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Nicola Benedetti

Beethoven Violin Concerto w/Aurora Orch, Collon

Decca Classics
Release Date: April 11, 2025

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MEET THE PROS | Nicola Benedetti | Interview | VC '20 Questions'
1 Movement I  
2 Movement II  
3 Movement III  
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Benedetti further comments, “The solo line of this concerto was born out of an improvisatory spirit, with a lightness of touch soon to be out of fashion, with a virtuosity of integrity and poise. Many of us violinists grew up with such unhealthy reverence towards Beethoven, which soon turns into fear and an unnatural approach to his music. It can damage our ability to notice and embrace his humour, his wildness, and perhaps more importantly, the depth and power of his relationship to improvisation.”  

Beethoven’s original piano version of the first movement cadenza was rearranged and adapted by Petr Limonov. In the first movement, the music is based on the cadenza that Beethoven wrote for his own arrangement of this Violin Concerto as a Piano Concerto. Beethoven approached it in a truly revolutionary way by incorporating a timpani part into the texture, turning his cadenza into a dialogue between the pianist and the timpanist. Benedetti and Limonov felt that attempts to transcribe Beethoven’s bravura broken octaves and chromatic scales for violin in a literal way sounded too forceful for the otherwise lyrical and inward-looking nature of the piece. It gradually became clear that the cadenza needed re-writing, being true to Beethoven’s spirit, but not necessarily the letter. Usage of the timpani in a solo cadenza was as unusual at that time as it is now, so the harmonic progression leading up to it had to be unusual as well. Beethoven went around the full circle of fifths in a daring brush-stroke, employing highly sophisticated enharmonic techniques in a very subtle way as if to deliberately confuse the listener, leading him or her away from the established classical sense of tonality and preparing the ground for the timpani entry. Having started the cadenza with the same B-flat major chord as in Beethoven’s version, Benedetti and Limonov then emulated that unusual harmonic progression on the violin, albeit with a texture very different from Beethoven’s piano writing, allowing them to emphasise the element of surprise at the point of timpani entry, played on this recording by Henry Baldwin. It ensured that Beethoven’s original proportions stayed intact without making the violin writing resemble a transcription of a piano piece.  

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