BEETHOVEN | KOPATCHINSKAJA • VIOLIN CONCERT 1st movement 

same here.

Good one!

The hardest thing to do

@@emilelaurent Ich rede von heiligen Beethoven Konzert. Man darf den Text nicht nach Belieben umschreiben. Den Rhythmus übrigens auch so stark. Loussier ist eine Jazz Musik.Frei. Wenn sie das nicht kapieren, dann tut mir Leid. Den Mozart spiele ich anderes , Vergleichen sie bitte Klassik mit Klassik. Was macht Kopachinskaya ist ein Blendwerk. Und ihre scheinbar witzige Bemerkung von Meister Kostecki zeigen nur Mangel an Erziehung. Nehmen sie lieber Oistrakh, Szeryng, Grumiaux, Stern und, und, als Beispiele für das ehrliche Ringen um das Künstlertum. Die Dame kann schon Geige spielen, das ist unbestritten. Aber Texte und Tempi SO willkürlich zu ändern ist unzulässig. Beethoven als Komponist ist unantastbar. Wenn wir noch eine fragwürdige Interpretation dazu nehmen dann haben wir eben Zirkus. War das klar ?

@@KosteckiAdam Alle Abweichungen sind aus Beethovens Manuskript.

@@emilelaurent ah,,, Unsinn, die Ab weichungen enstammen den schlauem Plan.....alles umgekehrt zu machen. Schade....hat geigerischen Talent. By the way ....das ist ein Violin und nicht Klavierkonzert.

​@@emilelaurent hello again, you make valid points and Im not really trying to argue or fight with you. We all like what we like, or dislike what we dislike. I respect that Kopatchinskaja looked at the original (as original as they can be) writings of the Beethoven score. Of course, many composers played their own music differently each time. So yes, that is why some people like this interpretation. For me, it's just too unfamiliar. Also, I quote a colleague "if you have to write a page to justify your performance... something's up." And I *do* agree with that. A performance should speak for itself. Rysanov and Bashmet are extremely experimental, and they get paid well, if they put on their own 'galas' I really don't think they'd want a whacky performance of something like Mozart's Sinfonia Concertante. Although, Rysanov does throw in some ricochet bowing into Mozart which is more along Kopatchinskaja's style. He leaves the pitches along though. Bashmet is more traditional. Who knows. For sure, we don't want music to get boring and even if this "outrageous approach to music" is enough to start a movement on how we approach performing then perhaps a lot of good will come from it. I personally like well dressed musicians, walking on and off stage confidentally, no clapping in between movements of concerti, symphonies, suites etc, and well thought out programs that make sense and music is accurately played. I don't care about intonation slips or strings breaking etc. That's human error and bad luck which we all go through. Anyway, have a good weekend. Happy to chat more. Thanks again for providing the article. It was an interesting read (and I have read similar by other musicians, generally the forewards in new scores/editions or in the booklets of physical CD releases from the 2000's).

Liam, you need to relax and be open to new ways of presenting old war horses such as Patricia K does. She gives so much life and energy to everything she plays. I guess it also annoys you that she plays barefoot. Big deal!

@@michaeldavidcapocci9909 I know she plays barefoot, and no, I don't care about that. If you're comfortable on stage then that's all that matters. I pointed out in another comment that whenever I put on a concert I don't make the women in particular wear high-heels or short skirts / short tops because I respect them and they should be comfortable. I see a lot of people "sexxing up" their style in order to put on a good show and for me I don't care. Comfort is key. I don't wear a tie when I play because it gets in the way of my shoulder rest and chin rest positioning and I've been told "well if you don't wear a tie then you can't play in our orchestra". Fine. Life's too short. I'm surprisingly open to new ways of presenting old music. I'm fussy though. Old-man syndrome I guess... I just think the liberties were too much here. Purely (and I can't state this enough) *purely* because it's not a Baroque show-piece she's playing here. She's telling a story. I felt like this story wasn't being narrated pleasantly, I felt often I was being shouted at and spat on, and even told the wrong words. That's why I believe there are better ways to produce the Beethoven Violin concerto. I *do* like the cadenza because I believe it's an alternate original as indicated by Beethoven's own hand. I think for violin and piano, and it has been modernised very well! I can hear Beethoven's passion in the cadenza for sure! That part is the highlight for me in this modern rendition, but only at that point am I pleasantly surprised. She did that cadenza justice.

​@@emilelaurent In my opinion, ( *opinion* will be the word of the day here, seeing as the "derogatory nonsense" written about her performances are also opinions), it means that something's up. All great classical violinist play through classical/romantic pieces of music with critics coming in from all angles, and it's just unavoidable. But Kopatchinskaja seems to be *the* only one garnering such attention in regard to her gypsy style. There's no true right or wrong in music... not to a huge extent anyway... I mean there was a time when Ivry Gitlis "improvised" a Bartok sonata possibly because he couldn't remember how to play it in his later years, and he apologised to those who didn't like it, and he said he would like to play it again to please the audience. He wisely admitted "it was simple arrogance and he shouldn't have gone over the composer's head, the audience paid good money to hear the original piece, and furthermore we are merely the ones surrounding the violin physically to let it sing and tell a story. The story comes from the composer and we shouldn't deviate". This is all in a video footage, translated from French. I believe the film is made by Jacques Deschamps and is not on RU-vid. It's available via DVD. Anyway, I digress. If you have to battle against critics it generally means you're doing something wrong. The classical musicians of this world don't mind slight mistakes, intonation slips, losing bow hairs, making your own cadenzas, even just giving a lacklustre performance... but there's a limit.. otherwise it becomes the performer's composition more than anything. That is my point. Of course she can defend herself, but she shouldn't have to. She got that ball rolling though....

" It's essentially disrespectful to Beethoven." Did Beethoven himself tell you this or how do you know he wouldn't like it?