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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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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