M. GirardinTOP 1000 COMMENTATEURS le 11 novembre 2013
Au panthéon des grands concertos romantiques pour violon ; Mendelssohn, Bruch, Brahms et Tchaïkowsky trustent les places d'honneur - et les bacs des disquaires. Et bien peu connaissent celui de Dvorak, compositeur qui n'a pourtant rien à envier aux précédents - le concerto non plus. Pourquoi alors ce désamour ? La difficulté de la partie soliste, immense, n'est pas à mettre en cause : Tchaïkowsky fut déclaré injouable avant de devenir le plus populaire des concertos. Cela est peut-être dû à l'ingratitude de la partie soliste. Car si le soliste n'est pas mis beaucoup plus en difficulté, il y brille moins : les octaves suraiguës sont redoutables mais sans effet de manche associé. Et l'entrée est probablement la plus périlleuse de toutes : en quelques mesures, vous montez au double mi puis au double la, ce qui en fait le concerto le plus aigu du répertoire ! Ce qui fait dire à Anne-Sophie Mutter que jouer le concerto de Dvorak, c'est comme chanter la Reine de la Nuit à froid. Je vous laisse imaginer...
Pourtant, le concerto gagne à être connu : Dvorak y mêle plus habilement que jamais les éléments folkloriques et savants et déploie des mélodies superbes. Anne-Sophie Mutter se révèle l'interprète idéale, non seulement pas sa maîtrise technique absolue mais aussi par sa façon de prendre le violon à bras le corps, et chantant et ronronnant chaque note. Ce qui est un défaut dans le répertoire purement classique est ici une qualité immense, le concerto est pleinement slave sans tomber dans les travers des interprétations "à la tzigane" souvent du plus mauvais goût. De plus, l'entente avec l'orchestre, mené de main de maestro par Manfred Honeck, est évidente. Cela faisait 30 ans que les Berliner Philharmoniker n'avaient plus enregistré avec l'enfant prodige chérie de Karajan.Lire la suite ›
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31 internautes sur 32 ont trouvé ce commentaire utile
Coming late to record the Dvorak Cto., Mutter pulls out all the stops and soars11 novembre 2013
Santa Fe Listener
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DG's blurb, printed above, calls the Dvorak Violin Cto. the last of the great Romantic concertos, but it might more frankly be called the last to catch on. Heifetz, who recorded everything, ignored it, but Milstein recorded it, as have most of the modern virtuosos in the LP era. At concerts it seemed like a relative rarity in the past, and now that Anne-Sophie mutter is attracting high-profile attention to it, one still notes that no eminent conductor is on hand.
Which isn't to denigrate Mangred Honeck's work here - he and Mutter have decided that what the Dvorak Cto. needs is oomph. They vigorously attack the opening movement, applying more force than I've ever encountered before - and it works. As lovely as the melodies are in this work (a gift that never abandoned Dvorak), the three movements can merge into a sustained gentleness and lyricism that only highlights a lack of development and structure. Here, when Mutter arrives at the middle section of the first movement, her marked slow down announces a change of pace from the punched-out first section. This added contrast, when you add her pronounced "personality," is quite attention-grabbing.
Indeed, the strength of this new recording throughout is Mutter's wonderful variety of tone and phrasing. She takes expression to an extreme - that's one of her hallmarks - but I can't imagine that the listeners who disdain her Mozart for its mannerisms will criticize the spellbinding atmospherics of the slow movement here. It's always been the dreamiest of Romantic interludes, very suitable for a neo-Kreisler style. The finale opens with a vigorous dance rhythm that sits oddly with the violin's highest register - the soloist has to be careful not to sound squeaky. Mutter speeds up the pace and provides flashy technique, which goes a lng way. Does she fuss with the phrasing? Yes, that's her being her. but the whole reading is pervaded with a sense of vibrancy.
DG makes a point of the violinist rejoining with the Berlin Phil. after more than 30 years, and the orchestra sounds wonderful. (The cover portrait evokes her appearance as a post-Karajan glamour girl in designer chic rather than being faithful to today.) The three charming fillers can't disguise that the total timing is short shrift, but to hear the once-ubiquitous Humoresque, which became carton music, is to plunge back into the ethos of Victorian parlors and potted palms. Mutter plays the wheels off the old thing, and good for her.
24 internautes sur 25 ont trouvé ce commentaire utile
A grand, gorgeous reading that sheds new light on the Dvorak Violin Concerto13 novembre 2013
Andrew R. Barnard
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Any new DG release with the Berlin Philharmonic is an eye-catcher these days, but this one featuring the return of Anne-Sophie Mutter seemed almost too good to be true. The Dvorak Concerto hasn't gotten much treatment from high level orchestras, and Mutter has been away from the orchestra for a long time, so I worried that this was all a big PR affair.
