Patricia Kopatchinskaja, violin; Thomas Kaufmann, cello; Camerata Bern.
TRADITIONAL: Kugikly for violin and Ukrainian & Russian panpipes
Alfred SCHNITTKE/arr. Martin Merker: Sonata for Cello & Piano No. 1
TRADITIONAL MOLDAVIAN: Cucuşor cu pană sură
Andrzej PANUFNIK: Concerto for Violin & Strings
Franz SCHUBERT: 5 Minuets with Six Trios No. 3, D. 89
Ivan WYSCHNEGRADSKY: String Quartet No. 2, Op. 18
Eugène YSAŸE: Exil!, Op. 25
Alpha Classics ALPHA1110
Formats: CD
Release Date: January 24, 2025
Total Duration: 74:52
Giorgio Koukl | 13 FEB 2025
Patricia Kopatchinskaja is a name that immediately divides the public between admirers and haters. She simply does not leave anybody indifferent. No wonder, as her style is far from being traditional. One can easily abstract the details, like playing barefoot (Martha Argerich often does the same, yet nobody would call her a revolutionary); one can easily not see her body language, more similar to a medieval jest or a mime. Those are parts of a look that we are now more than accustomed to. It is her inner freedom to express music with means she reputes as valid “in the moment,” which are profoundly anti-traditional yet intriguing and genuinely authentic.
ALPHA1110 cover art (click to enlarge)
Born in ex-Soviet Union, now Moldova Republic, in a family of folk musicians, she was immersed in this peculiar world of the “Wild East” from the beginning.
In this album, entitled “Exile” and distributed by Alpha Classics, she reunites some Moldovan folklore together with the music of Schnittke, Panufnik, Wyschnegradsky, and Eugène Ysaÿe, all composers who experimented in their life of exile. To make everybody happy, some Schubert was added with the somehow tiny explanation that he, too, was in a sort of inner exile.
The wonderful cellist Thomas Kaufmann is the other soloist, all well blended with the top orchestra Camerata Bern, a really impressive ensemble.
Cellist Thomas Kaufmann. (credit: Marco Borggreve)
The album opens with a nice elaboration of Eastern European folklore, masterfully interpreted, played, and, at a certain point, even sung by Ms. Kopatchinskaja.
Alfred Schnittke’s Cello Sonata No. 1, composed in 1978, is a profound and emotionally intense work that reflects his unique style, blending elements of dissonance, atonality, and a deep sense of melancholy. It is one of the significant pieces in the 20th-century cello repertoire. We can listen to an arrangement for strings made by Martin Merker.
The sonata consists of three contrasting movements: The opening movement is slow, dark, and contemplative, building tension through its stark dissonances. The cello and orchestra parts interact in a somewhat fragmented, almost dialogue-like manner, reflecting Schnittke’s use of “polystylism,” where different musical languages coexist, often abruptly shifting between them. The second movement is faster and more rhythmic, although it still retains the overall somber tone of the piece. It juxtaposes moments of aggression with lyrical, almost romantic melodies. The work concludes on a strikingly unresolved and unsettling note, characteristic of Schnittke’s style. This version can be easily regarded as the best of the whole CD, never lacking coherence and remarkably nuanced balance.
Some more Moldovan folklore arrangement follows. This one is called “Cucuşor cu pană sur,” a Moldovan folk song about a cuckoo and his adventures.
Andrzej Panufnik’s Concerto for Violin and Strings, Op. 21, composed in 1952, is a striking example of his early compositional style, which blends lyrical, melodic writing with a more dissonant and rhythmic approach. The concerto was written during a time when Panufnik was still under the influence of Soviet-influenced aesthetic restrictions, but it also shows the beginnings of his unique voice.
The work is divided into three movements, with the following features:
First movement: The opening movement is marked by a certain tension between the solo violin and the string orchestra, creating a dialogue between them. The violin part is both virtuoso and introspective, with the orchestral accompaniment providing contrasting textures. The movement moves through a range of emotional expressions, from brooding passages to more energetic moments.
