Anne-Sophie Mutter's May 3rd recital featured Beethoven's first eight published Sonatas for Piano and Violin - three numbers from Op.12, one each from Op.23 and 24, and three from Op.30.
These sonatas, varying considerably in mood and style -- from the humorous, witty Op.12 (Nos. 1,2 and 3), through the elegant and refreshing "spring" (Nos.5), the charming, beautiful Nos. 6 and 8, to the dark and stormy Nos.4 and 7 -- require the finest artistry in part of the performers.
Anne-Sophie Mutter and Lambert Orkis did not disappoint their audience (they never did, as far as I can recall). Mutter's assertive vibratos, elegant phrasing, charming dynamics, and emotionally charged violin sound (it melted my heart every time it soared up into the high register), together with the flawless cooridination with Mr. Orkis, who also played brilliantly himself, gave their audience an extraordinarily pleasurable musical experience.
The audience was enthusiastic. In fact, they were so enthusiastic that they decided to take part in the music making themselves: every time a sonata movement ended, the audience would announce the end of the movement and the start of the next by a loud and sustained counghing sound. I don't know if it is a San-Franciscan tradition to cough during movement breaks, but I have to say the always punctual, and omni-present coughing sound in between movements made the otherwise brilliantly and perfectly played sonatas sound very odd. The coughs disrupted the flow of the sonata movements and ruined the otherwise perfect musical experience. Could they not at least wait until a sonata has finished?