First, the obvious-Mutter wants us to "hear" this disc with our eyes. The accompanying notes are filled with the art of Gotthard Graubner as well as some lovely photos of Mutter. While some people seem to have a problem with this "commercialism," I do not (icing on the cake if you ask me).
Now, to the actual music-let me start by saying that this is no "vanity" project (this is Mutter's second recording of the work-so some seem to think her suspect). Whereas Mutter's first recording with Karajan was musically adept and refined, this Four Seasons is the product of true artistry. Pared down but not forced, insightful, but not idiosyncratic--I would say this recording is best described as a playful work of love.
This second recording by Mutter tops other Four Seasons that I have head in many ways. In particular--it, like nature, has an innate freedom. This is music that flows naturally, unpredictably, and is always full of wonder.
Where this disc truly separates itself from other recordings of the work is in its palpably frigid "Winter." Mutter's violin IS the biting cold. You might want to have a sweater handy when you listen.
The Devil's Trill, the filler piece on the disc, is possibly given an even better performance than the stunning Four Seasons. Both pieces are programmatic and fantasy driven. Both create stunning sound-pictures.
Yet beyond all the fantasy and beauty, this music speaks to me of a greater truth that would at first seem fantasy. Music of this depth and spirit is indeed evidence of an artist in her prime. More importantly, it is further irrefutable evidence of the beauty, depth, wonder, and goodness of the One who set the lights in the expanse of the heavens to mark the Four Seasons.
But this is my one minor nitpick. Authenticity? BAH! This is by far the most soulful, the most gleeful, the most FUN recording of Vivaldi I've ever heard.
I don't need to mention what an amazing virtuoso Anne-Sophie Mutter is. Instead I'll just gush over her solos -- the way she can dig into a note and make it growl agressively like a gospel singer, the way she can manipulate the tempo as if it were elastic... there's so much going on here it makes me giddy listening to it.
Gratuitous packaging photos of the admittedly beautiful Ms. Mutter aside, this album doesn't strike me as some academic study in the baroque period. It strikes me more as a group of brilliant musicians indulging themselves and throwing their hearts and souls into an off-beat interpretation of a staple piece of music.
Don't get this album because you're looking for a technically perfect or accurate recording of Vivaldi. Get it because it's more fun than baroque music fans should be having.
Some of these "authenticity" purists seem to want to eliminate individuality from music altogether, insisting that everyone play exactly the same bland, dry, unadorned, boring way.
Thank goodness Mutter ignores the authenticity snobs and follows her own artistic path. [...]
No question this recording is a radical one, daring and provocative. [...]
