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Klassiek - Verschenen op 22 oktober 2012 | naïve classique

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4F de Télérama - Gramophone Record of the Year - Hi-Res Audio
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Klassiek - Verschenen op 14 oktober 2013 | naïve classique

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - 4 étoiles Classica - Hi-Res Audio
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Klassiek - Verschenen op 12 september 2014 | ECM New Series

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Klassiek - Verschenen op 14 oktober 2016 | Alpha

Hi-Res Booklet Onderscheidingen 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 15 februari 2018 | Alpha

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
The least that one could say about the art of Moldavian violinist Patricia Kopatchinskaja is that one cannot be left indifferent by it - so completely does she set herself apart from her "smoother", more mainstream peers. One only needs to hear her explosive reading of Ravel's Tzigane, where she is particularly daring: the result is extravagant, but in reality, it is wholly in keeping with the spirit of this score, which too many violinists play prissily: after listening to this, you'll not want to hear it played any other way. Kopatchinskaja murmurs, rages, dreams, swoons, surges, explodes, caresses, grips, undulates, chirrups and slaps through the ten minutes of this humorous, provocative, bravura performance. Doubtless the serious Bartók wouldn't have relished Ravel's pseudo-Hungarian allusions - not understanding that the French composer was simply lampooning the Viennese pseudo-Hungarian-Tzigane style - going by his Second Sonata for Violin and Piano, which is both dogmatically Magyar and Bartókian, a rather gruff piece all in all. Much less gruff is the sumptuous Sonata by Poulenc, written in 1943 in a tone which is sometimes tragic - even if the facetious Poulenc undertakes his own personal Resistance by working into each of his three movements a quotation from Tea for Two, a song forbidden under the Occupation. Pianist Polia Leschenko offers the violinist a breather with the short but efficient waltz  Coppelia by Dohnanyi, a little Franco-Hungarian wink, a prelude to the big wink Tzigane, which crowns the album. © SM/Qobuz
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Kamermuziek - Verschenen op 15 september 2008 | naïve classique

Booklet Onderscheidingen 9 de Classica-Répertoire
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Concertmuziek - Verschenen op 7 september 2009 | naïve classique

Booklet Onderscheidingen 4F de Télérama
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Klassiek - Verschenen op 21 maart 2014 | ECM New Series

Hi-Res Booklet Onderscheidingen Hi-Res Audio
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Klassiek - Verschenen op 20 september 2010 | naïve classique

Booklet Onderscheidingen Gramophone Editor's Choice
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Concertmuziek - Verschenen op 4 september 2020 | Alpha

Hi-Res Booklet
Giovanni Antonini and his ensemble Il Giardino Armonico celebrate the composer who made them famous: Antonio Vivaldi. Their recordings of the Four Seasons and Cecilia Bartoli’s famous first Vivaldi recital left an indelible mark on the discography of the Red-haired Priest! Their musical fireworks display continues with a programme of concertos that is bound to provoke strong reactions, since it is the result of a meeting with a musician who is equally adept at shifting boundaries, the violinist Patricia Kopatchinskaja. Together they have devised a programme which interweaves ultra-virtuosic concertos by Vivaldi ("Il Grosso Mogul" RV 208, "La Tempesta di Mare" RV 253, and RV 157, 191, 550 among others) with, between each concerto, short pieces written by much more recent composers, Luca Francesconi, Simone Movio, Giacinto Scelsi, Aureliano Cattaneo and Giovanni Sollima, and mostly commissioned by Patricia Kopatchinskaja especially for this programme. © Alpha Classics
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Klassiek - Verschenen op 8 januari 2021 | Alpha

