[et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_fullwidth_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/01\/50years_2-Kopie.jpg” title_text=”50Y_ENG_mob Kopie” src_tablet=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/01\/50years_2-Kopie.jpg” src_phone=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/08\/50Y_ENG_mob-Kopie.jpg” src_last_edited=”on|desktop” _builder_version=”4.27.5″ _module_preset=”default” custom_margin=”0px||0px||false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”50″ _builder_version=”4.27.5″ _module_preset=”default” background_image=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/01\/Unbenannt-1-1.jpg” parallax=”on” custom_margin=”100px||0px||false|false” custom_padding=”100px||9px||false|false” locked=”off” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”0px||100px||false|false” custom_margin_tablet=”0px||100px||false|false” custom_margin_phone=”||0px||false|false” custom_margin_last_edited=”on|phone” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” text_font=”–et_global_body_font||||||||” text_text_color=”#ffffff” text_font_size=”60px” text_line_height=”0.7em” header_text_color=”#FFFFFF” header_font_size=”50px” header_line_height=”0.7em” header_2_font=”Open Sans|700|||||||” header_2_text_color=”#d86ca6″ header_2_font_size=”30px” background_color=”#FFFFFF” width=”230px” width_tablet=”230px” width_phone=”175px” width_last_edited=”on|phone” max_width_phone=”67%” max_width_last_edited=”off|phone” height=”230px” height_tablet=”230px” height_phone=”175px” height_last_edited=”on|phone” custom_margin=”||0px|0px|false|false” custom_padding=”10px|||15px|false|false” text_font_size_tablet=”60px” text_font_size_phone=”45px” text_font_size_last_edited=”on|phone” header_2_font_size_tablet=”30px” header_2_font_size_phone=”22px” header_2_font_size_last_edited=”on|phone” border_width_all=”1px” border_color_all=”#c128a8″ global_colors_info=”{}” height__hover_enabled=”on|desktop” height__hover=”230px”]<\/p>\n
[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”50″ _builder_version=”4.27.5″ _module_preset=”default” background_color=”#f1d0f4″ background_enable_image=”off” parallax=”on” custom_margin=”80px||0px||false|false” custom_padding=”100px||150px||false|false” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” _builder_version=”4.27.5″ _module_preset=”default” custom_margin=”0px||40px||false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” text_line_height=”1.5em” header_2_font=”Open Sans|700|||||||” header_2_text_color=”#d86ca6″ header_5_font=”Open Sans|600|||||||” header_5_text_color=”#005c8c” header_5_font_size=”18px” background_color=”RGBA(255,255,255,0)” custom_margin=”10px|20px|10px|20px|false|false” custom_padding=”0px|0px|0px|0px|false|false” global_colors_info=”{}”]<\/p>\n
An unusual recording project to mark her 50th anniversary on stage: Anne-Sophie Mutter is recording works composed especially for her together with musician friends and colleagues. Two albums have already been released, with more in preparation. Why is the violinist celebrating her anniversary with new music of all things? Because music is an invitation to the future.<\/strong><\/p>\n By Bernhard Neuhoff<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.5″ _module_preset=”default” background_color=”RGBA(255,255,255,0)” global_colors_info=”{}”][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ use_custom_gutter=”on” _builder_version=”4.27.5″ _module_preset=”default” custom_margin=”0px||40px||false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” global_colors_info=”{}”][et_pb_video src=”https:\/\/www.youtube.com\/embed\/3PzL95uODqA?si=yvZ52LnvVzx4oKUE%22″ image_src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/08\/cover.jpg” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_video][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” global_colors_info=”{}”][et_pb_video src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/08\/ASM_Jubileum_landscape_FINAL_2.mp4″ image_src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/08\/cover-1.jpg” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_video][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.5″ _module_preset=”default” background_color=”#FFFFFF” custom_padding=”10px|10px|10px|10px|false|false” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n \u201cThe composer is always right,\u201d says Anne-Sophie Mutter after a long day in the studio. Then she adds: \u201cBut the score does not sound by itself.\u201d It is a hot weekend in June 2025, and outside the sun is blazing. Here, in Studio 1 of Bayerischer Rundfunk, it is so cool that at some point the recording team reaches for their sweaters\u2014except for the musicians, who are kept warm by playing.