Anne Sophie Mutter’s first Bach recording for DG has been eagerly awaited and much discussed. It did occur to me that the decision to combine two of Bach’s most revered solo violin concertos with a cutting-edge contemporary work was rather odd but I was glad to find that all is clearly explained in the CD booklet. Russian composer Sophia Gubaidulina, b.1931, has taken much inspiration from JS Bach during her prolific career. Interesting traits in many of her works include unusual instrumental combinations and the use of numeric and symmetrical patterns – similar to the apparent use of the Golden Ratio in several of Bach’s most famous works. The programme notes explain that In Tempus Praesens is largely inspired by the similar names, Sophia and (Anne-)Sophie; the Concerto is actually dedicated to Anne Sophie Mutter. ‘Sophia’ is also a figure of wisdom revered by Greek Orthodox Christianity which explains some of the interesting orchestral and synthesised effects throughout the five-movement work. Here Gubaidulina strikes a good balance between loud and soft dynamics and the momentum of the music is never allowed to wane because of the ever present motivic interest - be that staccato brass figures or the regular influxes of percussion. All in all, I found the recording a thrilling rendition of an intriguing and obviously deeply inspired work, well worth committing to disc. Mutter directs the two Bach Concertos for Violin herself, by the bow - which is interestingly a copy of a baroque bow; the rest of the Trondheim strings follow suit. These are, however, not ‘authentic’ performances - the programme notes thwart the ideal of ‘authentic performance’ as ‘a Utopian notion'. Instead, we are presented with a slightly archaic yet deeply musical interpretation of the two works. Mutter’s playing is as impassioned as ever – she really gets into the sighing motifs and suspensions and the quick movements are nicely crisp and bouncy; the final movement of the A minor concerto is particularly fiery. The two slow movements do feel slower than other recent recordings but for many, this will be a welcome alternative to what has almost become a norm of erring on the side of ‘break-neck’ tempos in baroque string music. Whilst I still would have preferred a little more in the way of articulation from the concerto strings and a little less rubato in both of the inner movements, the polished performances of these Bach concertos certainly complement Gubaidulina’s offering. Contemporary music lovers who also appreciate and enjoy the music of JS Bach need look no further. This disc is for you.

Reviewed by Wayne Weaver