Anne Sophie Mutter

In the Double Concerto Mutter is joined by a young Brazilian cellist, still in his twenties, named Antonio Meneses, another Karajan protege, I suspect, whose career didn't soar like Mutter's. It's touching that a grand maestro should give the spotlight over to two young colleagues. Meneses is unusually lyrical and rhapsodist in the cello part, plaing with chamber-music sensitivity and gorgeous tone (amplified out of porportion by DG's engineers, as is typical in this work). Mutter matches Meneses in sensitivity; overall the performance is slow and inward, perhaps too much so for its own good.

Bartók's influence in the Forties and Fifties grew to a great height throughout the Soviet satellites of Eastern Europe, particularly among the better composers. True, one found serialists like Eisler in East Germany and Tadeusz Baird in Poland, but they seemed exceptions, rather than the rule. In Poland, for example, we meet the examples of the remarkable Grazyna Bacewicz and Witold Lutoslawski. Lutoslawski especially seemed to regard Bartók as Brahms did Beethoven, a spiritual father who inspired within him both an almost stifling reverence and the need to break free.

A "triumph of remembrance," wrote Die Welt following this stirring concert given by the Berliner Philharmoniker under Seiji Ozawa and with Anne-Sophie Mutter as soloist. It left its audience hovering between hushed reverence and deafening exultation. The Golden Hall of Vienna's Musikverein was the dazzling venue for the live recoding of this concert celebrating the 100th anniversary of Herbert Von Karajan's birth. And Karajan's "Berliners" never sounded better, according to the Frankfuter Allgemeine Zeitung, evoking "a time which self-confidently sought the private and subjective in music, and believed it could find them in the mirror of the works."

Two stars from different generations, artists of the highest calibre, mark their first collaboration with an album devoted to one of the supreme landmarks of classical music.

Some of music’s greatest melodies are found in the soundtracks of John Williams, many of which have been rearranged by the composer for violinist Anne-Sophie Mutter. Across the Stars is a true meeting of minds. Mutter’s golden tone fits Williams’ sumptuous tunes like a glove in the beautiful main theme from Schindler’s List and “Across the Stars” from Star Wars: Episode II – Attack of the Clones, while her technical mastery has inspired Williams to transform “Hedwig’s Theme” from Harry Potter and the Philosopher’s Stone into a virtuosic fantasy for violin and orchestra. There are some lesser-known gems here, too, including the soaring “Nice to Be Around” from 1973’s Cinderella Liberty and the grippingly angular “Night Journeys” from the 1979 movie Dracula.

Despues de escuchar detenidamente el triple concierto se puede decir que tanto la orquesta y el director como los solistas son excelentes y no hay que dejarse llevar por lo del sonido o como dijo otro reviewer que cuando se grabó el disco Yo Yo Ma contaba con 12 años porque no es asi el concierto fue grabado en 1980 cuando contaba la edad de 25 años y era un consumado violoncelista, con respecto a las oberturas si son anteriores pero estan repetidas en otras obras como ser la sinfonias de Beethoven con un sonido realmente extraordianario.