Listening to Tricia play is like looking at a freshly restored masterpiece after having grown accustomed to its muted colors: it’s such an assault on the senses! More vivid colors than any other soloist. She’s restoring the future of music by being loyal to its glorious past.
The Tchaikovsky clip and everything else Patricia does is far beyond exceptional. But it makes you wonder: Why can't a world-renowned musician of Patricia's stellar caliber afford to buy a pair of shoes?
Had the good fortune to see her in one of her infrequent trips to California. She performed the Tchaikovsky Concerto (what else?) with the L.A. Phil. She received a standing ovation after the FIRST movement (and a few incredulous stares from some of the players). She really is a force of nature.
Mit solchen Menschen, die die Wahrheit der Musik propagieren, ist mir um die Zukunft der Welt nicht bange. Da schockt mich eher der russische Barbar oder die Schlange Netrebko.
She is kind of right with rigid part. Western Classical music is so inaccessible and the jargon makes it kind of unapproachable. But Patricia's music has been amazing and I am hoping to find more music like hers.
I've always thought it helps her to be spontaneous, to have the score in front of her. Lots of times when people play something without the score, it turns out the same each time because of relying on muscle memory. Of course there are musicians who can be spontaneous without having the score, but it seems to help her be more free to take creative risks in her interpretation :)
@@hsviolinplayer No, she is just insecure as she doesn't practice enough. Score + out of tune often, + not so clear articulation, this is not freedom, this is jumping the line.
