TIME & ETERNITY

Published on 06/08/2019

Patricia Kopatchinskaja 
Camerata Bern 
 

TIME & ETERNITY  

New album out on 13 September 2019, Alpha Classics

 Violinist Patricia Kopatchinskaja’s remarkable new album TIME & ETERNITY is an uncompromising meditation on the human condition. It spans 600 years of music.   

Kopatchinskaja comments: “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.” 
 
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 (13001377)’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. 
This is Kopatchinskaja’s debut recording with the ensemble Camerata Bern, with whom she has been artistic director since September 2018. The programme received its world premiere performance in the candlelit former Dominican church in Bern, Switzerland, in September 2018.  
 
For Time and Eternity Kopatchinskaja appears as leader and soloist and it is her second conceptual project with the ensemble, the first being the “staged concert” Krieg und Chips (War and Chips) in February 2018, for which she appeared as guest leader.  

About Patricia Kopatchinskaja 

‘A force of nature’ (Tagesspiegel, Berlin)  

Patricia Kopatchinskaja’s appetite for discovery is boundless: her solo violin and chamber music repertoire ranges from the medieval to the baroque, classical, romantic and modern, including many first performances. Recently she has taken on vocal roles as well, in Ligeti’s Mysteries of the Macabre and Schoenberg’s Pierrot Lunaire, performing with musicians of the Berlin Philharmonic, the Asko Ensemble, the Camerata Bern, and others.  
A new area that Kopatchinskaja has been developing is the ‘staged concert’. Together with the Mahler Chamber Orchestra, she has challenged the ossified routines of the concert hall, firstly with her project Bye-Bye Beethoven, presented in Hamburg in 2016 and repeated since then on both sides of the Atlantic. In 2017 she tackled the theme of the environmental crisis in the Dies Irae project, performed in Lucerne and later repeated in California and Berlin. The Death and the Maiden concert project with the Saint Paul Chamber Orchestra has toured Europe, with its recording on Alpha winning a 2018 Grammy award. Since autumn 2018 Kopatchinskaja has been artistic director of the Camerata Bern, where she has realised two further staged projects: Krieg & Chips (‘War n’ Chips’) and Time & Eternity.  
With Camerata Bern, Kopatchinskaja will release several albums on Alpha over the coming years, including collaborations with Sol Gabetta (in 2020) and Anne Prohaska (in 2021). 

https://www.patriciakopatchinskaja.com/ 

About Camerata Bern 

Founded in 1962, Camerata Bern is a highly acclaimed chamber orchestra uniting top-level musicians inspired by the idea of performing within a self-conducted ensemble under its artistic director, Grammy-award winner Patricia Kopatchinskaja, as well as guest concertmasters Antje Weithaas, Erich Höbarth, Amandine Beyer, Enrico Onofri and others. The orchestra stands out for its subtle and homogeneous sound, its freshness and mastery of style in a broad repertoire ranging from early baroque on period instruments to the composers of today.  
The ensemble has toured extensively in Europe, South and North America, as well as in South-East Asia, the far east, Australia and Japan. Within its large-scale educational project for children since 2010, the Camerata Bern has performed over 150 concerts in schools across the canton of Bern. The project in the frame of the ‘education and culture’ programme has reached over 15,000 children, mainly in rural areas.  

With the English choreographer Cathy Marston, Camerata Bern has co-produced two full-length choreographies: flight of gravity (music by Martin, Tartini, Silvestrov and Penderecki) in 2011, and Hexenhatz (‘witch-hunt’) (Italian baroque music) in 2013. With Bern’s city opera, Camerata Bern co-produced Monteverdi’s l’Orfeo on period instruments in 2015 as well as the musical theatre piece Die Formel by Torsten Rasch in 2018.   

Camerata Bern hosts its own concerts in Bern at the Paul Klee Centre, at the Konservatorium and at the Kultur-Casino. The Camerata Bern foundation is subsidized by the city, the Burgergemeinde and Canton of Bern as well as the Region Bern- Mittelland, and receives project-related funding from different foundations and sponsoring partners. One of its main partners is the Ursula Wirz foundation.  

