BEETHOVEN, Ludwig van
Concerto for Piano, Violin, Cello and Orchestra in C major, Op. 56 “Triple Concerto” (soloist part)
I. Allegro
Ferenc Rados, guest professor
Trío Flamel
Carole Petitdemange, violin
Pablo Ferrández Castro, cello
David Kadouch, piano
This first part of the class begins with the interpretation of the end of the movement. Professor Rados begins with a comment on the first note of their entrance: it is important that the three are in tune and perform the phrasing in the same way and as it is supposed to be Beethoven’s intention. In addition, the rhythmic base has to be well established. The professor also recommends that they maintain activity and tension until the appropriate moment, take care of the accentuation and phrasing. Next, he focuses on the melody in the piano, while the cello functions as a basso continuo (in sixteenth notes).
Professor Rados refers to other works by Beethoven: the “Spring” for violin and piano, the Piano Concerto No. 3 in C minor, the Violin Concerto and the Romances… to relate it to the character of this music: elegant, maestoso, of military march, with Slavic and Gypsy influences (verbunk style). Then he gives indications to the trio on the syncopations and the vibrato, accents and masculine character.
Ferenc Rados continues with comments on the style and mentality of the time to explain how to express that military character. He also makes indications on the phrasing (playing “inégale”), the agogics in certain passages, and insists on the character in this case “grazioso” (relating a certain part to Mozart’s Violin Concerto No. 4).
Language: English
