Cal Performances at Home opens its season with a violin-piano recital by Tessa Lark and Andrew Armstrong on October 1 at 7pm PDT. The program includes:
BARTÓK (arr. Székely)
Romanian Folk Dances
YSAŸE
Sonata No. 5 for Solo Violin
SCHUBERT
Fantasy in C major, D. 934
GRIEG
Violin Sonata No. 3 in C minor
RAVEL
Tzigane
I had the pleasure of writing program notes for this performance, which can be found here. The stream was filmed exclusively for Cal Performances on location at Merkin Hall, Kaufman Music Center, New York City, on August 17, 2020. There will also be a pre-concert conversation with Tessa Lark and Cal Performances executive and artistic director Jeremy Geffen.
Violinist Patricia Kopatchinskaja returns to Seattle next week for concerts on Jan. 29-30 and Feb. 1. (Marco Borggreve)
My story about the matchless Patricia Kopatchinskaja, who comes to Seattle for a recital and concerts with the Seattle Symphony and Thomas Dausgaard:
Her Seattle Symphony debut drew blood. In April 2016, when Patricia Kopatchinskaja reached the final movement of Prokofiev’s Second Violin Concerto, her violin’s shoulder rest came loose. The screw that should have held it in place dug into her neck, breaking the skin. But the music wasn’t over yet.
My report on the 2019 Concours Musical International de Montréal:
The 2019 edition of the Concours musical international de Montréal (CMIM), devoted this year to the violin, started off with added pressure – for the organisers, that is. Because of the convergence of several of the most high-profile violin tournaments elsewhere this spring – from Auckland to Augsburg, from Sendai to Brussels – the recently completed CMIM also had to compete with the competitions.
Hao Zhou for the first time playing the brand-new violin and bow handmade by the Maker’s Forum — gifted to him as first prize winner
Heartiest congratulations to U.S. violinist Hao Zhou, who won first prize at the 2019 Concours musical international de Montréal, as well as the Radio-Canada People’s Prize. And to second prize winner Johanna Pichlmair, who played the Brahms concerto, and Fumika Mohri, who took third prize for her account of the Sibelius concerto.
Mr. Zhou’s prize includes $30,000 from the City of Montreal, the Joseph-Rouleau career development grant of $50,000 from the Azrieli Foundation, a violin and bow handmade by the Maker’s Forum (valued at $20,000), an artist residency at Canada’s Banff Centre for the Arts, and a concert engagement at the New Generation Festival.
The distinguished jury was presided over by Zarin Mehta and included Pierre Amoyal (France), Kim Kashkashian U.S.), Boris Kuschnir (Austria), Cho-Liang Lin (U.S.), Mihaela Martin (Romania), Barry Shiffman (Canada), Dmitry Sitkovetsky (UK/U.S.), and Pavel Vernikov (Israel/Switzerland).
Here is Hao Zhou in his prize-winning performance last night of the First Violin Concerto by Dmitri Shostakovich (with the Orchestre symphonique de Montréal conducted by Alexander Shelley):
Here is Johanna Pichlmair’s soulful Brahms Concerto:
And the remarkable Fumika Mohri plays the Sibelius here:
Patricia Kopatchinskaja is an ideal choice to be this year’s music director of the Ojai Festival. In advance of the festival’s northern edition, Ojai at Berkeley, here’s my profile of this incomparable artist for Cal Performances:
Matters of technical proficiency are well accounted for in the arsenal of words that critics have at their disposal to describe what sets a musician apart. What is sorely lacking is …
My profile of the violinist Stefan Jackiw is on the cover of Strings magazine’s February 2018 issue — and available online:
A sense of modesty may seem incompatible with the drive required to remain successful in the highly competitive realm of classical performance. Yet violinist Stefan Jackiw has made it central to his artistic credo..
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.
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