Remember that Woman with the Crazy Vibrato? This is way better.


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On 11/04/2017 at 3:14 PM, JohnCockburn said:

This reminds me of Ian Anderson playing his flute standing on one leg and trying his hardest to look deranged. I find contrived "stage acts" a bit tiresome in any genre of music.

It's funny - I didn't get the sense that she's contrived at all. I think it's interesting that her parents were /are folk musicians, and she thinks of herself mainly as a composer and musician who happens to be in demand as a violinist. She seems to be largely self-taught, or at least, she developed an incredible ability before coming into contact with classical orthodoxy. I understand that this is very challenging, but in a good way.

It does seem to me that it would be impossible to play with this kind of explosive energy without moving around a lot. We accept all sorts of tics and wierd personal body language in pop or jazz performers, and I don't feel that a soloist should be bound by any particular constraints. With "Pat" I just don't see how she could play that way unless her whole being believed in it - so the music leads and her body follows.

Very interesting watching her playing with Anoushka Shankar - makes Joshua Bell in the same context seem very constipated.

Watching that little clip is also very illuminating - particularly when she talks about sound. "I don't like good sound". Also "Lots of people hate my playing - what do I care, I'm not Facebook".

The Ligeti piece is really trying to express sensations and experiences that aren't the normal stuff of classical music, just as Kazuo Ishiguro's writing isn't about the normal stuff of literature. It doesn't speak to everyone and you wouldn't want a solid diet of it, but it's very mind-expanding.

She has phenomenal musicality and technique, and I feel I've learnt a lot by watching these various performances. Thanks Stephen ...

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  • 3 weeks later...
  • 1 year later...

I've been listening and watching for the last couple of weeks and I think she has a musicality that we haven't seen in a hundred years.

Note the effect here.  It's like the bowing is purposely wild and indistinct but in context it's part of a great effect.  Nobody else would do that, that I know of. 

https://youtu.be/OF9fneQ50Us?t=592

But don't think she does it that way because she has to!  She's a real master of the bow.

https://youtu.be/OF9fneQ50Us?t=1101

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Patricia Kopatchinskaja is my absolute favourite violinist. She played all the works for violin of Fazil Say, who is probbaly one of my favourite modern composers.

She plays a Pressenda, which has almost become a hallmark for her recordings. She cultivates an anti-Strad sound.

She may appear a bit wacky sometimes, but she is incredibly musical. Listen to her recording of the Schubert 's Tod und das Mädchen quartet which she mixes with modern things (alpha label).

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2 hours ago, Rue said:

What is an "anti-Strad" sound?

Well, she cultivated a 'dark' sound for a long time, lots of praise about her Pressenda. She made this kind of a hallmark for a while. But then, a few years ago she got a loaner Guarneri confiscated at the Swiss border - not so sure what shw really used in all these recordings. Maybe not the dar Presseda after all.

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On 6/23/2018 at 3:58 PM, uguntde said:

Well, she cultivated a 'dark' sound for a long time, lots of praise about her Pressenda. She made this kind of a hallmark for a while. But then, a few years ago she got a loaner Guarneri confiscated at the Swiss border - not so sure what shw really used in all these recordings. Maybe not the dar Presseda after all.

I believe you! :)

But I can't hear anything "other-violin" sound. ^_^

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19 minutes ago, PhilipKT said:

“Full of sound and fury...signifying nothing.”

I stopped after about 15 seconds, and I want those 15 seconds back.

Not sure what you mean either.

Don't have up like the genre (not my thing either) but that performance video does highlight the talent of both the player and the composer.

You have to push boundaries to move forward.

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