Stéphan, apart from the fact that there is an interesting discussion going on if you can play the concert like that or not - and some very knowledgeable guys are saying that this is exactly what Beethoven originally wrote - I love the way you have filmed it... truly beautiful and full of little gems. gorgeous!!! thank you.
What a fresh and interesting interpretation of this piece! Loved it! Beethoven was such a weirdo, how do you know how he would have reacted to this performance? The orchestra also plays with more spirit than some of the damp and dreary ones I have seen…as a violinist who plays this piece, I commend PK for her intelligent reworking of this beloved composition.
God I love that rambunctious rustic theme in the cadenza soooo much. If I ever get to perform this I am absolutely going to work that into my cadenza. Thank you PatKop!!
In spite many listeners dont like it. I enjoy very much Patricia's artistry. She is an extra ordinary violinist, and may be Beethoven would not approve her notes, but then again, Its a remarkable interpretation, full of passion and virtuosism, and for that Ludwig can respect her.... or not,.... really I dont care.Bravo Patricia
Absolut großartig, Patricia und auch das Orchester dringen mit diesem Beethoven in eine neue Dimension vor. Er muss eine unbändige Freude empfunden haben, wo immer er jetzt auch sei, bei diesem violinistischen Hexenwerk. Bravo, bravo! Und bitte mehr davon!
Für diese seltene Coda hat ihr die Hälfte des Wiener Publikkums mal den Applaus verweigert. Die wußten nicht, dass das eine von Beethoven verworfene Version war. Die Hamburger haben das ein paar später schon kapiert. Sind halt keine Wienerr.
I have to say about Beethoven... I really, really, really don't enjoy his work. Like, at all! He's always been at the top of my list of composers I wouldn't miss if all their music vanished from history. I've only ever experienced his music as boring and I have always avoided playing /listening his stuff like the plague. My dislike is so intense that, honestly, his music doesn't even *feel* like music to me. AND YET! I love, love, LOVE this performance! I think, perhaps, her interpretation illuminates for me some of the things that most people admire about Beethoven, that I've been unable to tune in on. There's a recklessness about Patricia that sends me in a constant loop of giddy anticipation, and joyous resolution. I feel like I can relate, on an emotional level, to the playful intensity and carefree abandon that seems to be at the core of her artistry. I'm so so so so so glad that she exists and that I'm finally able to enjoy a Beethoven piece thanks to her. Amazing!
@@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 ?
@@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.
12:13 .... why does she just play *whatever notes* she wants?? It's essentially disrespectful to Beethoven. I wonder what he would say about it. We will never know, but I personally do not like it, and *none* of my many colleagues like this interpretation either. If it's not in the score then Beethoven didn't want it. She may as well have just played the whole piece pizzicato! When I say colleagues, I am talking about orchestral musicians I have played in an orchestra with, with us being the "concerto accompaniment" for the likes of Maxim Vengerov, Pinchas Zukerman, Janine Jansen, Mischa Maisky, Julian Rachlin, Maxim Rysanov, Yuri Bashmet.... the list goes on.
@@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 UA-cam. 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....
the video is not syncronized with the music ... but apart from this detail, I really dislike how PK plays: ugly sound and the constant effort to do something awkward, just for the sake of épater the public. Not my piece of cake
It's a pity to see how a great violinist destroys the most beautiful violin concerto with her technical showoffs and her unconventional approach. Maybe I am being conservative or whatever but I prefer Perlman or Heifetz.
Words cannot describe the performance.....absolutely astounding....one does not know whom to admire more.....
danke vielmals ! n.b. Bitte auch die beiden anderen Sätze dieses extrem wundervollen Violinkonzerts in dieser außergewöhnlich guten Interpretation
Thanks for a great presentation. I've been following you for several years. You are one of the most interesting violinists today.
정말 압권이다 대단하다 그야말로 영혼을 뒤흔드는 연주 베토벤이 강림했다 ㄷㄷㄷ
Bravissima la nostra moldava!
Stéphan, apart from the fact that there is an interesting discussion going on if you can play the concert like that or not - and some very knowledgeable guys are saying that this is exactly what Beethoven originally wrote - I love the way you have filmed it... truly beautiful and full of little gems. gorgeous!!! thank you.
What a fresh and interesting interpretation of this piece! Loved it! Beethoven was such a weirdo, how do you know how he would have reacted to this performance? The orchestra also plays with more spirit than some of the damp and dreary ones I have seen…as a violinist who plays this piece, I commend PK for her intelligent reworking of this beloved composition.
