More musical revelations at Lucerne Festival: thrilling Bartók Violin Concerto No. 2 featuring Patricia Kopatchinskaja in an unimprovable program of Bartók and Haydn by Mahler Chamber Orchestra led by the impeccable François-Xaver Roth.
The Haydn (Symphonies 22 and 96) was sleek and proto-Modernist in Roth’s interpretation, overflowing in invention and brought to life by the exquisitely fine-tuned playing of the Mahler Chamber Orchestra.
The Bartók Second — nicely complemented by the Dance Suite — spurred all Kopatchinskaja has to give: from her feistiest, most earth-rooted playing to star-drunk lyricism.
And then there was a post-concert treat in the “Interval,” from Kopatchinskaja plus her parents (dad Viktor on cimbalom and mom Emilia playing violin), with Venezuelan double-bassist Johane Gonzales: incisive Kúrtag and wonderful folk music arrangements.
Last night brought out still another side of Kopatchinskaja’s all-embracing artistry, in a Late Night concert with the Lucerne Festival Academy Orchestra led by Matthias Pintscher.
It’s clear that the Moldovan soloist regards Ligeti’s Violin Concerto as one of the ultimate masterpieces of the repertoire. Hearing her play it, you feel this is the only music in the world that matters, a world within world of where the concept of virtuosity itself is reimagined from the ground up.
Kopatchinskaja is the perfect violinist to advocate Ligeti’s wildly imaginative ideas, but also the formal ingenuity and, yes, melodic grace of this score. She also brought out the best from the incredibly gifted young Academy musicians. I can’t wait to hear the full ensemble shine in Monday’s all-Cerha concert.
The program also included fascinating performances of composer-in-residence Michel van der Aa’s Hysteresis for clarinet, ensemble, and tape, with Martin Adámek as the soloist and Ligeti’s Piano Concerto, with pianist Dimitri Vassilakis.
Filed under: Bartók, Haydn, Ligeti, Lucerne Festival, violinists
MEMETERIA by Thomas May 