Maiko Kawabata Tchaikovsky Violin Concerto First movement, b. 219 - PowerPoint PPT Presentation

In Search of ‘Something-other-than-perfect’ Violin Virtuosity Maiko Kawabata

Tchaikovsky Violin Concerto First movement, b. 219 Moscow: P . Jurgenson, n.d. [1888], 1st ed.

Tchaikovsky Violin Concerto Autograph, First movement, b. 219 Solo line in Yosif Kotek’s handwriting

Beethoven Violin Concerto Movement I, bars 99-104 (London: Edition Eulenburg, 1935)

Beethoven Violin Concerto, Autograph with scale at bar 101

Jorge Sánchez-Chiong, Crin für Violine solo, bars 1-15 ������������������������������������ � � ��� � � � � � � � � � � � � � � � � � � � � ��� ��� � � � ����� ����� ��� ��� ��� � �� � � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� ��� �� �� ��� �� ���� ���� ��� �� ��� �� �� ��� ������ ���� ��� �� �� ���� ������ ���� ��� �� �� ���� �������������� � � � � � ��� � � � � � � � � � � � � � � � ��� � � � � � ����� ��� ��� �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � �� ���� ��� �� ���� ���� ��� �� ��� �� �� ��� ������ ���� ��� �� �� ���� �� ��� �� �� ��� � � � � � ����� ��� � � � �� � �� � � � � �� � � � �� � � � � � � � � � ��� ��� � � � � � � ����� ��� ��� �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ���� �� �� �� ��� ������ ����� �� ���� ��� �� ���� ���� ��� ������ ���� ��� �� �� ���� �� ��� �� �� ��� � � � � ���� � ����� ��� �� ������ � � � ��� � �� �� � � ��� � � � �� � � � �� ��� � � � � � � � � ��� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ���� �� �� �� ��� ������ ����� �� ���� ��� �� ���� ���� ��� ��� ���� ��� �� �� ��� �� ��� �� � ��� � � ���� � � ���� � � ����� �� � � � � ��� � � ����� ��� �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ������ ���� ��� �� �� ���� �� ��� �� �� ��� �� ������ ��� �� �� �� ���� ��� � � � � ���� � ����� �� � � ������ � � � �� �� �� ��� � � � � � ��� � � ��� � �� � � � � � � � � � � � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ���� �� �� �� ��� ������ ����� �� ���� ��� ��� ���� ��� �� �� ��� �� ��� �� � ��� � � � �� � � � � � � � ��� ����� ��� ��� � � �� � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � � ���� ��� �� �� ���� �� ��� �� �� ��� �� ���� ���� ��� ������

Patricia Kopatchinskaja (*1977) • ‘Classical music is sometimes very petrified.... It's not enough to deliver notes, it's more interesting to see the world behind these small black ants written on white paper.’ • BBC Radio 4 Midweek Interview (3 February 2016) • ‘Are we in a madhouse? ... There is this claustrophobia that I feel, as a soloist and as a participant in the operation of classical music ... so [the “Bye Bye Beethoven” Project with the Mahler Chamber Orchestra] is a manifesto against a regressive music enterprise, which fixates only on the known and excludes curiosity and transgression. That makes me feel scared, short of breath, like choking.’ • Tobias Ruderer, ‘Sind wir in einem Irrenhaus?’ Atavist (accessed 11 May 2016, my translation). • ‘When you attend a play, for example, you hear the director’s view, whether it’s Shakespeare in costumes of our time, or different spaces and times. In classical music, however, it’s been prohibited to think like that. It’s like we’re in a robot world in which everyone has to achieve a certain level of playing, which is polished, shiny, perfect, beautiful—and that’s it. Everything else is considered a disturbing element. But geniuses like Beethoven and Janacek broke the rules. They did not conform with tradition or even with their time and, in doing so, opened new parameters. This is the art that has value to me.’ • Laurence Vittes, ‘A Streak of Independence: Violinist Patricia Kopatchinskaja on art, interpretation, and musical commitment’, Strings (June 2016), pp. 19-20.