Bartok: Concerto No. 2 / Eotvos: Seven / Ligeti: Violin Concerto Double CD
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Gramophone Award Winner 2013 - Concerto Catagory and Recording of the Year. This is the 4th recording by Patricia Kopatchinskaja on naïve; the second in the concerto repertoire. The collaboration with conductor/composer Peter Eötvos and the programme is an intense series of connections. Between Bartok, Ligeti, Eotvos and Kopatchinskaja, there are many links: Hungary, the land of the 3 composers featured; Peter Eötvos was the conductor of the first performance of the second version of Ligeti violin concerto, in 1992, with Ensemble Modern; Patricia Kopatchinakaja and Peter Eötvös have been working together for 4 years, performing several concertos, including those recorded here. Beyond those connections, this recording features 2 highs from 20th century violin repertoire and the world premiere recording of Eötvös 'Seven' which refers to the loss of the Columbia space shuttle in 2003, and which caused the death of all seven of its occupants.
***** perf / ***** rec In everything i ve heard her play Patricia Kopatchinskaja marries consummate technical brilliance and an amazing aural imagination with a capacity to bring completely new interpretative perspectives to some very familiar music. This latest marvellously recorded release, featuring three Hungarian violin concertos, may well be her finest achievement to date. --Erik Levi, BBC Music Magazine February 2013
This collection does grab you with its raw emotion and the very rapturous and somewhat exotic sounds that the region typifies. --Audiophile Audition
Top Customer Reviews
Nervous energy... Power... Synergy... Tenderness... Orchestral detail... Singing... Raging... Innigkeit... Visionary... Shimmering beauty... Intense sadness... Precision and passion combined... "Speaking" violin tone... There's nothing she can't do, and no risk she takes that doesn't come off... Spiccato like I've never heard it before... GO PATRICIA, GO!!
Maybe you'd better just buy this & listen for yourself!! The Eotvos and Ligeti are very fine too.
It's striking how this trio of Hungarian works for violin and orchestra hold together, musical cohesiveness being attained almost in spite of an aurora of sounds which at times defy comprehension. Perhaps the most apparent link is in the Balkan heritage, the folk influences which permeate each work, animating further mysterious and at times wild musical landscapes. Kopatchinskaja herself was brought up in a Moldovan household where the richness of folk music was all around her (her mother was a violinist and her father a cimbalom player), and indeed these performances perhaps owe more to the Transylvanian mountains and meadows than they do to the concert hall.
Kopatchinskaja approaches the Bartók in the spirit of a gnarled folk-fiddler, albeit with the technique of a virtuoso; her bow alternately inflecting the score with most delicate of gossamer-like whispers contrasted with the coarsest of woody raspings. This is raw and unpolished playing; the traditional salons of the nineteenth century are of another place and another age.
In the Eötvös work, a meditation on the tragic Columbia space mission of 2003 in which all seven of the astronauts died, the music seems to reach upwards from the temporal towards the cosmic, the pattern of seven repeating itself throughout the arrangement of the orchestra as well as in the score.Read more ›
The disc couples together three works that are of particular Hungarian significance. Two of these are very recent works by Ligeti (1992) and Eotvos (2007). These are preceded by Bartok's Violin concerto 2, one of last century's finest violin concertos first performed in 1939 and one of the composer's last works.
The Bartok concerto was written at a time when the composer's interest in Hungarian folk styles, both song and dance, had developed far beyond that of being an influence and had progressed into becoming an integral part of the thought processes fundamental to original creations such as this concerto. The Hungarian folk nature of the work informs the shaping of the melody lines and the strongly rhythmical structure of the work, both of which are constantly evolving. This evolution is also the natural result of the variation format of much of the concerto.
The dedicatee of the concerto, Zoltan Szekely, had insisted that Bartok should write a full-blown three movement concerto rather than the set of variations that the composer had originally had in mind. In the event the three movements contain a second movement which is a set of variations and the last movement is a variant of the first movement. In this way both player and composer were accommodated.
Patricia Kopatchinskaja delivers a performance here that has remarkable technical accomplishment in every detail of this demanding work. She also delivers the wildest and most dramatically contrasted reading currently available.Read more ›
Most Recent Customer Reviews
Absolute rubbish! Screechy, jerky and far worse than I wish to say in this post. I feel those that have awarded this rubbish five stars are flattering the Emperor and his fine... Read morePublished 10 months ago by TB22
and was hesitating about buying another recorded. This disc, however, is worth all the accolades it has earned and the other two concertos are wonderful. Read morePublished on 30 Oct. 2013 by B. Portes
Music in the modern idiom, challenging if this kind of thing is not your usual fare (it's not mine). Read morePublished on 27 Oct. 2013 by B.V.
I love the opening of Bartok and the serene beauty of Ligeti. Eotvos Seven is extremely moving. Sound in all three is great! Amazon communications and delivery was first class.Published on 25 Oct. 2013 by Lars Ljungberg
A fascinating compilation of beautiful works. I chose the CD for the Bartok, which I have always loved, but was very grateful to get the Ligeti and Eotvos as well. Read morePublished on 31 Aug. 2013 by James Loader