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    Anne-Sophie Mutter | violin and direction
    Mutter’s Virtuosi 

    The great Anne-Sophie Mutter with a programme that mirrors her extraordinary career.

    Anne-Sophie Mutter
    Anne-Sophie Mutter © Stefan Hoderath, DG

    Vivaldi Concerto for four violins, cellos, strings and continuo op. 3 No. 10 RV 580
    Chin Gran Cadenza (French premiere)
    Mozart String Quintet No. 6 K. 614
    Vivaldi The Four Seasons op. 8 

    The programme for the world tour of Anne Sophie Mutter and her Mutter'Virtuosi is just like her, bringing together two great classics for her instrument and a contemporary creation. "The greatest prodigy since the young Menuhin", as Herbert von Karajan called her when they met, when the young instrumentalist was just 13 years old. An emblematic piece of the Vivaldian catalogue, the Four Seasons of Opus 8 of the Red Priest's catalogue are originally four differentiated concertos composed on the theme of "the confrontation between harmony and invention". A universal ode to nature, they have since become one of the most frequently performed pieces in the Baroque violin repertoire. This piece has a particular resonance in Anne-Sophie Mutter's career, as she has recorded it several times, including twice with Karajan (in 1984 with the Wiener and three years later with the Berliner). Alongside Mozart's string pieces, the French premiere of the Gran cadenza for two violins by the South Korean composer Unsuk Chin (born in 1961), a piece once again initiated at the request of the artist, she can pride herself on being both the originator and dedicatee of nearly thirty contemporary pieces composed by some of the greatest names of the 20th century, including Dutilleux, Lutoslawski, Rihm, Penderecki, Williams, Previn and Goubaïdoulina. A record to be applauded with respect and admiration.

    PRODUCTION Théâtre des Champs-Elysées

    Anne-Sophie Mutter et la création contemporaine

    Enfant prodige du violon, son parcours est aussi marqué par son attachement viscéral à la musique de son temps.

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