Melvyn Krauss is a professional economist who often writes about music. He has published on music in the Wall Street Journal, Harper's, and Opera News. In his early years, he mostly spent his time in opera houses. But with the decline of great singers and production values, Mr. Krauss abandoned the opera house in favor of the concert hall where he found the standard of performing to be on a much higher level. He resides in Portola Valley, California with his wife Irene, two Irish setters, and two cats. He considers himself to be a New Yorker-in-exile.  
Strapless Gowns Make Great Sounds

Strapless Gowns Make Great Sounds

Melvyn Krauss

The second major event in the San Francisco Symphony’s celebration of Beethoven’s 250th birthday was a joint recital last Sunday evening at Davies Hall with the legendary violinist Anne-Sophie Mutter and her frequent collaborator Lambert Orkis. 

Anne-Sophie Mutter and Lambert Orkis.

Anne-Sophie Mutter and Lambert Orkis.

The program was three Beethoven sonatas for piano and violin. The first on the program was the Sonata No. 4 in A minor, Opus 23 which should be known as the “Warm Up”. The second was the Sonata No. 5 in F major, Opus 24 actually known as, the “Spring”. And finally, after the intermission, there was the Sonata No. 9 in A minor, Opus 47, the “Kreutzer”. 

Ms. Mutter not only is a star on the international classic music circuit—she is a super-star and her drawing power on audiences is undeniable. 

At Davies, she virtually sold out the house even though there was a very competitive hot violinist playing right down the street at Herbst Theater at more or less the same time and a second Mutter concert the next evening. 

There are several reasons for Ms. Mutter’s celebrity. First, she is a great violinist, one of the very best. 

Second, she is a thorough professional and extremely hard working. When I asked her in a phone interview why she was doing this difficult tour of the US to celebrate Beethoven, she responded that she wanted to pay tribute to this great man who had struggled so much in his life. 

She wanted to be part of the action rather than sit home on her laurels.  

A third reason for her celebrity is that Mutter is a beautiful woman and a great self-promoter. She developed a trademark of performing in strapless high-fashion gowns and at the age of 56 with 43 years performing experience to her credit still looks great in the strapless attire, at least judging from row M in Davies where I was sitting. 

But Mutter has more than just good looks and glamour to sell. She has a cultivated air of High German culture about her--a Teutonic Goddess from the Black Forest (where she grew up) who as a young girl captured the heart and mind of the great German conductor Herbert von Karajan, who served as her mentor and got her early career off to a fast start. 

Anne Sophie Mutter and Herbert von Karajan

Anne Sophie Mutter and Herbert von Karajan

Mutter has a great story to tell--and sell-- and classical music fans love a great story. 

That’s a key reason Mutter is adored in Germany and German culture lands like Austria and Switzerland. She is a genuine ‘rock star’ for the German speaking world. 

When Ms. Mutter came out on the Davies stage last Sunday, I thought—she is one of the last linkages we have to the heady period of High German art in the post-War classical music world--and she still looks and sounds great. Von Karajan would be proud.

Mutter’s playing –always tops-- can be compared to a Mercedes Maybach sedan--the ultimate in elegant luxury, beauty and comfort, technically perfect, re-assuring but with little risk. 

Unfortunately, the little risk part can make for less excitement than desired in music making and therein lies the source of some of the current criticisms of Mutter’s current playing. 

Anne Sophie Mutter

Anne Sophie Mutter

Her choice of pianist illustrates the risk factor. Lambert Orkis is a terrific musician—but he is not a virtuoso like Mutter. The violinist apparently likes getting her own way and Orkis is more than willing to accommodate her—he apparently knows what he is doing as he has lasted on the job for three decades.

But if Mutter had a less accommodating partner, perhaps her performances might be more exciting. I admit to losing concentration at several points in last Sunday’s performance. The Beethoven they played was not exciting Beethoven to be sure.  

Apparently, the German super star will be taking a 6 month sabbatical after this season in part to re-assess what she wants to do with the rest of her career. 

As much as I like and admire Orkis, the time for a change may be at hand; thirty years is a long time.

The dramatic turn Christian Tetzlaff took in his career several years ago when he fell in love has done wonders for his playing. 

Maybe a well-spent sabbatical can do the same thing for the great Anne-Sophie?

Roll Over Beethoven...and Make Room for Brahms

Roll Over Beethoven...and Make Room for Brahms
SFS Programmers Surround Magnificent Beethoven with Misfits

SFS Programmers Surround Magnificent Beethoven with Misfits