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Ligeti: Violin Concerto; Bartok: Violin Concerto no 2; Eotvos: Seven / Patricia Kopatchinskaja, violin; Ensemble Modern

Audio Samples

>Bartók, Béla : Concerto for Violin no 2 in B minor, Sz. 112, BB 117
>Eötvös, Peter : Seven, for violin & orchestra
>Ligeti, György : Concerto for Violin

Album Summary

>Bartók, Béla : Concerto for Violin no 2 in B minor, Sz. 112, BB 117
>Eötvös, Peter : Seven, for violin & orchestra
>Ligeti, György : Concerto for Violin
Performer Conductor Ensembles Composers

Notes & Reviews:

This is the 4th recording of Moldavian born Patricia Kopatchinskaja on Naïve Classique. The collaboration with conductor/composer Peter Eötvos and the unique program have been conceived to create a picture of Hungary, and more precisely of Transylvania, a region officially located in Romania but with Hungarish culture.

The Guardian, November 2012
Patricia Kopatchinskaja is clearly an immensely able violinist, and she projects the Eötvös with wonderful confidence, but her rather brittle style is better suited to the sparkling polyrhythms of Ligeti's work than to Bartók's brand of neoclassicism.

ClassicsToday.com
The violin concertos of György Ligeti and Bela Bartók are two of the greatest works of the 20th century. They are conducted here by the remarkable Peter Eötvös who includes his own violin concerto (2003). As a programming "hook" Eötvös uses the Romanian region of Transylvania, associated with Dracula, but with its large Hungarian population the place where Bartók did his researches into folk music, and where Ligeti and Eötvös were born.

Ligeti is given a great performance; Eötvös is worth knowing. Those coming to the Bartók for the first time may want to look to one of the more agreeable performances, but anyone who knows the piece well will find this an interesting and at times revelatory performance.

American Record Guide, March / April 2013
Kopatchinskaja's playing is, as in the other pieces, astounding. I reviewed her Rapsodia album (Naive 5193, J/F 2011) and found her playing almost as amazing; she did Ravel's Tzigane in an arrangement for violin and cymbalom, among other pieces. I noted that her tonal palette could be more colorful, and she has certainly grown in that department. I look forward to hearing more from her and to listening to the Bartok and Eötvös again. Notes in English, German, and French.

Gramophone Magazine, December 2012
Kopatchinskaja performs these three concertos by composers born in Hungary with her trademark panache and the recorded balance gives her all due prominence. The importance of the orchestral contribution can't be denied, however, and there's an impressive sense of common purpose and collaborative zeal throughout.

Sunday Times, 6th January 2013
These three Hungarian concertos are all impressive works...Despite the huge technical challenges thrown at her, Patricia Kopatchinskaja plays with a deep and selfless understanding of each score.

The Arts Desk, 12th January 2013
Ambarrassment of riches here - it's hard to know where to start...Kopatchinskaja's performance [of the Bart=k] is gutsy, gritty and astringent...[the Ligeti] is is bonkers, but in an incredibly sophisticated, profoundly musical way...[the E÷tv÷s] is a brilliantly scored yet elusive work.

BBC Music Magazine, February 2013
Kopatchinskaja marries consummate technical brilliance and an amazing aural imagination wiuth a capacity to bring completely new interpretative perspectives to some very familiar music. This...may well be her finest achievement to date. She is absolutely in her element, drawing on her vast experience of eastern European folk music to create a sound palette that encompasses a staggering range of colours and inflections.

International Record Review, February 2013
This is playing with real bite ... her dynamic range is frequently daring ... In Kopatchinskaja, Eotvos couldn't wish for a more committed advocate for his concerto, completing an absorbing, fascinating release.

MusicWeb International, March 2013
She is clearly the dominant force in these recordings, though Peter E÷tv÷s does not take a backseat in his partnership role. With immediate sound, these impassioned performances grab you from the beginning and never let go.

Notes & Reviews:

Recording information: Hessischer Rundfunk (Sendesaal), Frankfurt, Germany.



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Works Details

>Béla Bartók (Composer) (1881 - 1945) : Concerto for Violin no 2 in B minor, Sz. 112, BB 117
  • Performer: Patricia Kopatchinskaya (Violin)
  • Conductor: Peter Eötvös
  • Ensemble: Frankfurt Radio Symphony Orchestra
  • Running Time: 39 min. 5 sec.
  • Period Time: Modern
  • Form: Concerto
  • Written: 1937-1938

>Peter Eötvös (1944 - ) : Seven, for violin & orchestra
  • Performer: Patricia Kopatchinskaya (Violin)
  • Conductor: Peter Eötvös
  • Ensemble: Ensemble Modern
  • Running Time: 1 min. 29 sec.
  • Period Time: Contemporary
  • Form: Concerto
  • Written: 2006

>György Ligeti (Composer) (1923 - 2006) : Concerto for Violin
  • Performer: Patricia Kopatchinskaya (Violin)
  • Conductor: Peter Eötvös
  • Ensemble: Ensemble Modern (Frankfurt)
  • Running Time: 27 min. 5 sec.
  • Period Time: Modern
  • Form: Concerto
  • Written: 1989-1993