Buy “Anne-Sophie Mutter [Violin], Lambert Orkis [Piano], Brahms, Johannes [Composer], Mozart, Wolfgang Amadeus [Composer], Debussy, Claude [Composer], Franck, Csar [Composer], Lambert Orkis – Anne-Sophie Mutter – The Berlin Recital – Music” Online

Anne-Sophie Mutter - The Berlin Recital

Anne-Sophie Mutter gives an excellent interpretation of Cesar Franck sonata as well as the other pieces. I strongly recommend this CD. Check it out!

Anne-Sophie Mutter – The Berlin Recital by Anne-Sophie Mutter [Violin]When sold by , this product will be manufactured on demand using CD-R recordable media. ‘s standard return policy will apply.

 

 

 

Anne-Sophie Mutter – The Berlin Recital Review

 

This album is simply one of the most spectacular contributions to the recorded literature of the violin. Great selection of pieces, played beautifully, and recorded correctly. Gorgeous. Worth the price for the Debussy or the Franck alone. -Read Reviews-

Other reviewers have commented on Mutter’s extraordinary technique and fully thought out interpretive choices on this recital. For me the highlight of the disc is the Mozart E-minor Sonata. This is the only Violin Sonata Mozart worte in the minor key, and given its chronological proximity to the death of his mother, one cannot help but wonder about its biographical significance. In any case, what a profoundly tragic and yet dignified music this is! The first movement is unrelentingly dramatic and contrapuntally ingenious. The second movement has an abundance of sweetness and melancholy that is positively Schubertian. One can argue that in terms of tragic grandeur and expressive profundity, Mozart never surpassed this sonata in any of his later compositions. Mutter’s interpretation of this sonata is stunning. I was totally surprised and initially disturbed by the wealth of accents, rubato and tonal colors that she brought to the piece. The overall tempo was also unusually slow. (What a contrast to another recent recording of the sonata by Hilary Hahn, which was also technically flawless, but interpretively more restrained and “classical”. ) And yet the more I listened to the performance, the more I come to be persuaded that the treatment was fully appropriate and indeed matches the profound musical utterances inherent in the composition. We probably will not hear anything like this in a long time. And really, there is no better way to celebrate the 250th birthday of Mozart than listening to it and be moved by again and again by this miraculous music.

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