Anne-Sophie Mutter y Hilary Hahn

El violín como instrumento rey se corona en la última semana de la Quincena Musical de San Sebastián. Las violinistas Anne-Sophie Mutter y Hilary Hahn, máximas representantes del instrumento de Cremona, ofrecerán en el Kursaal dos recitales como solistas que marcarán el broche de oro a una Quincena Musical de grandes nombres.

Anne-Sophie Mutter y su ensemble de virtuosos —agrupación que la violinista fundó en 2011 en aras a favorecer las carreras de jóvenes talentos de la música— aterrizarán en la sala principal del Kursaal el próximo 26 de agosto para ofrecer un programa entre lo barroco y lo contemporáneo.

La gran musa del violín moderno presenta en San Sebastián su última gira con The Mutter Virtuosi, donde el barroco y la música contemporánea se unen en un viaje con obras de Bach, Vivaldi, Previn o Joseph Bologne. Tras su sonado debut en 2021 en la Quincena Musical de San Sebastián, Mutter vuelve a la ciudad donostiarra con una de sus grandes pasiones como amante de la música: The Mutter Virtuosi. Su ensemble, formado por jóvenes portentos de la música y dirigidos por la propia Mutter, ofrecerá un recital en el que se interpretarán el Concierto en fa mayor para 3 violines RV 551 de Antonio Vivaldi, el Concierto para violín nº1 BWV 1041 de J. S. Bach, Nonet de André Previn, el Concierto de Brandeburgo nº3 BWV 1048 de J. S. Bach y el Concierto para violín op.5 nº2 de Joseph Bologne. Todo un viaje musical que combina algunos de los grandes éxitos del último barroco con obras contemporáneas como la emblemática Nonet, del recientemente fallecido André Previn, obra especialmente compuesta para The Mutter Virtuosi y estrenada por la ya mencionada agrupación en 2014.

Del sonido claro y pulcro de Anne-Sophie Mutter, pasamos a la considerada como «perfección absoluta del violín»: Hilary Hahn, que vuelve el 29 de agosto al Kursaal junto a la Deutsche Kammerphilharmonie Bremen bajo la batuta del director israelí Omer Meir Wellber.

Para esta ocasión tan especial, que cerrará el ciclo de grandes solistas de esta Quincena Musical, la agrupación alemana, junto a la violinista estadounidense, proponen un programa dedicado, en su primera parte al clasicismo vienés de Mozart: con obras como la emblemática obertura de Don Giovanni o el Concierto para violín nº 5 KV 219 Turco”, también del compositor de Salzburgo. La segunda parte dará comiendo con la Primera Sinfonía del genio salzburgués: la Sinfonía n.º 1 en mi bemol mayor, KV. 16. Compuesta por Mozart en 1765  —con tan solo 8 años— pese a la fama internacional que le rodeaba. Sigue un estilo que recuerda a la música de J. C. Bach, hijo del maestro de Eisenach y muy popular por entonces en la capital británica —donde Mozart terminó de componer la obra—. El recital concluirá con la Sinfonía nº2 D125 de F. Schubert.

Esta no será la única cita con la Deutsche Kammerphilharmonie Bremen en esta 84ª Quincena Musical. El 1 de septiembre, la orquesta alemana vuelve a subirse al escenario del Kursaal junto al coro Andra Mari Abesbatza y un elenco de solistas formado por la soprano Heidi Stober, la mezzosoprano Rachel Frenke, el tenor Martin Mitterrutzner tenor y el bajo Stefan Cerny. Juntos, pondrán voz a la Missa Nelson Hob. XXII:11 de Joseph Haydn, en un bellísimo programa que se iniciará con la Primera Sinfonía de L. Van Beethoven.

Con estos tres recitales, la Quincena Musical Donostiarra concluye su actividad 2023 en la Sala Principal del Kursaal. Una edición que ha traído un total de once recitales y conciertos al edificio emblema de Moneo, contando con algunos de los solistas más imprescindibles del panorama internacional.

Beethoven

Making an early appearance in this Beethoven anniversary year is a very special new album from Deutsche Grammophon. It couples the composer’s Seventh Symphony, op.92 with the Triple Concerto for piano, violin and cello, op.56, the latter work featuring three of today’s most renowned classical artists and
Beethoven interpreters – Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim. The acclaimed West- Eastern Divan Orchestra, meanwhile, gives vibrant, richly nuanced performances of two works central to the 2020 celebrations.

