Patricia Kopatchinskaja at Southbank Centre

For her first concert as Resident Artist, violinist Patricia Kopatchinkskaja joins two colleagues: clarinettist Reto Bieri and pianist Polina Leschenko. On the programme are contemporary classical folk pieces from the 20^th century as well as more recent. PatKop is one of the instrument’s most unconventional, daring, exciting and intense exponents, so this programme doesn’t come as a surprise.

Enescu is the central composer of the first half. Ménétrier (country fiddler) from the suite Impressions d’enfance, feeling freely improvised, is followed by the Violin Sonata No 3 in A Minor (in Romanian folk style): haunting and unexpected directions, but stylistically similar to the first piece. The harmonics in the second movement were deathly clear, leading to a sudden and fierce declaration; the finale was a frenetic and rhapsodic dance.

After the interval, a trio of PatKop’s own compositions: Für Reto … wo? (For Reto …. where?); Ein Gespräch (A Conversation); Sonnerie (Ringing) from Ghiribizzi (Whims) for violin and clarinet: interesting and theatrical, with plenty of bold expression and gesture. Then there was Bartók: Contrasts for violin, clarinet and piano: in three movements, with miniature cadenzas in typical Bartók fashion – lots of whole tones and chromatic circlings. Like the Enescu, this also ends with a kind of chaotic dance, and could have done with some rhythmic clarity and quiet reflection at times. Milhaud was next: the Jeu from Suite for violin, clarinet and piano, a two-minute hoedown for the violin and clarinet alone in the form of a scherzo and a lyrical trio. Paul Schoenfield’s Trio for clarinet, violin and piano ended the programme on an excitable note. It opens with a Freylakh, a popular dance from klezmer (a musical tradition of the Yiddish-speaking Jews of Eastern Europe), followed by the slower Nigun, and finally the more frantic Kozatske, which was embellished with much foot-stamping.

Kopatchinskaja is nothing but mesmerising – not in the least introverted, and with total and exhausting dedication and commitment to communication. The excitement and display on stage was almost like watching dancers at a party, and it was difficult not to want to join in, however tiring it might look. At times, however, any good party needs someone to slow things down a little and bring some calm to the chaos. This programme could have done with something a little more sedate for some respite.

Michael Bennett
Photo: Pete Woodhead

For further information and future events visit Patricia Kopatchinskaja’s website here.