<\/p>\n Behind an angled glass wall that towers over the studio like a pulpit sit the recording engineer and producer. Time and again throughout the day, Anne-Sophie Mutter has put down her instrument, climbed the narrow spiral staircase and listened back to what has just been played. Sitting beside the producer is the man who conceived the music: Sebastian Currier. For him, the journey from New York is more than worthwhile for this project.<\/p>\n As a composer, Currier says, he is always incredibly curious to hear what his work will actually sound like. The MIDI sounds of notation software, trying things out at the piano, even imagining the music in his mind\u2019s ear\u2014none of these is the work itself. It only comes alive through the imagination of other musicians. Even if the composer is always right, every score remains an open space, an invitation.<\/p>\n That space is anything but empty. The relationship between composer and performer is charged like an electric field. \u201cI have sacrificed Konstanze\u2019s aria somewhat to the agile throat of Mademoiselle Cavalieri,\u201d Mozart wrote to his father while composing The Abduction from the Seraglio. He had been so captivated by the singer\u2019s virtuosity that he allowed himself to write more coloratura into the vocal part than he had originally intended. Like a flywheel, the exceptional skill of a performer can set inspiration in motion.<\/p>\n Conversely, composers often push performers to their limits. Arnold Schoenberg, for example, remarked sarcastically about his Violin Concerto: \u201cI want this concerto to be difficult and the little finger to become longer. I can wait.\u201d<\/p>\n Anne-Sophie Mutter openly admits that she has \u201cstruggled\u201d with this work throughout her life: \u201cIn my musical education, I only really got as far as around 1920. And even the concertos by Alban Berg and Igor Stravinsky were not works I studied during my time as a student. I only approached these pieces later, in my early twenties. That was also when I discovered my love of contemporary music.<\/p>\n \u201cFor me, every time it feels like jumping into water that is barely above freezing. A big struggle. But as with everything in life that is difficult, it is all the more rewarding when you finally reach the summit of an eight-thousander. I can only recommend it.\u201d<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/08\/1977.jpg” title_text=”1977″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/08\/1988.jpg” title_text=”1988″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” background_color=”#FFFFFF” custom_padding=”10px|10px|10px|10px|false|false” global_colors_info=”{}”]<\/p>\n This brings to mind a famous remark by Beethoven. When the quartet violinist Ignaz Schuppanzigh complained about a difficult passage, the composer is said to have replied: \u201cDoes he think I consider his wretched fiddle when the spirit speaks to me?\u201d In J\u00f6rg Widmann\u2019s String Quartet No. 6, a \u201cStudy on Beethoven\u201d that is also part of the recording project, one can hear the occasional ironic comment on Schuppanzigh\u2019s despair. Yet Schuppanzigh remained undeterred in his commitment to the avant-garde of 1806. As the critic Eduard Hanslick reported, Schuppanzigh gradually came to regard \u201chis close relationship with Beethoven and his quartets as a veritable privilege\u2014the privilege of understanding and interpreting this master\u201d\u2014and asserted this claim \u201cagainst others.\u201d Proximity to genius as an exclusive claim to authentic interpretation?<\/p>\n For Anne-Sophie Mutter, it is precisely the opposite: \u201cEvery recording, however vivid and compelling it may be, is only an attempt to approach the work.\u201d She does not see her recordings as supposedly definitive models, but rather as invitations to other artists to find their own paths: \u201cAs an attempt, it is extremely important, because without the attempt, the appetite is never awakened. What does not exist as a recording does not exist in the minds of students and audiences either.\u201d This recording project is a beginning, not an end.<\/p>\n How can a performer make an impact on the future? Recordings are always only an interim statement. A musician\u2019s influence lives on more vividly through their students. And it is not only violinists who have benefited from the support of Anne-Sophie Mutter\u2019s foundation. This recording project is a demonstration of that legacy: numerous current and former scholarship recipients of her foundation are involved in the recordings.<\/p>\n But there is an even more important gift a performer can give to the future: world premieres. Bringing works into existence that will endure. Johannes Brahms would presumably have written a violin concerto even without his friendship with the violinist Joseph Joachim. But he would certainly have written it differently. No work is created in a vacuum.