Gästebuch
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136. Athos Staub, Zürich
28.04.2010 21:15
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Liebe Frau Kopatchiskaja Nach dem unangenehmen Vorfall am Sonntag ist es mir ein Anliegen, hier ein Zeichen der Unterstützung zu hinterlassen. Jeder, der einmal solche Auseinandersetzungen mit uniformierten Beamten erlebt hat, weiss wie aufwühlend es sein kann. Vor allem wenn man das Gefühl hat, nicht durchdringen zu können, und Angst haben muss, weil der Gegenüber sich kein Begriff des kulturellen und historischen Wertes des Gegenstandes macht, das er gerade so in der Hand hält. Nicht verzweifeln! Ich habe mit Vielen geredet, die mit Ihnen fühlen und sich für unsere Behörden auch schämen. Denken Sie an die Freude, die Sie vielen Menschen mit Ihrer Kunst spenden. Danke dafür. Herzlichen Dank
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135. Bernhard, Switzerland
28.04.2010 11:37
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Dear Ms. Kopatchinskaja I have just read the article in the NZZ about your ordeal with the stubborn Swiss custom authorities at Zurich Airport. I think it is an absolute scandal that needs to be dealt with immediately - so that your violine will be realesed without any requirements from the authorities. If need be, the law needs to be changed that instruments lent from museums or fundations can be brought into the country without hassles and financial requirements. I sincerly hope that some of leaders be it in the Swiss Government or the Swiss customs authority have the stature to make the necessary decisions to relase your instrument and for the future make exceptions in the law in cases as your's where master instruments are on lend to such outstanding artists as you are. I apologise for such respectless and arrogant behavior on part of the Swiss authorities, it certainly does not reflect the attitude of many of the Swiss citizens. I wish, it could be done, thank you, Pat
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134. Ed Chang, NYC, USA
25.04.2010 15:36
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Congratulations on your win! I have been admiring your work for awhile and to have someone who can free improv also win an industry award for LvB is truly awesome! I do hope you record the full Lvb sonatas someday with Fazil... |
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133. Erdem, İstanbul
22.04.2010 14:34
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Dear Patricia, I am very glad for your award... You deserved it...congratulations..!!! Turkiye'den Sevgiler... | |
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132. Bangerter Fred, Interlaken Classics
05.04.2010 20:45
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Liebe Frau Kopatchinskaja Gratulation und vielen, vielen herzlichen Dank. Einmal mehr durften wir Sie life erleben und dies aus der ersten Reihe; wir sind noch 2 Tage später erfüllt vom Gehörten und Erlebten. Es war schlicht einmalig! Wir freuen uns jetzt schon auf das nächste Mal; weiterhin viel Erfolg beim beglückenden Musizieren! |
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131. Massimo, Alessandria, Italia
03.03.2010 10:11
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Patricia Kopatchinskaja è una forza della natura! Amo moltissimo la sua incisione delle opere per violino e orchestra di Beethoven (il mio compositore preferito). Inoltre preferisco sempre i concerti per violino dotati della cadenza Beethoven, come quello della Kopatchinskaja. Avevo acquistato due biglietti, per me e mia moglie, per il concerto che Patricia Kopatchinskaja ha tenuto a Milano sabato 27 febbraio. Ho fatto spazio tra i miei impegni e con fatica abbiamo trovato chi ci teneva i bambini, per poter andare a Milano. Purtroppo mi sono ammalato proprio il giorno prima e così ho perso il concerto. Sono certo che Patricia Kopatchinskaja diverrà una violinista sempre più celebre (credo col tempo, la più celebre al mondo) e che quando tornerà in Italia non potrò più permettermi di acquistare altri biglietti per un suo concerto! Mi dovrò accontentare di continuare ad ascoltare il suo bellissimo CD di Beethoven. Un acquisto da non perdere! |
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130. Won-duke Oh, Seoul, South Korea
15.02.2010 17:38
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I've heard her beethoven's concertos with Herreweghe. Her playing was so unique and fresh that I felt freshness. Esp. her tone of violin was so sweet. I hope see her in Korea. |
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129. stefan sonnenburg
08.02.2010 15:18
