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  • Carnegie Hall Presents
  • ZH Zankel Hall
  • SA/PS Stern Auditorium / Perelman Stage
  • REW Resnick Education Wing
  • WRH Weill Recital Hall

Anne-Sophie Mutter, Violin
Lambert Orkis, Piano

Tuesday, March 12, 2019 8 PM Stern Auditorium / Perelman Stage
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Anne-Sophie Mutter by Stefan Höderath / DG
Anne-Sophie Mutter’s mastery of a vast range of repertoire makes this an essential recital. She performs two of Mozart’s finest violin sonatas, one of which charts adventurous harmonic territory with its central Andante. Always one to push the harmonic envelope, Debussy’s sonata is marvelously inventive and full of life, while Poulenc’s is laced with tragedy, especially in its grieving outer movements. Passionately committed to the music of our time, Mutter premieres a new work written for her by one of today’s leading composers.

Part of: Great Artists I


Anne-Sophie Mutter, Violin
Lambert Orkis, Piano

Daniel Müller-Schott, Cello


MOZART Violin Sonata in E Minor, K. 304
DEBUSSY Violin Sonata
SEBASTIAN CURRIER Ghost Trio (World Premiere)
MOZART Violin Sonata in B-flat Major, K. 454
POULENC Violin Sonata

At a Glance

MOZART  Sonata for Piano and Violin in E Minor, K. 304

Mozart’s first publications were two pairs of violin sonatas, K. 6–7 and K. 8–9, which appeared in Paris in 1764. By his 10th birthday, he had composed no fewer than 16 violin sonatas—now classified as juvenilia—to which another 16 “mature” sonatas would be added by 1788. By the end of the E-Minor Sonata, written in 1778, Mozart’s music has plumbed unexpected depths.


DEBUSSY  Sonata for Violin and Piano

Debussy’s last completed work, the Violin Sonata was part of an ambitious project to recapture the clarity and balance that the quintessentially Gallic composer associated with France’s musical patrimony. (On the sonata’s title page, Debussy proudly signed himself as a musicien français.) The colorful, lighthearted score—which he described as “full of a joyous tumult”—betrays no hint of the fatal illness that would end Debussy’s life a few months later.



Written for Anne-Sophie Mutter, this Janus-faced work by American composer Sebastian Currier looks both backward and forward. Its nine short movements are haunted by the “ghosts” of piano trios past, which Currier quotes, queries, and twists tantalizingly out of shape.


MOZART  Sonata for Piano and Violin in B-flat Major, K. 454

Written for Italian virtuoso Regina Strinasacchi, this high-spirited work is concerto-like in the technical demands it makes of the violinist. Unlike Mozart’s earlier violin sonatas that shone the spotlight on the keyboard, K. 454 presents the two players as equal partners. According to legend, the composer performed his part from memory at the premiere.


POULENC  Sonata for Violin and Piano

Poulenc’s characteristically wistful lyricism is on display in this elegantly crafted sonata, written in Nazi-occupied Paris during World War II. The melancholy, faintly Spanish-flavored slow movement was inspired by a line from poet Federico García Lorca: “The guitar makes dreams weep.”

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