+Dick Moores Actual!!! < Talk Classcal> Forum < Sexualisation of women in the classical music industry> Time and time again people have certainly opined on the presentation of female performers, wether it be Yuja Wang's dress, Lara St. John's CD covers or Anne Sofie Mutter's pose (recently those violinists were pointed out in the worst cd covers thread). Each of these cases, according to different people, have come down to a general conclusion that sexist inclinations of today have influenced their physical appearance (on varying levels). Even on this site there have been debates as to modesty on stage, the importance of appearance, wether women should conduct an orchestra and so on, which all end up boiling down to the same (if not a similar) debate.
+Georges Cancan For those of us who love women, Mutter's looks may be a bonus. But, I, for one can listen to her recordings without video, and be transported by her wonderful musicianship. That she is a great beauty, (as are Nadia Solerno-Sonnenberg,Janine Jansen, Sara Chang, and Arabella Steinberger, and Pamela Frank, and as was Jeanette Neveu and Camilla Wicks) and looks wonderful in her off-the-shoulder gowns (a look she pioneered years ago, and has been taken up by many younger lady string players) is a lovely addition to the whole. But, I, for one, don't think that that is the same thing as selling music with sexuality. By that standard, would David Oistrach have a star career, today?
I'm not a musician and barely listen to classical music. I discovered this piece from Nodame Cantabile live action and I never forget it ever since. I really love the sound and the harmony.
Anne Sofie Mutter's exquisite, full-boiced lyricism transports me to the transcendant spring that Beethoven must have been dreaming when he wrote this divine sonata.
That sounds beautiful 🥹 i love parent musicians I play violin and my boyfriend plays guitar and sax and we love playing pieces together😊 i cant wait to play for my kids
This sonata is of superb beauty. The dialogue between the two instruments leads to an magnificent masterpiece. The timing between the musicians is perfect. The two players are amazing. The sensitivity of the theme is sublime and only one of the greatest composers of all time could have written it. This was the best interpretation I have ever heard for this sonata. Bravissimo for this extraordinary recording.
I have listened to much Beethoven, and I suspect like all composers, certain pieces stand out more than others. This is one. I enjoy the whole composition, but the adagio is so beautiful it brings tears to the yes. For me, Beethoven can dig into the soul like no other.
The lyricism of the playing and the balance between Anne-Sophie Mutter's violin and Lambert Orkis' piano are nothing less than remarkable. Truly if Beethoven himself had heard this rendition of his beloved Spring Sonata, he would have exclaimed: "Das ist es--genau was ich wollte!" With all their considerable gifts, Mutter and Orkis are able to show us how to "put the music first" in the true spirit of the artistic intentions of the composer, as their violin and piano are indeed the "instrumentalities" of the presentation of this music to those fortunate enough to have been in the audience!
Many listeners still loves the "Kreutzer" sonata, but the "Spring" is my favourite of all Beethoven's 10 violin sonatas. It's so bucolic, poetic and beautiful... Thanks Mutter & Orkis!
Adagio ... divine ... six minutes of intimacy with Beethoven. Timeless, as is all beauty. Beethoven, one of the greatest human beings to have ever walked the earth!
Beethoven, Bach, Brahms were prodigious improvisers and creative dynamos. Mutter and Orkis are on the mark when they inject the music with personal surprises. It gives just the right atmosphere of spontaneity that would have existed when this music was first played. These two are the masters and we are mere mortals. As Itzhak Perlman once explained, "I have to keep creating music - - re-creating!!". Be prepared to listen and you might learn something about real music, and great ART. Bravo, M & O.
I can't believe all the negative comments I'm reading here about this performance/the performers!! You people are insane! Seriously,these two are an absolutely brilliant team and flawless performers!! Wonderful renditions of every piece I've ever heard them do,and I am grateful for them. By the way----great performers make faces when they perform! LOL It has nothing to do with them "showing off"--it has to do with the feelings they are experiencing whilst performing the music. Don't like the faces? Dont look. LOL I for one am listening to the music first,looking at the performers second. It's the music that counts not the visuals. (I would also be willing to bet that the composers of the music they interpret would be thrilled to hear such wonderful renditions of their music. Bravo Mutter and Orkis!!
So true, I just keep coming back. Pure brilliance. My canary bird "Tweety" absolutely loves and sings to this every morning. Even he can appreciate it. Anyone not liking this interpretation doesn't understand how this beautiful piece was meant to be played ! And as for her facial expressions, body and mind creates the perfect harmony. It creates true felt musical expression, making this interpretation so unique to the ears. I LOVE IT !
***** See, I'm back again. I can't help it. Music's an opinion. Sometimes when I play Chopin, I choose to interpret the same song differently depending on my mood. They could have chose to do it differently. I personally love something new and different, otherwise acoustic music would be boring, and interpretations would always sound the same. "You have to be displaced from whats comfortable and routine, and then, you get to see things with fresh eyes, with new eyes". "As long as habit and routine dictate the pattern of living, new dimensions of the soul will not emerge."
ASM is not only the best technician alive, but she is also great in her ability to elicit such a fury of emotion among the commentators on this feed. Only a true artist who truly owns the music could result in such extreme reactions from an audience. Bravo for tugging our heartstrings.
Geoffrey Hamlyn Perlman has a better technique than Mutter, but she plays it freely, more expressive, we can feel the wind breeze in spring, birds sing.
