Masterclass: Tai Murray on Beethoven’s ‘Triple’ Concerto Part 2

TaiMurrayPic

Violinist Tai Murray discusses balance and colour in the first movement of the op.56 work for violin, cello, piano and orchestra, in the second of two articles

Every fingering and bowing that I choose, whatever I play, is guided by my aim to achieve a particular colour and emotional impact, and to communicate my understanding of each phrase. In this piece, when there are three soloists and an orchestra to bring together, of course, it’s really the conductor who has the final say. Whatever the soloists decide as a trio in rehearsals, and however many discussions you may have about doing things in a certain way, in the end much of it – in terms of timing, if not colour – will be out of your control. For certain types of personality this might be quite frustrating, but I enjoy going with the flow, so it doesn’t bother me at all!

Already subscribed? Please sign in

Subscribe to continue reading…

We’re delighted that you are enjoying our website. For a limited period, you can try an online subscription to The Strad completely free of charge.

  • Free 7-day trial

    Not sure about subscribing? Sign up now to read this article in full and you’ll also receive unlimited access to premium online content, including the digital edition and online archive for 7 days.

    No strings attached – we won’t ask for your card details

  • Subscribe - online subscriptions from £4.50/month

    No more paywalls. To enjoy the best in-depth features and analysis from The Strad’s latest and past issues, upgrade to a subscription now. You’ll also enjoy regular issues and special supplements* and access to an online archive of issues back to 2010.

 

* Issues and supplements are available as both print and digital editions. Online subscribers will only receive access to the digital versions.