Patricia Kopatchinskaja is a Moldovan-Austrian violinist. She was raised in Chisinau in a family of musicians, and was exposed to folk music through her parents, violinist Emilia Kopatchinskaja and cimbalom player Viktor Kopatchinsky. While her parents toured with the state folk ensemble, she took up the violin at six. She entered the University of Music and Performing Arts in Vienna at 17, where she pursued violin and composition. She won a scholarship to study at the University in Bern, Switzerland, where she worked with Igor Ozim. Kopatchinskaja has performed internationally with major orchestras, including the Vienna Philharmonic Orchestra, the Berlin Philharmonic Orchestra, and the London Philharmonic Orchestra; the Saint Paul Chamber Orchestra named her an Artistic Partner for the 2014-15 season. She has also appeared with Il Giardino Armonico, MusicAeterna, the Akademie für Alte Musik, Berlin, the Orchestre des Champs-Élysées, and the Orchestra of the Age of Enlightenment. Kopatchinskaja has recorded for Alpha, Audite, Naïve, ECM New Series, and Paladino Music.
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Concertos - Released September 7, 2009 | naïve classique
Booklet Distinctions 4F de Télérama
Classical - Released September 20, 2010 | naïve classique
Booklet Distinctions Gramophone Editor's Choice
Moldovan violinist Patricia Kopatchinskaya has recorded both traditional repertoire and music by contemporary Turkish composer Fazil Say, and on this album she turns to folk traditions of Eastern Europe and music based on those traditions. In addition to the folk music of Hungary, Romania, and the Ukraine, she plays works by Romanians George Enescu and Grigoras Dinicu, Transylvanian György Ligeti, Hungarian György Kurtág, Maurice Ravel, and Cuban-Chinese composer Jorge Sanchez-Chiong, who was a classmate of Kopatchinskaya's in Vienna. The roots of this music are close to Kopatchinskaya's heart and the album is clearly a labor of love. Her father, Viktor Kopatchinsky, who was the premiere cimbalom player in the Soviet Union and is a dazzling virtuoso in his own right, joins her, as does her mother, violinist and violist Emilia Kopatchinskaya, and pianist Mihuela Ursuleasa and bassist Martin Gjakonovski. All the performers play with brilliant and uninhibited flair, and not surprisingly they have the most freedom to cut loose in the folk music, which comes off with ferocious primal energy. In Dinicu's Hora staccato in the arrangement by Heifetz, once a staple of violinists' encore repertoire, the cimbalom takes the piano part. Ravel made a version of his Tzigane for a piano modified to sound like a cimbalom, so it was a natural step to arrange the part for an actual cimbalom, and it's entirely effective, allowing the familiar piece to be heard in a new light. The most avant-garde piece, and one of the most entertaining, is Sanchez-Chiong's Crin, which requires as much virtuoso vocalization as fiddling. The appealing performances and repertoire make this an album that should be of interest to anyone who loves Eastern European folk music and spirited music-making. Naïve's sound is clear, present, and vibrant.
Chamber Music - Released February 15, 2018 | Alpha
Hi-Res Booklet Distinctions 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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