Every Note Is Precious in Mozart, As Are the Spaces Between the Notes

I JANUARY 18-19, 2014 I theaustralian.com.au/review 04 COVER STORY RAISING THE BOW In the international spotlight since her early teens, violin virtuoso Anne- Sophie Mutter tells Sharon Verghis she’s yet to master her instrument DEUTSCHE GRAMMOPHON T nine, she Mutter is a woman of many passions outside Federer crush and her vexed realisation she’ll played her music. Speaking to Review from Austria, it is never truly master her instrument to why first public tennis, not Mozart, that is absorbing her children are instinctively good at Mozart and concert. At boundless energy this morning; within seconds her visceral dislike of listening to her old 13, she of getting on the line, she confides gleefully recordings (‘‘I’ll only do so if I’m in a moving madeA her international that she’s ‘‘absolutely’’ over the moon at the car and can’t jump out’’). debut in Lucerne with Her- thought of finally seeing the men’s singles final Then it’s on to the need for classical bert von Karajan and the in Melbourne with her son when she returns to musicians to be more politically engaged Berlin Philharmonic. At 15, this country to perform with the Sydney (where are the benefit concerts for Syria, she she made her first recordings for Symphony Orchestra following her lauded asks), the frustrations of working with the prestigious Deutsche Gram- Australian debut with Beethoven’s Violin occasionally ‘‘uninspirable’’ orchestras, and mophon label. Concerto in 2012. her upcoming Carnegie Hall world premiere of By her late teens she was ‘‘I know I should speak only of Mozart but I an ‘‘insanely’’ difficult new work by octogen- enjoying the fruits of interna- now shall speak of Federer — I am a big arian Polish composer Krzysztof Penderecki. tional music stardom — a Federer fan,’’ she announces cheerfully in ‘‘I am so nervous,’’ she exclaims. ‘‘Oh my Stradivarius, a Porsche, criti- precise English overlaid with a rollicking, God, how many sleepless nights have I had!’’ cally praised recordings — singsong accent. Art and literature, two passions, are regu- after being hailed by the Engaging and candid, she waxes lyrical larly referenced. A keen collector, she has said autocratic, silver-haired Kara- about the Swiss legend’s almost musical Monet’s desire to paint not the object but what jan as ‘‘the greatest musical prodigy since the young Menuhin’’. EVERY NOTE IS PRECIOUS IN MOZART, AS Now 50, she’s been in the international spotlight for more ARE THE SPACES BETWEEN THE NOTES than three decades, known for her scholarship and virtuosity as well as her glamorous John Galliano gowns. She’s sold playing style, his graceful sense of rhythm, his goes on between the object and the eye of the upwards of 10 million al- temperament: like her, she explains earnestly, beholder is ‘‘very close to my understanding of bums, and critics worldwide he appears coolly remote, even imperious, but music’’; she compares Beethoven and Mozart salute everything from her ‘‘sometimes you see him give a funny little to Miro and Klee, and has cited the epigraph lyricism and rich tone to ‘c’mon!’ and you can glimpse this incredible from TS Eliot’s Four Quartets (‘‘We shall not her formidable control inner fire which he shelves before playing. cease from exploration’’) to clarify her reasons Anne-Sophie and the precision of her Without wanting to put myself anywhere near for re-recording the Mozart concertos. At one Mutter; and as a bowing arm. the mastery of Federer, I think we are the same point in our chat, she explains her theories on child with Herbert ‘‘When she lets her type on stage.’’ music in terms of the deceptively subtle work von Karajan, right turbo-charged sound It is characteristic of Mutter, I find, to seek of Austrian sculptor Karl Prantl, and compares roar fully out,’’ The out parallels between her profession and her Mozart’s compositions — lean and infinitely Washington Post many interests. A self-described ‘‘insatiable nuanced — first with a Japanese haiku, and once said, ‘‘you caterpillar’’ of the violin repertoire, that then a masterpiece of microcarving she once feel it almost phy- curious, cerebral mind of hers soaks up books saw in a Dresden art museum. sically.’’ and art, jazz and magic tricks as quickly as it On the weekend after next, she will perform The violin has does scores, old and new. Refreshingly prag- three of Mozart’s five violin concertos with the been her first matic about her life with ‘‘the fiddle’’ (‘‘it’s Sydney Symphony Orchestra. The great com- love since early childhood, but not life or death, let’s be honest’’), she makes poser is perhaps Mutter’s favourite, ‘‘always German superstar Anne-Sophie quickfire conversational leaps from her waiting for me at every juncture of my career’’. Continued from Page 3 and a pianist now based in the US and Mexico. he’d still like to make a big stompy rock album ever done in my life,’’ he says, ‘‘because it is ‘‘My brothers used to play a lot of funk and one day: ‘‘An Emerson, Lake & Palmer kind of the song where I change the way I compose.’’ questions about socialism and the Castro soul and my mother would be singing bolero thing, but don’t tell anyone.’’ Just as he He fishes his smartphone from his jeans government’s now 55-year-rule. and son (the precursor to salsa) all day long. I wouldn’t mind getting into movie acting; there pocket, searches for the song and presses play. ‘‘I can tell you that some Cubans hate Cuba started off playing drums, and my first job was have been several offers, but he says he is ‘‘I was feeling the melody and the impulse and and want the American dream, and that other as a drummer in a Beatles cover band. But biding his time. the vibe and trying to create a bridge between Cubans are crazy about the place. For me it’s what I really loved was heavy rock.’’ He ‘‘I want to be the guy who saves the world African tradition and electronica,’’ he says as about music and family.’’ Fonseca recently beatboxes a riff. ‘‘Iron Maiden. Quiet Riot. AC/ with a couple of words and a look,’’ he jokes, music — his own music — blares around him. married his long-time girlfriend; both live with DC. I loved the energy, the bass lines.’’ arching an eyebrow. ‘‘The quiet guy who ‘‘So I added African instruments like the his mother, a singer and former dancer, in the So it was that the adolescent Fonseca got resolves everything, and doesn’t talk ngoni (lute) and kora (harp) alongside per- modest three-bedroom home he grew up in. about after school in tassels, tight jeans, a too much.’’ cussion from Cuba; I used some of the classical ‘‘My mum always told me that music must studded Cuban army belt and, quite possibly, I suggest he is more political than he’d have influences I have, and the voice of Guillen. I be studied continuously, endlessly. It is like an his mother’s eyeliner. us think, what with tracks such as 7 Rayos put all these things in one track. Now every eternal bride for a musician.’’ A smile. ‘‘My ‘‘Then one weekend I was in the kitchen paying homage to the Palo Mayombe religion time I hear the song, I think, ‘This is where I wife is very understanding.’’ having lunch and listening to heavy metal, of the Yoruba people, who were taken from moved forward.’ ’’ Fonseca’s musical leanings were nurtured really loud,’’ he says, ‘‘when suddenly the Africa to Cuba in the slave trade — and He pauses, smiles. ‘‘Do you like it?’’ early; his father played the drums. His mother cassette clicked off and I felt this peace. I was featuring some sonorous spoken words by the I love it, I say. was previously married to Chucho Valdes — like, ‘Whoa, what was I just listening to?’ And proudly Afro-Cuban poet Nicolas Guillen. ‘‘Si,’’ he says with a grin. ‘‘So do I. I love the great Cuban pianist, bandleader, founder then my tastes changed; I discovered the Fonseca nods, smiles. ‘‘I love the poetry of what I do.’’ of supergroup Irakere and, arguably, of the piano, and Keith Jarrett, and jazz.’’ Guillen, but not only because it is political. I Latin jazz genre (‘‘He’s the guy that really put And while at present he’s listening to a lot of love it because it is rhythmic; it has a Roberto Fonseca plays WOMADelaide Cuba on the musical map’’). electronica and dubstep (‘‘I’m trying to wonderful cadence. March 7–9, Melbourne Recital Centre March His two elder half-brothers are a drummer compose some acoustic dubstep; it’s a risk’’), ‘‘7 Rayos is the most important song I have 11, and The Basement, Sydney, March 12..

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