Oh Mutter!!!

Wonderful musical moments like those in this boxed set are rare indeed. Anne-Sophie Mutter and Lambert Orkis are without a doubt the perfect duo to perform the greatest violin sonatas by the greatest composer in the history of music. Add that to a beautifully produced set of Deutsche Grammophon cd’s of the highest standards, and you have recordings that will be a centerpiece of any classical music collection. It is one of the centerpieces of my collection, which means a great deal since it has competition from over 3,500 other classical cd’s.

Writing this review is actually more difficult than I considered it would be, as the main dilemma isn’t what to write, but how much. You see, these recordings present the listener so much, that one could write about their offerings for a longer period than most Epinions members would care to read. Therefore, I have decided to discuss the recordings in broader terms, with some references to individual compositions.

Anne-Sophie Mutter is in my opinion the finest violinist alive today. I know that this comment is one which welcomes shouts of “Perlman” or “Stern”, but that is my particular preference. In truth a devoted classical music listener can debate such things as a baseball fan could debate the whether Tom Seaver or Steve Carlton was the better pitcher during their primes.

For those who are familiar with her talents, her abilities are well known. However, if you are a reader who is not as familiar with her or even classical music I will elaborate further. Ms. Mutter is the type of violinist who has the most exceptional of musical gifts. This is the ability to perform both the most difficult and simplest works as if they were the same. Her technical ability has no master, while at the same time she displays a tone, which could almost leap out from the recording and simply say, “Mutter”. I have heard a lot of superb violinists in my life, both live and on recordings, but Mutter’s performances have a distinct voice, which once heard can never be forgotten. One way to notice this is to listen to a performance by another violinist then followed by that of Mutter performing the same piece. The differences will be true and clear.

When I first heard that Anne-Sophie Mutter was about to embark of a full year dedicated to the performance of Beethoven’s violin sonatas, culminating with the completion of a set of complete recordings, I was anticipating an event, which to me as a classical music lover, was to be a landmark in my life never to be forgotten. In fact, I was lucky enough to have series tickets to the live performances of these works, performed by Ms. Mutter and Mr. Orkis at Carnegie Hall in Manhattan. Those performances will not only stay with me eternally, but no doubt with all those others who were lucky enough to obtain tickets.

Earlier I noted that Ms. Mutter and Mr. Orkis are the perfect duo to perform these amazing compositions. This is because they have chemistry, which is vital in the performance of such works. Although separate and distinct performers, it is critical that they in effect become one instrument. In these performances they do accomplish just that.

During one of the concerts I attended, Ms. Mutter told the audience that they should remember that Beethoven noted that these works were not really violin sonatas, but “sonatas for violin and piano”. She elaborated by saying that both instruments should be treated as equals, and that it was her opinion that such was Beethoven’s intention. After all, it was the piano not the violin that Beethoven so completely mastered. Therefore, I suggest that when listening to these recordings, that you note how equal both instruments truly are treated. Although to most the violin does command a majority of the attention, it would be a loss to any listener to miss what the piano contributes to the overall performances. It is hardly used as window dressing for the violin.

This leads us to Mr. Lambert Orkis, who justly deserves a great deal of praise in his own right. I will not say that he is to the piano what Ms. Mutter is to the violin. But I will say that he is an exciting pianist with a unique style of his own. Most of all, he seems to be a perfect fit for Anne-Sophie Mutter, and therefore should claim a great deal of credit for making these recordings the watersheds they are.

As I have noted, it is very difficult to be brief when writing about the compositions themselves. We must note that as with most of Beethoven’s works, each is unique and has something wonderful yet different to present. So, if I mention the “Spring” Sonata or the “Kreutzer” Sonata, but fail to mention the Sonata #6 in A Major opus 30/1 or the Sonata #10 in G Major opus 96, it is not to give any lesser importance to those works.

When listening to the “Spring Sonata” it is easy to be lead into a false sense of thinking that it is not one of the more difficult pieces in this set to perform. However, as a musician (clarinetist) I can attest to the fact that it is often that the most tranquil and less technically complex compositions that often offer a greater challenge to master. For the musical dance between violin and piano which the master of music created with this unsurpassed piece of music is one which requires more than perfect timing and tone, but perfect unity in style which few other pieces outside those composed by Beethoven could even hope to accomplish. It is a composition of melody and variations, which are as rich as any “Spring” has to offer. I have never heard this particular piece of music played at this same level on any other recording.

The recording of the “Kreutzer” Sonata like the “Spring” is the finest recording of this composition I have ever come across. Dramatically different than the “Spring” it is often forceful and extremely virtuosic. Although displaying Beethoven’s tremendous gift for variation throughout the second movement “Andante con Variazioni”, its supremacy lays in the unforgettable first movement “Adagio sostenuto – Presto”. That first movement being the most explosive movement ever written for a sonata of this type, with powers enough to have been written for a full concerto instead. It is my favorite movement from any sonata for any instrument. It is in this movement that one notices certain talents offered by Ms. Mutter that no other violinist today could dream to surpass. I speak of technical ability, style and tone combining to create a new description of what music can be. Since I have noted the first movements, the “Presto” should not be left out. It jumps out at one from the first cord on the piano, racing through a myriad of fabulous musical moments until the very end. Notice here how Beethoven so easily moves from speed to interludes of peace and back again. This is MUSIC!

In conclusion, I urge anyone considering the purchase of this cd set to include it in your library of music without delay. This is Beethoven, “The Master of Music” performed by Anne-Sophie Mutter and Lambert Orkis in a brilliantly produced set of compact disks by Deutsche Grammophon. Play it over and over again, as each listening teaches one something new and wonderful not understood during a previous hearing.

Additional Information:
1) This set also offers a fine and equally exciting series of encores.
2) A major feature offered in this set is the inclusion of CD-plusscore, which allows one to follow the recording and score simultaneously on a computer. You can also view illustrated articles on the artists, works and the composer. Additionally there are MIDI files to allow you to practice with and create personal interpretations.