Famous British violinist Daniel Hope presents his exciting project: “The Four Seasons Recomposed,” a modern version of Antonio Vivaldi’s ‘Four Seasons’ by award-winning British composer Max Richter. The performance takes place at an equally exciting location: the former ‘Shipyard Hall 207’ of the legendary “Neptunwerft” in Rostock, Germany. Hope is joined by the Early Music Band l’arte del mondo and the composer himself at the synthesizer. “An intelligent, even reverent, updating of Vivaldi” (London Times).
Sol Gabetta and Hélène Grimaud in Concert
Two outstanding artists, pianist Helene Grimaud and the cellist Sol Gabetta, performing a highly acclaimed recital in Berlin’s Philharmonic Hall. On the programme cello sonatas by DEBUSSY (D minor), BRAHMS (No. 1 op. 38) and SHOSTAKOVICH: op. 40., and furthermore SCHUMANN’s Fantasiestücke op. 73. “Both bestselling artists it’s very easy to see why they’ve joined together. There are four extremely different composers featured, each one calling for a completely different musical approach. What is particularly brilliant is that these two capture the essence of each composer and their world. Lyrical and light Debussy, heartwrenching Shostakovich, dark and brooding Brahms and the strangely whimsical Schumann. I look forward to hearing how this musical partnership matures over the coming years”.(Readings, Australia)
Brahms, Sonatas for Violin and Piano
As Anne-Sophie Mutter herself puts it, ‘the apple was ripe and simply had to be picked.’ The ‘apple’ is the complete cycle of Brahms’ sonatas for violin and piano. Mutter, perhaps the best-known and most widely respected violinist of our time, has been fascinated by the Brahms sonatas since her youth. Several early recordings testify to her love for these works which, in her words, reflect Brahms’ understanding of ‘the singing quality’ of the violin. Over the years, she and her longtime piano partner Lambert Orkis have ‘ripened’ their interpretation of these works. Now, with the sonatas ‘under their skin’, the multiple award-winning violinist and her partner felt the time was right for their first audiovisual recording of the complete set.
Anne-Sophie Mutter plays Mendelssohn: Violin Sonata in F major
In 2008 Anne-Sophie Mutter was awarded not only the prestigious Ernst von Siemens Music Award, but also the Leipzig Mendelssohn Award. The award ceremony in March 2008 was crowned by a gala concert at Leipzig’s Gewandhaus. The recording offers a selection of masterpieces by Mendelssohn (1809-1847) in a variety of instrumentations. Joining her in Mendelssohn’s Sonata for Violin F major (Length: 25’ – A05512287) is pianist André Previn, who is also an internationally renowned conductor and composer. He and cellist Lynn Harrell also interpret the D-minor Trio (Length: 29’ – A055122880001) with her. This is a stunning anthology of chamber music from one of the most vibrant composers of the early romantic era, performed by top artists of today!
Anne-Sophie Mutter plays Mendelssohn: Piano Trio No. 1 in D minor
In 2008 Anne-Sophie Mutter was awarded not only the prestigious Ernst von Siemens Music Award, but also the Leipzig Mendelssohn Award. The award ceremony in March 2008 was crowned by a gala concert at Leipzig’s Gewandhaus. The recording offers a selection of masterpieces by Mendelssohn (1809-1847) in a variety of instrumentations. Joining her in Mendelssohn’s Sonata for Violin F major (Length: 25’ – A05512287) is pianist André Previn, who is also an internationally renowned conductor and composer. He and cellist Lynn Harrell also interpret the D-minor Trio (Length: 29’ – A055122880001) with her. This is a stunning antholog of chamber music from one of the most vibrant composers of the early romantic era, performed by top artists of today!
