Cover Time & Eternity

Album info



Label: Alpha

Genre: Classical

Subgenre: Chamber Music

Artist: Patricia Kopatchinskaja & Camerata Bern

Composer: Johann Sebastian Bach (1685-1750), Lubos Fiser (1935-1999), Frank Martin (1890-1974), Karl Amadeus Hartmann (1905-1963), John Zorn (1953)

Album including Album cover Booklet (PDF)


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FLAC 44.1 $ 12.00
  • Anonymous:
  • 1Kol Nidre (Cantor)00:32
  • John Zorn (b. 1953):
  • 2Kol Nidre05:53
  • Anonymous:
  • 3Elijahu Hanawi00:59
  • Karl Amadeus Hartmann (1905 - 1963): Concerto funèbre for Violin and String Orchestra:
  • 4Concerto funèbre for Violin and String Orchestra: I. Introduction (Largo)01:30
  • 5Concerto funèbre for Violin and String Orchestra: II. Adagio06:51
  • 6Concerto funèbre for Violin and String Orchestra: III. Allegro di molto08:43
  • 7Concerto funèbre for Violin and String Orchestra: IV. Choral04:11
  • Anonymous:
  • 8Unsterbliche Opfer (Arr. for String Orchestra and Accordion) - War Cadenza (Improvisation)04:22
  • 9Boze Ojcze, przebaczenie jest wielkim darem00:45
  • Tadeusz Sygietynski (1896 - 1955):
  • 10Dwa serduszka02:13
  • Guillaume de Machaut (1300 - 1377):
  • 11Messe de Nostre Dame: Kyrie (Transcription for String Orchestra)03:39
  • Franck Martin (1890 - 1974):
  • 12Polyptyque for Violin and Two Small String Orchestras: I. Image des Rameaux03:53
  • Johann Sebastian Bach (1685 - 1750):
  • 13Johannes-Passion, BWV 245: Choral "Ach großer König" (Transcription for String Orchestra)00:46
  • Franck Martin:
  • 14Polyptyque for Violin and Two Small String Orchestras: II. Image de la Chambre haute05:56
  • Johann Sebastian Bach:
  • 15Choral "Als Jesus Christus in der Nacht", BWV 265 (Transcription for String Orchestra)01:25
  • Franck Martin:
  • 16Polyptyque for Violin and Two Small String Orchestras: III. Image de Juda02:02
  • Johann Sebastian Bach:
  • 17Johannes-Passion, BWV 245: Choral "Durch dein Gefängnis" (Transcription for String Orchestra)01:02
  • Franck Martin:
  • 18Polyptyque for Violin and Two Small String Orchestras: IV. Image de Géthsémané04:05
  • Johann Sebastian Bach:
  • 19Johannes-Passion, BWV 245: Choral "Wer hat dich so geschlagen" (Transcription for String Orchestra)00:59
  • Franck Martin:
  • 20Polyptyque for Violin and Two Small String Orchestras: V. Image du Jugement03:55
  • Luboš Fišer (1935 - 1999):
  • 21Crux for Violin, Timpani and Bells06:32
  • Franck Martin:
  • 22Polyptyque for Violin and Two Small String Orchestras: VI. Image de la Glorification04:04
  • Anonymous:
  • 23Christus ist auferstanden00:26
  • Johann Sebastian Bach:
  • 24Johannes-Passion, BWV 245: Choral "O große Lieb" (Transcription for String Orchestra)02:17
  • Total Runtime01:17:00

Info for Time & Eternity

This music is made out of the blood and tears of tortured souls: a strangled scream, voices muttering amid a terrified silence, the sounds of war in an improvised cadenza. It is about us, our past and our future. At the centre is Hartmann’s Concerto funebre. Juxtaposed is Frank Martin’s Polyptyque, a piece about God’s Passion and the misery endured to attain eternal salvation for humankind. The Concerto funebre, which can also be seen as a Passion, is a testimony to the wrongs that have been done – and are still being done – to human beings, to creation, and to the Creator.” Patricia Kopatchinskaja

CAMERATA BERNs debut album with Patricia Kopatchinskaja "TIME & ETERNITY" is an uncompromising meditation on the human condition. It spans 600 years of music.

Fiercely original in concept, TIME & ETERNITY opens with the Kol Nidre, the introductory prayer to Yom Kippur, read by a cantor of the Jewish community, followed by John Zorn’s (born 1953) eponymous musical contemplation on the same, setting the spiritual tone of the programme.

Karl Amadeus Hartmann (1905-1963)’s Concerto funebre forms the centerpiece of the album. Composed in 1939, it expresses his outrage at the Nazis’ terror in Germany, Czechoslovakia and Poland. It had to wait until the end of World War Two before being performed in Germany. Around it a Polish Catholic priest and a Russian Orthodox priest each say a short prayer, while Polish folk singers present two songs quoted in Hartmann’s concerto: the Jewish song Eliyahu hanavi, expressing the hope of salvation and the Russian song Immortal victims from the first Russian revolution in 1905.

This is followed by Frank Martin’s (1890-1974) Polyptyque for violin and two small string orchestras. Commissioned in 1973 by Yehudi Menuhin, it was inspired by six scenes from the Passion of Christ painted by Duccio di Buoninsegna (1255-1319) for the altar Maestà in Siena. The Kyrie from Guillaume de Machaut (1300-1377)’s Messe de Nostre Dame, in an arrangement for strings, evokes the music of Buoninsegna’s time, while string orchestra transcriptions of J.S. Bach chorales are interspersed between the movements of Polyptyque, “as an invocation of eternal consolation” [Patricia Kopatchinskaja].

Meanwhile the powerfully ominous violin and percussion duet Crux by Czech composer Luboš Fišer (1935-1999) represents the crucifixion scene which, while having the central position on Buoninsegna’s altar, was omitted in Frank Martin’s composition. Fišer condensed this piece from his Requiem, written in reaction to the brutal 1968 Sovjet crushing of the Prague spring. It was premiered there in 1970 against political resistance by a courageous Gidon Kremer. The album ends with a transcription for string orchestra of a chorale from the St. John Passion, as a hopeful call to everlasting salvation.

Patricia Kopatchinskaja, violin
Camerata Bern

No biography found.

Booklet for Time & Eternity

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