Arnold Schoenberg: Phantasy op. 47
Ludwig van Beethoven: Sonate Nr. 7 in c-moll, op. 30.2
Anton von Webern: Vier Stücke op. 7
Ludwig van Beethoven: Sonate Nr. 9 in A-Dur, op.47 “Kreutzer Sonate”
July 8 2020 Teatro alla Scala Milan (Kreutzer only)
July 10 2020 Lockenhaus Chamber Music Festival
August 8 2020, Boswil
August 15 2020, Gstaad pop-up Festival
October 28 2020, Wiener Konzerthaus
February 11 2021, Danish Radio Concert Hall
July 16 2021, Lockenhaus Chamber Music Festival
August 9 2021, Edinburgh International Festival
February 17 2023, Milton Court Concert Hall London
February 22 2023, Alte Oper Frankfurt (Webern Four pieces)
March 14 2023, Nagakute Cultural Center
March 19 2023, Phoenix Hall Osaka
March 21 2023, Art Tower Mito
March 23 2023, Toppan Hall Tokyo
Patricia Kopatchinskaja und Joonas Ahonen standen in einem Dialog, getragen von einer hohen Virtuosität und Präzision, in den sie das Publikum mit einbezogen und nicht mehr loslassen wollten. Es ist MusikerInnen wie Patricia Kopatchinskaja und Joonas Ahonen zu verdanken, dass so wertvolle Musik wie die Sonaten von Ludwig van Beethoven auch heute noch neu entdeckt werden können.
Freiamt plus 9.8.2020
The Presto flew with breathless recklessness – though absolute technical assurance; it was quite a relief, though, when the slow dolce theme intermittently interceded! That said, the players’ concentration, stamina and discipline were unwavering and breath-taking.
Seen and Heard International, August 16 2020
Die Geigerin und Joonas Ahonen am Klavier bildeten ein perfekt aufeinander abgestimmtes Team
Wiener Zeitung 29.10.2020
The heavens opened during a recital by the violinist Patricia Kopatchinskaja and pianist Joonas Ahonen, and the noise was overwhelming. Yet this was one of those concerts you remember for ever. Rain may be a force of nature but so is Kopatchinskaja, especially playing Beethoven, and Ahonen, a late replacement, matched her like a doppelgänger.
★★★★★ The Times, August 10 2021
Neste stykke var Schönbergs Fantasi (op. 47). Noen ganger når man kommer til atonale stykker i programmet, slutter musikere helt å musisere. Det kan handle om at uttrykket er uvant og vanskelig, og krever ekstra konsentrasjon. Det kan være at musikerne har lært seg at dette er «intellektuell musikk», og at de da må projisere en slags intellektualisme når de spiller. Eller det kan være at de rett og slett ikke liker det. Det var intet sånt denne gang. Hos Kopachinskaja og den konstant smilende pianisten Joonas Ahonen ble det utelukkende projisert eksplosiv energi, følelser, lek, overskudd og musikalitet av titaniske dimensjoner. Jeg tror ikke Schönberg i sine villeste fantasier kunne forestilt seg sin musikk spilt på denne måten.
KlassiskMusikk.com, August 21 2021
It was dazzling stuff
★★★★★ The Guardian, February 20 2023
