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三十年來，安妮-索菲•慕特屬於當代最傑出的小提琴演奏大師。這位在德國巴登州萊茵菲爾登出生的女小提琴家的國際職業生涯始于1976年盧塞恩音樂周。一年之後，她作為獨奏者在赫伯特•馮•卡拉揚指揮的薩爾茨堡聖靈降臨節音樂會上登臺。從那以後，安妮-索菲·穆特就在歐洲、美國和亞洲的所有重要的音樂中心演奏。除了演奏著名的傳統作品外，她也一再向她的觀眾介紹保留節目的新領域；室內樂和管弦樂的作品處於同等並列的位置。 她用自己的盛名為很多慈善專案籌資並資助音樂方面的後起之秀。
2008年安妮-索菲•慕特在亞洲、歐洲和北美各地都有演出：在紀念赫伯特•馮•卡拉揚誕辰100周年的歐洲巡迴演奏會上，她和由Seji Ozawa指揮的柏林愛樂樂團一同演奏貝多芬小提琴協奏曲；在美國和德國，她和鋼琴家蘭貝特•奧爾基斯一道演奏勃拉姆斯小提琴奏鳴曲；在亞洲巡迴演奏會中，她與特隆赫姆獨奏家室內樂團演奏安東尼奧•維瓦爾第的小提琴協奏曲《四季》和巴赫第二小提琴協奏曲，並擔任音樂指導。
在巴登巴登、馬德里和斯圖加特，安妮-索菲•慕特與尤裏•巴什梅特和Lynn Harrell組成超強的室內樂陣容，演奏貝多芬弦樂三重奏。
美國巡迴演奏會的節目單上有這位小提琴家指揮薩爾茨堡室內樂團演奏的巴赫小提琴協奏曲。二重協奏曲的第二個獨奏部分由年輕的女小提琴演奏家Vilde Vrang演奏，她是安妮-索菲•慕特基金會的受贊助人。
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Photo Credit: Tina Tahir c/o Shotview Photographers
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安妮-索菲•慕特還將由她在2007年首演的兩部作品重新帶回音樂廳：在巴黎，她和庫特•馬舒爾指揮的法國國家交響樂團合作，首次在法國演奏索菲亞•古拜杜麗娜的小提琴協奏曲。這首小提琴協奏曲是由Paul Sacher委託寫的作品。
普列文的小提琴、低音大提琴和管弦樂協奏曲則在倫敦慶祝其歐洲首演，合作者是由作曲家和低音大提琴家Roman Patkoló指揮的倫敦交響樂團。這部作品由“安妮-索菲•慕特基金會的友人圈子e.V.”委託寫作。
除了這些大型巡迴演奏會外，2008年的節目單上還有勃拉姆斯和孟德爾松的小提琴協奏曲、勃拉姆斯二重協奏曲、貝多芬浪漫曲、亨利·迪蒂耶的夜曲《在同一個和絃上》以及莫札特小提琴奏鳴曲。安妮-索菲•慕特錄製了大量唱片，獲得過德國唱片大獎，Record Academy Prize、法國唱片大獎（Grand Prix du Disque）和國際唱片大獎以及多次格萊美獎。值沃爾夫岡•阿馬多伊斯•莫札特誕辰250周年之際，安妮-索菲•慕特在德國留聲機唱片公司推出包括了莫札特所有重要小提琴樂曲作品的CD和DVD的新唱片。她的“莫札特計畫”分別被《Le Monde de la Musique》和《Record Geijutsu》授予2006年年度大獎。
這位女藝術家的一個獨特愛好是同時代的小提琴作品。塞巴斯蒂安•卡利爾、亨利•迪蒂耶、索菲亞•古拜杜麗娜、維托爾德•魯托斯拉夫斯基、諾伯特•莫瑞特、克裏斯托夫•彭德雷茨基、安德列•普列文爵士和沃爾夫岡•裏姆都有作品獻給她。正在計畫推出彭德雷茨基和裏姆的室內樂作品的首演。
2008年夏季，德國留聲機唱片公司將推出安妮-索菲•穆特和Valéry Gergiev指揮的倫敦交響樂團演奏的古拜杜麗娜的小提琴協奏曲《In tempus präsens》，以及和她本人指揮的特隆赫姆獨奏家室內樂團演奏的巴赫a小調E大調小提琴協奏曲。
今年，這位女藝術家成立了“安妮-索菲•慕特基金會”。 成立這個基金會的目的是為了在世界範圍內進一步加強對音樂方面的後起之秀的資助，自1997年創辦“安妮-索菲•穆特基金會的友人圈子e.V.” 以來，這位小提琴家就以此為自己的使命。
對於安妮-索菲•慕特來說，關心當代醫療和社會問題的工作也有著重要意義。她通過定期舉辦慈善音樂會來支持這種關懷。例如，她在2008年為柏林愛樂樂團的樂團協會和波恩的貝多芬故居進行慈善演出。
安妮-索菲•慕特是德國聯邦一級十字勳章、巴伐利亞州勳章、奧地利榮譽十字勳章和法國“藝術與文學勳章”以及眾多其他獎章的獲得者。
The lavish surroundings of the lobby of London’s Savoy Hotel—with its art deco murals, imposing columns, and plush settees—seem a suitable place to meet violinist Anne-Sophie Mutter, whose name is usually accompanied by the word “glamorous.” Reviewing her concerts, most critics can’t help but comment on her striking appearance, as she’s always impeccably groomed and wearing one of her trademark slinky, strapless dresses.
“Like a goddess stepped down from Mount Olympus,” is how Geoff Brown of the Times of London described her in a recent review.
