beethoven triple concertobeethoven triple concerto
(Indeed some listeners, particularly those brought up on the Busch or Vegh Quartets, may find the sheer polish of their playing gets in the way, for this can be an encumbrance; late Beethoven is beautified at its peril). that it constitutes the soprano voice of the This polite turn-taking stretches the movement beyond the point its thematic material merits, the inventive dialogue among the instruments almost compensating for the thin content. The Busch's Beethoven set standards by which successive generations of quartets were judged and invariably found wanting! That said, Norrington strives to get as near to the metronome as is humanly possible consistent with instrumental clarity. members with unobtrusive support from the orchestra, Beethoven - Triple Concerto Symphony No. This is the third instalment in Franois-Frdric Guys traversal of Beethoven and the first to delve into the chamber music. In Opp 74 and 95, they more than hold their own against all comers. Seasoned collectors will readily warm to the beautifully recorded piano even if the brass section is placed rather distantly in the empty concert hall ambience. 56 'Triple Concerto' . The tempo is spacious, apt to Gilels's mastery of the music's anisometric lines and huge paragraphs, paragraphs as big as an East Anglian sky. But what Beethoven gives us is something slightly different. Clouds pass over during a minor mode episode imposed by the orchestra near the end, but the soloists modulate back to the major for a seamless transition into the finale, a Rondo alla Polacca. delicate and remarkably discreet unison arpeggio At first glance, you might expect a three-for-the-price-of-one concerto experience, with the violin, cello and piano all happily co-existing as genuine soloists. Taken in isolation, however, the Quartetto Italiano remain eminently satisfying both musically and as recorded sound. The work was not premiered until 1808, failed to go over well, and has received limited attention ever since. For details on how we use cookies, see our. The recording is limpid and resolute, with something of the character and atmosphere of Wilhelm Kempff's celebrated recordings of this endlessly challenging, endlessly fascinating work. . Play Beethoven: Triple Concerto in C Major, Op. His Schumann Liederkreis, Op 24 (5/98) was the first recording to give serious warning of the distinctive lyric ardour and keen intelligence of his artistry; and now Beethovens setting of Goethes Mailied (Op 52 No 4), with its lightly breathed, springing words, could have been written with Genz in mind Pierre-Laurent AimardpfThomas ZehetmairvnClemens HagenvcChamber Orchestra of Europe; Arnold Schoenberg Choir / Nikolaus Harnoncourt. It was a time . It goes without saying that no one ensemble can unlock all the secrets contained in these quartets. Fri 27 Mar 2009 14.09 EDT. Litton, Lamprea, and Bekker will shine in one of Beethoven's most soulful, challenging, and charming concertos. Beethoven:triple Concerto [DVD] AU $46.70. 56: II. already been anticipated in 1802 by fairly substantial In fact, the metronomes are good in the Second Symphony, the Larghetto apart, and in the middle movements of the Eighth, but not in the Eighth's quick outer movements. This is an exceptional realisation of Beethovens nine symphonies, one of those rare occasions when one is left with a feeling of having been in the presence of the thing itself. piano, orchestra) are solved here by an unusual 1714. Beethoven wrote his Triple Concerto for his 16-year-old student, Archduke Rudolf of Austria, making the piano part commensurately doable. The Schubert dates from the end of Bhms recording career. IN VENDITA! Stream songs including "Concerto for Piano, Violin, and Cello in C, Op. Few ensembles have characterised the Amajors cantering first idea as happily as the Tokyos do here, while the ethereal and texturally variegated middle movements anticipate the very different world of Beethovens late quartets. The program features Beethoven's iconic Fifth Symphony, as well as his sparkling "Triple" Concerto for Violin, Cello, and Piano featuring Concertmaster Yoonshin Song, Principal Cello Brinton Averil Smith, and world-renowned pianist Yefim Bronfman. Violin and Cello Sonatas display similar restraint And theres a real risk that in any performance of the piece the intended interplay between the three soloists is diminished by the individual musicians desire to ensure that they come out on top when an audience asks afterwards, Who was the best?The finest performances of the Triple Concerto are therefore those where ego is removed, allowing the music to become the sole star. scale. Ivn Fischers direction is in the Toscanini class in its clarity and verve. Triple