Mutter and Mozart, close friends


"La Mutter" is much more than a great violin virtuoso, perhaps the best among all active colleagues. She is a living and operative myth, holder of all the first magnitude awards, holder of the most coveted state and cultural honors, the interpreter for whom the greatest living composers write, the teacher who trains and launches young talents and the generous promoter of solidarity initiatives that ennoble her human profile.

As great a soloist as she is a chamber player, it is this facet that has brought her to the Festival de Canarias, marking the most resounding sellout of the 38th edition at the Alfredo Kraus Auditorium.

In the trio formed for a Mozart monograph, the generous character of the diva is also manifested, since with her and her most frequent collaborator, the veteran and magnificent chamber player Lambert Orkis on piano, comes a 19-year-old cellist, Lionel Martín, perfect in the balance of the trio and extraordinarily expressive in the themes in which Mozart makes him the protagonist.

The attributes of the ensemble are those of the great violinist, who always gives us the sound of a Cremonese instrument. She spoke of the naturalness of the exquisite, which she makes perceptible from the first note and takes possession of the audience without the need for boasting or flourishes. Because exquisiteness is the soul of style, the aesthetic dimension of great wisdom in the intuition of the composer's purpose. In this case, Mozart, the most creative in his ideas (which, incredibly, are never repeated in his vast catalog) and the one who achieves the most artistic performance from naturalness. This Anne Sophie Mutter Trio has a positive power: that of making us believe that it sounds as Mozart wanted, an effect that is much more difficult in chamber music than in any other.

The four beautiful pieces of the program are powerfully different in their respective ideas, admirable melodies singable, said with the ideal inspiration and vibrato, and exciting sequences developed in living times. The first, Divertimenti KV 254 reserves the greatest content for the violin, with a simply divine adagio, The other three, the Trios KV 542,502 and 548, give the violin and piano an equal game of great architecture in their rich ideation, leaving the cello a subsidiary function of second voice or underlining of phrases and harmonic bass. Also two melodic songs whose inspired execution explains why a 19-year-old boy travels the world with Mutter and Orkis-.

Yes, it is possible that Mozart felt his genius "verb" in these wonderful versions. With performers of this magnitude, who drew applause and cheers from the audience standing up, it seems smart that these programs continue to reveal to us in masterful conditions the least frequented repertoire of Mozart, author of so many masterpieces that it is not easy to listen to them all live and with instrumentalists of this dimension. From Mozart's rupturist classicism to Mendelssohn's romantic encore, exceptionally performed, there is a short distance in time but an immense one in art. It was a revealing contrast.



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