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For more than two decades, Anne-Sophie Mutter has patiently waited for an original violin concerto from the Russian composer Sofia Gubaidulina. That concerto was finally written and dedicated to Mutter during the 2006 concert season.  

Bach was Gubaidulina's guide as she composed Mutter's concerto.  And in fact, one year later, Gubaidulina was awarded Hamburg's prestigious Bach Prize for being a pioneer of contemporary classical music. 

On her new recording, Mutter has paired this new work inspired by Bach with two concertos by the master himself. 

Gubaidulina's work is titled "In Tempus Praesens," which means "in the present time,"
and it is the centerpiece of this new recording. 

Anne-Sophie Mutter believes this work reveals  much about its composer. Each note dives into the depth of emotion -- demonstrating that Sophia Gubaidulina doesn't compose to live, she truly lives to compose. 

This five-part concerto splits in two different directions. At first Gubaidulina takes us heavenward, with instruments soaring to their highest registers. Next we're plummeted to the deepest regions of hell through the use of trombones, tuba and contrabassoon.  Mutter is a musical wizard, twisting and turning through quick passages to explore every mood. 

The mysterious plunge into the underworld begins with a buzzing dialogue between soloist and orchestra.  The tension builds as Valery Gergiev weaves a web of complicated textures and emotions with the London Symphony Orchestra. At the very end, the soloist breaks free and triumphs over fate. 

Gubaidulina takes her violin to places Bach could never have imagined, yet Anne-Sophie Mutter is attracted to both composers for their ability to combine the cerebral and the spiritual. 

To demonstrate their affinity, Mutter decided to record, for a second time, Bach's two violin concertos. The first time was with the English Chamber Orchestra in 1990.  

On this recording, she is reunited with Norway's Trondheim Soloists. What first attracted Mutter to this small chamber group was their passion, their dedication and their technical skill. These qualities continue to shine on this recording where all the performers, including Mutter, play with copies of Baroque bows. 

Using Baroque bows gives their performance a sense of clarity and lightness that matches the original phrasing Bach intended. Instead of "authentic" gut strings, however, Mutter prefers a soft wound A-string that creates just the right sense of warmth.  

Very slight vibrato reveals Mutter's amazing intonation and her technical prowess, as she floats through each melodic line in the first movement of the concerto in a minor. Mutter displays a profound sense of tenderness in the slow andante, which begins with an incredibly soft solo line. 

When Anne-Sophie Mutter made her earlier Bach recording with the English Chamber Orchestra, her approach was more calculated, somewhat cautious.  With the Trondheim Soloists her approach is nimble and free. 

Mutter takes us on a refreshing joy ride through singing melodies and crisp rhythms in the first movement of the Violin Concerto in E major. 

On this recording, the music of Bach has spawned something new from Sophia Gubaidulina and Anne-Sophie Mutter.

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Julie Amacher

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Anne-Sophie Mutter's new disc pairs Bach's two violin concertos with a new piece written for her by Sofia Gubaidulina. Mutter finds that there's an intellectual and a spiritual element that unites both composers.

New Classical Tracks: Bach, in the present time

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