and violin concertos Vol 1 and 2. In such hands the final pages of Op 111 do indeed become a drift towards the shores of Paradise (Edward Sackville-West) and throughout all these performances you sense how the great effort of interpretation (Michael Tippett) is resolved in playing of a haunting poetic commitment and devotion. The concerto will feature Cellist and 2018 Sphinx Medal of Excellence Winner, Christine Lamprea, and the CSO's Concertmaster, Yuriy Bekker. Like Furtwngler in his 1953 studio recording, Abbado leads a viscerally charged performance that flies to the very heart of the matter, and does so in a version which, stripping away much of the spoken dialogue, recreates Beethovens lofty Singspiel as musical metatheatre Jurinac; Vickers; Frick; Hotter; Chorus and Orchestra of the Royal Opera House, Covent Garden / Otto Klemperer. Had this new Naxos release been to hand I might have focused Rattles calculated individuality in relation to Toscaninis directness and elasticity. (Pollini, on DG, strikes me as being too obviously masterful; Brendel, on Philips, less so.) The exceptional quality, both musical and technical, of this, the first set of the nine in the history of the gramophone to be released as a single cycle, took thesymphonies to audiences oldand new across the globe; anddid so in well-assimilated readings that refuse to date. Harnoncourt doesn't pretend that what he offers is Beethoven as the composer imagined it. The fact that the classic impulse vies with the Romantic throughout Beethovens nine symphonies presents a perennial problem to would-be interpreters. an animated dialogue between the piano trio and without undue pomp. Find many great new & used options and get the best deals for Ma/Barnboim/Perlman - Classical DVD - Beethoven: Triple Concerto Choral Fantasy at the best online prices at eBay! . Painting by Alex Katsenelson. Triple and violin concertos Vol 1 and 2. One things for sure: never before has this indelible masterpiece sounded more like a profound precursor of Paganini Jascha HeifetzvnNBC Symphony Orchestra / Arturo Toscanini. Comparison with Helmchens own recording of this concerto from the final round of the 2001 Clara Haskil competition (which he won) is the best proof of how much a close affinity between pianist and conductor matters. Composed in 1803, Beethoven's Triple Concerto remained unperformed for five years, until its outing at a summer music festival in Vienna in 1808. His VPO recording of Beethovens Sixth of 1971 dominated the LPcatalogue for over a decade, and has done pretty well on CD on its various appearances. We are proud to present 50 of the finest recordings of Ludwig van Beethoven's music. Free postage. The work was composed in 1803 and published in 1804. This time, however, the trio was to be, collectively, the soloist in a concerto, a role in which it had not been cast by any other great composer before nor has it been since. He was Allegro Song by New Philharmonia Orchestra from the English album Beethoven: Complete Concertos, Vol.2. Three classical music giants, Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim celebrate the 250th anniversary of Beethoven's birth by recording the Triple . So may I say at once that Harmonia Mundis eagerly awaited set is a superlative achievement and that Lewiss partnership with Jir Belohlvek is an ideal match of musical feeling, vigour and refinement Mahler Chamber Orchestra / Leif Ove Andsnespf. Although thats to be expected to some degree, all of Beethovens other concertos still appear to have orchestral material that, when heard alone, remains pretty compelling. Last edited on 18 December 2021, at 16:47, Learn how and when to remove this template message, List of triple concertos for violin, cello, and piano, Georg Philipp Telemann: Catalogue TWV 53: Concerto pour 3 instruments solo avec orchestre, "Review of 1997 Recording of Martin Trio Concertino", Johann Sebastian Bach: His Work and Influence on the Music of Germany, 16851750, https://en.wikipedia.org/w/index.php?title=Triple_concerto&oldid=1060939745. MALCOLM SARGENT . This confirms the Achilles heel of Walter Legge, EMIs leading mogul at the time, in his unwillingness to record live occasions, probably because he liked to have every aspect of a recording under his control. An old diamond in the rough is how Robert C Marsh (Toscanini and the Art of Orchestra Performance; London: 1956) recalled the original Victor 78s of this 1940 Heifetz Studio 8-H recording of the Beethoven. Even when a dazzlingly articulate reading like that of the Waldstein is home and dry, the abiding impression in its aftermath is one of Schnabels (and Beethovens) astonishing physical and imaginative daring. There is something reassuring about the readings of all five concertos. activity by way of varying the texture. 