Patricia Kopatchinskaja and Fazil Say Janacek–Brahms–Bartok
Leos Janacek: Sonata for violin and piano. Johannes Brahms: Sonata No.oh 3 for violin and piano. Béla Bartok: Sonata No.oh 1 for violin and piano. Patricia Kopatchinskaja (violin), Fazil Say (piano).
Cover of the album “Janacek – Brahms – Bartok”, by Patricia Kopatchinskaja and Fazil Say. ALPHA CLASSICS/OUTHERE MUSIC
The program is copious, the comparison of works daring, and the interpretation unequaled in the discography. This album is therefore all about a singular project, which is not surprising when you know the taste for risk specific to the two artists who produced it. Patricia Kopatchinskaja and Fazil Say, who have been performing as a duo since 2004, try here to reveal a kinship of spirit, let’s say “extremist”, between scores that they like to consider in the light of modernity. Contrasted, even convulsive, under the electrifying bow of the Moldavian violinist, the Sonata by Leos Janacek is part of an unusually expressionist perspective but it loses none of its dreamlike potential. Equally paradoxical, through its quest for the immaterial in a powerfully monumental setting, the Sonata noh 3 by Johannes Brahms also cultivates the illusion, the mirage. Undeniably forward-looking, the Sonata noh 1 by Béla Bartok constitutes an ideal field of investigation for performers as inclined to “re-creation” as Patricia Kopatchinskaja and Fazil Say. This is evidenced by an irresistibly whimsical finale. Pierre Gervasoni
Cover of the album “Every Loser”, by Iggy Pop. GOLD TOOTH RECORDS/WARNER MUSIC
The godfather of punk, James Osterberg Jr, alias Iggy Pop, could, at 75, be content to laze under the Florida sun. But retirement, for the “Iguana”, this species of endangered rocker, is definitely not in his DNA. His last “rock” album, however, dates back to Post-Pop Depression (2016), directed by Josh Homme (Queens of The Stone Age), deserved critical and public success. This 19e solo album this time gives way to Andrew Watt, an eclectic 32-year-old producer, capable of working for Justin Bieber and Miley Cyrus as well as for Ozzy Osbourne, Paul McCartney and Morrissey. Every Loser lacks cohesion, no doubt due to the host of collaborators credited to it – Duff McKagan (Guns N’Roses), Stone Gossard and Josh Klinghoffer (Pearl Jam), Dave Navarro (Jane’s Addiction), Chad Smith (Red Hot Chili Peppers) , Travis Barker (Blink-182) and the late Taylor Hawkins (Foo Fighters). In the muscular vein of Brick by Brick (1990), the eleven compositions thus alternate between punk missives (passables frenzy, neo-punk) and pop inclinations tinged with new wave, folk, where the “crooneries” of the former Stooges nevertheless save the day Strung Out Johnny, Comments and New Atlantis. Frank Colombani
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