Beethoven: Violin Concerto (CD review)

Also, Romances. Anne-Sophie Mutter; Kurt Masur, New York Philharmonic. DG 289 471 349-2.

Even a decade or more ago when this disc first appeared, most listeners recognized that Anne-Sophie Mutter was among the world's most-accomplished violinists, a virtuoso of the highest order. But as much as I respect her talent, did DG really have to emphasize her physical attractiveness to such a degree as on this album just to sell her discs? Ms. Mutter's photograph appears no less than nineteen times on the cover jacket, booklet insert, and CD itself. Perhaps it's all part of our cult of star worship. Her name looms in print twice the size of Beethoven's on the front of the album. But I suppose the point is to get as many people involved with classical music as possible, and if the folks at DG want to flaunt Ms. Mutter's natural beauty in addition to her musical talents, more power to them.

In any case, the performance is not all that much better than any of 800 other recordings available of Beethoven's Violin Concerto in D major, Op. 61, and for me it's certainly not as good as the performance she recorded with Herbert von Karajan years earlier. Now, you would expect Ms. Mutter to be strong on lyricism and grace, which she is, and she conveys a requisite power as well. What I didn't expect was her rather lax rendering of the outer movements, particularly the opening section, and an equally indulgent accompaniment from Kurt Masur and his New York players in an interpretation that seems to these ears slow to a fault. Never did I find in this rendering of the piece the soaring grandeur conveyed by artists like Henryk Szeryng (Philips), Jasha Heifetz (RCA), Itzhak Perlman (EMI), Gidon Kremer (Teldec), Vadim Repin (DG), Arthur Grumiaux (PentaTone), and others.

Anne-Sophie Mutter
It seems almost as though Ms. Mutter had gotten older and more set in her ways. The newer recording is not as Romantic as the one with Karajan, and the soloist now seems more serious. Perhaps she was trying to appear more mature? I don't know. Or maybe it was the influence of Karajan on the younger Mutter that made all the difference. Karajan was a pretty dominate character and had a glamorous style of his own, which had to have rubbed off on Ms. Mutter. Masur, on the other hand, always seemed to me rather more prosaic, and it could have been showing in this later DG recording.

Oddly, perhaps, I thought the two Romances for Violin and Orchestra that DG coupled with the Concerto sounded somewhat quicker paced than most I've heard and lost some of their poetry in the process. Too slow, too fast? Go figure.

DG's sound is the high point of the recording. It is clean and clear and very dynamic, perhaps missing a little something in the strongest bass and the most-extended highs but comfortable and realistic, nonetheless. Now, if only the primary performance were more animated I could have gotten behind this release a bit more. However, this is not to say it will disappoint everyone, especially not Ms. Mutter's fans. It's only to suggest that if you already have a favorite recording of the work on your shelf, there is no compelling reason I can suggest for your buying this one, too.

JJP

To listen to 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 John 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.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical 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 I 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 an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. 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 LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. 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.
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.

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