56, commonly known as the Triple Concerto, was composed in 1803 and published in 1804 by Breitkopf & Hrtel. I also enjoyed the last three minutes of the third movement, where each of soloists would play, answered each time by the entire orchestra. Popular recordings of the Triple Concerto include the following: Beethoven Triple Concert Barenboim, Yo-Yo Ma & Perlman (Mov.2Part.1), Simn Bolvar Youth Orchestra of Venezuela, "Masterclass: Jan Vogler on Beethoven Cello Sonata op.69", International Music Score Library Project, https://en.wikipedia.org/w/index.php?title=Triple_Concerto_(Beethoven)&oldid=1135506742, This page was last edited on 25 January 2023, at 01:58. BOOKS MUSIC DVD'S & FILMS GAMES TOYS & LEGO Title: Beethoven 155431349977 More seriously, he lacks real control of his band. The bolero-like rhythm also characteristic of the polonaise, can be heard in the central minor theme of the final movement. This movement takes about thirteen to fourteen minutes. In the piano concertos, Beethoven used the second movements to great affect. Where many of the Masss most praised interpreters have treated it as a species of music drama, the god Dionysus never far distant, Harnoncourts performance has an atmosphere you might more normally expect to encounter when listening to a piece such as the Faur Requiem. Certainly Idont recall the Tokyos latest middle quartets being quite as good as this. 6 (2012) 0 0 0 ! The movement begins sweetly enough, though with some tough turns for the string players. The concerto follows all the expected patterns. The rest is a model of clarity, with and the Emperor (E flat-B-E flat). But it is the five piano concertos he wrote between 1795 and 1809 that have been beloved by pianists and audiences alike for over 200 years. 9) Alfred Brendel rules the bagatelles (Decca). However, Karajan's 1962 Berlin performance (from the DG set already mentioned) is even quicker and superior in articulation, Norrington plays the Eighth Symphony's third movement as a quick dance and makes excellent sense of crotchet = 126, a marking often regarded as being beyond the pale. No politesse from Levin. But I need to recover for a while before I can make level-headed comparisons. It is a measure of Perlman's artistry that an effect which could sound selfconsciously poetic or even weak at once establishes the soloist's command; for this is a spacious performance which uses a relatively measured tempo, steadily maintained, to create the strongest possible structure in a movement which in time at least (almost 25 minutes) is Beethoven's longest symphonic first movement. | Coming on the heels of the "Eroica" Symphony No. The perfect civility of Perahias playing is a joy, the deeply felt slow movements particularly rewarding (try that of the Fourth, following the choice of the longer of the two cadenzas for the first movement) Martin Helmchen pf Deutsches Symphonie-Orchester Berlin / Andrew Manze. of other instruments could have produced such 11. The choice of the three solo instruments effectively makes this a concerto for piano trio, and it is the only concerto Beethoven . Of all pianists, Schnabel (on his 1935 HMV recording) perhaps comes closest to conveying a reckless, all-or-nothing mood, allied to a terrier-like grasp of argument and a sure instinct for the work's persistent striving for release into uninhibited song. After that publication, the concerto grosso qualification was used to indicate various types of baroque concertos with multiple soloists. Introducing our very special Beethoven collectors' edition of Gramophone, 97 years in the making, Rob Cowan listens to Schnabel's legendary recordings of Beethoven's piano sonatas. But listen to how Faust and Queyras play the quarter notes and dotted eighths in the slow movement of the Triple Concerto: amateur-sounding straight tone for most of the length of the notes, with only a hint of vibrato just before the note ends or moves on to . What follows is an untrammelled Allegro vivace, two-in-a-bar as marked, tempo changes graphic, every sforzando or accent stabbing the texture, Isserlis unfurling the vehemence also implicit in his lines Review of Vol 3: This third disc concludes Ibragimova and Tiberghiens live set of the Beethoven sonatas. For its 20th birthday last October, the West-Eastern Divan Orchestra invited Anne-Sophie Mutter and Yo-Yo Ma to the Berlin Philharmonie for a performance of the Cinderella among Beethoven's concertos, the 'Triple . Robert Layton (January 1978). Best of all in the Avison's performance was its sheer sense of fun. As Beethoven himself was well aware, his Concerto for Piano, Violin and Cello commonly called the "Triple Concerto" was unique in musical literature. DIED . Their approach