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Liebe Frau Kopatchinskaja, ich hatte die große Freude sie letzte Woche in Baden Baden zusammen mit Facil Say zu erleben, und war sehr begeistert. Sie beide strahlen pure Freude an der Musik aus, und öffnen dadurch auch Menschen für diese, die normal keine Klassik hören. Aufmerksam auf Sie wurde ich durch einen Kulturzeitbericht, mit dem, wie ich finde unrichtigen Tenor "des Teufels Geigerin". "Die göttlichste Geigerin" passt doch viel besser, aber vielleicht ist beides ja das gleiche. Danke für diesen schönen Abend, alles Gute und weiterhin viel Erfolg. |
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128. Maddalena, Bern
27.01.2010 23:28
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Liebe PatKop: Sie machen glücklich! Ich hab Sie gestern im KKL gehört: die Töne, die Sie der Geige entlocken! Das Zwitschern der Vögel am Ende von Fazi Say's Konzert. Und dann das lustige, freche, freudige Mozart. Ach, es hatten so viele Menschen ein Lächeln im Gesicht! Danke! |
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127. Peter Geeraerts
07.01.2010 11:44
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Just heard your interpretation of beethoven's violin concerto on the flemisch radio (klara, Belgium)and I think it is one of the best ever. Thanks. Peter |
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126. Karl Reitbauer
04.01.2010 14:08
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Dear Mrs. Kopatchinskaja, Really wonderful music with interpretation in the sense of the composer. You do not only listen to your music, all senses will open and you can feel the fine tempered nuances and intentions of the composer (e.g. Beethoven). Beethoven is the real genius in the world of classic music Thank you very much for your music. |
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125. edouardreichenbach, paris
02.01.2010 10:33
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Dear Miss Kopatchinskaja Thanks for taking the time to answer to my mail and comment on my review, with all those valuable precisions. I like Mr Molkhou, he does all those wonderful discographies of violinists but, well, your approach to Beethoven's VC is so daring that it is likely to attract controversy, and I am not surprised by his reaction. As I wrote in my review, one's appreciation depends on how much one is willing to be jolted out of one's listening habits - and these date back to the first recordings, made in the mid 1920s, so those are quite long listening habits. Maybe the liner notes weren't clear enough that what you play are indeed Beethoven's variants and not your own "variants on the variants": it was a little ambiguous to me, and maybe it was ambiguous to Mr Molkhou. Anyway, I'll change my review accordingly. As for the cadenza(s), I did have the curiosity to download a freescore of Beethoven's "piano concerto No. 6", and noted that you did practice a few cuts. I also read somewhere (in the Gramophone review of Kremer-Harnoncourt's recording) that Wolfgang Schneiderhan had recorded (with cuts) a Beethoven-inspired cadenza in the 1960s. That said (as I say in my review), played on "re-recorded violins", the cadenza does sound a bit strange - as if it had been written by Schnittke, I write in the review. Not that I mind: with the Pei Pyramid in the center of The Louvre, we Frenchman have long been used to those "clashes of cultures". But I doubt that if Beethoven had actually written violin cadenzas, he would have written them as his piano cadenzas. And Kremer's solution to have the pianoforte play from the winds is certainly jolting, but not really convincing, I find. Maybe the ideal solution would be to write an original cadenza after Beethoven's cadenzas to opus 61a, but NOT trying to emulate the piano, just letting oneself by inspired by the piano cadenzas and trying to imagine (the best one can !) what Beethoven would have written IF he had written those violin cadenzas that he didn't write. Anyway, your recording with Herreweghe is inspiring. Looking forward to your concerts in Paris. I see there one at Theâtre Champs Elysées early February with Fazil Say, and the trios at Chatelet end of February. What's the third ? Best Edouard Reichenbach Hello again
In fact - because our version of the cadenza to the first movement was made by two track recording - we also made and evaluated a version with one violin. But everyone agreed that the version with two violins is more informative and interesting musically and also much more fun. Beethovens cadenza of the first movement adds significant information for the interpretation of the whole movement: the queer trumpet-signal followed by a march-like episode show a march-like and military aspect, confirming Prof.Stowells idea that this is music belonging to the French revolution. The Paris concerts are 9.2.2010 Concerto of Fazil Say, 10.2.2010 playing with Fazil Say and friends, 21.2.2010 playing with my piano trio. |