Gramophone and BBC Award-winner Patricia Kopatchinskaja records exclusively for Naïve. Releases to date have included Beethoven’s Violin Concerto with Philippe Herreweghe, a CD entitled 'Rapsodia' which explores the roots of George Enescu’s music with examples of Moldovan and Romanian folk music. Her most recent release was an all-Hungarian disc featuring concertos by Bartók, Ligeti and Eötvös which has won the concerto category in the Gramophone Awards 2013.
György Sándor Ligeti was a Hungarian composer of contemporary classical music. He has been described as "one of the most important avant-garde composers in the latter half of the twentieth century" and "one of the most innovative and influential among progressive figures of his time".
Given its premiere by The Royal Ballet in 1965 with Rudolf Nureyev and Margot Fonteyn dancing the title roles, Kenneth MacMillan's first full-evening ballet has become a signature work for the Company, enjoying great popularity around the world. From the outset, the production teems with life and colour as the townspeople, market traders and servants of the rival Montagues and Capulets go about their daily business in vibrant crowd scenes. But Romeo and Juliet take centre stage for those great pas de deux: the meeting in the ballroom, the balcony scene, the morning after the wedding and the final devastating tomb scene. Although The Royal Ballet has performed Romeo and Juliet over 400 times, each performance and pairing is subtly different and Lauren Cuthbertson and Federico Bonelli are utterly captivating in the title roles.
Natalie Clein, whose previous recording of the music of Ernest Bloch was described as ‘inspired’ by The Sunday Times, turns to his three suites for solo cello as part of a recital of works written in the aftermath of the Second World War. The sombre voice of the cello seems especially apposite in music of such deep seriousness, Ligeti’s short sonata providing an energetic and life-affirming finale.
Since pianist Yuja Wang and conductor Gustavo Dudamel count among Deutsche Grammophon’s young superstars, it was inevitable that they collaborate on disc. In the Rachmaninov Third Concerto Wang’s tendency to reverse accents and make sudden pianissimo plunges at certain climactic moments borders on mannerism (what’s with that momentum-breaking comma right before the first-movement development section Allegro?), but the piano part’s swirling textures benefit from Wang’s fanciful voicings, imaginative rubatos, and frisky, dead-on accurate fingerwork.
In 1961, the young Hungarian composer György Ligeti did a pretty amazing thing: he wrote a piece called Atmospheres, in which almost nothing happens, extremely slowly. The European avant-garde was still obsessed with quantifying musical parameters, with crystallizing pitch, duration, timbre, and register into rigid regions, radiating with speed and hardness – and then Ligeti cast out this massive orchestral goo, the enemy of all geometries, devoid of contours and as slow and gaseous as a trip through Saturn. A paean to all mysterious and intangible, Atmospheres initialized both a brilliant swerve from the music of its time, and a kind of life-journey for Ligeti's own incipient voice: a musical vision on the verge of disintegration, inventively trying to put itself back together, to re-integrate.
The famous Russian director Sergei Eisenstein held Prokofiev the film composer in the highest regard, and to couple their two celebrated collaborations, Ivan the Terrible and Alexander Nevsky, in a two-disc set is therefore entirely appropriate. Ivan the Terrible, however, is a problematic score. Assembled by Abram Stassevich after the composer’s death, the oratorio lacks the large-scale balances and tensions of Prokofiev’s own Nevsky cantata, relying on narration to hold the structure together. This substantial English version by Michael Lankester, intended to ‘compensate for the lack of visual image’, is well projected by Christopher Plummer. Rostropovich directs a vivid performance of Alexander Nevsky, and only the rich tone of Russian voices is lacking. The LSO plays brilliantly, while the recording does full justice to one of Prokofiev’s finest scores.