<\/p>\n When Wolfgang Rihm was first approached about writing for Anne-Sophie Mutter, he recalled \u201cin a flash the extraordinarily energetic and vibrant high notes I had already heard from this artist.\u201d This became the fundamental idea behind his Violin Concerto Gesungene Zeit (Time Chant, 1992). Even the violinist\u2019s name inspired his sonic imagination. Rihm would presumably have written a violin concerto even without the commission to compose for Anne-Sophie Mutter. But he would certainly have written it differently.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_2,1_2″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_2″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” background_color=”#FFFFFF” custom_padding=”10px|10px|10px|10px|false|false” global_colors_info=”{}”]<\/p>\n Of course, she has long since recorded it, along with numerous groundbreaking works composed especially for her. Thomas Ad\u00e8s, Unsuk Chin, Sebastian Currier, Aftab Darvishi, Henri Dutilleux, Sofia Gubaidulina, Golfam Khayam (world premiere in 2027), Witold Lutos\u0142awski, Norbert Moret, Krzysztof Penderecki, Andr\u00e9 Previn, Max Richter, Wolfgang Rihm, J\u00f6rg Widmann and John Williams have all composed works for Anne-Sophie Mutter. Many of these pieces have established a firm place in the repertoire.<\/p>\n Yet a considerable number of works written for her were still missing from her discography. They are now the focus of a series of albums devoted exclusively to world-premiere recordings. Their musical languages span continents, while the instrumentation ranges from the inward intimacy of solo works to the extroverted sonic splendour of the full orchestra. Many of the musicians taking part in the recordings have been supported by Anne-Sophie Mutter through her foundation, either in the past or to this day.<\/p>\n In Likoo for solo violin, Iranian-Dutch composer Aftab Darvishi draws on musical traditions from her homeland. In Gran Cadenza for two violins, Chinese composer Unsuk Chin explores the phenomenon of virtuosity; Anne-Sophie Mutter performs the work together with Nancy Zhou. She recorded J\u00f6rg Widmann\u2019s String Quartet No. 6: Study on Beethoven with Ye-Eun Choi, Muriel Razavi and Pablo Ferr\u00e1ndez.<\/p>\n In two remarkable piano trios, Sebastian Currier (Ghost Trio)\u2014with Maximilian Hornung\u2014and Andr\u00e9 Previn\u2014with Daniel M\u00fcller-Schott\u2014engage in a dialogue with tradition. Mutter performs Currier\u2019s Ringtone Variations together with double bassist Roman Patkol\u00f3. Andr\u00e9 Previn\u2019s Violin Concerto No. 2, which can be understood as a commentary on Vivaldi\u2019s The Four Seasons, had likewise never previously been recorded.<\/p>\n [\/et_pb_text][\/et_pb_column][et_pb_column type=”1_2″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/08\/1999-1.jpg” title_text=”1999″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” background_color=”#FFFFFF” custom_padding=”10px|10px|10px|10px|false|false” hover_enabled=”0″ global_colors_info=”{}” sticky_enabled=”0″]<\/p>\n The project will continue in 2027, when a new Triple Concerto for violin, viola and cello by Golfam Khayam will receive its world premiere, performed by Anne-Sophie Mutter together with Muriel Razavi and cellist Kian Soltani. There will also be another world premiere in 2027 featuring Anne-Sophie Mutter and her Virtuosi.<\/p>\n And throughout the creative process, conversations between performer and composer accompany the development of each work. In the case of Thomas Ad\u00e8s\u2019s Air for violin and orchestra, it was a long telephone conversation. From this emerged the idea of a lyrical, song-like piece shaped in one great arc and sustained by an expansive breath. The title Air therefore refers not only to the work\u2019s vocal style\u2014the piece is, in a sense, an aria for violin\u2014but also, quite literally, to air itself. On a purely physical level, air carries sound. And through breathing, and the phrasing derived from it, it gives music its living structure.<\/p>\n Even the form of Ad\u00e8s\u2019s Air, figuratively speaking, seems to \u201chang in the air\u201d: it is a kind of inverted passacaglia. Traditionally, this form, which originated in the Baroque era, is based on a recurring bass line. Ad\u00e8s transfers this structurally defining line to the treble register, to the very highest reaches of the instruments. In this way, Air seems again and again to overcome the force of gravity.<\/p>\n Music is also a mirror of time, its passing sedimented in sound: memories are given a future. On August 23, 1976, at the age of 13, Anne-Sophie Mutter made her debut at the Lucerne Festival. Even then, far-sighted musicians recognized the teenager\u2019s extraordinary talent as a promise for the future.