Hi-Res Booklet
This recording presents the double concerto for violin, cello and orchestra of the Spanish composer Francisco Coll, born in 1985. Les Plaisirs illuminés, a title inspired by Dalí’s painting of the same name, is rooted in Spanish traditions, including flamenco, yet is resolutely modern: ‘Its music is very lively rhythmically, it dances and sings – but at the same time it is very abrupt, always in search of extremes’, says Patricia Kopatchinskaja.,For this world premiere conducted by the composer, she is reunited with a longstanding partner who pursues an equally brilliant international career, the cellist Sol Gabetta. The programme also features the Musica concertante for twelve strings by the Hungarian-born Swiss composer Sándor Veress, premiered by the Camerata in Bern in 1966. A year earlier, the Argentinian composer Alberto Ginastera wrote his fascinating Concerto for Strings. A kaleidoscope of colours and sounds from all over the world. © Alpha Classics
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Concertmuziek - Verschenen op 13 september 2019 | Alpha

Hi-Res Booklet
Patricia Kopatchinskaja has constructed a programme entitled Time and Eternity around the masterpiece which is Concerto funebre by Karl-Amadeus Hartmann, written in 1939 as an act of resistance against the Nazi regime. With the Bern Camerata – of which she is the artistic director – she blazes a bright trail of memory with her violin. The works follow a pattern, like a syncretistic rosary, where traditional songs (Kol Nidre, Elijahu Hanawi, one Polish prayer, one Orthodox) are prolonged by scores from the repertoire: John Zorn and his Kol Nidre where notes held at a drone across several octaves envelop the melodic fragments of the original melody in a liturgical echo chamber; Frank Martin and his Polyptyque for Violin and Orchestra, written in 1973 for Yehudi Menuhin, with an aching lyricism inspired by the painting of the Passion of the Christ by Buoninsegna; Machaut and the Kyrie of his Messe de Notre-Dame, almost contemporary in this arrangement for strings played in a great variety of ways; Bach and a choice of chorales, in particular the Ach großer König from the St John Passion. This dialogue between pieces from distant eras and cultures – six hundred years of music to raise the voices of the victims, as Patricia Kopatchinskaja sums it up – is an expression of a collective pardon. Consoling breaths are worked in between pieces which make great demands on the listener. The violinist, who has recorded Poulenc, Bartók and Ravel for the same label not long ago, never ceases to amaze us. This album proves once more that she is a formidably intelligent musician, gifted with a powerful imagination! © Elsa Siffert/Qobuz
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Symfonische muziek - Verschenen op 2 november 2018 | audite Musikproduktion

Hi-Res Booklet
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Klassiek - Verschenen op 16 oktober 2015 | Alpha

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Klassiek - Verschenen op 17 mei 2019 | New Focus Recordings

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Klassiek - Verschenen op 1 mei 2020 | Paladino Music

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Klassiek - Verschenen op 6 juli 2018 | New Focus Recordings

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Klassiek - Verschenen op 21 maart 2014 | ECM New Series

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Klassiek - Verschenen op 9 april 2021 | Alpha Classics

Hi-Res Booklet
Pierrot lunaire, premiered in Berlin in 1912, is a series of twenty-one short melodramas for voice and five instruments on German translations of poems by Albert Giraud. Here the composer first introduces "Sprechgesang" (speech-song), a technique that revolutionised declamation. Schoenberg wanted the piece to be ironic, at once tender and grotesque, in the manner of cabaret songs. Patricia Kopatchinskaja, the violinist who is also an occasional actress, had long dreamt of playing and reciting this unique work. It was a pain in her arm preventing her from playing the violin that one day propelled her into the role of narrator: ‘All my life I have felt that I was Pierrot. Every time I played this piece on the violin when I was a student, I would say the words in my head’. She has now played and performed Pierrot in many venues around the world, including the Berlin Philharmonie, several cities in the United States, the Netherlands, Switzerland and Sweden. Now she has assembled a number of her musician friends and decided to record it for posterity. Schoenberg’s Phantasy Op. 47 and Six Little Piano Pieces Op. 19 complete the programme, along with works by Webern (Four Pieces for Violin and Piano, Op. 7) and Schoenberg’s arrangement of Johann Strauss Jr.’s Kaiser-Walzer, Op. 437. © Alpha Classics
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Klassiek - Verschijnt op 21 mei 2021 | PentaTone

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