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Never before have Mutter and Orkis seemed so joined at the hip, giving and taking, conducting dialogue, chasing each others’ thoughts . . . She plays with a new degree of maturity and depth, especially visible in the slow movements. The disc’s high point is the adagio from the first sonata, in G major, where Mutter’s gold thread is reduced to a dusky murmur before shifting through tones as subtle as they are various. Orkis’s contribution is equally vital, whether keeping pace with limpid filigree or, at the close, pedalling up a penumbra of resonance to balance Mutter’s whispers. Magical music-making, this. Elsewhere, Mutter shows that she is able to become passionately alive without shaking with neuroses. In the third sonata, in D minor, the finale lives up to Brahms’s instruction -- "presto agitato" -- but never races over the top. Throughout, speeds and dynamics are controlled with regard for the music’s inner substance, not its outward show
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TRACKLIST
Brahms:
The Violin Sonatas
No.2 in A major op.100
No.1 in G major op.78
No.3 in D minor op.108
Encore: Wiegenlied op.49 No.4
Anne-Sophie Mutter, violin
Lambert Orkis, piano
From the Bibliotheksaal Polling, 3 & 4 December 2009
Extra Material:
Anne-Sophie Mutter and Lambert Orkis in conversation
Anne-Sophie Mutter on Brahms's Violin Sonatas
Subtitles: Deutsch, Francais, Espanol, Chinese

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