Mendelssohn, Piano Trio No.1 in D minor, op.49
One of the world’s foremost violinists, Anne-Sophie Mutter is a musical celebrity known even by countless people who rarely listen to classical music. The artist and teacher, who promotes young musicians and commissions new works from contemporary composers, made her spectacular breakthrough under Herbert von Karajan at the 1977 Salzburg Easter Festival. She has since concertized at every major venue throughout the world. In 2008 she was awarded not only the prestigious Ernst von Siemens Music Award, but also the Leipzig Mendelssohn Award. The award ceremony in March 2008 was crowned by a gala concert at Leipzig’s Gewandhaus with the Gewandhaus Orchestra under Kurt Masur, at which Mutter performed the Mendelssohn Violin Concerto in E minor op. 64 presented here. The recording offers a selection of masterpieces by Mendelssohn (1809-1847) in a variety of instrumentations. In addition to Mutter, Masur and the Leipzig orchestra, the performers also include Mutter’s chamber-music partners Lynn Harrell and André Previn. On the occasion of the Mendelssohn Year, UNITEL CLASSICA also offers the documentary Anne-Sophie Mutter – Encounters with Mendelssohn, in which the artist discusses her affinity to Mendelssohn and explains why she particularly admires the works presented here. Mutter has performed the Violin Concerto several times in her career. Joining her in Mendelssohn’s Violin Sonata is pianist André Previn, who is also an internationally renowned conductor and composer. Previn accompanied Mutter in several Mozart Trios that are part of her “Mozart Project” available from UNITEL CLASSICA. He and cellist Lynn Harrell now interpret the D-minor Trio with her. This is a stunning anthology of chamber and orchestral music from one of the most vibrant composers of the early romantic era, performed by top artists of today!
Anne-Sophie Mutter plays Mozart: Trios for Violin, Cello and Piano
All three trios on this recording are lending weight to the claim that they are the three finest and most exemplary works in this genre by Mozart. In the earliest of the three, K. 502, Mozart broke through the traditional predominance of the piano to give equal weight to the strings, whereby the violin is given ample opportunity to display the soloist‘s bravura. Joining Anne-Sophie Mutter on this recording is the internationally acclaimed young cellist Daniel Müller-Schott. At the piano is Sir André Previn, pianist, conductor, composer and gifted accompanist. The stunning location of the concert – the late-Baroque Teatro Bibiena in Mantua – bears a subtle connection to Mozart, for it is here that the 14-year-old Wolfgang gave a recital with his father in January 1770 while on his first tour of Italy.
Mozart, Trio in B flat major, K.502
When Anne-Sophie Mutter says that Mozart wrote his trios for violin, violoncello and piano for his own enjoyment, then this is not merely a conclusion derived from the artist’s own pleasure in playing these works with talented colleagues. Mozart himself, in a letter of June 1788 to his friend Michael Puchberg, added this postscript: “When are we to have a little musical party at your house again? I have composed a new trio!” He was referring to the Piano Trio in E major K. 542. All three trios on this recording are not only late works, but were also published together in 1788, lending weight to the claim that they are the three finest and most exemplary works in this genre by Mozart. In the earliest of the three, K. 502, Mozart broke through the traditional predominance of the piano to give equal weight to the strings, whereby the violin is given ample opportunity to display the soloist’s bravura. The Trios K. 542 and 548 were both written in the astonishingly fruitful summer of 1788, during which Mozart wrote the great trilogy of his last symphonies. They show Mozart at the very height of his powers. Proof that Mozart thought highly of K. 542 emerges in the fact that he played it at the court of Dresden in 1789 when he was seeking an appointment there. Finally, K. 548 in C major is a more restrained work that concentrates on motivic development and, in its slow movement, foreshadows the chamber music of the early 19th century. Joining Anne-Sophie Mutter on this recording is the internationally acclaimed young cellist Daniel Müller-Schott, who, as a scholarship holder from her Foundation, benefited from Ms. Mutter’s personal sponsorship at the outset of his career. More than one critic is already mentioning his name in one breath with Pablo Casals and Mstislav Rostropovich. At the piano is Sir André Previn, pianist, conductor, composer and gifted accompanist. The stunning location of the concert – the late-Baroque Teatro Bibiena in Mantua – bears a subtle connection to Mozart, for it is here that the 14-year-old Wolfgang gave a recital with his father in January 1770 while on his first tour of Italy. Also available is a “making-of” documentary on “The Mozart Project” (45′), in which Anne-Sophie Mutter talks about her relationship to Mozart’s music and is joined by her colleagues André Previn, Lambert Orkis and Daniel Müller-Schott.
