LDV76

PHILIPPE CASSARD, ANNE GASTINEL, DAVID GRIMAL 19 Has immersing yourselves so deeply in his universe changed your perception of Beethoven? Philippe Cassard: Thanks to this project, I was able to familiarise myself with certain facets of Beethoven’s music that I hadn’t suspected before. Of course, it’s no coincidence that so much has been said about his very structured way of organising his works: it’s a reality that’s very definitely there, I’m not trying to deny that, but let’s say it’s not the only one. Whilewewereworking on these trios, wewere struck several times by Beethoven’s lyricism, especially the abundance of dolce and cantabile markings. Somuch so that sometimes, when I play the Andante slow movement of the ‘Archduke’, I find it hard to maintain a degree of distance. It’s absolutely necessary to do so, otherwise your heart would melt completely at the tender intimacy the music exudes! Even though thatmovement is in themajor, it’s Beethoven’s deepest, most solitary voice we hear there. And when Beethoven delves into his innermost depths, the result is poignant, heartbreaking! Anne Gastinel: I always have the impression that people try to reduce Beethoven to the ‘verticality’ of his writing. However, the further I explore this repertory, the more it seems to me that, on the contrary, the element of verticality is only significant insofar as it serves as a ‘foundation’ for everything else. With that as a given, it’s important to bring out colours and atmospheres, to emphasise certain melodies . . . Some passages in the slow movements are especially hypnotic. We must have the courage to defend this element in Beethoven’s music, even if it’s not often taken into consideration!