Sonate No. 1 In D Major Op. 12 No. 1: 1. Allegro con brio
Sonate No. 1 In D Major Op. 12 No. 1: 2. Tema con Variazioni. Andante con moto (Var. I-IV)
Sonate No. 1 In D Major Op. 12 No. 1: 3. Rondo. Allegro
Sonate No. 2 In A Major Op. 12 No. 2: 1. Allegro vivace
Sonate No. 2 In A Major Op. 12 No. 2: 2. Andante piu tosto Allegretto
Sonate No. 2 In A Major Op. 12 No. 2: 3. Allegro piacevole
Sonate No. 3 In E Flat Major Op. 12 No. 3: 1. Allegro con spirito
Sonate No. 3 In E Flat Major Op. 12 No. 3: 2. Adagio con molta espressione
Sonate No. 3 In E Flat Major Op. 12 No. 3: 3. Rondo. Allegro molto
Track Listings (8) - Disc #2
Sonate No. 4 In A Minor Op 23: 1. Presto
Sonate No. 4 In A Minor Op 23: 2. Andante scherzoso, piu Allegretto
Sonate No. 4 In A Minor Op 23: 3. Allegro molto
Sonate No. 5 In F Major Op. 24 'Spring': 1. Allegro
Sonate No. 5 In F Major Op. 24 'Spring': 2. Adagio molto espressivo
Sonate No. 5 In F Major Op. 24 'Spring': 3. Scherzo. Allegro molto
Sonate No. 5 In F Major Op. 24 'Spring': 4. Rondo. Allegro ma non troppo
Allegro In G Major: Encore: 5 Pieces For Mechanical Clock
Track Listings (11) - Disc #3
Sonate No. 6 In A Major Op. 30 No. 1: 1. Allegro
Sonate No. 6 In A Major Op. 30 No. 1: 2. Adagio molto espressivo
Sonate No. 6 In A Major Op. 30 No. 1: 3. Allegretto con Variazioni (I-VI)
Sonate No. 7 In C Minor Op. 30 No. 2: 1. Allegro con brio
Sonate No. 7 In C Minor Op. 30 No. 2: 2. Adagio cantabile
Sonate No. 7 In C Minor Op. 30 No. 2: 3. Scherzo. Allegro - Trio
Sonate No. 7 In C Minor Op. 30 No. 2: 4. Finale. Allegro - Presto
Sonate No. 8 In G Major Op. 30 No. 3: 1. Allegro assai
Sonate No. 8 In G Major Op. 30 No. 3: 2. Tempo di Minuetto, ma molto moderato e grazioso
Sonate No. 8 In G Major Op. 30 No. 3: 3. Allegro vivace
Contretanz In B Flat Major: Zugabe: Contretanz In B Flat Major - Contretanz In E Flat Major (12 Contretanze fur Orchester WoO 14: No. 4 & 7)
Track Listings (8) - Disc #4
Sonate No. 9 In A Major Op. 47 'Kreutzer-Sonate': 1. Adagio sostenuto - Presto
Sonate No. 9 In A Major Op. 47 'Kreutzer-Sonate': 2. Andante con Variazioni (I-VI)
Sonate No. 9 In A Major Op. 47 'Kreutzer-Sonate': 3. Presto
Sonate No. 10 In G Major Op. 96: 1. Allegro moderato
Sonate No. 10 In G Major Op. 96: 2. Adagio espressivo
Sonate No. 10 In G Major Op. 96: 3. Scherzo. Allegro - Trio - Coda
Sonate No. 10 In G Major Op. 96: 4. Poco Allegretto - Adagio espressivo - Tempo I
Menuett In G Major: Menuett In G Major (6 Menuette fur Orchester WoO 10: No. 2)
This complete cycle of Beethoven violin sonatas was recorded during a series of live performances in 1998. Mutter devoted the entire year, together with her partner, Lambert Orkis, to an extensive global tour focused on th... more »ese works, and the accounts are infused with a sense of cross-connection, expressive freedom, and depth of insight acquired from such prolonged concentration. It shows Mutter in full maturity, commanding the artistic confidence to take risks and imprint her intensely personal signature. Mutter's characteristically sumptuous, caressing tone tends to be overstated for Beethoven's heartily playful turns and mercurial humor in the fast movements of the Op. 12 group, but the luminous beauty with which she phrases the Adagio of the third sonata is just one of many passages (consider, for example, Sonata No. 8's slow movement, as well) of sustained, heart-stopping poetry on this set. The famous "Spring" Sonata gains an added dimension in the context of the passionately engaged performance of its preceding companion/counterpart predecessor (the Fourth Sonata in A Minor). There's a full partnership between violin and piano (too often missing in accounts of these works) that allows Mutter and Orkis to play off each other with full-blooded spontaneity, perhaps at its most engrossing in the boldly searching