE [3/1998], arkivmusic.com

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