Patricia Kopatchinskaja’s fiery violin in the Floralies Hall
When you see the leading violinist Patricia Kopatchinskaja at work you are witnessing one of the world’s most ardent and discerning musicians. It is not without reason that in recent years she has been showered with international prizes, including a highly coveted Grammy Award. When she appears on stage, invariably in bare feet, she draws just about every spectator into her wondrous musical world.
On this occasion too, Kopatchinskaja will be presenting a fresh and challenging programme, threading together several centuries, boundaries and styles. This musical expedition starts with the Jewish Kol Nidrei by the American John Zorn. We associate him mainly with jazz, but he also ventures into experiments with klezmer, improvisation, contemporary classical and even metal. This is followed by Hartmann’s Violin Concerto, which very palpably symbolises human suffering in wartime. The religiously inspired Polyptique by Frank Martin changes the tone entirely: the expectation of deliverance resounds clearly through the suffering of Christ. And finally, this promise of happiness is confirmed in a two-part Gloria.
For this tour de force, the phenomenon that is Kopatchinskaja is able to call on Camerata Bern, who join her on many of the world’s great concert platforms. Let yourself be carried along in this shift from dark to light, from suffering to deliverance. An absolute must, set in the majestic Floralies Hall.
Karl Amadeus Hartmann
Concerto funebre for violin and string orchestra
I. Introduktion. Largo
III. Allegro di molto
You fell victim to a fateful struggle
Polyptyque for violin and two string orchestras – Six images de la Passion du Christ
I. Images des Rameaux
II. Image de la Chambre haute
III. Image de Juda
IV. Image de Gérthsémané
V. Image de Jugement
VI. Image de la Glorification
Crux for violin, timpani and bells
Guillaume de Machaut
Missa de Notre-Dame (Gloria)
Patricia Kopatchinskaja, violin