Second movement: The second movement contrasts with the first’s slower, more lyrical character. Here, Ms. Kopathchinskaja’s violin creates a deeply expressive, almost melancholic atmosphere, with the string ensemble providing a subtle backdrop. The movement is characterized by an evolving interplay between the soloist and the orchestra, using broad melodic lines.
Violinist Patricia Kopatchinskaja. (credit: Marco Borggreve)
Third movement: The final movement returns to a more rhythmic and energetic style, with the violin displaying lively, almost playful motives. The orchestra’s strings engage in fast, interlocking patterns, creating a sense of drive and forward momentum. It is a very expressive moment where all the rhythmical perfection of the Bern ensemble can be admired.
Ivan Wyschnegradsky’s String Quartet No. 2, Op. 18, is an important work in the 20th-century avant-garde music landscape. Composed in 1933, this quartet exemplifies Wyschnegradsky’s unique approach to the chromatic and microtonal language he was developing at the time.
Wyschnegradsky was deeply influenced by the concept of microtonality, particularly through his experiments with dividing the octave into smaller intervals than the traditional 12-tone system. The String Quartet No. 2 is characterized by its use of quarter tones and complex harmonic structures, which was part of the broader movement in 20th-century music exploring alternative tuning systems.
The quartet is structured in a way that reflects both his exploration of pitch and rhythm. It requires a high level of technical skill from the performers, especially because of the quarter-tone notation and the complex, dense textures the composer often employs. The overall atmosphere of the piece is intense and highly dissonant, with a sense of tension and unresolved harmonic relationships pervading the work.
Some Schubert menuets follow, which may be the least interesting moment of this disc. Still perfectly correct, but sometimes lacking originality.
Wyschnegradsky’s second string quartet is an early yet definitive example of his contributions to microtonal music, and it stands as a significant piece in the development of avant-garde music in the early 20th century. The rendering is brilliant and rarely played at this quality level.
The final track is called Exil!. Eugène Ysaÿe (1858–1931) was a Belgian violinist, composer, and conductor who revolutionized violin performance. Known as the “King of the Violin,” his compositions reflect his deep understanding of the instrument. It was written during a difficult time in Ysaÿe’s life when he was living in London due to professional and personal challenges. This period of self-imposed exile weighed heavily on him, inspiring a deeply introspective and emotional work. The title itself, Exil!, suggests themes of displacement, homesickness, and searching for belonging. The piece reflects Ysaÿe’s romantic spirit and his exploration of new harmonic and technical possibilities for the violin.
The piece does not adhere strictly to classical forms but feels like a fantasia or rhapsody, characterized by shifting moods and themes. This reflects the late Romantic fascination with emotional storytelling and free expression. The opening melody introduces a mournful, yearning theme, likely representing Ysaÿe’s sense of displacement. It is often contrasted with fiery, virtuoso passages, showcasing Ysaÿe’s characteristic blend of lyricism and technical brilliance.
Ysaÿe’s own mastery as a violinist is evident throughout. Ms. Kopatchinskaja’s imperious command of rapid shifts in register and position and double-stops with complex chordal passages are paired with expressive use of vibrato and bowing nuances. She takes liberties with rubato to enhance the improvisatory feel of the piece and emphasize the tension and release in chromatic lines and harmonic shifts.
Though less well-known than Ysaÿe’s famous Six Sonatas for Solo Violin, Op. 27, Exil! captures the personal and emotional depth that defines his music. It stands as a testament to his ability to merge virtuosity with profound artistry. ■
EXTERNAL LINKS:
- Patricia Kopatchinskaja: patriciakopatchinskaja.com
- Thomas Kaufmann: cameratabern.ch/en/camerata-bern/thomas-kaufmann
- Camerata Bern: cameratabern.ch/en/
Read more by Giorgio Koukl.
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