Jack Quartet (photo: Beowulf Sheehan)

Chamber Music

Patricia Kopatchinskaja and the Jack Quartet

Patricia Kopatchinskaja and the Jack Quartet share a great passion for contemporary music that arouses curiosity, surprises and opens up unknown worlds of sound. This joint concert features original, energetic and atmospheric works that explore the infinite possibilities of music for strings. Patricia Kopatchinskaja not only performs as solo violinist, but also as a percussionist in Galina Ustvolskaya’s Dies Irae. Members of the Berliner Philharmoniker add additional colour to the evening's instrumental line-up.

Jack Quartet

Patricia Kopatchinskaja violin

Members of the Berliner Philharmoniker

Michael Wendeberg piano

Horatiu Radulescu

String Quartet No. 5 ‟Before the Universe Was Born”

Jack Quartet , Christopher Otto violin, Austin Wulliman violin, John Pickford Richards viola, Jay Campbell cello

Márton Illés

Én-kör III for violin and cello

Patricia Kopatchinskaja violin, Jay Campbell cello

Michael Hersch

A Forest of Attics for ensemble (revised version)

Patricia Kopatchinskaja violin, Members of the Berliner Philharmoniker , Michael Wendeberg piano

Tigran Mansuryan

Concerto for Violin and Strings No. 2 ‟4 Serious Songs”

Patricia Kopatchinskaja violin, Jack Quartet , Christopher Otto violin, Austin Wulliman violin, John Pickford Richards viola, Jay Campbell cello, Members of the Berliner Philharmoniker

John Dowland

Lachrimae, or Seaven Teares: Lachrimae antiquae

Patricia Kopatchinskaja violin, Jack Quartet , Christopher Otto violin, Austin Wulliman violin, John Pickford Richards viola, Jay Campbell cello

Galina Ustsolskaya

Composition No. 2 ‟Dies irae” for 8 double basses, wooden cube and piano

Members of the Berliner Philharmoniker , Michael Wendeberg piano, Patricia Kopatchinskaja cube

George Enescu

String Octet in C major, op. 7

Georg Friedrich Haas

String Quartet No. 9

Jack Quartet , Christopher Otto violin, Austin Wulliman violin, John Pickford Richards viola, Jay Campbell cello

Dates and Tickets

Biography

The violinist Patricia Kopatchinskaja thrills audiences with her boundless enthusiasm, her passionate temperament and her technical brilliance, even in the most difficult and unwieldy works. The musician has attracted attention with the Berliner Philharmoniker during the past few years with challenging violin concertos by Peter Eötvös, György Ligeti and Arnold Schoenberg. Contemporary music allows her a glimpse into the future: “It is obvious that only in the newest works does actual development take place and the future begin, this decisive step into the unknown. That is what is most fascinating. In comparison, the preoccupation with the long familiar is almost banal.” In other words, no fear of the unknown! Patricia Kopatchinskaja already proved that as a 13-year-old, when she and her family left their homeland of Moldavia and emigrated to Vienna. “The first stop was a refugee camp,” she recalls. “That was not a traumatic experience for me, though, but rather like a ticket to a new world.” At 17, she began her studies at the University of Music in Vienna, where she met Kirill Petrenko, with whom she has enjoyed a friendship since then. From Vienna she transferred to the University of the Arts in Bern, where she completed her studies with Igor Ozim. She then launched her international career, which is unique in many respects. She is not only a soloist, but a composer and conductor as well, and also – as she emphasizes – “a human being, member of a family and citizen of the world. That should not be irrelevant to us. Only after those things do we have some profession or other”. This point of view also defines her artistic work. For example, in her project Les Adieux with the Mahler Chamber Orchestra, she calls attention to the extinction of species. Since her debut with the Berliner Philharmoniker in September 2014 with Peter Eötvösʼs violin concerto DoReMi, a close collaboration with the orchestra has developed. “This orchestra has a quality that is unparalleled, both as a whole and each individual member. It is a great privilege to be able to play with them,” says Patricia Kopatchinskaja. This season she is Artist in Residence with the Berliner Philharmoniker and can display all the facets of her artistic personality. She has already performed Karl Amadeus Hartmann’s Concerto funebre under Kirill Petrenko. During today’s concert, which spans the period from the Baroque to contemporary music, she appears both as violinist and conductor. In everything she does on the concert platform, one thing is particularly important to her: to electrify her public. “I want to experience things with my audience. I want to take paths that I have not yet taken myself. And I hope that as many as possible will come with me.”

The Jack Quartet delights audiences around the globe as “the quartet for contemporary music” (Washington Post) with its “explosive virtuosity” (Boston Globe) and its “almost physically arresting performances” (New York Times). The musicians – named ensemble of the year by the classical music magazine Musical America – are a perfectly attuned dream team that seemingly effortlessly brings the most demanding contemporary scores to life. The four US-Americans met during their studies at the Eastman School of Music in Rochester and subsequently trained under the Arditti and Kronos Quartets as well as members of the Ensemble intercontemporain. Their mission is to breathe new life into the traditional genre of the string quartet with world premieres and commissioned works – if necessary expanded to include an electronic dimension. The Jack Quartet is in close contact with the creators of the works it performs in order to get to know all the technical, musical and emotional aspects of their respective tonal language. The Jack Studio, initiated by the ensemble, enables composers to develop new works, perform them, record them and receive advice from mentors.

In his work as a pianist and conductor, Michael Wendeberg combines the classical repertoire from Johann Sebastian Bach to Arnold Schoenberg with new and contemporary music as a matter of course. It is a particular concern of his to use this juxtaposition to break through and change traditional listening and playing habits in both Early and New music. “Michael Wendeberg’s reading was enthralling; sharpening dotted rhythms, effectively building up climaxes and at the same time leaving room for calm and contemplation,” was how the Mitteldeutsche Zeitung described the pianist’s music-making. Michael Wendeberg, a student of Markus Stange, Bernd Glemser and Benedetto Lupo, was a member of the Ensemble Intercontemporain between 2000 and 2005 and worked closely with Pierre Boulez. This resulted in a recently-released complete recording of Boulez’ piano works. Michael Wendeberg has won several international competitions and has performed as a soloist with leading orchestras under conductors such as Jonathan Nott, Marek Janowski and Daniel Barenboim.

Jack Quartet (photo: Beowulf Sheehan)

Patricia Kopatchinskaja (photo: Stefan Höderath)

Visiting information

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Artist in Residence

Patricia Kopatchinskaja: A portrait