Shopping Cart -

Your cart is currently empty.
This website use cookies and similar technologies to improve the site and to provide customised content and advertising. By using this site, you agree to this use. To learn more, including how to change your cookie settings, please view our Cookie Policy
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the Italy version of the site.
Would you like to switch to your local site?
Leggi ovunque Read anywhere
Modalità di pagamento Pocketmags Payment Types
Trusted site
A Pocketmags si ottiene
Fatturazione sicura
Ultime offerte
Web & App Reader
Loyalty Points


In early May, violinist Patricia Kopatchinskaja and cellist Sol Gabetta premiered Akin, a new double concerto written for them by Michel van der Aa. Pwyll ap Siôn attended this performance, in Cologne, Germany, and spoke to composer and soloists about bringing the work to the stage
Violinist Patricia Kopatchinskaja and cellist Sol Gabeta perform together at the 2018 Lucerne Fesival

It’s the morning after the night before, and a hushed conversation is taking place in the far corner of a breakfast lounge in a hotel around the corner from Cologne’s famous cathedral. I’m in the company of Argentinian cellist Sol Gabetta and Moldovan-born violinist Patricia Kopatchinskaja. Other than the occasional tinkling of spoons against teacups, the room is quiet. Very quiet. We exchange sentences in fake whispers. I feel as if I’m privy to some kind of strange conspiratorial plot to take over the classical music world…

It’s all a far cry from the ending of Dutch composer Michel van der Aa’s double concerto Akin (2018–19), which received its premiere the night before (9 May) at Cologne’s Philharmonie. Sitting at the table with Gabetta and Kopatchinskaja – the two soloists for whom it was written – I can’t get the image of that ending out of my mind.

Like a slowly simmering pressure cooker, Van der Aa’s concerto gradually builds in energy, speed and intensity until there’s nowhere for it to go. Inexorably swept along by ever growing waves of sound, the music teeters on the edge of chaos. So immersed and involved have they become in the musical characters they represent that the two soloists seem caught up in a frantic world all of their own. As the music reaches its inal crescendo, Kopatchinskaja pirouettes towards Gabetta in a single motion, and they stare at each other, face to face, for the irst time.there’s real friction in the air, charged by Van der Aa’s explosive ending and the musical electricity generated by these two brilliant performers, backed by conductor Peter Eötvös and the Royal Concertgebouw Orchestra. Frozen in time for a split second, the two soloists suddenly ease of into a smile. We’re back in the real world.the concerto has ended.

Purchase options below
Find the complete article and many more in this issue of The Strad - July 2019
If you own the issue, Login to read the full article now.
Single Issue - July 2019
Or 549 points
Annual Digital Subscription
Only € 3,25 per issue
Was €54,99
Now €38,99

View Issues

About The Strad

Antoine Tamestit discusses his new recordings and we examine his viola, the 1672 ‘Gustav Mahler’ Stradivari. There’s a look at string teaching in Uganda and we have interviews with Sol Gabetta, Patricia Kopatchinskaja, Gary Hoffman, Natalie Clein – and many more!