Esta obra maravillosa fué la que me "engancho" a la música clásica. Recuerdo mi infancia, tendría yo tal vez 6 o 7 años y mi padre llevó a casa una grabación de esta sonata. Era uno de esos viejos discos de vinilo, lo puso en el tocadiscos y yo, al escuchar esta fantástica música quede hechizado. Los intérpretes de esa grabación erán Arthur Balsam al piano y Nathan Milstein al violín. Gracias por subir este video, me trajo muy gratos recuerdos. Magnífica interpretación. Saludos desde México.
The violinist and the pianist holy moley! they’re so good and both have the rights to be called professionals. I mean it is so difficult to play with a company i swear so the concentration and the talents they put here are beyond words
Brilliant - the stunning Mutter performs "Spring" -- this performance rekindled My regenerative desires. The Pianist is Astounding too, but so sorry Mutter is Proof of Spring.
How is posible to have 24 dislikers??!! It is an incredible play.! No puedo entender como existan 25 personas que no gusten de esta interpretación. Absolutamente bizarro..
Le pire est probablement que parmi les dislikers, il doit y avoir des admirateurs d'André Rieu ! Quelle horreur… ceci ne m'empêche pas, malgré la splendeur de cette version, de préférer encore l'absolue perfection de David Oistrakh/Lev Oborine, Quoique je pense ne pas avoir été le seul à avoir la larme à l'œil lors du sublime deuxième mouvement ! Merci de toute façon pour tant de beauté…
I am currently practising this sonata with a very good pianist and only hope to achieve what was played here. I love it when music can come alive and not stay flat or without neshomah! Bravo!!!!! This performance inspires me to present it this year with life and enlightenment.
This is Beethoven in the begining of romantismo I have heard these sonatas by allmost the great artists of the past and hapily everyone reads Beethoven in a diferente way. There is no right or wrong readings by great artists Simply diferent !!!
What an innovative and bold interpretation! Beautiful sound by the fiddle. The pianist did some truly subtle things. The first time I listened it sounded sketchy but a second listen revealed so much richness about the music.
dos interpretes estupendos, presentación impecable, ambos vestidos con absoluta elegancia, Anne- Sophie preciosa, virtuosa, concentrada , un deleite total para una sonata de excepcional belleza.
pure beauté, un moment affranchi de l'ordre du temps, surement comme ce printemps qui un jour est là sans qu'on l'ait vraiment vu venir: juste qq notes de couleurs ou de vent , et puis ça y est, il vient, il est là et s'enfuit.
This is certainly an idiosyncratic account of the sonata. But it's none the worse for that. There are plenty of superb and more mainstream versions available for when we want to listen to them. Meanwhile, this is a very able, fresh and springlike interpretation, performed with all Ms Mutter's normal artistry.
This time she exagerated a bit whit the ritardandos but any way fantastic interpretation, very clear and expresive, putting allways the Themes in the focus!
Bela música, belos instrumentos. belas interpretações. Duas vozes se respeitando e mostrando a música de quem a compôs. Tudo de bom que se pode produzir. Nada para estragar o belo. Só admirando.
Diez sonatas para violín y piano escribió Beethoven en el lapso de catorce años, de 1798 a 1812, aunque nueve de ellas nacieron durante un periodo bastante más breve, de 1798 a 1803, año de publicación de la famosísima Sonata "Kreutzer". Casi diez años transcurrieron, pues, entre esta célebre novena sonata y la última, de 1812, completando así el corpus de diez sonatas que en la obra de cámara del maestro de Bonn se acomodan graciosamente en un segundo lugar en importancia, solo superadas por los cuartetos de cuerda. La sonata No 5 en Fa mayor, opus 24, fue compuesta entre 1800 y 1801, cuando los inicios de la sordera ya comenzaban a preocuparlo. Aun así, es un periodo tranquilo y fructífero para el maestro, asentado en Viena desde 1792. Compuesta en conjunto con la sonata No 4, es contemporánea del Concierto para piano No 3 y de la Primera Sinfonía. Publicada en 1801, está dedicada al conde Moritz von Fries, generoso mecenas de Beethoven y recurrente dedicatario de su obra (a él será dedicada la Séptima Sinfonía). Conocida también como sonata "Primavera", junto a la Kreutzer constituyen las únicas dos sonatas que llevan título con el que se popularizaron luego de la muerte del autor. Sus primeros bocetos datan de alrededor de 1795, de modo que la influencia mozartiana en ella es más o menos visible, o si se prefiere, "audible", en todas las secciones que la conforman, una estructura en cuatro movimientos que Beethoven utilizará por primera vez en este género, si bien hay que señalar que el scherzo agregado dura un minuto y poco más. Su audición completa lleva poco más de veinte minutos. Movimientos: 00:00 Allegro - El violín canta, generosamente lírico, sobre un delicado acompañamiento del piano. 11:51 Adagio molto espressivo - Una melodía nostálgica, presentada primero por el piano. 18:10 Scherzo: Allegro molto - Momentos deliberadamente asincrónicos entre los dos instrumentos. 19:32 Rondo: Allegro ma non troppo - Quizá el más "mozarteano" de los movimientos. La versión es de la violinista alemana Anne-Sophie Mutter y el pianista estadounidense Lambert Orkis.
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