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AAM BLOG

18 June 2014

Three musicians discuss AAM's Three last symphonies

"This programme is definitely a challenge but a challenge to relish; more catharsis than a mere concert. These three masterpieces put unusual demands on all the musicians — technically, intellectually and also purely in terms of physical stamina. I am particularly looking forward to the Haydn, a childhood favourite of mine. The Mozart is, for me, the scariest piece of the evening on account of its intricacy and sophistication. For once Beethoven's 9th might actually feel like a relief! I adore playing this piece, or rather having the piece play me, because that's how it feels in a live concert — being tossed around in Beethoven's mighty and turbulent musical universe.”
Pavlo Beznosiuk, leader

“To me, Beethoven's music represents the point at which the double bass ceases to play a polyphonic role; when the player is no longer a craftsman, but more a 'wardrobe mover'. Gone is the intricate part-writing of polyphony, where the bass is on a creative par with the cello — now Homophony is 'the new black'. The business of playing music becomes more physical — repeating the same fortissimo harmonies, endless tremolo and interminable pedal notes. The female double bass player is disadvantaged. In fact, Beethoven's part-writing was one of the reasons I became involved in Early Music. Exhilarating, powerful, loud and sweaty. That is my Beethoven 9.”
Judith Evans, double bass
 
“I'm greatly looking forward to this exciting project — I cannot imagine that a concert on such a scale has been attempted before. It will certainly be a great test of stamina for all involved! I'm very pleased that members of the choir of Emmanuel College, Cambridge will be singing along with other students from Guildhall School of Music & Drama and Royal Northern College of Music as part of the AAMplify side-by-side project. This will be a fantastic experience for them to work with Richard Egarr and the stellar players of the AAM.”
Richard Latham, Choir of the AAM