Maxim Vengerov, Violin
Roustem Saïtkoulov, Piano

Maxim Vengerov, “one of the most brilliant violinists you’ll ever hear” (The Washington Post), returns to Carnegie Hall with a program that showcases his tremendous virtuosity and versatility. He performs three magnificent sonatas: Brahms’s powerful Third, Enescu's passionately expressive Second, and Ravel’s lyrical final chamber work with its famous central movement. Vengerov also displays his dazzling technical prowess in showpieces by Paganini and Ernst.

Leonidas Kavakos, Violin
Yuja Wang, Piano

A pair of superstars share the stage in their eagerly awaited return to Carnegie Hall. Violinist Leonidas Kavakos’s playing has been praised by The New York Times for its “balance of pyrotechnics and lyricism.” Yuja Wang has been called “quite simply the most dazzlingly, uncannily gifted pianist in the concert world today” (San Francisco Chronicle). Each outstanding soloists, together “they sound like a single organism” (Financial Times), and are certain to leave you breathless with the beauty and intensity of their performance.

Anne-Sophie Mutter, Violin
Lambert Orkis, Piano

Anne-Sophie Mutter’s mastery of a vast range of repertoire makes this a recital essential. She performs one of Mozart’s finest violin sonatas, a work flowing with melody and a central Andante that charts adventurous harmonic territory. 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 is also joined by close collaborators for the premieres of two works by award-winning composers.

Mitsuko Uchida, Piano

The magnificent Mitsuko Uchida, praised for her “probing and magisterial” Schubert (The New York Times), continues her multi-season exploration devoted to the Austrian master. A youthful sonata brimming with melody opens the program, which also features the uncompleted but grandly scaled “Reliquie” Sonata. Her recital culminates with Schubert’s last sonata, a darkly shaded masterpiece in which he contemplates his impending mortality while looking back to Beethoven in a gentle and rollicking Rondo finale.