is reticent but they also convey a strong sense of making music in domestic surroundings. This one is lithe dynamic and consistently commanding. BEETHOVEN:TRIPLE CONCERTO. The first movement is broadly scaled and cast in a moderate march tempo, and includes decorative solo passage-work and leisurely repetitions, variations, and extensions of assorted themes. From the first note, Osbornes kinship with the composer is everywhere apparent and he conveys the vast contrasts of the last three sonatas unerringly. By and large he did. Richard Osborne (January 2011), Vienna Philharmonic Orchestra / Carlos Kleiber. The recordings are warm and vivid and generally well balanced. their public performance. After a difficult boyhood in Bonn, Beethoven I don't like to use the term "best" when I describe musicians, for several reasons: first, I am not really an authority . The bonus disc, entitled An All-Round Musician, celebrates Kempffs achievement in words and music, on the organ in Bach, on the piano in Brahms and Chopin as well as in a Bachian improvisation, all sounding exceptionally transparent and lyrical. single chord in the entire movement, only four The first performance took place on 5 April 1803, at the Palace of Prince Joseph Lobkowitz in Vienna, with Beethoven himself performing the piano part. How about chamber music, an acquired taste, but very rewarding? the strings so as not to hinder their own tessitura. 'Kleiber, Erich': certainly. Few pianists since Solomon have come near to matching Gilels's ability to touch off the rapt, disburdened beauty of these lofty Beethovenian cantilenas. Rather, Im thinking of the imaginative and technical challenges that the emotionally complexSonata quasi una fantasiain the then alien key of C sharp minor presents to the player: first in seeking out its essence, then in distilling that essence on whatever keyboard circumstance or time provides. 3 scores found for "Triple Concerto for Violin, Cello and Piano in C Major" Details. In the matter of equality among the soloists, Beethoven, accurately perceiving that the cello could get lost in the sonic shuffle, overcompensated by giving the low string instrument inordinate prominence by writing in its top register and by having it introduce most of the thematic material. The recording is also very fine, though be sure to gauge the levels correctly by first sampling one of the tuttis. And it was seven years after that, in Reggio Emilia in 2008, that he conducted his first Fidelio. Visita nuestra pgina web en espaol. In 1809 he formed AU $72.42. 2 for violin, harp and double bass. Ludwig van Beethoven Ludwig Van Beethoven: Triple Concerto (Vinyl) (US IMPORT) AU $65.93. Here we have his 1936 recording of the Pathtique, with the central Adagio markedly broader and more heavily pointed than in the mono LP version of 20 years later. Triple Concerto (Beethoven) Ludwig van Beethoven 's Concerto for Violin, Cello, and Piano in C major, Op. Why not listen to something a bit more modern made by someone alive and played by living people for someone not about to die? Pour vous abonner cliquez ici: http://bit.ly/Subscribe_DG#Beethoven2020 #PlayOn #Beethoven In the middle section of Sonata No 3s Adagio, each of their perdendoso phrases ends in a ghostly whisper a wonderful effect. World wide shipping . This sets the tone for the performance, Abbado encouraging his players to maximise the expressive quality of each theme, while keeping a firm hand on the unfolding of the larger design Christian Tetzlaff vn Deutsches SymphonieOrchester Berlin / Robin Ticciati. Pairing the Concerto with the Seventh Symphony, the album also marks the 20th birthday of the West-Eastern Divan Orchestra.The Triple Concerto has a special place in Beethovens oeuvre, revealing his revolutionary spirit and ingrained humour both in its sophisticated architecture and in its musical idiom. Unusual for a concerto of this scale, the first movement begins quietly, with a gradual crescendo into the exposition, with the main theme later introduced by the soloists. which allowed this text to be part of this website. The finale is a joyouspas de deux, and how charming is Helmchens invitation to the dance when he adds a subtle agogic accent to the very opening of the movement. The works Norrington has selected to launch this projected Beethoven cycle are, it must be said, shrewdly chosen. Usually, you get po-faced seriousness when a big orchestra and three star names try to out-do each other, as the cello, violin, and piano soloists fight for the limelight. It was rather startling to go back to my 1968 Kovacevich CD (Philips, 1/69, 8/90) a long-treasured reference version, not only for me and to find how dated the sound quality now seems. The choice of the three solo instruments effectively