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TMT Regular Member
Joined: 01 Oct 2005 Posts: 73
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Posted: Thu Nov 01, 2018 7:52 am Post subject: Beethoven performance practices |
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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! |
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Andy Del Heavyweight Member
Joined: 30 Jun 2005 Posts: 2662 Location: sunny Sydney, Australia
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Posted: Sat Nov 03, 2018 9:32 am Post subject: |
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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 _________________ so many horns, so few good notes... |
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noamiller Regular Member
Joined: 20 Jun 2011 Posts: 48 Location: United States
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Posted: Sun Nov 04, 2018 10:14 am Post subject: |
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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? |
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O00Joe Veteran Member
Joined: 04 Sep 2004 Posts: 364 Location: Houston & Austin, Texas
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Posted: Sun Nov 04, 2018 2:55 pm Post subject: |
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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. _________________ 1981 Bb Bach Stradivarius 37/25 ML raw - Laskey 60C
2003 C Bach Stradivarius 239/25A L silver - Stork Vacchiano 4C25C
2006 Bb/A Schilke Piccolo P5-4 silver - Reeves A adaptor - Stork SM SP6
Akai MPC Live II
Roland JD-Xi
Casio MT-68 |
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