<\/p>\n That is why Anne-Sophie Mutter is celebrating her stage anniversary with a series of world-premiere recordings: each of these very different works extends an invitation to the future.<\/p>\n [\/et_pb_text][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/08\/2025.jpg” title_text=”2025″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_row _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_video src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/07\/ALPHA_1254_animation_landscape_1_low.mp4″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_video][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”50″ _builder_version=”4.27.5″ _module_preset=”default” background_color=”#e0e9fc” background_enable_image=”off” parallax=”on” custom_margin=”0px||0px||false|false” custom_padding=”100px||150px||false|false” locked=”off” global_colors_info=”{}”][et_pb_row column_structure=”2_5,3_5″ use_custom_gutter=”on” _builder_version=”4.27.5″ _module_preset=”default” custom_margin=”0px||40px||false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”2_5″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” global_colors_info=”{}”][et_pb_video src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/01\/ASM_Likoo_169_web-excerpt_1920x1000-1.mp4″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_video][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” text_line_height=”1.5em” header_2_font=”Open Sans|700|||||||” header_2_text_color=”#d86ca6″ header_5_font=”Open Sans|600|||||||” header_5_text_color=”#005c8c” header_5_font_size=”18px” background_color=”RGBA(255,255,255,0)” custom_margin=”10px|20px|10px|20px|false|false” custom_padding=”0px|0px|0px|0px|false|false” global_colors_info=”{}”]<\/p>\n The exceptional artist is celebrating her anniversary year with her own series of contemporary music recordings on Alpha Classics, a major retrospective on Deutsche Grammophon, commissioned works, benefit concerts and concerts at historic locations from her career.<\/strong><\/p>\n Five decades on the world\u2019s great stages \u2013 and no sign of slowing down: in 2026 and 2027, Anne-Sophie Mutter will celebrate her extraordinary stage anniversary with an artistic programme that focuses on the future. For almost half a century, the four-time GRAMMY\u00ae winner has been a driving force in international music life. As one of the most important German artists of our time, she has inspired numerous composers to write new works: Krzysztof Penderecki and Sofia Gubaidulina wrote works for her, as did John Williams and Max Richter. This has already resulted in 34 works and arrangements composed especially for her. An inspiration to entire generations of musicians and a tireless questioner of the classical repertoire, Anne-Sophie Mutter is an artist of new beginnings: curious, daring and open to what music can be today and tomorrow.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”2_5,3_5″ use_custom_gutter=”on” make_equal=”on” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”0px||40px||false|false” custom_padding=”0px||0px||false|false” global_colors_info=”{}”][et_pb_column type=”2_5″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/01\/172-Qt7J-Kopie.jpg” title_text=”172-Qt7J Kopie” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”3_5″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”#FFFFFF” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.5″ _module_preset=”default” text_line_height=”1.5em” header_2_font=”Open Sans|700|||||||” header_2_text_color=”#d86ca6″ header_5_font=”Open Sans|600|||||||” header_5_text_color=”#005c8c” header_5_font_size=”18px” background_color=”RGBA(255,255,255,0)” custom_margin=”10px|20px|10px|20px|false|false” custom_padding=”0px|0px|0px|0px|false|false” global_colors_info=”{}”]<\/p>\n The new series ASM Forte Forward is dedicated exclusively to contemporary compositions. Each album features works written specifically for Anne-Sophie Mutter. The first album, East Meets West, will be released on March 27, 2026.<\/strong><\/p>\n In 2026 and 2027, Anne-Sophie Mutter celebrates a major milestone: 50 years on the world\u2019s leading stages. She uses this momentous occasion to open new paths as a soloist, chamber musician, mentor, commissioner of new music, and record producer. Anne-Sophie Mutter says: \u201cI choose to be more than a guardian of traditions. Music lives as we renew it and pass it on.\u201d<\/p>\n An inspiration to entire generations of musicians and an indefatigable icon of classical music, Anne-Sophie Mutter remains an artist in motion: curious, bold, and open to what music can be today and tomorrow. For decades, she has been commissioning works from today\u2019s most exciting composers and supporting young performers. With ASM Forte Forward, Mutter launches her own series of recordings on Alpha Classics. She works alongside musical friends, including both current and former scholarship recipients of the Anne-Sophie Mutter Foundation.