But my apprehensions quickly faded away as I listened to this account, which is grand with extra thrills. Mutter's playing is lovely, but she gives her all with a spirit of heroism. She chooses to emphasize the work's romanticism, giving it a feeling of forward motion. Everything is emotional, almost heart-stopping, shying away from refinement in favor of near-sentimentality. I think it's admirable that the concerto suddenly finds new drive and passion. Some may think Mutter goes too far in her attempt to dig beneath the surface. She can slide into notes with a hint of schmaltz, especially at the start of the 2nd movement, but instead of detracting from the musical meaning, I find it to impart touching nostalgia. What is undeniable is the power of the Berliners' playing, which is at once gorgeous and adventurous . Manfred Honeck is a lesser name than most of the regulars in Berlin, but you'd never guess from his conducting, which is sparkling and imaginative. There's none of the over-refinement that can afflict Simon Rattle and Honeck lets out all the stops in the finale--hooray. After loving Maxim Vengerov's account with Kurt Masur with the New York Philharmonic, I wonder if it has found a match. Certainly the accompaniment puts Masur's New York in the shade.
DG hasn't been generous with fillers, but the two with the Berliners are a treat. The Romance in F Minor is ravishingly beautiful, almost to the point of ecstasy. But even better for me was the Mazurek, played with gypsy abandon with high points on the thrill factor. Mutter charges with sheer energy and the Berliners let loose and are brilliantly fun.
In the end, everything turns out in favor of this new release. The orchestral accompaniment is dream quality and Mutter finds tantalizing emotion in every bar.
12 internautes sur 12 ont trouvé ce commentaire utile
Tender, lilting, singing, rhapsodic, and a touch melancholic16 décembre 2013
John J. Puccio
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While the Dvorak Violin Concerto hasn’t quite the soaring lines, memorable melodies, and grand Romantic gestures we find in some of the other popular violin concertos, it offers its fair share of pleasures. Certainly this recording from violinist Anne-Sophie Mutter and the Berlin Philharmonic makes the most of them.
Dvorak begins the concerto with an Allegro ma non troppo (fast, but not too much), the "ma non troppo" marking used in all three movements. The violin enters almost immediately, and Ms. Mutter caresses the opening passages most tenderly, while still imparting a desired grandeur to the music. Joachim may have felt that the orchestra dominated the score, but Dvorak made some revisions before premiering it, and certainly in this interpretation, Maestro Honeck and his Berlin players share the spotlight equally with the violinist, never overwhelming her. If anything, it is Ms. Mutter's commanding execution of the music that tends to control the reading. The performance is tender, lilting, singing, rhapsodic, and a touch melancholic in every phrase.
The slow central movement, the Adagio ma non troppo, is the emotional heart of the work. Again, Dvorak's marking indicates he didn't want the soloist or orchestra to take things too slowly, possibly not to make the music too sentimental. Nevertheless, while Ms. Mutter does tend to stretch it out a bit more than usual, she never loses sight of the music's emotional grip. Even at a marginally slower pace than some other violinists have approached it, she is well able to communicate the movement's pensive yearning.
In the Finale Dvorak returns to the radiant, dance-like tunes of the opening movement, and Ms. Mutter shines accordingly. She has a good feel for Dvorak's Bohemian roots, and her violin skips along merrily. It's a delight, and along with Perlman (EMI) we must now count it among the best recorded performances of the work available.
Coupled to the concerto are the Romance for Violin and Orchestra in F minor, Op. 11 and the Mazurek for Violin and Orchestra in E-minor, Op. 49. The former is a tuneful cantabile, the latter a more carefree folk dance. In both instances, the soloist and orchestra are at one and execute the music with precision and joy.
The combination of one of the world's leading violinists with one of the world's greatest orchestras results in a world-class set of performances that one can hardly fault. Both Ms. Mutter and the Berlin Philharmonic play gloriously.
The Berlin Philharmonic is a magnificent ensemble, but too often producers have felt it necessary to record them live, with all the consequent shortcomings that technique implies. Here, we get a big, full, warm sound, slightly close up but not overbearingly so. With an enormous dynamic range, a strong impact, and a wide frequency response, the resultant sound is very impressive, rather like being in the sixth or seventh row of the concert hall itself.
John J. Puccio Classical Candor
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ASM in her element16 décembre 2013
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This is one of ASM's best recordings. It showcases the very pinnacle of virtuosic violin playing. ASM gives a fresh, robust, dynamic, invigorating interpretation of Dvorak's violin concerto, whilst the range and palette of tonal colours she evokes in the romance is simply sublime and heavenly. The romance, more than the concerto, will remain with me, in my heart for a long time. In my opinion, it is difficult today to come across a violinist who is able to express and convey myriad emotions in their playing with such richness and warmth of tone and with such conviction, meaning and depth as ASM.
2 internautes sur 2 ont trouvé ce commentaire utile
WOW!5 janvier 2014
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I wouldn't call A-S M my favorite all-time volinist. But any notion of her of her being the "Ice Maiden" of the fiddle dies with this release. She plays the pants off the piece, and her fiddling is truly HOT in the best sense. I like the conducting too, and it's caught in splendid sound by the DG engineers. I saw DG's youtube blurb and was impressed enough to snag it that same day. I'm glad I did so, and you will be too.