Beethoven performance practices

TMT · Regular Member Joined: 01 Oct 2005 Posts: 73

Hello all, quick question. I was noticing in the Bernstein/NY Phil recording of Beethoven's Emperor concerto that the trumpets (Vacchiano presumably) play quarter notes followed by a quarter rest short and percussive, while quarter notes following a quarter rest are somewhat gentle and tenuto by comparison. My guess is this is something to do with strong versus weak beats (as the quarter notes following a quarter rest are usually on weaker beats 2 & 4). My question for those in the know is whether this is standard performance practice for Beethoven in general? This and input on any other Vacchiano-style rules for Beethoven performance practice would be greatly appreciated!

Andy Del · Posted: Sat Nov 03, 2018 9:32 am Post subject:

The rule is there are no rules, apart from playing with a great sound, great intonation and great ensemble awareness.

While not a trumpet part, you can look at the end of the first movement of the 8th symphony. Pizzicato strings, and just 1/4 notes in the winds. How long do you play them? Anywhere from legato and connected to quite staccato... you'll be told by the conductor.

cheers

Andy
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noamiller · Posted: Sun Nov 04, 2018 10:14 am Post subject:

Generally you'd score study and check out where the phrases are. A lot of times the 4th beat would get emphasis as a leading tone to the beat one of the next measure (so there you'd have long-short). You would also emphasize the downbeats more- since the role of the trumpet/timpani is to keep the tonal center and time (which you'll notice in the 3rd movement, the trumpet and timpani try to emphasize the 6/8 time). And at times Beethoven does play around with syncopation, so then you emphasize that- you just have to look at the bigger picture.

As far as performance practice goes, honestly you'd have to have a conversation with the timpanist on exactly how you want things to be articulated. Like nothing in Beethoven should ever be too short, there is always body to all the notes... I would check out Vienna/Berlin recordings when it comes to Austrian/German style.

In the question you mention quarter notes followed by quarter rest in both scenarios.. maybe a typo?

O00Joe · Posted: Sun Nov 04, 2018 2:55 pm Post subject:

As the post above mentions, absolutely get in sync with the timpanist. This kind of trumpet orchestration is essentially "soprano timpani". Sitting near the timpanis is a good idea, especially if you can see their strokes.

In my experience, in general notes are played with a slightly exaggerated, accented articulation with shorter lengths. Of course this doesn't apply to everything as it's contextual, especially when playing the melody. Ultimately this is all up to the conductor.
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