So what does a glamorous violin goddess look like on a regular day? Quite elegant, if the goddess in question is Anne-Sophie Mutter. She’s of medium height, slim, and, yes, elegant, in a peach-colored jacket over shirt and casual slacks. The 42-year-old German-born violinist is gracious and poised, speaking excellent English with the slightest of accents. After 30 years in the limelight, she’s also a practiced interview subject.
Her poise today is all the more noteworthy because she and her longtime chamber-music partner, pianist Lambert Orkis, have just finished an afternoon rehearsal for the coming week’s three-day marathon of Mozart sonatas at the Barbican Center. Plus, they only flew in this morning from a concert the night before in Dublin. Orkis has been Mutter’s sonata partner since 1988.
Though Mutter does not seem terribly interested in the period instrument approach for her own playing, Orkis is noted for his experiments with historic pianos. The duo recently played some of the Mozart sonatas—most of them piano sonatas with violin accompaniment—on Mozart’s own piano in the Salzburg Mozart Museum.
“It was very interesting to try to blend in with the sound of . . . That little thing!” she says referring to the composer’s small five-octave fortepiano. “It’s a totally different approach. I found it utterly inspiring and much of the intimacy you can transfer to modern playing.”
In 2005 Mutter got a jump on the upcoming yearlong festivities surrounding the 250th anniversary of Mozart’s birth year by performing and recording the Mozart violin concertos with the London Philharmonic Orchestra. The concertos are the first of three planned recordings in her ambitious Mozart Project. Later this year, she’ll also be recording the Mozart sonatas that she’s been touring with, as well as the piano trios.
The project, she says, is her “low bow to the great composer.”
The music of the great Classical-era composer has been something of a cornerstone in Mutter’s career. She made her concert debut, at age nine, with Mozart’s Second Violin Concerto; wowed the Salzburg Festival in 1977 with the Third Concerto; and recorded the Third and Fifth Concertos with her mentor Herbert von Karajan when she was all of 14. In Karajan’s view, Mutter was “the greatest musical prodigy since the young Menuhin.”
High praise, but surely standing in front of the Berlin Philharmonic at such a young age must have been somewhat daunting? “The first rehearsal was a little tense,” she admits. “But I was only 13, and life was simpler."
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