RSNO Music Director Thomas Søndergård will work with the “...undisputed queen of violin-playing…” Anne-Sophie Mutter next week as he replaces composer Krzysztof Penderecki on the podium for two dates in Scotland.
Penderecki has had to withdraw from his scheduled performance with the RSNO due to personal reasons, and Søndergård is happy to accept the opportunity to work with one of the world’s great soloists.
The programme for Anne-Sophie Mutter in Concert, on Friday 30 November at the Usher Hall, Edinburgh and Saturday 1 December (7.30pm) at the Glasgow Royal Concert Hall, remains unchanged, Krzysztof Penderecki’s post-romantic Violin Concerto No2 Metamorphosen, a work dedicated to and championed by the soloist, followed by Tchaikovsky’s fateful Symphony No5, performed in the month of its 130th anniversary.
RSNO Music Director Thomas Søndergård: “It is regrettable that maestro Penderecki is now unable to join the Orchestra for these concerts. However, I am delighted that I have been able to make myself available for this. I adore Anne-Sophie Mutter’s playing and am hugely looking forward to her performances with the RSNO.”
Violin soloist Anne-Sophie Mutter: “I look forward with happy anticipation to my first concert with Thomas Søndergård. Krzysztof Penderecki‘s Violin Concerto No2, Metamorphosen is a towering project, and has been my companion since the premiere in 1995.
“It is a work close to my heart to play this unique piece in Scotland. In Edinburgh I already offered in 2015, at the summer festival the Nonet for Two String Quartets and Double Bass by Sir Andre Previn and thereby met a knowledgeable and simultaneously appreciative public. I hope to deepen my relationship with the Scottish concert audiences with Penderecki’s Metamorphosen.”
The Times, who called Anne-Sophie Mutter, “…the undisputed queen of violin-playing…” described her performance on the recording of the concerto with the London Symphony Orchestra as, “The Mutter style typically mixes steely authority with febrile emotion. Nothing dislodges her assertive technique, certainly not in the eclectic, often neo-romantic, highly coloured music written by Penderecki…”