33 TRIO SŌRA The Allegro molto finale is particularly lively. Angèle: The gypsy influence is very present here, as in many of Brahms’s other works. It’s part of his identity, part of his personal history. He began his career as a musician by touring with the Hungarian violinist Eduard Reményi, which left its mark on his music. Your album includes a fourth trio, op.40, originally written for horn, violin and piano. Did Brahms rewrite the horn part for cello? How did you cope with it, Angèle? Angèle: He rewrote it only partially, to adapt it for the cello. There are a few differences: the cello sometimes doubles the bass of the piano, whereas at the same point in the original the horn just stops playing. On the other hand, the register remains the same, without octave transpositions, which doesn’t always make it very natural to place the sound on the cello. I had to find the right sonic image, the appropriate timbre. I realised that I had to unleash the sound, play louder, and rediscover the tone production of the horn. Now it seems to me that this trio was originally composed for the cello! There are many moments in the texture where the strings are coupled, which produces a very different effect from the violin and the horn playing together. It was extremely interesting to find how closely the strings intertwine in the texture.
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