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VI­O­LIN CON­CER­TOS BY BARTÓK, EÖTVÖS, LIGETI Pa­tri­cia Kopatchin­skaja (vi­o­lin), Frankfurt Ra­dio SO, En­sem­ble Mod­ern/Peter

Eötvös Naïve V5285 If you didn’t al­ready know Moldovan vi­o­lin­ist Pa­tri­cia Kopatchin­skaja as a feisty and fear­less per­former from her ap­pear­ances in Dublin and Bantry, you’d know it pretty quickly from her han­dling of Bartók’s Sec­ond Vi­o­lin Con­certo. She ap­proaches the work, writ­ten in 1938, with the tech­ni­cal tools and hind­sight of the present, but in a way that’s any­thing but heavy-handed. There’s an ath­leti­cism and fe­line grace that al­ways com­mand at­ten­tion. She makes Ligeti’s won­der­fully un­pre­dictable late Vi­o­lin Con­certo (which in­cludes the sounds of ocari­nas and swa­nee whis­tle) sound fully her own, and rel­ishes the chal­lenges of Eötvös’s Seven, an im­pas­sioned, ca­denza-rich me­mo­rial for the Columbia as­tro­nauts.


SCHU­MANN: PI­ANO TRIO NO 2; KIN­DER­SZENEN; PI­ANO QUAR­TET Adam LaMotte (vi­ola), Ben­v­enue Fortepi­ano Trio Avie AV 2272 In Ire­land we don’t hear much of the Ir­ish Baroque Orches­tra’s artis­tic di­rec­tor, vi­o­lin­ist Mon­ica Huggett, in 19th-cen­tury reper­toire. Here, as a mem­ber of the Ben­v­enue Fortepi­ano Trio with Tanya Tomkins (cello) and Eric Zi­vian (play­ing an 1841 Vi­en­nese pi­ano by Franz Rausch), Huggett gives vi­tal ac­counts to Schu­mann’s F ma­jor Pi­ano Trio and Pi­ano Quar­tet in E flat. Zi­vian’s solo ac­count of Kin­der­szenen is rather pro­saic. But in the two cham­ber works the play­ers present Schu­mann with a clar­ity and in­de­pen­dence of line that mod­ern in­stru­ments rarely ri­val. The Pi­ano Quar­tet is, of course, an ac­knowl­edged mas­ter­piece. And in the Ben­v­enue’s hands the rather ne­glected trio comes fully to


BACH/THOENE: PAR­TITA IN D MI­NOR; FAURÉ: RE­QUIEM Gor­dan Nikolitch (vi­o­lin), Tene­brae, LSO Cham­ber En­sem­ble/Nigel Short LSO Live LSO 0728 Ger­man scholar Helga Thoene be­lieves that chorale con­nec­tions per­me­ate Bach’s solo vi­o­lin mu­sic, and that the sec­tions of the fa­mous Cha­conne from the Par­tita in D mi­nor are elab­o­ra­tions on hid­den chorale melodies. Here, chorales are sung be­tween move­ments of the Par­tita, and the “un­writ­ten” chorales of the Cha­conne are sung in tan­dem with the vi­o­lin part Bach ac­tu­ally wrote. Not only that, the mu­sic segues straight into Fauré’s Re­quiem, which is in the same key. It’s a fas­ci­nat­ing idea, but the choir and vi­o­lin com­bi­na­tion re­mains less than per­sua­sive. The Fauré, heard in the now pop­u­lar or­ches­tra­tion of 1893, is at­mo­spher­i­cally done and has real ex­pres­sive trac­tion. See url. ie/4u5f MICHAEL DERVAN

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