Anne-Sophie Mutter performs with the Pittsburgh Symphony Orchestra in Vienna - About Downloads, conductor experiences and breaks in the interview
Standard: Are there many downloads of your recordings?
Mutter: No idea, but I hope so. This would suggest that there are also some people below my age [downloading], for classical interest. If I'm traveling on, I also use an MP3 player, it's incredibly practical. And iTunes is a great thing. I can not imagine to lug suitcases full of CDs on tour. For private use, I prefer CDs. Subtleties, nuances there are better genuinely gained.
Standard: As a performer you like to devote extended periods of individual work cycles.
Mutter: at premieres it is clear. The point is, after the initial presentation in the next two or three years, it is possible to obtain many premieres. I try, for instance, where I can only [perform] violin concerto by Sofia Gubaidulina "reinzuquetschen." The work is great! It grabs you by the throat - from the first notes on!
Standard: premieres are important to you. Writes just half the world for you new?
Mutter: No, sorry, rather just a small part of the world, but of those it the important to me. Wolfgang Rihm has just written something, he and Krzysztof Penderecki have written something for violin and double bass. Even Andre Previn has sent me a violin sonata, which we will then premiere in 2012 in Essen. And I also hope very much that Sofia Gubaidulina will sometime take my request, writing something for violin and Aquaphone
Standard: Aquaphone, why is that?
Mutter: I have heard a piece for two cellos and Aquaphone, the whirring sound of the instrument - I was almost blown away, and Gubaidulina plays the instrument itself by the way, too
Standard: Pierre Boulez should also write something for you, yes.
Mutter: There was and is the order of the Paul Sacher Foundation with me as soloist. I do not know how it stands. With Boulez, the conductor, I had time with - my - a great pleasure working for some.
Standard: This was not as complicated as Sergiu Celibidache?
Mutter: For heaven's sake, no! If it is speed Celibidache questions failed to. Maybe his time greeting, I should everything that has ever said Herbert Karajan me of forget, in addition to me aroused resistance. From then on it was certainly very difficult, and it did not come to the concert. After the rehearsal, I have canceled the concert for artistic reasons.
Standard: Were there long periods, which you have not touched the violin while?
Mutter: Absolutely. Back when my first child was there. Then I remember a period of three months in which I was very busy. That is not bad. I have five and a half years, started playing violin, and am now 46th So, because three months are not relevant. There are of course always very intense work phases. But I am generally not a man who every day 8:00 to 12:00 on the fiddle would work. I can also at times the door is not even afford the luxury of me. Flexibility is also important for environmental reasons. Then I practice just at night or in between or even without the violin.
Standard: Why They recorded the Brahms Sonatas for violin and piano on now?
Mutter: One sometimes forgets things where you have buried his sweetest - in the garden of the vast repertoire. It is certainly good and right two years ago felt already, so we had taken into the vague eye. Then we also had a room available, recordings of acoustically suited for. And so the time is then placed in was when I did not have to give concerts. I had early lasting impression by David Oistrakh as a listener will, yes. By Alexis Weissenberg, I then played the sonatas.
Standard: What is the basic approach to interpretations of her?
Mutter: I'm from the big picture and, without losing it, then I fall in love in detail. Then I try to make sense of this big picture of the work to integrate the details. Of course, you consider: Where are the highlights of the work? How to play the recapitulation, it will change the tempo? How does all this sound to you? In the Brahms sonatas, it is also a helpful luxury that every composer has not, that it is correspondence, referring to the works.
(Ljubiša Tošić, THE STANDARD / print edition, 22./23./24.05.2010)
Immer schon und auch jetzt, in der Krise der Branche, eine stabile "Klassikaktie" - violinist Anne-Sophie Mutter.
Biography:
The German violinist Anne-Sophie Mutter (born 1963) was once discovered by Herbert von Karajan; they published their CDs and have always been with Deutsche Grammophon.
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