It is one of the highlights in the calendar of every classical music fan in Berlin - and beyond: On New Year‘s Eve, the Berliner Philharmoniker invite an exceptional soloist for a festive gala. Together the musicians bid farewell to the old year and welcome the new. In 2015, the orchestra has invited German violinist Anne-Sophie Mutter. Together, they performed works by Saint-Saëns, Massenet, Ravel, Poulenc and Chabrier.
The idea is for the music to be the most important thing in a performance, not the performer, not the performer's dress, not the performer's hair, not the performer's smile, not the performer's figure. If all that mattered in a performance of classical music was how sexy the violinist looked, Lara St. John would be the greatest performer of classical music who ever lived and Gidon Kremer would be laughed off stage. But in classical music, it is the music that matters most, not how well the violinist fills a designer gown…
In May of 2015, violinist Anne-Sophie Mutter gave a truly unique concert: rather than standing on stage in one of the world’s renowned well-tempered grand concert halls, she spent two evenings playing in a tiny graffiti-scrawled nightclub in Berlin. Recorded in front of a standing-room only audience, this new release includes popular works by Bach, Copland, Gershwin, Tchaikovsky, Vivaldi and many more. Mutter is joined by Mahan Esfahani, Lambert Orkis and the Mutter Virtuosi.
Anyone would assume from the title Tango Song and Dance that this album contains performances of Piazzolla and friends, representing an effort on the part of Anne-Sophie Mutter to cash in on the recent tango craze. Actually, the only tango-related piece here, the title composition by Mutter's husband André Previn, was written in 1997 before that trend really got started in classical music.