Mozart: Violin Concertos Nos. 1, 2 & 4 (XRCD24 review)

Anne-Sophie Mutter, violin and conductor; London Philharmonic Orchestra. DG/JVC 480 674-1.

German violinist Anne-Sophie Mutter made her recording debut in 1978 at the age of fifteen playing Mozart’s Violin Concertos Nos. 3 and 5 with the eminent conductor Herbert von Karajan; one of the world’s great orchestras, the Berlin Philharmonic; and the prestigious record label Deutsche Grammophon. Several years later, she recorded Nos. 2 and 4 with Riccardo Muti and the Philharmonia Orchestra for EMI. It was an auspicious beginning to her recording career to say the least, and she has never looked back, now recognized as one of the leading performers in her field. About a quarter of a century later, in 2003, she recorded all five of the Mozart violin concertos again, this time with the London Philharmonic, which she also conducted. The present, 2012 disc presents three of those concertos on a JVC remastered XRCD24/K2 audiophile disc. 

The disc’s title is actually Mozart: The Violin Concertos (Highlights), but I think the designation “Highlights” is misleading. It makes it appear as if there are only portions of the concertos involved when, rest assured, we get three complete violin concertos. It’s just that originally DG issued the five concertos along with the Sinfonia concertante in a two-disc set, so this single-disc audiophile release contains only three items from that bigger package; thus, the possibly confusing “Highlights” tag.

The two big questions, of course, are whether Ms. Mutter’s newer interpretations improve upon her early ones and whether JVC’s remastering is worth the money, both highly subjective judgments. Let’s start with the performances.

The newer interpretations have plenty of zip and thrust and a greater rhythmic bounce than the earlier ones. Ms. Mutter entertains slightly quicker tempos than before, perhaps as a nod to the period-practice crowd. Still, these are essentially gentle, cultured, mature, and lyrical readings, never overstepping the bounds of tradition. The older performances seem a modicum more reserved, more classical in tone. Moreover, the slow movements in the newer performances are as heartfelt as ever, so there is really nothing lost, unless it’s the more Romantic, dreamy-eyed sentiment of Muti and Karajan. If anything, Ms. Mutter is today better able to make her violin cry out in joy and passion. Her intonation, phrasing, style, and delivery are, as always, spot on, graceful and articulate.

All I can say about the JVC remaster is that the disc ain’t cheap, but it sure sounds good. Unfortunately, and here’s the rub, while I usually have the original discs for side-by-side comparisons, this time I did not have the regular DG set available. What I did have were Mutter’s old Muti (EMI) and Karajan (DG) discs, as well as the knowledge that in my prior experience every XRCD I’ve ever compared to its original counterpart has sounded better (although in some cases just barely). I have no reason to think the same isn’t true here.

Sonically, the JVC XRCD24/K2 remaster sounded superior to the Muti and Karajan in every way but one: The Muti recording seemed a touch more dimensional. The engineers miked the newer Mutter performances a bit closer than either the older EMI or DG, thus losing a very little something in orchestral depth; be that as it may, the closer sound reproduces a truthful air and space. In every other respect, the JVC product sounded best. The newer recording is clearer and cleaner for one thing, with a fine sense of presence and occasion. It also displays a greater dynamic range, a stronger impact, and a sharper transient attack. In the matter of frequency balance, the JVC is more neutral, the older recordings a touch brighter and less natural. There is also in the JVC a realistic bite on the violin sound, yet without any forward edge or hardness. More important, the JVC remastered sound appears smoother and firmer than the older sound, more lifelike all around.

In a nutshell, if you like Ms. Mutter’s earlier interpretations of the concertos, you will no doubt like her newer ones as well; they may lose a little something in formal classical feel and design, but they make up for it in joyous spontaneity. In terms of sound, the JVC remaster is hard to fault; it’s a tad close but sleek and polished, with no hint of distortion.

Just remember, the JVC disc isn’t for everyone; you can buy DG’s two-disc set much cheaper than this single disc, and I cannot even vouch absolutely for the JVC’s sonic superiority; therefore, I could not in all conscience recommend the remaster without qualification. JVC clearly intend the product for well-heeled audiophiles. What’s more, you may have trouble finding it for sale, short of ordering it from Europe or Japan, where it would be more prohibitively expensive given the shipping costs involved. Nevertheless, if you’re really intent on pursuing it, several places you can buy JVC XRCD’s in the U.S. include Elusive Disc ( and Acoustic Sounds (

To hear a brief excerpt from this album, click here:


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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura’s hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
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William (Bill) Heck, Contributing Writer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet DAC/preamp/crossover, Tandberg 2016A and Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa