Brahms Violin Sonata in D Minor No.3 - Patricia Kopatchinskaja & Fazıl Say

Brahms Violin Sonata in D Minor No.3 - Patricia Kopatchinskaja & Fazıl Say
Johannes Brahms - Violin Sonata in D Minor No.3 - Opus 108 - 1878, 1887 - for piano and violin
PATRICIA KOPATCHINSKAJA: Violinist Patricia Kopatchinskaja's repertoire ranges from baroque and classical (often played on gut strings) to a number of new commissions or re-interpretations of modern masterworks. - patriciakopatchinskaja.com/
FAZIL SAY: Composing is always a form of improvisation: with ideas, with musical particles, with imaginary shapes. And it is in this sense that the artistic itinerary and the world-view of the Turkish composer and pianist Fazıl Say should be understood. - fazilsay.com/
Piano provided by Yamaha Music Europe / doremusic

[@publicclammer]

I am infatuated with both these artists. Originally I intended to only listen to parts of this Brahms...but it captured me completely.

[@guillermorochabrun3456]

The same with me.

[@avidian888]

Patricia always manages to breath life into her music, she is one of the most knowledgeable and talented musicians of our time, yet remains so humble and grounded… Thank you for uploading this masterpiece!

[@canxida]

"Without craftsmanship, inspiration is a mere reed shaken in the wind" - Johannes Brahms. Patricia's interpretation is certainly craft work, beautiful execution.

[@raymondgood2359]

a wonderful quotation from the master!!

[@raoultak]

My teacher professor Grumiaux would condemn this rendition if I played it likewise. But I LOVE it. Patricia Kopatchinskaja is so strong and Fazıl Say is the dream for every violinist to play with. This got me wiped away.

[@morgenwanderer7430]

You got that right! My teachers would also condemn this, but there's something very gripping, sincere and incredibly eloquent about this performance!

[@raoultak]

Very true......

[@zogzog1063]

Well! Maybe the teachers are right but I am going to buy the CD / SACD / LP of this performance! (PS That is not THE Grumiaux?).

[@horatiodreamt]

Your teacher would condemn it? But what would Brahms say?

[@leonsundermeyer]

I mean it is true that this Interpretation has something Special, but it is not Brahms and he didnt want it like this. Esspcially Kopatchinskaja Plays it like it is a piece by Fazil Say, but it is not. There are many Things that are just wrong played by her!

[@romfiddler]

Not every musician can flaunt his whole gut so, regardless of anything! But this is the whole charm of the free flow of emotions and that endless stream of energy and passion that the majority lacks and makes them uninteresting and boring! You can listen to this ensemble endlessly, it refreshes the musty museum atmosphere created by the "great" around Brahms and his sonatas, and he was a living person, with his passions and unquenched thirst for understanding and love! Kopachinskaya showed it completely!

[@dirkshelley2075]

Superb. I was the piano contribution and my wife was the music student violin major at Elizabethtown College in 1994 when we performed this together at her spring recital. Your rendition is probably the best I've heard. Just delightful. I know I probably had to practice my part over 1000 times. (not exaggeration). This piece is lovely and very, very challenging.

[@TheBlessingofMusic]

00:16 Ⅰ.Allegro introverted Len studying abroad with long distance relationship.　 08:13 Ⅱ.Adagio relaxed Kahoko and surrounding in Japan. 12:05 Ⅲ.Un poco presto e con sentimento　love games over Kahoko. 14:54 Ⅳ.Presto agitato powerful duel with Len and Ryotaro. Time Tempo My imagination with La corda d'oro comics verison.

[@Rx-mn5fv]

A marvelous performance by two very compatible musicians. At times very dramatic and at others very lyrical. Really enjoyed it.

[@romfiddler]

Не всякий музыкант может так выставить все свое нутро напоказ , не считаясь ни с чем ! Но в этом вся прелесть свободного истечения эмоций и того бесконечного потока энергии и страсти , которого так не хватает большинству и делает их неинтересными и скучными ! Этот ансамбль можно слушать бесконечно , он освежает затхлую музейную атмосферу созданную " великими " вокруг Брамса и его сонат , а он был живой человек , со своими страстями и неутоленной жаждой понимания и любви ! Копачинская это показала вполне !

[@user-lb2ed9um9x]

Bin begeistert - so muss Musik sein. Mitreißend und überraschend, leidenschaftlich.

[@georgeovitt5443]

Thank you Mr. Say for uploading all of this sublime music!

[@elenanesterenko329]

Liebe Patt und Fazil, ihr seid absolut umwerfend!!! Ich denke, so ungefähr hat Brahms seine Sonate hören wollen!!! Jede Modulation, jede Alteration ist so durchlebt, so natürlich gespielt, dass es direkt zum Herzen geht! Es war ein wahrer Genuss, Euch zuzuhören! Ich hoffe, es könnten mehrere Musiker die Sprache der Komponisten so verstehen und in die Tat umsetzen, wie ihr hier!!!

[@organboi]

She's amazing.

[@billmarrufo]

One of the best interpretations of this piece if not the very best in my opinion. And I already listened to many other by Oistrak, Mutter, Pearlman. etc. This is absolutely full of passion. Both interpreters let their emotions flow and dictate tempo, volumen of sound and accents. Technically impecable indeed.

[@raymondgood2359]

to me brahms is number one. i agree completely.

[@bennyboost]

Mutter & Orkis is my favourite pairing for this piece.

[@obiessen]

i love Gioconda de Vito

[@billmarrufo]

@@obiessen Thanks for your mention, it led me to a pleasant discovery.

[@obiessen]

@@billmarrufo always nice to discover ,thank you ,

[@thoyo]

don't think Kopatchinskaja gets nearly enough recognition for her talents

[@williammeredith2953]

In an interview last year, Patricia said Brahms doesn't need her. Wrong! Brahms desperately needs fresh and passionate interpretations like this.

[@wasagoodyear-mg9kt]

+william meredith i think patricia was right!

[@user-lb2ed9um9x]

Oh doch - natürlich braucht Brahms Interpreten und Interpretinnen wie diese beiden.

[@joannating8437]

Bravo bravo! Amazing performances!

[@yucebelge9160]

Fazıl Seni seviyoruz ! ( ben ve 2 arkadaşım )

[@rabiaanwar7109]

My deepest respects...

[@valentinoruti1453]

LA MÚSICA DE BRAHMS EN MANOS DE ESTOS DOS GRANDES MAESTROS TAMBIÉN ME ENCANTA PARA IR DESPIDIENDO EL AÑO... A PARTIR DEL CUARTO MOVIMIENTO; MUY HERMOSO, FANTÁSTICO!!...

[@KeenanReimerWatts]

That was so, so good. Amazing performers, the music just comes to life the second they start. Wow. And the videography is great too!

[@simonrodriguez4685]

The sound quality is outstanding!

[@harper5892]

Loved it! Thank you both!

[@PianoPsych]

Beautiful and impassioned playing!

[@betopaiva281]

Que maravilha Patrícia....

[@physik-musik7083]

Echt sehr schön, vielen Dank dafür :)

[@benjamincuevaseninde]

-- Brillante interprétation de cette sonate majeure de Brahms. --

[@addysanchez6086]

I hear fire in the 1st movement and this was the closest recording that matches my interpretation. The artistry is next level!!

[@servetsever3439]

Fantastic fazıl Say.

[@knd1940]

A spectacularly virtuosic performance. Usually I'm not a fan of Kopatchinskaja because she goes for maximum drama whether or not it seems (to me) to suit the music. But here that approach pays off big. As also her performance of the Stravinsky violin concerto, if you're not too distracted by her graphic facial expressions there.

[@whiteeug53]

Capturing!

[@FelixRigg]

I liked so much of this: well done.

[@hosseinm6269]

One of the best filming I ve ever seen for violin and piano deut Tnx to the editer and who filmes maybe they both one person Any way very well done

[@user-sn2dk4op9o]

I have no words. Usually, I'm analyzing, but definitely not now.

[@quinto34]

Awesome!

[@Schell77]

Marvelous performance and video document. I also admire Say for being a courageous advocate for free speech and atheism.

[@davidaltschuler9687]

Don't see what courage it takes these days to talk about free speech and atheism. Right or wrong, he'd be quite courageous to openly advocate the censorship or traditional religion, especially within the artistic community. Don't you think?.

[@Schell77]

I doubt that anyone familiar with Turkish politics among other things would repudiate his personal courage.

[@davidaltschuler9687]

I didn't write that he is not courageous, but that his advocating free speech and atheism does not demonstrate courage in today's world, especially among artists. Whether my point was valid or not, you did not address it at all. Read carefully... then respond with thought rather than just reflexes.

[@raymondtingkahlikkpm-guru73]

Not boring and thrilling Well played.

[@AKhosrobeik]

Great!!

[@REA987]

Muhteşem.

[@AnneSofie4582]

So beuatyfull !!!!

[@thomasramdasvoegeli]

Virtuos. Sagenhaft. Traumhaft. Alles, was ich mir wünsche ist da... und der herrlichen Ueberraschungen viele dazu, von Violine, von Klavier, im Zusammenspiel, in der Zwiesprache. Brahms würde vergnügt schmunzeln und mit dem Fuss wippen. Prima Tonmeister, und als i-Pünktchen spitze Filmtechnik.

[@Slammins1]

The emotion is really felt in this rendition! Mutter's was a bit rushed (from what I've seen), but also had similar tone. I feel like there was a little more work needed on the fourth movement, as binacaman mentioned - and if it was perfected as far as synching up, this would be the absolute best recording I've heard of the piece.

[@cavitkurt9657]

Harika.

[@serranaomi]

Sensacionals!!!!!

[@pereira204100]

Amazing performance! Funny fact: at 16:31 the video does not correspond with the audio! She is playing the similiar part that appears close to the end... Strange hearing notes around 5th position while she is in 1st on the video!

[@krovpriznya518]

haha true!! I think it's because of the gluing of different audio/video takes...it's not a "real" take...i mean, they record several times the same to make copy/paste in postproduction. For me, it's one of the curses of nowadays musicians...everybody is afraid of the "live" take (with its imperfections)...everybody pretending to be "perfect". On the other hand, the video needs always several takes to be able to edit it afterwards... A metaphor of the "lie" of the modern art form.

[@morgenwanderer7430]

Passionate playing but musically, PK's decisions are a bit eccentric... I must say though, in this day and age of safe and bland, everyone-sounds-the-same performances, this rendition of Brahms's 3rd vn son keeps me interested. I love Fazil Say's deep sound , emphasizing Brahm's heavily-voiced harmonies.

[@MrHiroyuki71]

ブラームスのソナタであって、ブラームスのソナタではない。でも、新鮮に感じるし、新たな可能性を、感じられる。

[@9monkeysmediaproduction173]

wow

[@tulish48]

olağanüstü...

[@sexybartok]

this is peak kopatchinskaja!!!

[@abdullahince06]

Say is genius

[@kristjan.v]

Although they produce so many good qualities and have rich dynamics it sounds a little too "ninja" for me and in the last movement the violinist doesn't get enough support from the pianist. That's my opinion.

[@alanuchoa5458]

4:45

[@daniel3231995]

jaka or skaya? Pretty convincing rendering.

[@alanuchoa5458]

1:00

[@alanuchoa5458]

8:15

[@cpcakir]

6:50

[@binacaman]

Hmm. A few ensemble (playing together) problems in the last movement, as if they are not familiar with each other, or perhaps not well rehearsed? Fay particularly plays as if he has not done much chamber music performance. I have no idea if this is actually the case, but he seems a bit oblivious. The microphone placement seems to favor the violin which has the unfortunate effect of throwing her occasionally rather harsh sound into relief. I still like it, but could benefit from a bit of chamber music coaching and engineering help. :)

[@binacaman]

Well, I don't mean to be unkind, perhaps we are simply talking about a difference in playing styles. I do think that just because a given performer is widely acclaimed or popular does not mean he or she is a great chamber musician. When I studied chamber music with Gabor Magyar of the Hungarian Quartet, we were taught to work meticulously until we achieved precision and unanimity of phrasing. Listen to the signature declamatory chords at the end of the first subject of the last movement for example. (They reappear a lot) 14:57, 15:08, 16:50, 19:30, etc. Virtually every time the piano is as much a a 16th note ahead of the violin! They clearly have a slightly different feel for this melodic gesture. In my opinion they should have decided how they wanted to do it before they recorded it, heh. I noted several points where they seem a little out of synch: 15:25, 15:56, 16:33, 18:45, 19:03, 19:18, 19:20. You may not agree, but I basically feel Say tends to alternately rush or introduce little agogic emphases which are note particularly unmusical but which do not match Kopatchinskaja's phrasing. It just feels slightly like two soloists rather than one duo ensemble, if that makes any sense. For comparison you might listen to the Oistrakh Richter performance of this work, (recorded live, so no retakes possible) where despite the fact that they seem to not look at each other much at all, they manage to achieve impressive rythmic and phrasing unanimity. As I said, I like it, but they (like so many of today's musicians) could benefit from learning to submerge their individual habitual gestures and egos, and blend together.

[@binacaman]

Sorry, but this a false dichotomy. I am a proud member of the tradition of musicians who have been trained that the highest aim of the art of musical performance in the so called "classical" tradition, is to faithfully and powerfully reproduce the original inspiration of the composer. Toscanini was once asked if he had heard "Walter's 5th" (meaning of course Bruno Walter's performance of Beethoven's 5th Symphony). Toscanini replied " he shoud come to my concert and hear Beethoven's 5th!" It is absolutely not a question of some putative desire for "lack of adventure", on the contrary it is the desire for authentic musicality. This is not jazz. We don't go to a concert to see sexy trendy performers assert their individuality, we go to hear great works of art made vividly, powerfully alive. And we should expect them at a minimum to "play together" as I was taught as a youngster... The Berlin Philharmonic, the Tokyo String Quartet, or for that matter the Ensemble Intercontemporain did not all become famous because each member indulged their multiple individual inspirations.

[@binacaman]

Perhaps we are mostly in agreement. I definitely feel the performance standards of the great,musicians of the past are in danger of being lost or at least degraded. I too feel many performers today are simply going through the motions. I listened some more, and I have come to the conclusion that my criticism of this particular performance is really based on my dissapointment at Fazil Say's seeming self-absorption. He is mainly a composer and composers sometimes do not make the best performers... Of course we know the incomparable Vegh Quartet played with total conviction and intensity of expression. But they played as one... Cheers my friend!

[@michaelbohndorf9081]

binacaman ve o

[@gokhanarin1650]

bu onların öğle yemekler sanırım. müzikle besleniyorlar.

[@scottli1406]

10:58 holy SHIT

[@diegeigergarnele7975]

Good interpretation I enjoyed it but I don't get what is all the fuss about originality. I feel like at this point anything this violinist does is deemed as original in both a positive and negative way. I don't find this Brahms nearly as weird as the much more ancient Busch Serkin recording. Modern listeners surely have a weird conception of original.

[@leonardoiglesias2394]

One should play the right notes, Mr Say……it is Brahms, you know….

[@michaelbohndorf9081]

U in

[@mwhite6522]

Shot at too many frames per second.

[@arienne3000]

Great Fazil.!Kopatchinska with her hysteric moments sorry under level...

[@robertfrankgill5962]

The trouble with having good sound equipment is that you notice all the problems of balance, miking etc very keenly. My sound equipment for vinyl, CDs and stuff on here has always been shit, and I am happy with shit sound.😵

[@billmarrufo]

In response to classicalalways, could you explain your point? In what ways is the last movement attrocious? Please provide hard facts rather than just a subjective and gross disqualification. Give us an example of a good performance in your opinion. I will honestly take my word back if indeed far better. More so if it was from yourself.

[@classicalalways]

The last movement is atrocious - it is amazing that they were in the same room. But then again, one should expect this from a very eccentric pianist.

[@billmarrufo]

Could you explain your point? In what ways is the last movement atrocious? Please provide hard facts rather than just a subjective and gross disqualification. Give us an example of a good performance in your opinion. I will honestly take my word back if indeed far better.

[@johannesfricke2174]

Keine Worte können dieser überwältigenden Aufnahme gerecht werden. Einige Kommentatoren fanden den letzten Satz nicht ganz gelungen. Ich muss gestehen, dass mir diese Einschätzung völlig unverständlich ist.

[@user-er4zg1gf7e]

Other performances sound like distilled water .... narcotic

[@ozgurcemg]

kemandan ney sesi çıkartabilen bi kadın olduğundan bi problem yok yani, ne çalsa yakışır :D

[@micahhlopez7678]

The 90 dislikes were from Isis members and SJWs.

[@organboi]

Idiot

[@robertfrankgill5962]

Micahh. You are a sad little twerp.

[@ershenlin1774]

you just insulted "Oistrak" (I guess you mean Давид Фёдорович Оистрах) by comparing him with "Mutter, Pearlman".

[@fatmagulyldran4894]

Böyle bir eserde yabancı yorum görmek ne kadar onur vericiyse bi o kadar da incitici.

[@user-nj7hy5vy6p]

Никогда бы не подумал, что скрипичное искусство после Ойстраха, Менухина, Когана и других титанов скатится до Копатчинськой. Это же ужас какой-то! Раньше даже в провинциальных филармониях так плохо не играли, а сегодня это издевательство над музыкой преподносят как нечто великое. Ужас!

[@user-oc5ie9fj1v]

Девочка старается, хочет донести классику в своей интерпретации, а не играть, как все. И у неё получается не так уж плохо,не судите строго...

[@nhardenberg]

Disgusting

[@arienne3000]

No internd disciplin by her, is why she never will be great violinist.. .

[@caaicher]

Out of tune and bloody awful

[@fingerhorn4]

I completely agree. She either plays pianissimo with a thin scratchy sound, or she thrashes the violin to death with completely over the top excessive weight and unpleasant rasps. She cannot seem to hold a phrase or line, so everything becomes successive episodes of disjointed, unconnected mini phrases. I just don't understand why she is so revered by some. I just find this whole performance unmusical.

[@simonrodriguez4685]

Haters will hate.

[@macleadg]

Agreed. The pianist bangs away. The violin sound is loud but unfocused, or soft and anemic. Intonation issues. Constant “look at me, I’m so profound and passionate” gestures & mugging. Bashing away is not “passion”; it’s just flailing. I’ll take Hilary Hahn any day of the week. This is one of my favorite pieces, and they just steamrolled all over it. Not for me.

[@alanuchoa5458]

4:32