Time and Eternity. Always in search of powerful musical experiences, the violinist Patricia Kopatchinskaja and Camerata Bern - of which she has just taken over the artistic direction -here juxtapose Hartmann's Concerto funebre, composed in 1939 to express his indignation at the Nazis' terror, and the Polyptyque for violin and orchestra that Frank Martin wrote in 1973 for Yehudi Menuhin, a work inspired by six scenes from the Passion of Christ painted by Duccio di Buoninsegna around 1310. The Kyrie from Machaut's Messe de Nostre Dame, composed half a century after the altarpiece and heard here in an arrangement for strings, is interspersed between the movements, along with Bach chorales, 'as an invocation of eternal consolation'. A Polish folksinger interprets the Jewish song 'Eliyahu hanavi', which expresses the hope of salvation and which Hartmann quotes in his concerto. Six hundred years of music to 'make the victims' voices heard', says Patricia Kopatchinskaja. The album opens with Kol Nidrei by John Zorn (born 1953), in response to the eponymous prayer spoken by a representative of the Jewish community. A Catholic priest and an Orthodox priest also say a short prayer.
12 Polyptyque: 6 Images de la Passion Du Christ: No. 1. Image Des Rameaux
13 St. John Passion, BWV 245, Part II: Chorale: Ach Grosser Konig
14 Polyptyque: 6 Images de la Passion Du Christ: No. 2. Image de la Chambre Haute
15 Als Jesus Christus in Der Nacht, BWV 265 (Arr. for Chamber Ensemble)
16 Polyptyque: 6 Images de la Passion Du Christ: No. 3. Image de Juda
17 St. John Passion, BWV 245, Part II: Chorale: Durch Dein Gefangnis, Gottes Sohn
18 Polyptyque: 6 Images de la Passion Du Christ: No. 4. Image de Gethsemani
19 St. John Passion, BWV 245, Part I: Chorale: Wer Hat Dich So Geschlagen
20 Polyptyque: 6 Images de la Passion Du Christ: No. 5. Image Du Jugement
21 Crux
22 Polyptyque: 6 Images de la Passion Du Christ: No. 6. Image de la Glorification
23 Christus Ist Auferstanden
24 St. John Passion, BWV 245, Part I: Chorale: O Grosse Liebe
Time and Eternity. Always in search of powerful musical experiences, the violinist Patricia Kopatchinskaja and Camerata Bern - of which she has just taken over the artistic direction -here juxtapose Hartmann's Concerto funebre, composed in 1939 to express his indignation at the Nazis' terror, and the Polyptyque for violin and orchestra that Frank Martin wrote in 1973 for Yehudi Menuhin, a work inspired by six scenes from the Passion of Christ painted by Duccio di Buoninsegna around 1310. The Kyrie from Machaut's Messe de Nostre Dame, composed half a century after the altarpiece and heard here in an arrangement for strings, is interspersed between the movements, along with Bach chorales, 'as an invocation of eternal consolation'. A Polish folksinger interprets the Jewish song 'Eliyahu hanavi', which expresses the hope of salvation and which Hartmann quotes in his concerto. Six hundred years of music to 'make the victims' voices heard', says Patricia Kopatchinskaja. The album opens with Kol Nidrei by John Zorn (born 1953), in response to the eponymous prayer spoken by a representative of the Jewish community. A Catholic priest and an Orthodox priest also say a short prayer.
