Patricia Kopatchinskaja

The first piece is the 30 minute Movimenti für Violine und Orchester (2006) by Gerd Kühr. According to the label's web site, the composer, "explores traditional forms before eventually breaking them apart." That's as may be, but doesn't that statement sound like so much else written about difficult, contemporary music? The first thing that is heard on the disc (or the download, as the case may be) is applause, followed by what sounds like the orchestra tuning up. But doesn't the orchestra tune up before the soloist comes on stage to be greeted by the applause? Well, sometimes they tune up along with the soloist, of course. But it's clear enough that what seemed like tuning up was actually the beginning of the piece. And yet, perhaps the applause was actually the beginning of the piece and the audience, wittingly or not, was part of the performance ensemble, for the benefit of the larger audience who would be listening to the recording. This suspicion is confirmed when the applause at the end of the piece begins so quickly after the last note is sounded. None of that stunned silence in which the audience is trying to figure out whether or not the piece is over yet. There must have been some sort of cue to the audience to start clapping. Could the conductor have turned around and jabbed his baton at them? Did a bright light saying "applause" come on over the stage? Or was this taped applause? If the latter, was it stock applause or did the composer notate applause with precise specification? Only the score will settle this question.… (altro)