scope of their "Kreutzer" Sonata, which stands in wonderful contrast to the intimate loftiness of the final sonata in G--Mutter's own favorite. Throughout the set, Mutter couples her probing intelligence with nuanced phrasing, incisive rhythms, and expressive gestures (notice the tender turn she gives to the all-important trill that opens the last sonata) to bore into the music, unearthing many buried treasures. The discs also include a handful of encores as bonbons and are encoded with CD-plus software so that listeners can follow the scores of four of the sonatas. --Thomas May« less
This complete cycle of Beethoven violin sonatas was recorded during a series of live performances in 1998. Mutter devoted the entire year, together with her partner, Lambert Orkis, to an extensive global tour focused on these works, and the accounts are infused with a sense of cross-connection, expressive freedom, and depth of insight acquired from such prolonged concentration. It shows Mutter in full maturity, commanding the artistic confidence to take risks and imprint her intensely personal signature. Mutter's characteristically sumptuous, caressing tone tends to be overstated for Beethoven's heartily playful turns and mercurial humor in the fast movements of the Op. 12 group, but the luminous beauty with which she phrases the Adagio of the third sonata is just one of many passages (consider, for example, Sonata No. 8's slow movement, as well) of sustained, heart-stopping poetry on this set. The famous "Spring" Sonata gains an added dimension in the context of the passionately engaged performance of its preceding companion/counterpart predecessor (the Fourth Sonata in A Minor). There's a full partnership between violin and piano (too often missing in accounts of these works) that allows Mutter and Orkis to play off each other with full-blooded spontaneity, perhaps at its most engrossing in the boldly searching scope of their "Kreutzer" Sonata, which stands in wonderful contrast to the intimate loftiness of the final sonata in G--Mutter's own favorite. Throughout the set, Mutter couples her probing intelligence with nuanced phrasing, incisive rhythms, and expressive gestures (notice the tender turn she gives to the all-important trill that opens the last sonata) to bore into the music, unearthing many buried treasures. The discs also include a handful of encores as bonbons and are encoded with CD-plus software so that listeners can follow the scores of four of the sonatas. --Thomas May
CD Reviews
Not for everyone, but I love it
D. Nathan Rice | Tempe, Arizona | 03/05/2000
(5 out of 5 stars)
"For those of you who enjoy listening to Beethoven on period instruments (shudder), this is not the recording for you. Nor is it a good recording for those who like things buttoned down, straightforward, steady, restrained, and unemotional.However, if you truly enjoy Beethoven and don't mind hearing new things, this recording is a must-buy. Mutter and Orkis bring a whole new perspective to the sonatas. Their wild tempi and dynamics are a little scary at first, but you'll soon fall in love with the powerful and lyrical interpretation of these sonatas and wonder what you did before you owned this wonderful collection.Close attention was paid to the score: every one of Mutter's dynamic, phrasing, and articulation choices is supported by the music. This recording does not go against Beethoven, as some have said on this website, but actually bring's Beethoven's markings to the forefront.The sound of the duo is just fantastic. No doubt this is the most romantic interpretation you'll ever hear. But that is not necessarily a bad thing. The living, breathing, luscious sound that Mutter brings to these sonatas is just unforgettable.In my opinion, this is one recording you can simply can't do without."
