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Patricia Kopatchinskaja|Michael Hersch: End Stages & Violin Concerto

Michael Hersch: End Stages & Violin Concerto

Patricia Kopatchinskaja, Orpheus Chamber Orchestra...

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While the Violin Concerto from 2016 by Michael Hersch (born 1971) seems like a frightful chaos, the work soon takes a more linear and legible turn, even though its content remains tremendously violent from end to end, even in those less frenetic passages where the melodic line seems to warn of impending danger... The work was commissioned by violinist Patricia Kopatchinskaja, who is an ardent supporter of music less ordinary, which requires nerve and endurance. As for end stages (all lower case in the title) from 2017, it explores the "end stages" of musical discourse, an apparent allusion by the composer to the illness and deaths of loved ones which have dogged him for years. The eight movements, far from fading away, give the impression of slowly closing in on themselves. The famous Orpheus Chamber Orchestra, to which the work is dedicated, performs it here. As it is wonted to do, the ensemble plays without a conductor, which is a terrific tour de force, given a score of such complexity. But as each musician is forced to listen to the other, the concentration is extreme – and it shows. © SM/Qobuz

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Michael Hersch: End Stages & Violin Concerto

Patricia Kopatchinskaja

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Violin Concerto (Michael Hersch)

1
I. —
Patricia Kopatchinskaja
00:06:55

Patricia Kopatchinskaja, Violin - International Contemporary Ensemble - Tito Muñoz, Conductor - Michael Hersch, ComposerMainArtist

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

2
II. —
Patricia Kopatchinskaja
00:07:16

Patricia Kopatchinskaja, Violin - International Contemporary Ensemble - Tito Muñoz, Conductor - Michael Hersch, ComposerMainArtist

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

3
III. —
Patricia Kopatchinskaja
00:16:46

Patricia Kopatchinskaja, Violin - International Contemporary Ensemble - Tito Muñoz, Conductor - Michael Hersch, Composer MainArtist

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

4
IV. —
Patricia Kopatchinskaja
00:03:13

Patricia Kopatchinskaja, Violin - International Contemporary Ensemble - Tito Muñoz, Conductor - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

end stages (Michael Hersch)

5
I. —
Orpheus Chamber Orchestra
00:02:01

Orpheus Chamber Orchestra - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

6
II. —
Orpheus Chamber Orchestra
00:01:55

Orpheus Chamber Orchestra - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

7
III. —
Orpheus Chamber Orchestra
00:01:04

Orpheus Chamber Orchestra - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

8
IV. —
Orpheus Chamber Orchestra
00:01:16

Orpheus Chamber Orchestra - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

9
V. —
Orpheus Chamber Orchestra
00:02:05

Orpheus Chamber Orchestra - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

10
VI. —
Orpheus Chamber Orchestra
00:04:14

Orpheus Chamber Orchestra - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

11
VII. —
Orpheus Chamber Orchestra
00:02:47

Orpheus Chamber Orchestra - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

12
VIII. —
Orpheus Chamber Orchestra
00:03:30

Orpheus Chamber Orchestra - Michael Hersch, Composer

(C) 2018 New Focus Recordings (P) 2018 New Focus Recordings

Presentación del Álbum

While the Violin Concerto from 2016 by Michael Hersch (born 1971) seems like a frightful chaos, the work soon takes a more linear and legible turn, even though its content remains tremendously violent from end to end, even in those less frenetic passages where the melodic line seems to warn of impending danger... The work was commissioned by violinist Patricia Kopatchinskaja, who is an ardent supporter of music less ordinary, which requires nerve and endurance. As for end stages (all lower case in the title) from 2017, it explores the "end stages" of musical discourse, an apparent allusion by the composer to the illness and deaths of loved ones which have dogged him for years. The eight movements, far from fading away, give the impression of slowly closing in on themselves. The famous Orpheus Chamber Orchestra, to which the work is dedicated, performs it here. As it is wonted to do, the ensemble plays without a conductor, which is a terrific tour de force, given a score of such complexity. But as each musician is forced to listen to the other, the concentration is extreme – and it shows. © SM/Qobuz

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