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In Poulenc’s Sonata for Violin and Piano, which closed the program, Orkis conjured up a cold, empty room with just a progression of chords. At 73, the pianist shows complete command of the keyboard, never feeling rushed or uncomfortable, and coloring each breathing phrase with exquisite delicacy. All evening he proved an ideal collaborator, playing in perfect dialogue with Mutter.
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Orkis’s playing in both Mozart sonatas was sublime, finding rich expression in relatively simple phrasing, landing every gesture with a sparkling touch. Mutter brought a sun-kissed brightness to her tone in the first movement without turning morose. 454 Sonata in B-flat major was more broadly traditional in interpretation, but their execution was superb. Smoky little moments of portamento in the second movement might not have been strictly “correct,” but it was refreshing to hear such an original approach to a familiar piece. Her plain-white approach to the main theme of the Allegro, without vibrato and bowed over the fingerboard, drew a strong contrast to the passages in which she found more sonic intensity. 304, where Mutter showed an unconventional approach, bringing out bold colors in the music. The evening began with Mozart’s Sonata in E minor, K. Poise, sensitivity, and a sense of adventure were all on display in Tuesday’s recital. And the program they presented Tuesday night ranks among the very best. The last few years of their collaboration have produced some memorable evenings at Carnegie Hall. Photo: Chris Leeįor several decades now, Anne-Sophie Mutter and Lambert Orkis have been one of the great recital teams on the circuit. Anne-Sophie Mutter and Lambert Orkis performed Tuesday night at Carnegie Hall.