HIPP Mahler.... with Pat. Kop. as co-leader...!

[Nick Armstrong]

[ferneyhoughgeliebte]

She's fantastic, isn't she!

Incidentally - I trust this video will help nudge Stanfordians into getting the Tchaik Vln Concerto; here is demonstrated what a superb orchestra Musica Aeterna is.


(Could do without so many close-ups of Mr Currentzis' gurnings - but if they result in performances of this calibre, then more power to his poutings!)

[BBMmk2]

Thank you so much for posting this, Cali. I am converted!

[Beef Oven!]

I was a bit underwhelmed by her Tchaikovsky with the MusicAeterna

Perhaps it's a bit narrow-minded and rooted, but I expect an impassioned and slightly sentimental flavour in this glorious music, and neither the orchestra nor the soloist oblige in this performance. She seems to not to want to let herself go.

[Tony Halstead]

I was a bit underwhelmed by her Tchaikovsky with the MusicAeterna

Perhaps it's a bit narrow-minded and rooted, but I expect an impassioned and slightly sentimental flavour in this glorious music, and neither the orchestra nor the soloist oblige in this performance. She seems to not to want to let herself go.

 She seems to not to want to let herself go.

What? I don't believe that you opine that...
In the 3rd movement in particular she (and the conductor & orchestra) is 'on fire'! IMHO

[Beef Oven!]

 She seems to not to want to let herself go.

What? I don't believe that you opine that...
In the 3rd movement in particular she (and the conductor & orchestra) is 'on fire'! IMHO

I mean emotionally, not pyrotechnically and technically. I know what I mean, but perhaps I'm not able to explain it very well.

[Tony Halstead]

I mean emotionally, not pyrotechnically and technically. I know what I mean, but perhaps I'm not able to explain it very well.

Yes I understand what you mean. I think it may have something to do with PK's use of 'white tone' ( i.e. unvibrated) perhaps just a bit too often. One sort-of expects to hear a luscious throbbing sound in many of the places where her tone is straight and even rather glassy. I must say I find her approach to sound-production and vibrato in particular to be a refreshing synthesis of 21st ( 20th?) century style ( e.g. think Heifetz/ Oistrakh/Stern etc) contrasted with early-to-mid 19th century style ( obviously no recordings exist, but players such as Wallfisch, Standage, Holloway and -daringly - Kremer sometimes, get very close to what to me is 'the ideal'). I think Pat Kop has a foot in both camps, and very convincingly too!

[Beef Oven!]

Yes I understand what you mean. I think it may have something to do with PK's use of 'white tone' ( i.e. unvibrated) perhaps just a bit too often. One sort-of expects to hear a luscious throbbing sound in many of the places where her tone is straight and even rather glassy. I must say I find her approach to sound-production and vibrato in particular to be a refreshing synthesis of 21st ( 20th?) century style ( e.g. think Heifetz/ Oistrakh/Stern etc) contrasted with early-to-mid 19th century style ( obviously no recordings exist, but players such as Wallfisch, Standage, Holloway and -daringly - Kremer sometimes, get very close to what to me is 'the ideal'). I think Pat Kop has a foot in both camps, and very convincingly too!

Thanks Tony, I think you've hit on what I'm on about, or at the very least, a good part of it. And to be fair, it is about 'too often', not unvibrated per se.

The context is undoubtedly how I've always heard this piece and expect it to sound. I'll come back to this recording at some point.