Reviews of Concerts in Boston and at Tufts

André Previn conducted the world premiere of his Double Concerto for Violin, Contrabass and Orchestra at four concerts this weekend at Symphony Hall. Previn, 77, has served as a guest conductor for the BSO since 1977 and specifically chose the orchestra to perform this world premiere. He wrote the piece especially for violinist Anne-Sophie Mutter, 46, and double bassist Roman Patkaló, 25, who were featured as soloists at the Boston premiere.

The work certainly celebrated their virtuosity. The extreme difference in their sound registers enhanced the playful, dueling style of the solo parts. At Saturday night’s performance, Mutter and Patkaló were spirited and bouncy, confidently exchanging musical ideas designed to exhibit their own talents.

An unaccompanied introduction to the lyrical second movement was a highlight; the performers did not need the balance of middle register instruments to harmonize beautifully. Mutter’s brilliant tone blended with Patkaló's gruff double bass to create fluid phrases that breathed together as one. The emotion of the introduction begged empathy from the orchestra whose entrance seemed conjured by the performers’ alluring song.

The outer movements were perpetually stimulating, weaving though jubilant, confrontational, insistent and maniacal personalities. Mutter ruffled the inherent sweetness of her sound to capture the moods. The solo lines were featured equally and the double bass maintained good volume and clear articulation next to the violin. The splashy, bright color of the work had jazzy undertones that softened its tonal and rhythmic modernity.

Andre Previn and Anne-Sophie Mutter divorced in August 2006, but still continue their unbelievable relationship through music. They exhibited this connection during Mutter’s performance of Mozart’s Violin Concerto no. 1. As conductor and soloist, they read and anticipated each other perfectly.

Mutter’s Stradivarius sang with rich boldness while she moved the bow effortlessly and gracefully across it. Wearing a sunshine yellow strapless satin gown, she kept her eyes closed during the introduction and leaned towards the different string sections as each took over the melody. She executed the first and second movements of the concerto with rich sound without sacrificing a light, agile style. In the rapid third movement she showed a change in character. Her nimble staccato runs were both percussive and airy, creating a trilling, vibrating sound that seemed as though it originated from another instrument. She balanced this fast-paced intensity with a beautiful, romantic cadenza featuring chords that were colorful and precise.

The BSO opened and closed the concert with pieces that did not feature soloists. Mozart’s famous Serenade 13 was performed by a small string ensemble and served as a fitting prelude to Mozart’s Violin Concerto. The small, delicate gestures of the bows mirrored Previn’s subtle conducting style. He seemed as though he was whispering into the ears of each section, drawing attention to the featured gesture.

The concert concluded with Ravel’s Ma Mere l’Oye, (Mother Goose), performed beautifully and lyrically by the BSO under Previn’s direction. Despite its fine execution, the piece was relatively anti-climactic as a finale to a concert featuring the Mozart and Previn Concertos.