"This is an intensely beautiful performance of the Beethoven violin concerto, but for those who are criticizing it, it's really Karajan's conception of the piece more than Mutter's so blame or credit should mostly go there. It was recorded in 1980 when Mutter, Karajan's protege, would have been about 16 and wouldn't have had the independence of personality to completely project herself, especially when up against the world's most formidable conductor at the time. Yes, the performance is a bit slow, but not overly so. More than that, the violinist seems almost devoid of personality at times, which has nothing to do with the mature adult she has since become and everything to do with Karajan's conception of the piece; he seems to want it almost as a symphony with violin obligato. She does best in the tender passages where her playing is just about the most radiantly beautiful I've ever heard. But she does show real spark in places. Her playing in the first movement cadenza, where she's on her own, is positively thrilling. It's Karajan's view of the piece that will determine whether people want it. Even though the performance is lush, Karajan brings out elements I had never heard before; his control over the orchestra is absolutely astonishing; this is truly one of the great ORCHESTRAL performance of the piece. For me the highlight is the slow movement; it is the most heartfelt and capital "R" Romantic performances I know. It will either have you crying in your handkerchief, which it does for me, or reaching for the off button. I'm sure Mutter will record this piece again and I'm also sure it will sound NOTHING like this one, just as her recent fiery Brahms concerto with Masur sounds nothing like the calmer one she did many years ago, also with Karajan. I can't wait to hear her new take on it. But I love this recording too."
Incomparably good performance
Jim Lent | 06/29/1999
(5 out of 5 stars)
"I have a reasonably large CD and LP collection and have listened to many recordings of many works by various artists. However, if I have to pick my favourite recording of all time it must be this Mutter-Von Karajan recording of Beethoven's violin concerto!"
A breath of fresh air
Milan Gowin | Canada | 02/20/2001
(5 out of 5 stars)
"I wouldn't say that this is my favourite performance of the Beethoven. In fact I have about 10 different performances of this concerto, and if I could morph all 10 into 1 then that would be my ideal. Nevertheless, what I like about this performance is the spaciousness that Mutter gets. Someone once remarked that the first movement of this work is a work of "lofty architecture" and I tend to agree with that description. Mutter's playing is very precise, and wonderful, especially in the high registers. Yes, perhaps there isn't much of her personality in it, but that's the Karjan way IMHO. Nevertheless, it's quite stunning. I often come back to this one, on account of the first movement. It may be slow, but it's quite captivating. Not bad at all for a girl of 16. I certainly recommend it."
A lovely May-December match
Santa Fe Listener | Santa Fe, NM USA | 01/12/2008
(4 out of 5 stars)
"You can't quite hear in this Beethoven Violin Concerto, fresh and elegant as it is, why Mutter went on to become the highest-paid soloist in classical music. There's not enough personal voice, as one learns by turning to her later reading, also on DG, with Kurt Masur. There, Mutter has glamoour and style to die for, perhaps too much for Beethoven's lofty musical intentions. Her younger self was simpler and fresher, but both possess dead-on intonation and amazing technical polish.
Whatever Karajan saw in his teenage protegee, he certainly spotted a future star. Condcutor and orchestra supply a masterful accompaniment, the best I've heard since Furtwangler's famous account with Menuhin in the post-war era. In keeping with his young soloist, Karajan keeps the accompaniment light, never overwhelming her. DG has reissued this CD with the same original jacket, I believe, but in newly remastered sound as part of its 2008 tribute to Karajan.
Several reviewers idiotically complain about slow tempos when in fact Mutter and Karajan are not extreme for traditional (i.e., non-period) readings. Perhaps the suaveness of the orchestral textures and Karajan's subtle phrasing make the pace seem slower to some. I found it hypnotic and skilfully managed. The delicate but springy rhythms in the finale were delightful -- this is a hard movement to bring off -- adding to the overall impression of a charismatic if sometimes low-key reading."