Concerto Funebre Hartmann

Time and Eternity. Always in search of powerful musical experiences, the violinist Patricia Kopatchinskaja and Camerata Bern – of which she has just taken over the artistic direction –here juxtapose Hartmann’s Concerto funebre, composed in 1939 to express his indignation at the Nazis’ terror, and the Polyptyque for violin and orchestra that Frank Martin wrote in 1973 for Yehudi Menuhin, a work inspired by six scenes from the Passion of Christ painted by Duccio di Buoninsegna around 1310. The Kyrie from Machaut’s Messe de Nostre Dame, composed half a century after the altarpiece and heard here in an arrangement for strings, is interspersed between the movements, along with Bach chorales, ‘as an invocation of eternal consolation’. A Polish folksinger interprets the Jewish song ‘Eliyahu hanavi’, which expresses the hope of salvation and which Hartmann quotes in his concerto. Six hundred years of music to ‘make the victims’ voices heard’, says Patricia Kopatchinskaja. The album opens with Kol Nidrei by John Zorn (born 1953), in response to the eponymous prayer spoken by a representative of the Jewish community. A Catholic priest and an Orthodox priest also say a short prayer.

1939"" Europe on the eve of Armageddon. Some still do not want to believe that it will happen, some guessed it and some are fatalistic or even euphoric. Nowadays, barely a little over 70 years later, hardly anybody in the younger generation can imagine that such a catastrophe is possible or could be possible again. On the basis of three violin concertos by Bartók, Hartmann and Walton, which were created this year, these moods of the various composers should be audible on a CD together with the Munich Symphony Orchestra as well as a kind of time machine. The album of the violinist Fabiola Kim under the direction of Kevin John Edusei will be released in June 2019.

With a title like Time & Eternity and graphics featuring the disembodied head of violinist Patricia Kopatchinskaja, you know you're in for an ambitious program. Kopatchinskaja's albums have been getting increasingly experimental as her career has developed, and this one is at no time boring, whatever you may think of the overall concept. Sample Crux, by Lubos Fiser, for violin, timpani, and bells, with the timpani pounding away as a kind of avatar of dread. This said the structure of the program is not quite as unconventional as it may at first appear to be.

The Radio Legacy is a compilation of the seven part Anthology of the Royal Concertgebouw Orchestra, the four box sets devoted to the orchestra s chief conductors Willem Mengelberg, Eduard van Beinum, Bernard Haitink and Riccardo Chailly, and also featuring more recent recordings with Mariss Jansons.

RCO - Anthology of the Royal Concertgebouw Orchestra, Volume 5, 1980-1990 (2008) {14CD Box Set, RCO 06005} (Complete Artwork)
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© 1980-90, 2008 Radio Netherlands Music / RCO LIve | RCO 06005
Classical / Orchestral

The Anthology of the Royal Concertgebouw Orchestra is a transcription in sound of the concert-giving history of the Concertgebouw Orchestra, based upon radio recordings from the archives of Dutch Radio and Radio Netherlands World Service. Six decades of the 20th century are put under the spotlight in six boxes, each containing 14 CDs. We have chosen not only legendary performances under chief conductors of the KCO but also concerts led by countless guest conductors of both greater and lesser renown.

With her recordings praised as “heartbreakingly beautiful” (Scene Magazine), “a sweeping experience” (Pizzicato), “full of emotions” (Crescendo Magazine), Hungarian-born violinist Orsolya Korcsolan has established herself as one of the most versatile violin players and teachers of her generation. Her technical command and warm, compelling sound, combined with her spirit and elegant stage presence have captured audiences around the world since her debut in New York.