LDV81

TRIO METRAL 23 Can you say something about the difficulties you came up against in the Weinberg Trio? Justine — Recording it was a challenge for several reasons. The first is physical. This music sometimes requires the instrumentalists to play intensely ( fff ) over a long period, and calls for an almost athletic physical condition. Fortunately, though, the parts are pretty equally balanced – highly soloistic, with no instrument relegated to the rank of accompanist. But there is also a difficulty of an empathetic nature, because you need to bring out the suffering embedded in this music. Joseph — The violin part is extremely difficult, especially in the fourth movement, which makes me break out in a cold sweat: a fortissimo passage entirely in octaves. It’s positively vertiginous in its virtuosity! Weinberg gives the impression that he never strays from his central concept, even if the result can be on the verge of being unperformable. The Finale is the perfect illustration of this: mostly forte passages in which you have to combine technical feats with force, tension and violence. Justine — In short, you can never do enough. Whether in suffering, happiness, sarcasm or violence, it’s vital to go all out if you’re hoping to give a convincing interpretation of this music. If you still have the slightest doubt, it’s because the interpretation is perfectible, and you need to do more. You have to play without filters in order to get as close to the emotions as possible.