Anne-Sophie Mutter, Violin
Lambert Orkis, Piano
Anne-Sophie Mutter: Also performing , and , and May 6.
Performers
Anne-Sophie Mutter, Violin
Lambert Orkis, Piano
Program
MOZART Violin Sonata in G Major, K. 301
SCHUBERT Fantasy in C Major, D. 934
C. SCHUMANN Three Romances, Op. 22
AFTAB DARVISHI Likoo (World Premiere)
RESPIGHI Violin Sonata in B Minor
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission.Listen to Selected Works
At a Glance
MOZART Violin Sonata in G Major, K. 301
Mozart’s first publications were two pairs of violin sonatas that appeared in Paris in 1764. By his 10th birthday, he had composed no fewer than 16 violin sonatas now classified as juvenilia, to which an equal number of “mature” sonatas would be added by 1788. The Sonata in G Major, K. 301, dates from 1778, when he was on an extended trip to Mannheim and Paris from his hometown of Salzburg.
SCHUBERT Fantasy in C Major for Violin and Piano, D. 934
Schubert’s richly melodious Fantasy is recognized as a masterpiece today, but it received mixed reviews at its premiere in 1828. One newspaper tartly observed that the lengthy piece “occupied rather too much of the time a Viennese is prepared to devote to pleasures of the mind.”
C. SCHUMANN Three Romances for Violin and Piano, Op. 22
Clara Schumann composed her Three Romances for the great Hungarian violinist Joseph Joachim. In their fanciful spontaneity of expression, they bear a marked family resemblance to her husband Robert’s beloved character pieces.
AFTAB DARVISHI Likoo
Iranian composer Aftab Darvishi writes boundary- and genre-crossing music inspired by her studies of Western classical and Iranian music. In her words, Likoo “reflects a deep longing, specifically for those lost since the onset of the Women, Life, Freedom movement in Iran in September 2022.”
RESPIGHI Sonata in B Minor for Violin and Piano
Respighi was still smarting from the disappointing reception of Fountains of Rome—the first of his symphonic poems and destined to be a concert-hall staple—when he wrote this bracingly virtuosic sonata in 1917. The two works share a lyrical, richly textured late-Romantic idiom.