Schubert: Death and the Maiden Patricia Kopatchinskaja & The Saint Paul Chamber Orchestra

• 1 Tabulaturbuch auf dem Instrumente: Toden Tanz (Arranged for Strings and Percussion by Michi Wiancko) 02:32
• 2 Byzantine Chant on Psalm 140 for Solo Violin and Strings (Arranged by Patricia Kopatchinskaja) 02:09
• 3 String Quartet No.14 in D Minor, D. 810 Death and the Maiden: I. Allegro 16:22
• 4 Seven Teares: Pavan (Lachrimae antiquae) 02:58
• 5 String Quartet No.14 in D Minor, D. 810 Death and the Maiden: II. Andante con moto 13:48
• 6 Madrigals, Libro 6: Moro, lasso, al moi duolo 03:20
• 7 String Quartet No.14 in D Minor, D. 810 Death and the Maiden: III. Scherzo (Allegro molto) 03:37
• 8 Ligatura-Message to Frances-Maria (The Answered Unanswered Question), Op. 31B 05:02
• 9 Kafka Fragment for Violin, Op. 24: Ruhelos 00:27
• 10 String Quartet No.14 in D Minor, D. 810 Death and the Maiden: IV. Presto 08:50
• Total Runtime 59:05

Info for Schubert: Death and the Maiden

„With the wonderful Saint Paul Chamber Orchestra we are presently exploring Schuberts quatuor „Death and the maiden“. Of course we have to include Schubert’s earlier song with the same title on the poem of Matthias Claudius. This song belongs to the medieval tradition of the dance of death. Therefore we also play „Toden Tanz“ (with poor me dancing), an ancient death dance written up by the German organ player August Nörmiger (1560-1613). Schubert’s song and the slow movement of his quatuor use the solemn rhythm of a Pavan, so we also play one of Dowland’s Pavans from „Seven Teares“. Add to this „Moro lasso“ a madrigal about death by the famous Renaissance composer (and murderer!) Gesualdo. In between we also refresh our ears with other unsettling works by modern composers like György Kurtag and Heinz Holliger.“ (Patricia Kopatchinskaja)

Patricia Kopatchinskaja, violin
Saint Paul Chamber Orchestra

Patricia Kopatchinskaja
versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks.

Highlights of the 2015/16 season include performances with Staatskapelle Berlin, a residency at the Laeiszhalle in Hamburg and a collaboration with Teodor Currentzis and Musica Aeterna with whom she will appear at Bremen Festspiele and tour across Europe. Kopatchinskaja will also tour with Camerata Salzburg under Langrée, La Chambre Philharmonique under Krivine, Chamber Orchestra of Europe, collaborate with Vladimir Jurowski and his State Academic Symphony Orchestra in Moscow and perform with the Houston Symphony and Seatle Symphony Orchestra.

In London, Kopatchinskaja appears with the London Philharmonic Orchestra under Jurowski and she is the central figure of the ‘Marin, Madness and Music’ weekend at the Southbank Centre – where she will perform with the Orchestra of the Age of Enlightment, Kafka Fragments with Anu Komsi and works by Ustvolskaya.

Kopatchinskaja performs a number of new commission premieres this season: Turnage’s new piece for Violin and Cello with Sol Gabetta; Mauricio Sotelo’s new composition for string orchestra, flamenco dance and percussion with The Saint Paul Chamber Orchestra – where she is an Artistic Partner – as well as a new piece by Michael Hersch and the French praemiere of Michael van der Aa’s new Violin Concerto.

Last season’s highlights included her debut with the Berliner Philharmoniker performing Péter Eötvös’ DoReMi under the baton of the composer himself. She also performed at the closing concerts of Lincoln Center’s Mostly Mozart Festival, appeared with the London Philharmonic Orchestra at the Edinburgh International and Santander festivals and toured Switzerland with the Royal Stockholm Philharmonic Orchestra under Sakari Oramo. Chamber music is immensely important to Kopatchinskaja and she performs regularly with artists such as Markus Hinterhäuser and Polina Leschenko as well as members of her own family. She is a founding member of the acclaimed quartet-lab – a string quartet with Isabelle van Keulen, Lilli Maijala and Pieter Wispelwey – with whom she undertakes a major European tour in autumn 2015.

A prolific recording artist, this 2015/ 2016 season will see three major releases, one with Gidon Kremer and the Kremerata Baltica a CD of Kancheli’s music, TAKE 2 on Outhere/Alpha and Tchaikovsky’s Violin Concerto with Teodor Currentzis and Musica Aeterna on the Sony label. Her release for Naïve Classique with concerti by Bartók, Ligeti and Péter Eötvös won Gramo- phone’s Recording of the Year Award in 2013, the ECHO Klassik Award and a 2014 Grammy nomination.

The Saint Paul Chamber Orchestra
Renowned for its artistic excellence, remarkable versatility of musical styles and adventurous programming, The Saint Paul Chamber Orchestra is widely regarded as one of the finest chamber orchestras in the world. Now in its 58th season, the SPCO has recently undergone transformational change with the opening of its new home, the Ordway Concert Hall, the addition of a new generation of players, and significant changes in its artistic vision. Committed to championing new music, the SPCO is primarily an unconducted ensemble that works in close collaboration with a diverse series of artistic partners. The orchestra’s current artistic partners are Jonathan Cohen, Jeremy Denk, Martin Fröst, Patricia Kopatchinskaja, Pekka Kuusisto and Thomas Zehetmair. Past Artistic Partners include Roberto Abbado, Pierre-Laurent Aimard, Joshua Bell, Douglas Boyd, Nicholas McGegan, Stephen Prutsman, Dawn Upshaw and Christian Zacharias.

The virtuoso musicians of the SPCO present more than 130 concerts and educational programs each year, and are regularly heard on public radio programs that reach more than 2 million listeners each week on over 300 stations. Additionally, the SPCO reaches more than 200,000 listeners annually through its free online Listening Library. The SPCO has released 67 recordings, commissioned 148 new works, and tours nationally and internationally, including performances in premier venues in Europe, Asia and South America.

The SPCO is nationally recognized for its commitment to broad community accessibility, its innovative audience outreach efforts, and its educational and family programming. Regular subscription series are performed in a variety of different venues across the Twin Cities metropolitan area each season, a unique commitment to geographic accessibility for a major orchestra. The SPCO offers the most affordable tickets of any major orchestra in the United States, with over 50 percent of tickets available for $12 or less, and has expanded accessibility even further by offering free tickets for children and students starting in the 2016.17 season as a part of the New Generation Initiative. The orchestra also offers an innovative ticket membership model in which members pay $5 per month to attend unlimited concerts. The SPCO’s award-winning CONNECT education program reaches over 5,000 students and teachers annually in 12 Minneapolis and Saint Paul public schools, and its Target® Free Family Music program provides engaging and educational experiences for thousands of Twin Cities children and families each year. The SPCO’s Liquid Music Series (named “Best of Classical” by The New York Times) develops innovative new projects with iconoclastic artists in unique presentation formats and invites adventurous audiences to discover the new and the fascinating within the flourishing landscape of contemporary chamber music.

Our Mission: The mission of The Saint Paul Chamber Orchestra Society is to present a world-class professional chamber orchestra in the Twin Cities, dedicated to superior performance, and artistic innovation and education, for the enrichment of community and world audiences.

Booklet for Schubert: Death and the Maiden