<\/p>\n [\/et_pb_text][et_pb_button button_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjE2ODEifX0=@” button_text=”Mehr erfahren” button_alignment=”left” disabled_on=”on|on|on” _builder_version=”4.27.4″ _dynamic_attributes=”button_url” _module_preset=”default” custom_button=”on” button_text_size=”16px” button_text_color=”#d86ca6″ button_border_width=”2px” button_border_color=”#d86ca6″ button_border_radius=”0px” button_icon=”$||divi||400″ button_icon_color=”#d86ca6″ custom_margin=”20px|20px||20px|false|false” disabled=”on” global_colors_info=”{}”][\/et_pb_button][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_row column_structure=”1_4,1_4,1_4,1_4″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”1_4″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/01\/FBm8st5K.jpeg” alt=”Anne-Sophie Mutter \u00a9 Andreas Ortner” title_text=”FBm8st5K” show_in_lightbox=”on” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/01\/asm_orkis.jpg” alt=”\u00a9 Copyrights Dario Acosta (2014)” title_text=”asm_orkis” show_in_lightbox=”on” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2026\/01\/asm_williams.jpg” alt=”\u00a9 Copyrights Prashant Gupta \/ DG (2019)” title_text=”asm_williams” show_in_lightbox=”on” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][et_pb_column type=”1_4″ _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][et_pb_image src=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2025\/12\/ASM_01-0189Farbe.jpg” alt=”Anne-Sophie Mutter \u00a9 Andreas Ortner” title_text=”Anne-Sophie Mutter \u00a9 Andreas Ortner” show_in_lightbox=”on” _builder_version=”4.27.5″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_image][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ admin_label=”News Blog” _builder_version=”4.27.5″ _module_preset=”default” background_color=”#f0f0f0″ background_image=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2025\/05\/farbflaeche_latest_news_4.jpg” parallax=”on” custom_margin=”0px||0px||false|false” custom_padding=”100px||120px||false|false” background_last_edited=”on|phone” background_image_phone=”https:\/\/www.anne-sophie-mutter.de\/wp-content\/uploads\/2025\/05\/farbflaeche_latest_news_4.jpg” background_enable_image_phone=”on” locked=”off” global_colors_info=”{}”][et_pb_row disabled_on=”on|on|on” _builder_version=”4.27.4″ _module_preset=”default” custom_margin=”0px||100px||false|false” custom_margin_tablet=”0px||100px||false|false” custom_margin_phone=”||0px||false|false” custom_margin_last_edited=”on|phone” custom_padding=”0px||0px||false|false” disabled=”on” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_font=”–et_global_body_font||||||||” text_text_color=”#ffffff” text_font_size=”60px” text_line_height=”0.7em” header_text_color=”#FFFFFF” header_font_size=”50px” header_line_height=”0.7em” header_2_font=”Open Sans|700|||||||” header_2_text_color=”#d86ca6″ header_2_font_size=”30px” background_color=”#FFFFFF” width=”230px” width_tablet=”230px” width_phone=”175px” width_last_edited=”on|phone” max_width_phone=”67%” max_width_last_edited=”off|phone” height=”230px” height_tablet=”230px” height_phone=”175px” height_last_edited=”on|phone” custom_margin=”||0px|0px|false|false” custom_padding=”10px|||15px|false|false” text_font_size_tablet=”60px” text_font_size_phone=”45px” text_font_size_last_edited=”on|phone” header_2_font_size_tablet=”30px” header_2_font_size_phone=”22px” header_2_font_size_last_edited=”on|phone” border_width_all=”1px” border_color_all=”#c128a8″ global_colors_info=”{}” height__hover_enabled=”on|desktop” height__hover=”230px”]<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}”][et_pb_blog fullwidth=”off” posts_number=”3″ include_categories=”231″ meta_date=”j.m.y” excerpt_length=”120″ show_more=”on” show_author=”off” _builder_version=”4.27.5″ _module_preset=”default” header_line_height=”1.3em” custom_css_read_more=”display:inline-block;||margin-top:10px;||padding: 0.3em 1em;||border-color: #d86ca6;||border-width: 2px;||border-style: solid;||color: #d86ca6;” global_colors_info=”{}”][\/et_pb_blog][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" 50 YEARSON STAGEFirst Recordings for a Stage AnniversaryAn Invitation to the Future An unusual recording project to mark her 50th anniversary on stage: Anne-Sophie Mutter is recording works composed especially […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","inline_featured_image":false,"footnotes":""},"class_list":["post-12166","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"\nAnne-Sophie Mutter:
50 years on stage \u2013 with curiosity, commitment and creative drive for the future of musick<\/h2>\nAnne-Sophie Mutter launches new recording series \u201cASM Forte Forward\u201d on Alpha Classics.<\/h2>\n
NEWS<\/h2>\n