本专辑曲目为斯特拉文斯基史诗般的《春之祭》与佩特·埃特沃斯的 《阿尔罕布拉 》协奏曲的世界首演录音相搭配。
“第一部分《大地的崇拜》中轻柔的片段值得你注意......埃特沃斯的曲子也非常值得沉浸其中。”——《留声机》

The collaboration with conductor/composer Peter Eötvos and the programme are an intense series of connections.
Between Bartók, Ligeti, Eötvös and Kopatchinskaja, there are many links:
Hungary, the land of the 3 composers featured
Peter Eötvos was the conductor of the first performance of the second version of Ligeti violin concerto, in 1992, with Ensemble Modern
Patricia Kopatchinakaja and Peter Eötvös have been working together for 4 years, performing several concertos including those recorded here
“Kopatchinskaja’s fantasy and fluidity in Bartok is spellbinding.” -- BBC Music Magazine | Orchestral Choice
“Despite the huge technical challenges thrown at her, Patricia Kopatchinskaja plays with a deep and selfless understansing of each score.” -- The Sunday Times
“Peter Eötvös impose à ses orchestres une netteté au scalpel à laquelle répond la sonorité d’une pureté inouïe du violon peu vibré de Patricia Kopatchinskaja.” -- Le Soir
“Ihr Barfußsein auf dem Podium ist für die moldawische Geigerin Patricia Kopatchinskaja natürlich nur ein Ausdruck gespannter Sinneswahrnehmung ihrer unmittelbaren professionellen Umgebung. Podiumsschwingungen, Energieströme der Orchestermusiker, Impulse vom Dirigierpult, Stimmungen aus dem Publikum – das alles soll direkt, ohne Leder, Wolle oder Strumpfkunstfaser direkt zu ihr vordringen, sich sensualistisch ausbreiten, ihre Interpretation beflügeln.” -- Die Welt
-- Gramophone Choice --

Recording: contemporary music
Orchestra:ensemble modern
Conductor:peter eotvos
ECM 1789 New Series

“Halleluja – Oratorium balbulum" is a portrait of the times in which we live, says Peter Eotvos. It is a sarcastic work with postmodern medley passages across music history. The plot takes place on several levels: among the performers as well as with the audience in the concert situation. The language is frighteningly clear, as is the rest of the situation we encounter: We experience Eotvos’s polyglot vision not so much in the language as in the music. There are numerous more or less recognizable quotations from Gregorian chant, Monteverdi and Schein; from Bach and Handel, as well as from Mussorgsky and Gospel music. Alle vittime senza nome [To the Nameless Victims], a purely instrumental work, makes no use of language and nevertheless succeeds in conveying the images and experiences of our time. In three movements, the journey of those seeking protection is illustrated by music in a free narrative style, with delicate solo passages as well as broad waves of sound in the orchestra. “Alle vittime senza nome is meant to remind us of the many Arab and African people who have climbed into overcrowded boats with dreams of reaching a better life only to drown in the waters of the Mediterranean off the coast of Italy.” Eotvos wants to create an awareness of the people that goes beyond the conventional images in the media.

Total Time: 50'54"
Recorded at: Messe Rheinlandsaal, Köln 28th May/2nd June 1997 (1); Kölner Philharmonie 8th/9th June 2004 (2).
℗ 2006 Budapest Music Center Records

Helmut Lachenmann speaker [01]
Symphonieorchester des Bayerischen Rundfunks
conducted by Peter Eötvös [01] / Susanna Mälkki [02]

In November 2014, Radio France inaugurated its new auditorium with a programme giving carte blanche to one of the most eminent composers of our time, Peter Eötvös, who was then celebrating his seventieth birthday. On this occasion, three of his concertos were given their world premiere recordings under his direction with three soloists of the front rank. The violin concerto DoReMi, played here by its dedicatee Midori, is followed by Cello Concerto Grosso, a triangular dialogue between the solo cello, the cello section, and the full orchestra. The spectacular Speaking Drums concludes the programme on a highpoint: the orchestra (around forty musicians) prolongs the performance theatrical as much as musical of the percussionist, who declaims texts by the poets Sándor Weöres (in Hungarian) and Jayadeva (in Sanskrit) and moves from point to point on the platform, thus creating links with various instruments of the orchestra. The stunning Martin Grubinger lends his voice and his percussion playing to this piece, which ends in highly virtuosic polyrhythm.