LDV111-2

34 BEETHOVEN ∙ COMPLETE SONATAS AND VARIATIONS FOR CELLO AND PIANO To conclude our discussion, could you say something about the recording process? Gary Hoffman: The presence of microphones means we have to sit in slightly different positions than in concert, but these are purely technical details. As far as the performance itself is concerned, we think it’s essential to preserve the personality of each performer. We’re performing chamber music, that is to say, we’re in a dialogue, but not necessarily one that imposes homogeneity of sound. I regret that the notion of individuality is being lost today. What is wonderful is to reveal the different ‘characters’ of the score. Even in Beethoven’s quartets, there are voices that emerge from a sonic ‘fusion’.