Schumann: Complete Symphonic Works, Vol. IV Patricia Kopatchinskaja, Dénes Várjon, WDR Sinfonieorchester Köln & Heinz Holliger

• Robert Schumann (1810-1856): Violinkonzert d-Moll, WoO 1:
• 1I. Im kräftigen, nicht zu schnellen Tempo16:04
• 2II. Langsam07:01
• 3III. Lebhaft, doch nicht schnell10:35
• Klavierkonzert a-Moll, Op. 54:
• 4I. Allegro affettuoso13:54
• 5II. Intermezzo. Andantino grazioso05:17
• 6III. Allegro vivace11:04
• Total Runtime01:03:55

Info for Schumann: Complete Symphonic Works, Vol. IV

Schumann’s most underestimated and his most famous concertos: Patricia Kopatchinskaja takes the experimental qualities of the Violin Concerto, a late work, as a guiding principle for her individual interpretation, rising above clichéd Romanticist listening habits. In the Piano Concerto, Denes Varjon also expresses a particular Romantic clarity, characterised by fresh sounds and fluid tempi.

This fourth volume of the complete orchestral works by Robert Schumann presents both his most underestimated and his most famous concertos. Patricia Kopatchinskaja takes the experimental qualities of the Violin Concerto, a late work, as a guiding principle, rising above clichéd Romanticist tradition in a typically distinctive, energetic interpretation. This 'de-Romanticised' reading clearly distinguishes Schumann’s Violin Concerto from the glittering Romantic concertos of the time, contrasting brilliant, attention-seeking virtuosity with musical mastery at the service of an overall concept. In the Piano Concerto, Dénes Várjon also expresses a particular Romantic clarity, characterised by fresh sounds and fluid tempi. He trusts in the impact of the work standing on its own by opting for an approach that is not overly Romanticist. His stringent interpretation is informed by many years of performing Schumann, including his chamber works.

Patricia Kopatchinskaja takes the experimental qualities of the Violin Concerto, a late work, as a guiding principle for her individual interpretation, rising above clichéd Romanticist listening habits. A clear sound, thanks to reduced vibrato and open strings, as well as a surprisingly accentuated but also at times withdrawn style of playing, fully integrated into the orchestra, shapes her distinctive, energetic interpretation. The Baroque elements hinted at in the score are thus echoed in the performance. This "de-Romanticised" reading clearly distinguishes Schumann's Violin Concerto from the glittering Romantic concertos of the time, contrasting brilliant, attention-seeking virtuosity with musical mastery at the service of an overall concept.

In the Piano Concerto, Dénes Várjon also expresses a particular Romantic clarity, characterised by fresh sounds and fluid tempi. He trusts in the impact of the work standing on its own by opting for an approach that is not overly Romanticist. His stringent interpretation is informed by many years of performing Schumann, including his chamber works.

The next installment in this series is set to follow in March: volume five of the Schumann edition, featuring Patricia Kopatchinskaja with the Violin Fantasy, alongside Alexander Lonquich with the Konzertstücke for piano, as well as the Konzertstück for Four Horns and Orchestra.

April will see the release of the edition's final volume, showcasing the "Zwickau" Symphony as well as the complete Overtures.

„Moldovan-born violinist Patricia Kopatchinskaja plays the Violin Concerto with an elemental conviction I have not heard. Her attack is phenomenal and she obviously believes every note she is playing. In the melting slow movement she will break your heart.“ (The Herald Scotland, Michael Tumelty)

“Kopatchinskaja is typically bold and provocative in Schumann’s Violin Concerto…where it works really well is in the slow movement, Kopatchinskaja exposing the fragility of Schumann’s writing with heart-rending sensitivity…Dénes Várjon emphasises [the Piano Concerto’s] playfulness and lightness of touch, especially in the slow movement and Finale.” (BBC Music Magazine)

“Kopatchinskaja’s sound is uncompromising here; stark and straight, her strength matched by the ensemble, no-one’s trying make this into a prettier concerto than it seems, and to my ears, it gains from that approach … you come out of this recording with renewed respect for Schumann’s originality and for Holliger’s determination not to add too much sugar in his Schumann series for Audite” (CD Review)

Patricia Kopatchinskaja, violin
Denes Varjon, Klavier
WDR Sinfonieorchester Köln
Heinz Holliger, conductor

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.

Dénes Várjon
studied at the Franz Liszt Academy of Music with Sándor Falvai (piano) as well as Ferenc Rados and György Kurtág (chamber music). Parallel to his studies he was a regular participant of the international master classes with András Schiff. He finished his studies in 1991 with his Concert Diploma. Also in 1991 he won First Prize at the Géza Anda Competition in Zurich. First Prizes were awarded to him also in the Piano Competition of the Hungarian Radio and the Leó Weiner Chamber Music Competition in Budapest.

He is regular guest at the most prestigious international festivals such as Salzburger Festspiele, Mozartwoche Salzburg, Marlboro and Bard Festivals (USA), Schwetzinger Festspiele, Ittinger Pfingst-Konzerte, Lucerne Festival, Piano Series, Biennale di Venezia, Kammermusikfest Lockenhaus, Rheingau Musik Festival, Schleswig-Holstein Musik Festival, Kunstfest Weimar, Edinburgh Festival and many others.

He has performed with orchestras such as Orchestre Philharmonique de Strasbourg, Rundfunk- Sinfonieorchester Berlin, Budapest Festival Orchestra, Russian National Orchestra, American Sym- phony Orchestra, Münchener Kammerorchester, Camerata Salzburg, Mozarteumorchester, Wiener Kammerorchester, Camerata Bern, Orchestre de Chambre de Lausanne, Tonhalle-Orchester Zürich, Hungarian State Symphony Orchestra, Academy of St. Martin in the Fields, Chamber Orchestra of Europe, Orchestre National du Capitole de Toulouse, Scottish and Australian Chamber Orchestra, Franz Liszt Chamber Orchestra, St. Petersburg Philharmonic Orchestra and Gidon Kremer’s Kreme- rata Baltica. He has worked with conductors like Sándor Végh, Horst Stein, Heinz Holliger, Thomas Zehetmair, Georg Solti, Ádám Fischer, Leopold Hager, Iván Fischer, Hubert Soudant, Ivor Bolton and Ola Rudner a.o.

Dénes Várjon is deeply committed to chamber music and is collaborating with ar- tists such as Steven Isserlis, Joshua Bell, Evelyn Glennie, David Grimal, Lukas and Ve- ronika Hagen, Heinz Holliger, Leonidas Kavakos, Miklós Pérenyi, András Schiff, Jörg and Carolin Widmann, Christoph Richter, Radovan Vlatkovic, Tabea Zimmermann, the Carmina, Takács, Keller and Endellion Quartets, and the Ensemble Wien-Berlin. He also appears regularly with his wife Izabella Simon in piano recitals with works for four hands and two pianos. Oboist and composer Heinz Holliger is a close longtime partner, just like clarinetist and composer Jörg Widmann.

Dénes Várjon has recorded for the Naxos, Capriccio, Sony Classical an

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