杜替耶：同一承诺 / 巴托克：第二号小提琴协奏曲 / 斯特拉文斯基：D大调协奏曲 　　"Henri Dutilleux’s Nocturne, of which Anne-Sophie Mutter’s recording with Kurt Masur constitutes the premiere,...lasts just under nine minutes. Its title suggests that it explicates one chord—actually, according to Paul Griffiths’s booklet notes, the “chord” consists of six notes, stated at the outset. The piece explores a wide harmonic range of harmonies and timbres, but it’s essentially lyrical, although it hardly lacks compelling drama (or at least elevated oratory). Stunningly apt sonorities (Dutilleux shares an uncannily discerning ear for combinations with composers as diverse as Vivaldi and Stravinsky) envelop the work’s alternately languid and pixilated eloquence with an enchanted atmosphere. Mutter waited a long time for the bread to bake: from her midteens when it was commissioned until her thirties when she premiered it. She plays the work with lean but allusive urgency... Mutter’s performance [of the Bartok Concerto], while not perhaps quite so commanding as Gil Shaham’s (Deutsche Grammophon 289 459 639-2), to which I noted its similarity, still offers a combination of vitality and virtuosity with sensitivity and nuance sufficient to maintain its place among the handful of most appealing and accessible accounts...Mutter delivers a more visceral performance [of the Stravinsky Conerto], to my mind, than did Itzhak Perlman, to whose version I’ve made a blind comparison during a violin lesson—in Mutter’s favor...The notes point to the collaboration of violinist and composer to tie these works together, but whatever categories might seem appropriate, each of the performances has sufficient (and in the reissues’ cases, long enduring) luster to merit a strong general recommendation in itself. Yoked together and coupled with a fresh reading of an idiomatic and prepossessing new composition commissioned for the performer herself, these reissues become, if anything, even more desirable. Highly recommended."