I don't understand the negative reactions...
John Grabowski | USA | 10/10/2000
(5 out of 5 stars)
"I'm perplexed really. People here are complaining about how these two aren't strictly following the score, how they interpret freely. They do indeed, make no mistake about it. This is not the place for "textbook Beethoven." But when you already have dozens of such performances, what's the point? To put it another way, when the likes of Mengelberg, Furtwangler, Hefeitz and Bernstein did the same thing, back in the "golden age of classical music," they are lauded for their "interpretive insights," their "going beyond the score," their abhorrence of "pedanticism," their "urgent communicative qualities." We then bemoan the fact that "they just don't play music this way anymore, remember the good old days?" etc., etc. On these poseurs I would try an experiment: I would like to reprocess *these* recordings, taking away bass and treble, overmodulating, and adding surface scratch. Then I'd slap a black-and-white "historic-looking" cover on the CD set and say these are heretofore-undiscovered recordings from long ago. I'll bet you'd see five star ratings down this page. There is so much poetry in these readings it boggles the mind. Even what in the hands of others are commonplace phrases are treated to maximum expressive effect here. Mutter is a colorist like no one else playing today that I have heard. She has matured into possibly the most intelligent violinist performing right now. There's technique to burn, but it's never just for show (for a real roller coaster ride, hear her recording of the Berg Concerto on this label with James Levine). Rather than be relegated into the background, as one partner sometimes is in these works, Orkis is subtly her equal. The two of them interact almost telepathically at times. Together they extract some very deep meaning from these works we've all heard dozens of times. Most of the recordings are live, but the audience is quiet as church mice. DG's sound is crystal clear and ravishing in its beauty. This is a set for the ages, and while it may not be the *only* way I'd want to hear these works performed ever, it is no more "blasphemous" to the score than interpretations by many a virtuoso from past generations--the type of musicians classical aficionados are always complaining we don't have today."
A rewarding capture of a year of amazing performances
D. Nathan Rice | 12/10/1998
(5 out of 5 stars)
"Having had the distinct pleasure of attending all three San Francisco performances in May, I could not wait to hear the recording of the performances from later in the year. Worth the wait, and certainly more than worth Ms. Mutter's and Mr. Orkis's tremendous efforts. These are works that must be approached graudually, to truly get their depth. After several listenings, you can begin to comprehend the difficulty and satisfaction of the years of study and performance that went into this recording. Their musicianship and partnership has always been amonmg the greatest, but here there is a resonant emotive quality that is richly satisfying (also listen to the Berlin Recital). The Spring Sonata on disc two is a particular standout from the performances. Throughout, you can hear how Beethoven, as he progressed over the fifteen years or so in which he composed these sonatas, became more comfortable with the violin as an instrument, and gives it a more even pairing with the piano. Excellent-I highly recommend it. And I hope you enjoy it."
Gorgeous playing - highly recommended
D. Nathan Rice | 08/08/2002
(4 out of 5 stars)
"Anne-Sophie Mutter and Lambert Orkis make gorgeous music. These four discs offer wonderful insight, passion and the sheer beauty of a Stradivarius played with stunning results by one of the violin's greatest living exponents. The accompanying Pluscore feature is fascinating: with four of the sonatas, listeners can follow the score while the music is performed, or practice it. There is also critical material accessible by computer, and photographs of the performers, of Beethoven, and of some of his contemporaries. I must admit I am still struggling with the interpretation of the Kreutzer (#9), which I found problematic. It lacks the spirit and vitality of the Francescatti/Casadesus version - my favorite - and seems so heavily mannered as to be ponderous at times. The other sonatas, however, are rendered with real beauty and a sheen derived from excellent sound and technique. The set is highly recommended."
Track Listings (9) - Disc #1