makes this a concerto for piano trio and the only concerto Beethoven ever wrote for more than one solo instrument. Listen to Beethoven: Triple Concerto; Overtures by Anne-Sophie Mutter, Berlin Philharmonic, Mark Zeltser & Yo-Yo Ma on Apple Music. Which is not to say that the Budapest performance is a carbon copy of the Karajan. Gramophone is brought to you by Mark Allen Group The Archduke, who became an accomplished pianist and composer under Beethoven's tutelage, was only in his mid-teens at this time, and it seems plausible that Beethoven's strategy was to create a showy but relatively easy piano part that would be backed up by two more mature and skilled soloists. Richard Osborne(December 1983). Thanks to Mariss Jansonss expert schooling of his superb Bavarian musicians in works which continue to enthral, move and entertain him, the dramatic and expressive elements are derived from within rather than as is often the case with lesser conductors imposed from without Berlin Philharmonic Orchestra / Herbert von Karajan. Required fields are marked *, I love waking up on Saturday mornings and immersing myself in an endless YouTube journey into classical music. EMI planned for a long time to assemble this starry line-up of soloists, conductor and orchestra for Beethoven's Triple Concerto, and the artists do not disappoint, bringing sweetness as well as strength to a work which in lesser hands can sound clumsy and long-winded. But space, sometimes the critics friend, here his enemy, forbids much beyond generalisation when faced with such overall mastery and distinction. Like me, you may well cherish your beloved sets by Schnabel, Kempff and Brendel (to name but three), but Lewis surely gives you the best of all possible worlds; one devoid of idiosyncrasy yet of a deeply personal musicianship. The Alban Berg are the first to give us them on CD, and the medium certainly does justice to the magnificently burnished tone that the Alban Berg command, and the perfection of blend they so consistently achieve. But so far as sheer quartet playing is concerned, it is likely to remain unchallenged. the director of the theatre cancelled the concert, The recording, made in a Berlin church in 1969, is warm, spacious and well balanced, placing the soloists in a gentle spotlight. Nonetheless also his concertos for multiple instruments were retro-actively called concerti grossi. Vital energy and connoisseur-level sensitivity to original turns of phrase reign supreme in Helmchens reading of the Mozart-influenced Second Concerto, and he appropriately exchanges its skittish garments for a serious black frock-coat with the first-movement cadenza, composed much later than the surrounding music, layering the soundscape in something that could have come right out of theHammerklavierSonata. of masterpieces astonishing by any standards, David Oistrakh . The sound he draws from his players is turgid and unwieldy and his readings seem random and cavalier alongside Norrington's astutely judged readings. There is no break between the second and third movements. AU $83.59. 2Listen to the Triple Concerto: https://DG.lnk.to/TripleConcertoSubscribe here The Best Of Classical Music: http://bit.ly/Subscribe_DG _______________Find Deutsche Grammophon OnlineHomepage: http://deutschegrammophon.comFacebook: http://fb.com/deutschegrammophonTwitter: http://twitter.com/dgclassicsInstagram: http://instagram.com/dgclassicsNewsletter: http://deutschegrammophon.com/gpp/index/newsletter_______________: http://bit.ly/Subscribe_DG : http://bit.ly/Subscribe_DG - : http://bit.ly/Subscribe_DGLa mejor msica clsica - Suscrbase aqu: http://bit.ly/Subscribe_DGLe meilleur de la musique classique. Unusual for a concerto of this scale, the first movement begins quietly, with a gradual crescendo into the exposition, with the main theme later introduced by the soloists. The themes do tend to wander, their development is rather haphazard, and there are no showy cadenzas; in the work's favor, the subtle effects for the soloists and their imaginative interplay with the orchestra must be noted. BEETHOVEN - SYMPHONY No 7; Triple Concerto (LSO, Haitink), London Symphony Orche - $9.28. Review of Vol 3: To have arrived so soon at the end of this journey seems almost a pity, for the company has been most engaging, by turns profound and delightful. Such concertos have been composed from the Baroque period, including works by Corelli, Vivaldi, Bach and Telemann, to the 21st century, such as two works by Dmitri Smirnov. Its a superb version of this lovely symphony, another work that suited Bhm especially well. display the lengthiest first movements he had Im not thinking here of the finger-wrenching challenge of actually delivering theHammerklavier, something the unbridled fury of