While the
flood of multiples of the 'great symphonies'
has to some extent diminished there
always seems to be a place for a new
Tchaikovsky or Sibelius violin concerto.
It is to the credit of all concerned
that the Tchaikovsky in this case is
mated with the Korngold a work liberated
only in the 1970s from its exclusive
servitude to Heifetz's relentless razzle-dazzle.
Mutter's performances of both works
are expressive and full of emotional
and tonal colour. There is something
very individual about her pliantly glossy,
‘elasticated’ tone in the slow movement
of the Tchaikovsky - a ‘colouring’ she
reserves for that movement alone. She
confidently embraces opportunities to
add character and emphasis. The orchestras
seem on good form although there was
one moment during the romping section
of the Korngold finale when things began
to slip.
Previn knows his Korngold
very well and even if his DG recording
of the Symphony suffers from a certain
lassitude things are much better here.
Of course he has known the concerto
for many years. In the early-mid 1970s
his BBC TV series included
the work at a time when it was an outlandish
and deeply suspect novelty. I wonder
whose idea it was to introduce Ms Mutter
to the work especially since for years
now she has taken a special interest
in contemporary works for violin and
orchestra.
Both performances are
very good indeed, viscerally even ferociously
exciting towards the end of the first
movement of the Tchaikovsky and with
vicious guttural attack in the finale.
They show the wife and husband team
of Previn and Mutter well able to surprise
and delight. Both vie with each other
to make these recordings special events
rather than entries in a recording diary.
How do these versions
stack up against the multitudinous competition.
As sound the Tchaikovsky is outstanding
and the live recording has added an
ambience that positively sizzles with
life. As a performance it stands amongst
the most emotional and the very best
but does not supplant the extraordinary
recording made by Oistrakh in Moscow
in the 1960s. Also I retain a great
affection for Campoli’s version as last
reissued by Beulah and Kogan’s on EMI
(the one with the Paris Conservatoire
orchestra conducted by Silvestri).
The field for Korngold
is thinner but if you would like an
intensely emotional version then Mutter
will suit you very well. I still enjoy
the Anima-Mathé recording on
Dorian which in its cool ardour perhaps
reflects the ennui that overcame me
from years of knowing the concerto only
from Heifetz's intimidating and saturated
schmaltz. Of course Hoelscher (EMI Red
Line) and (Gil Shaham) are also strong
contenders.
One drawback. I find
the personality-dripping packaging a
real affront. I ask you ... nineteen
photographs of Ms Mutter throughout
the booklet! The disc also carries her
image! She is of course stunningly beautiful
but is this level of Karajan-like idolatry
really what listeners want? Much the
same applies to the Hilary Hahn CD of
the Elgar concerto. I dread to think
of the design conferences that produced
this suffocating emphasis on glamour.
What is happening to the world's great
violinists who do not have Ms Mutter's
photogenic attributes?
Rob Barnett
Anne-Sophie Mutter (violin) 