The recordings were made at concerts held in Buenos Aires and Berlin – in July and October 2019 respectively – to mark the West-Eastern Divan’s 20th birthday. Co-founded by Daniel Barenboim in 1999, the orchestra now stands as a symbol of multicultural understanding, as well as being the brave realisation of a long-held dream. A fascinating microcosm of a society of enormous diversity, it is proof positive that working together for a shared goal can break down barriers and lead to reconciliation. Daniel Barenboim considers Beethoven, a confirmed humanist, to have been probably the first truly unconventional composer: “He couldn’t care less about what people thought.” He also underlines the real physicality and dedication Beethoven demands from his players: “He forces you to go to the edge, to the precipice and then the abyss. That takes a tremendous amount of courage.”

With its existential profundity and ability to speak to all of humanity, Beethoven’s music remains as timelessly compelling and universally relevant as the day it was written. As Anne-Sophie Mutter observes, he understood how important it was for all of us to stand up for our fellow men: “The idea that we should live in a brother- and sisterhood is, for me, his major achievement … That’s what makes him a messenger from the past pointing the way to a better future.”

Both works recorded for this album reflect that life-affirming message. The Seventh Symphony is famous for its joyful, dance-like character, with lilting rhythms pervading almost the entire work. The Triple Concerto, too, has a special place in Beethoven’s output, its sophisticated idiom and architecture revealing both his sense of humour and his revolutionary spirit. As Yo-Yo Ma notes, “The constant invention is so surprising, and it’s so celebratory, so positive. The second movement is noble and open, but the first and last movements are just joyous!” The clearly delineated solo parts give the work a chamber-music feel, and the intimate, expressive readings achieved by Mutter, Barenboim and Ma will undoubtedly leave listeners spellbound.

Triple_Concerto_Mutter_Ma_Barenboim

Making an early appearance in this Beethoven anniversary year is a very special new album from Deutsche Grammophon. It couples the composer’s Seventh Symphony, op.92 with the Triple Concerto for piano, violin and cello, op.56, the latter work featuring three of today’s most renowned classical artists and Beethoven interpreters – Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim. The acclaimed West- Eastern Divan Orchestra, meanwhile, gives vibrant, richly nuanced performances of two works central to the 2020 celebrations.

The recordings were made at concerts held in Buenos Aires and Berlin – in July and October 2019 respectively – to mark the West-Eastern Divan’s 20th birthday. Co-founded by Daniel Barenboim in 1999, the orchestra now stands as a symbol of multicultural understanding, as well as being the brave realisation of a long-held dream. A fascinating microcosm of a society of enormous diversity, it is proof positive that working together for a shared goal can break down barriers and lead to reconciliation.

Daniel Barenboim considers Beethoven, a confirmed humanist, to have been probably the first truly unconventional composer: “He couldn’t care less about what people thought.” He also underlines the real physicality and dedication Beethoven demands from his players: “He forces you to go to the edge, to the precipice and then the abyss. That takes a tremendous amount of courage.” With its existential profundity and ability to speak to all of humanity, Beethoven’s music remains as timelessly compelling and universally relevant as the day it was written. As Anne-Sophie Mutter observes, he understood how important it was for all of us to stand up for our fellow men: “The idea that we should live in a brother- and sisterhood is, for me, his major achievement … That’s what makes him a messenger from the past pointing the way to a better future.”

Both works recorded for this album reflect that life-affirming message. The Seventh Symphony is famous for its joyful, dance-like character, with lilting rhythms pervading almost the entire work. The Triple Concerto, too, has a special place in Beethoven’s output, its sophisticated idiom and architecture revealing both his sense of humour and his revolutionary spirit. As Yo-Yo Ma notes, “The constant invention is so surprising, and it’s so celebratory, so positive. The second movement is noble and open, but the first and last movements are just joyous!” The clearly delineated solo parts give the work a chamber-music feel, and the intimate, expressive readings achieved by Mutter, Barenboim and Ma will undoubtedly leave listeners spellbound.

Anne-Sophie Mutter. Live from Yellow Loungue- The club album

«It’s not just an album, but a very special recording project for me.” Anne-Sophie Mutter is breaking down boundaries with her latest album “Live from Yellow Lounge – The Club Album”, which is available worldwide now!

Inspired by the huge success of her first Yellow Lounge in 2013, the new album was recorded live at two special Yellow Lounges in Berlin May 2015. “Yellow Lounge is a unique concept,” said Mutter. “It introduces young people to great music, in intimate settings that really bring performers and listeners close together.” By taking classical music out of the concert hall and into a different setting, Mutter strives to find new audiences. «All my life I wanted to keep in touch with an audience that is young, open-minded, maybe not even affiliated with classical music but curious about the genre. My Yellow Lounge concerts and the recording, which his released in August, is really all about that.”

On stage with Mutter were her longtime accompanist Lambert Orkis, the Mutter Virtuosi – a hand-picked ensemble of young alumni of the Anne-Sophie Mutter Foundation – and harpsichordist Mahan Esfahani.

CDs/DVDs