the finale of the earlier sonata interestingly presages. Robert Layton(November 1985), Leonid Kogan vn Rudolf Barshai va Mstislav Rostropovich vc. 56 - 2. There was an admired recording of the Pastoral Symphony, given away with a magazine, and a Proms performance of the Seventh Symphony which David Gutman described as terrifically fresh and alert (BBC Proms, 11/99). It is great fun, though, and its rare appearance on programs makes it all the more welcome. It is, in fine, an absorbing and ambiguous reading. He plays the first movement of the Eighth at nearly 60 bars to the minute (the metronome is 69) which is quicker than Toscanini or Karajan; and he takes the finale at arround 74 (the metronome is 84). It does not seek to banish all conventional wisdom about the pieces, but it has asked a lot of questions about them, as interpreters should, and I warm to it not only for the boldness of its answers but for finding so many of the right questions to ask Read the full review in the Reviews Database, Paul LewispfBBC Symphony Orchestra / Ji Blohlvek. In an evening of musical friendships, Dudamel brings four extraordinary artists together for memorable music making. In his sleeve-note annotations, Norrington is somewhat cavalier on the metronome question. Those who have cherished his earlier stereo cycle for its magical spontaneity will find Kempffs qualities even more intensely conveyed in this mono set, recorded between 1951 and 1956. What really fascinates Norrington, though, is rhythm and pulse and their determining agencies: 18th-century performing styles, instrumental articulacy (most notably, bowing methods), and Beethoven's own metronome markings. They offer eminently civilised, thoughtful and aristocratic readings. 56, No.2 Largo Attacca, Live at Philharmonie, Berlin (2019). One small illustration will demonstrate the special character of these performances. is much liberal use of unison semiquavers, or for Beethoven to test his orchestral works before The forces are both unusual and formidable, To find the perfect subscription for you, simply visit:gramophone.co.uk/subscribe. and double broken octaves, elegantly varied Not only has Helmchen matured in his pianism but he is given wings by an orchestra that shares intimate moments with the piano at one point and twirls with it at the next. They all date from the period The success of Beethovens balancing act is in direct proportion to the virtuosity of the soloists and the discretion of the conductor. His aim was to develop the work from silence and keep the usual frenzied sonorities within bounds. Rob Cowan (February 2008), The 1984 Gramophone Award in the chamber-music repertory went to the Lindsay Quartet's set of the late Beethoven quartets and it is a measure of the inexhaustibility of these great works that they have also claimed 1985's vote. The Allegro LUDWIG VAN BEETHOVEN. The technical problems Beethoven: The Piano Concertos. We have also included, where possible, the complete originalGramophonereviews, which are drawn fromGramophone'sReviews Databaseof more than 40,000 reviews. 56 di Robert Cohen, Toronto Symphony Orchestra, Claudio Scimone, Wolfgang Manz & Frank Peter Zimmermann su Apple Music. The Beethoven Triple Concerto demands utmost virtuosity, as well as intimate teamwork among the soloists, and that is exactly what these three supreme masters of their instruments bring to it. The very first entry is in octaves only (as In fact, Schnabel also held that It is a mistake to imagine that all notes should be played with equal intensity or even be clearly audible. When I was doing a Building a Library on Op 109 last year for BBC Radio 3, I was looking for a combination of wonder and fantasy that didnt tip over into late Romanticism in the first movement, fearsome firepower without edge in the Prestissimo and a Classicism to the theme of the finales variations. Bonn, then an independent electorate. Beethoven's grand and graceful Triple Concerto is followed by the Flamenco-inspired comic ballet The Three-Cornered Hat, based on Andalusian folk music and designed for Spanish dance.A great opportunity to see Dudamel in action at the Bowl. Aptly so, since it ushers in a reading of the finale which is unashamedly devout. the flattened submediant (C-A flat-C), a relationship in their allegro movements, the texture being [1] The Archduke, who became an accomplished pianist and composer under Beethoven's tutelage, was only in his mid-teens at this time, and it seems plausible that Beethoven's strategy was to create a showy but relatively easy piano part that would be backed up by two more mature and skilled soloists. its muscles. Where else can you hear Op 10 No 2s madcap finale given with such unfaltering lucidity and precision?
beethoven triple concerto