God I love that rambunctious rustic theme in the cadenza soooo much. If I ever get to perform this I am absolutely going to work that into my cadenza. Thank you PatKop!!
In spite many listeners dont like it. I enjoy very much Patricia's artistry. She is an extra ordinary violinist, and may be Beethoven would not approve her notes, but then again, Its a remarkable interpretation, full of passion and virtuosism, and for that Ludwig can respect her.... or not,.... really I dont care.Bravo Patricia
The most enjoyable interpretations of this great concerto and only 1205 views-- something is amiss.
Hi dear all, absolut brilliant, indeed magic concert - the best present for my birthday 🎂 greetings from Helsinki - see you
She's as cool as a cucumber and the conductor is dripping with sweat.
Absolut großartig, Patricia und auch das Orchester dringen mit diesem Beethoven in eine neue Dimension vor. Er muss eine unbändige Freude empfunden haben, wo immer er jetzt auch sei, bei diesem violinistischen Hexenwerk. Bravo, bravo! Und bitte mehr davon!
Thanks for sharing
This performance is so epic
I didn't know how to find it
same here.
ベートーヴェンの魂＝音楽イデーが２１世紀に甦った！！ 驚くべき演奏。コパチンスカヤの天才には言葉を失う。震える、カデンツァの見事さ＝野性性が普遍性をもち、長い音楽人生で最高のベートーヴェンのヴァイオリン協奏曲！！２楽章と３楽章も聴きたい。
Это как если бы Бетховен был в 21 веке. ❤
Ultra, jenseits des Universums ... diese Patricia
Merveilleusement filmé / Это замечательно снято
I love her
She certainly think and play outside the violin case.
Good one!
The hardest thing to do
Violoniste pieds nus intergalactique.
And at the end she says to herself, "I think that was alright".
Давно не чув такого!від ЗСУ респект!
I guess this is going to be a mini series. Next week part 2.
Wenn de Solistin ab 14:30 von Zeit zu Zeit dem Dirigenten das Tempo quasi aus der Hand nimmt, wird's lebendig im Orchaster.
4:11
Für diese seltene Coda hat ihr die Hälfte des Wiener Publikkums mal den Applaus verweigert.
Die wußten nicht, dass das eine von Beethoven verworfene Version war.
Die Hamburger haben das ein paar später schon kapiert.
Sind halt keine Wienerr.
Sie ist unglaublich. Diese Kadenz gehört da nicht hin.
Is that someone humming during the cadenza at, eg, 16:10?
I have to say about Beethoven...
I really, really, really don't enjoy his work. Like, at all! He's always been at the top of my list of composers I wouldn't miss if all their music vanished from history. I've only ever experienced his music as boring and I have always avoided playing /listening his stuff like the plague. My dislike is so intense that, honestly, his music doesn't even *feel* like music to me.
AND YET! I love, love, LOVE this performance! I think, perhaps, her interpretation illuminates for me some of the things that most people admire about Beethoven, that I've been unable to tune in on. There's a recklessness about Patricia that sends me in a constant loop of giddy anticipation, and joyous resolution. I feel like I can relate, on an emotional level, to the playful intensity and carefree abandon that seems to be at the core of her artistry. I'm so so so so so glad that she exists and that I'm finally able to enjoy a Beethoven piece thanks to her. Amazing!
Finish the damn thing.
Zirkus...und das ist die heilige Musik. Mensch...
@@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.
Should have taken her meds before the concert.
12:13 .... why does she just play *whatever notes* she wants?? It's essentially disrespectful to Beethoven. I wonder what he would say about it. We will never know, but I personally do not like it, and *none* of my many colleagues like this interpretation either. If it's not in the score then Beethoven didn't want it. She may as well have just played the whole piece pizzicato!
When I say colleagues, I am talking about orchestral musicians I have played in an orchestra with, with us being the "concerto accompaniment" for the likes of Maxim Vengerov, Pinchas Zukerman, Janine Jansen, Mischa Maisky, Julian Rachlin, Maxim Rysanov, Yuri Bashmet.... the list goes on.
@@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 UA-cam. 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?
the video is not syncronized with the music ... but apart from this detail, I really dislike how PK plays: ugly sound and the constant effort to do something awkward, just for the sake of épater the public. Not my piece of cake
It's a pity to see how a great violinist destroys the most beautiful violin concerto with her technical showoffs and her unconventional approach. Maybe I am being conservative or whatever but I prefer Perlman or Heifetz.
Nennt man das manieriert…? Und zutiefst unehrlich…?
Timpani ist 1/4 ton zu hoch. Ist ja egal.
Und bei dieser Cadenz hätten die Weaner wieder nicht geklatscht.