Take 3 Patricia Kopatchinskaja, Reto Bieri, Polina Leschenko

• Francis Poulenc (1899 - 1963): L'invitation au château, FP. 138:
• 1 Poulenc: L'invitation au château, FP. 138: IV. Mouvement de valse-hésitation 01:46
• Paul Schoenfield (b. 1947): Trio for Clarinet, Violin & Piano:
• 2 Schoenfield: Trio for Clarinet, Violin & Piano: I. Freylakh 04:08
• 3 Schoenfield: Trio for Clarinet, Violin & Piano: II. March 06:12
• 4 Schoenfield: Trio for Clarinet, Violin & Piano: III. Nigun 04:55
• 5 Schoenfield: Trio for Clarinet, Violin & Piano: IV. Kozatske 04:20
• Francis Poulenc: L'invitation au château, FP. 138:
• 6 Poulenc: L'invitation au château, FP. 138: VIII. Tempo di Boston 02:47
• Bagatelle in D Minor for Violin and Piano:
• 7 Poulenc: Bagatelle in D Minor for Violin and Piano 01:58
• L'invitation au château, FP. 138:
• 8 Poulenc: L'invitation au château, FP. 138: XVI. Follement vite et gai 00:28
• Clarinet Sonata, FP. 184:
• 9 Poulenc: Clarinet Sonata, FP. 184: I. Allegro tristamente 05:23
• 10 Poulenc: Clarinet Sonata, FP. 184: II. Romanza 04:40
• 11 Poulenc: Clarinet Sonata, FP. 184: III. Allegro con fuoco 03:12
• L'invitation au château, FP. 138:
• 12 Poulenc: L'invitation au château, FP. 138: XIII. Tempo di Tarantella 00:25
• Béla Bartók (1881 - 1945): Burlesque for Violin & Piano, Op. 8:
• 13 Bartók: Burlesque for Violin & Piano, Op. 8: No. 2 02:29
• Francis Poulenc: L'invitation au château, FP. 138:
• 14 Poulenc: L'invitation au château, FP. 138: XII. Très vite et très canaille 00:34
• Béla Bartók: Contrasts for Violin, Clarinet & Piano, Sz.111:
• 15 Bartók: Contrasts for Violin, Clarinet & Piano, Sz.111: I. Verbunkos 05:33
• 16 Bartók: Contrasts for Violin, Clarinet & Piano, Sz.111: II. Pihenö 04:21
• 17 Bartók: Contrasts for Violin, Clarinet & Piano, Sz.111: III. Sebes 07:26
• Francis Poulenc: L'invitation au château, FP. 138:
• 18 Poulenc: L'invitation au château, FP. 138: XI. Tango 02:46
• Serban Nichifor (b. 1954): Klezmer Dance:
• 19 Nichifor: Klezmer Dance 03:08
• Total Runtime 01:06:31

Info zu Take 3

Die Grundidee für dieses Album war es, zu dritt zu spielen... Nicht um "etwas" zu spielen, sondern um "zu dritt" mit so unterschiedlichen Klangwelten wie denen von Bartók, Poulenc und Schoenfield zu experimentieren. Mit seinen Contrastes, die er 1938 für Benny Goodman komponierte, erweiterte Bartók seine Vorliebe für traditionelle Musik und verwandelte sie in ein universelleres, vom Jazz beeinflusstes Werk. Poulenc war ein Kind des Paris der Goldenen Zwanziger, das von Strawinsky, Ravel und Satie ebenso beeinflusst wurde wie von Kabarettliedern und Operetten. Auch der 1947 in Detroit geborene Paul Schoenfield kombiniert gerne verschiedene Stile. Jeder der Sätze seines Trios basiert auf einer osteuropäischen chassidischen Melodie... nicht zu vergessen die atemberaubenden Klezmer-Tänze des rumänischen Șerban Nichifor. Fast zehn Jahre nach Take 2 (Alpha211) trifft sich Patricia Kopatchinskaja wieder mit zwei großartigen Komplizen, dem Klarinettisten Reto Bieri und der Pianistin Polina Leschenko, für ein Programm, das auf Trios basiert, die den Wurzeln dieser drei Musiker Ausdruck verleihen.