Mozart, Trio in E major, K.542
When Anne-Sophie Mutter says that Mozart wrote his trios for violin, violoncello and piano for his own enjoyment, then this is not merely a conclusion derived from the artist’s own pleasure in playing these works with talented colleagues. Mozart himself, in a letter of June 1788 to his friend Michael Puchberg, added this postscript: “When are we to have a little musical party at your house again? I have composed a new trio!” He was referring to the Piano Trio in E major K. 542. All three trios on this recording are not only late works, but were also published together in 1788, lending weight to the claim that they are the three finest and most exemplary works in this genre by Mozart. In the earliest of the three, K. 502, Mozart broke through the traditional predominance of the piano to give equal weight to the strings, whereby the violin is given ample opportunity to display the soloist’s bravura. The Trios K. 542 and 548 were both written in the astonishingly fruitful summer of 1788, during which Mozart wrote the great trilogy of his last symphonies. They show Mozart at the very height of his powers. Proof that Mozart thought highly of K. 542 emerges in the fact that he played it at the court of Dresden in 1789 when he was seeking an appointment there. Finally, K. 548 in C major is a more restrained work that concentrates on motivic development and, in its slow movement, foreshadows the chamber music of the early 19th century. Joining Anne-Sophie Mutter on this recording is the internationally acclaimed young cellist Daniel Müller-Schott, who, as a scholarship holder from her Foundation, benefited from Ms. Mutter’s personal sponsorship at the outset of his career. More than one critic is already mentioning his name in one breath with Pablo Casals and Mstislav Rostropovich. At the piano is Sir André Previn, pianist, conductor, composer and gifted accompanist. The stunning location of the concert – the late-Baroque Teatro Bibiena in Mantua – bears a subtle connection to Mozart, for it is here that the 14-year-old Wolfgang gave a recital with his father in January 1770 while on his first tour of Italy. Also available is a “making-of” documentary on “The Mozart Project” (45′), in which Anne-Sophie Mutter talks about her relationship to Mozart’s music and is joined by her colleagues André Previn, Lambert Orkis and Daniel Müller-Schott.
Mozart, Trio in C major, K.548
When Anne-Sophie Mutter says that Mozart wrote his trios for violin, violoncello and piano for his own enjoyment, then this is not merely a conclusion derived from the artist’s own pleasure in playing these works with talented colleagues. Mozart himself, in a letter of June 1788 to his friend Michael Puchberg, added this postscript: “When are we to have a little musical party at your house again? I have composed a new trio!” He was referring to the Piano Trio in E major K. 542. All three trios on this recording are not only late works, but were also published together in 1788, lending weight to the claim that they are the three finest and most exemplary works in this genre by Mozart. In the earliest of the three, K. 502, Mozart broke through the traditional predominance of the piano to give equal weight to the strings, whereby the violin is given ample opportunity to display the soloist’s bravura. The Trios K. 542 and 548 were both written in the astonishingly fruitful summer of 1788, during which Mozart wrote the great trilogy of his last symphonies. They show Mozart at the very height of his powers. Proof that Mozart thought highly of K. 542 emerges in the fact that he played it at the court of Dresden in 1789 when he was seeking an appointment there. Finally, K. 548 in C major is a more restrained work that concentrates on motivic development and, in its slow movement, foreshadows the chamber music of the early 19th century. Joining Anne-Sophie Mutter on this recording is the internationally acclaimed young cellist Daniel Müller-Schott, who, as a scholarship holder from her Foundation, benefited from Ms. Mutter’s personal sponsorship at the outset of his career. More than one critic is already mentioning his name in one breath with Pablo Casals and Mstislav Rostropovich. At the piano is Sir André Previn, pianist, conductor, composer and gifted accompanist. The stunning location of the concert – the late-Baroque Teatro Bibiena in Mantua – bears a subtle connection to Mozart, for it is here that the 14-year-old Wolfgang gave a recital with his father in January 1770 while on his first tour of Italy. Also available is a “making-of” documentary on “The Mozart Project” (45′), in which Anne-Sophie Mutter talks about her relationship to Mozart’s music and is joined by her colleagues André Previn, Lambert Orkis and Daniel Müller-Schott.