www.cameratabern.ch  

CAMERATA BERN
PATRICIA KOPATCHINSKAJA

Artistic director & soloist 

Sonja Starke, Hyunjong Reents-Kang, Claudia Ajmone-Marsan, Simone Roggen Violin I
Afanasy Chupin, Sibylla Leuenberger, Michael Bollin, Christina Merblum Violin II
Anna Puig Torné, Friedemann Jähnig, Marko Milenkovic, Christa Jardine Viola
Thomas Kaufmann, Domitille Jordan, Samuel Justitz, Beatriz Blanco Cello
Käthi Steuri, Elisabeth Forster Double bass
Peter Fleischlin Percussion                                                          

Beata Würsten, Sarah Würsten, Monika Würsten Singers (3, 10) 

Wieslaw Pipczynski Accordeon (8, 10)           

Henri Mugier Cantor, Bern Jewish Community (1)
Wojciech Maruszewski Polish priest for the Canton Bern (9)
Ioan Ciurin Priest for the Russian-Orthodox Church in Bern (23)  

TIME & ETERNITY

Concept by Patricia Kopatchinskaja

1 Kol Nidre (Cantor) 0’31

JOHN ZORN (*1953)
2 Kol Nidre 5’52

3 Elijahu Hanawi 1‘44
Elias der Prophet / Elijah the Prophet / Élie le prophète

KARL AMADEUS HARTMANN (1905-1963)
Concerto Funebre FOR VIOLIN AND STRING ORCHESTRA
4 I. Introduction. Largo 1’30
5 II. Adagio 6’51
6 III. Allegro di molto 8’43 7
IV. Choral 4’10

8 Unsterbliche Opfer* & War cadenza (improvisation) 4’21
*Text by W. G. Archangelski, German text by Hermann Scherchen, Music probably by N. N. Ikonnikow, Arrangement by Wieslaw Pipczynski

9 Boże Ojcze, przebaczenie jest wielkim darem (Polish priest) 0’45
Gott, Vergebung ist ein großes Geschenk / Dieu, le pardon est un grand don / God, forgiveness is a great gift

TADEUSZ SYGIETYNSKI (1896-1955)
10 Dwa serduszka 2’12
Zwei Herzen / Two hearts / Deux cœurs Text by Mira Ziminska

GUILLAUME DE MACHAUT (1300-1377)
11 Messe de Nostre Dame
Kyrie TRANSCRIPTION FOR FOR STRING ORCHESTRA 3’38

FRANK MARTIN (1890-1974)
Polyptyque FOR VIOLIN AND TWO SMALL ORCHESTRAS
12 I. Image des Rameaux 3’51

JOHANN SEBASTIAN BACH (1685-1750) Johannes-Passion, BWV 245
13 Choral Ach großer König TRANSCRIPTION FOR STRING ORCHESTRA 0’47

FRANK MARTIN
Polyptyque FOR VIOLIN AND TWO SMALL ORCHESTRAS
14 II. Image de la Chambre haute 5’58

JOHANN SEBASTIAN BACH
15 Choral Als Jesus Christus in der Nacht, BWV 265 TRANSCRIPTION FOR STRING ORCHESTRA 1’24

FRANK MARTIN
Polyptyque FOR VIOLIN AND TWO SMALL ORCHESTRAS
16 III. Image de Juda 1’59

JOHANN SEBASTIAN BACH Johannes-Passion, BWV 245
17 Choral Durch dein gefängnis TRANSCRIPTION FOR STRING ORCHESTRA 1‘01

FRANK MARTIN
Polyptyque FOR VIOLIN AND TWO SMALL ORCHESTRAS
18 IV. Image de Géthsémané 4’02

JOHANN SEBASTIAN BACH Johannes-Passion, BWV 245
19 Choral Wer hat dich so geschlagen TRANSCRIPTION FOR STRING ORCHESTRA 0‘59

FRANK MARTIN
Polyptyque FOR VIOLIN AND TWO SMALL ORCHESTRAS
20 V. Image du Jugement 3’52

LUBOŠ FIEŠER (1935-1999)
21 Crux FOR VIOLIN, TIMPANI AND BELLS 6‘31

Frank MARTIN
Polyptyque FOR VIOLIN AND TWO SMALL ORCHESTRAS
22 VI. Image de la Glorification 4’03

23 Christus ist auferstanden (Orthodox priest) 0’25

JOHANN SEBASTIAN BACH Johannes-Passion, BWV 245
24 Choral O große Lieb transcription for string orchestra 2’17

Total time: 77’00

Release date: 13 September 2019

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For all enquiries please contact

Samantha Holderness
Encore Artists
[email protected]
www.encore-artists.com
+44 7816 893189