Patricia Kopatchinskaja, Violine
Polina Leschenko, Klavier
Reto Bieri, Klarinette

Patricia Kopatchinskaja
Violinist Patricia Kopatchinskaja’s versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks. Kopatchinskaja’s 2017/18 season commences with the world premiere of her new project Dies Irae at the Lucerne Festival where she will be ‘artiste étoile’. Dies Irae is her second staged programme following the success of Bye Bye Beethoven with Mahler Chamber Orchestra in 2016, and uses the theme from the Latin Requiem Mass as a starting point for her new concept featuring music from Gregorian Chant and Early Baroque to Giacinto Scelsi and Galina Ustwolskaja. The North American premiere will take place at the Ojai Festival in June 2018 where Ms. Kopatchinskaja will be Music Director. György Ligeti’s Violin Concerto is again a feature of Kopatchinskaja’s season – she will perform it with the Mahler Chamber Orchestra at the Enescu Festival in Bucharest under Rafael Payare, Orchestra Sinfonica Nazionale della RAI, and Aurora Orchestra under Nicholas Collon as part of the Southbank Centre’s Ligeti weekend where she will also perform the Horn Trio with Pierre-Laurent Aimard and Marie-Luise Neunecker. The Stravinsky Violin Concerto will also be a prominent work which she will perform with the London Philharmonic Orchestra under Alain Altinoglu in London, on tour around Europe, with Teodor Currentzis and the Tonhalle-Orchester Zürich and with Gustavo Gimeno and the Rotterdam Philharmonic Orchestra.

Last season’s highlights included Kopatchinskaja as Artist in Residence at four major European venues and festivals: at the Berlin Konzerthaus, the Lucerne Festival, London’s Wigmore Hall and the Kissinger Sommer Festival. She also embarked on two major European tours; with Orchestre Philharmonique du Luxembourg under Gustavo Gimeno and with Wiener Symphoniker and Musica Aeterna both under the baton of Teodor Currentzis. She performed the Ligeti Violin Concerto with Sir Simon Rattle and the Berliner Philharmoniker, Filharmonica della Scala under Andrés Orozco-Estrada, and the Finnish Radio Symphony Orchestra under Jukka-Pekka Saraste. She also made her debut with the Gothenburg Symphony and Peter Eötvös performing his Violin Concerto DoReMi. Continuing her regular collaboration with the London Philharmonic Orchestra, she appeared with them in London and New York under Vladimir Jurowski.

Chamber music is immensely important to Kopatchinskaja and she performs regularly with artists such as Markus Hinterhäuser, Polina Leschenko, Anthony Romaniuk and Jay Campbell appearing at such leading venues as the Berlin Konzerthaus, London’s Wigmore Hall, Vienna Konzerthaus and Concertgebouw Amsterdam. She is also an Artistic Partner with The Saint Paul Chamber Orchestra and performs with the ensemble regularly, both in Saint Paul and internationally. They undertook a major European tour together in November 2016, to coincide with the release of a new CD recording of Schubert’s Death and the Maiden. In 2017/18 she will partner with cellist Jay Campbell in an eclectic programme at New York City’s Armory in October, and for a series of recitals around Europe with pianist Polina Leschenko including London’s Wigmore Hall, Berlin’s Boulez Saal and the Vienna Konzerthaus.

A prolific recording artist, the last few seasons have seen a number of major releases; an album of Kancheli’s music with Gidon Kremer and the Kremerata Baltica, a disc of duos entitled TAKE TWO on Alpha Classics, a recording of Schumann’s Violin Concerto and Fantasy with WDR Sinfonieorchester Köln under Heinz Holliger for Audite, and Tchaikovsky’s Violin Concerto with Teodor Currentzis and Musica Aeterna on the Sony label. Kopatchinskaja’s release for Naïve Classique featuring concerti by Bartók, Ligeti and Peter Eötvös won Gramophone’s Recording of the Year Award in 2013, an ECHO Klassik Award and a 2014 Grammy nomination. Her latest release Death and the Maiden, for Alpha with The Saint Paul Chamber Orchestra has received great critical acclaim.

Booklet für Take 3