The recording, made in a Berlin church in 1969, is warm, spacious and well balanced, placing the soloists in a gentle spotlight. The clarity and warmth of the recording (from Snape Maltings) is as remarkable as the playing. The most popular triple concerto, commonly called Triple Concerto (Tripelkonzert), is Beethoven's Triple Concerto for violin, cello and piano. composed between April-September 1804. In the Triple Concerto, I'd take them over Karajan and the Russians any day. If you are a library, university or other organisation that would be interested in an institutional subscription toGramophoneplease click herefor further information. In the Second Symphony Norrington does make the music smile and dance without any significant loss of forward momentum, and he treats the metronome marks more consistently than Toscanini (who rushed the Scherzo) or Karajan (who spins out the symphony's introduction), whilst sharing with them a belief in a really forward-moving pulse in the Larghetto (again an approach to the printed metronome if not the thing itself). 10) Quartetto Italiano (Decca) is a safe bet for Beethoven 's string quartets. an orchestra at his disposal in his private 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. Works: BEETHOVEN 'Triple' Concerto in C major op.56; Symphony no.7 in A major op.92. and the movement closes with a brief coda. . Beethoven had planned to unveil the C minor Piano Concerto No. Concerto in C major, op. 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. Your email address will not be published. Elsewhere Romantics vie with the Classicists, while the temporisers, sailing under various flags of convenience, attempt assorted syntheses of their own. 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. The first thing we should do in approaching this musically remarkable and, in terms of its exploration of the composers tempest-tossed inner life, extraordinarily fascinating addition to the Beethoven discography is banish all thoughts of moonlight. Beethoven:triple Concerto [DVD] AU $46.70. and without undue pomp. Listen Beethoven: Triple Concerto in C Major, Op. The first movement opens with the introduction of the main sonata allegro themes in the orchestra. But so far as sheer quartet playing is concerned, it is likely to remain unchallenged. Robert Levin, the moderator on Paul McNultys copy of a 1805 Walter & Sohn instrument equalising dynamics, matches him in essence and aura. OK!. Robert Levin may be matchless in conveying the rhetoric of the extended piano opening but Andsnes manages to be lithe and spontaneous-sounding, and doesnt overplay hints of melodrama dangerously tempting with all those diminished sevenths scattered about. Klemperer came as close as any conductor to enabling both impulses to inhabit a single style. It begins with solo piano, then orchestra comes in, then chorus and soloists. Composed in 1803, Beethoven's Triple Concerto remained unperformed for five years, until its outing at a summer music festival in Vienna in 1808. The The very name Triple Concerto is slightly misleading here. The slow movement, in A-flat major, is a large-scale introduction to the finale, which follows it without pause. 56: I. Allegro, Triple Concerto for Violin, Cello and Piano in C Major, Op. Free shipping for many products! World wide shipping . 56 - 1. The violinist in the premiere was Carl August Seidler,[2] and the cellist was Nikolaus Kraft,[4] who was known for "technical mastery" and a "clear, rich tone". BEETHOVEN TRIPLE CONCERTO & Brahms Double Concerto, Richter,Rostropovich,Oistrak - $8.24. Ivn Fischers direction is in the Toscanini class in its clarity and verve. for Beethoven to test his orchestral works before 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. movements. Arguably the most significant Soviet-era composer of the last century, Dmitri Shostakovich . works of Beethoven. Review of Vol 4: Only an extended essay could do justice to the fourth and final volume of Paul Lewiss Beethoven sonata cycle. Some of the stormiest passages contain triplet No one, however, quite matches Pollinis stunning finale: its strength and controlled power silence criticism. The dance starts here, the apotheosis comes later (Coupled with Schubert's Symphony No 5) Vienna Philharmonic Orchestra / Karl Bhm. [5]:162 The concerto was Beethoven's first work to use advanced cello techniques. That said, a wealth of often obscured orchestral detail emerges without any feeling of being artificially lit (the woodwind exchanges in the opening movements of the First and Second concertos, for example). 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. Faust, Queyras and Melnikov, as well as having distinguished solo careers, have . The following minor-key variation shows how both players can bring flexibility and fluidity to their performance, with the confidence that they will be sympathetically accompanied. Beethoven : Triple Concerto - Anne-Sophie Mutter/Mark Zeltser/Yo Yo Ma/Herbert Von Karajan/Berlin Philharmonic (LP, Vinyl record album) also encountered in the First Piano Concerto This is one of the perhaps the most perfect accounts of the Fourth Concerto ever recorded. by the cello (playing in such a high register Also unusually, the exposition modulates to A minor instead of the expected G major. 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. And what a line-up: three supreme Soviet artists, for whom Czechoslovakia represented a taste of freedom while the West remained out of bounds. He was The recording is splendid. (Richter himself said of it: "It's a dreadful recording and I disown it utterly Battle lines were drawn up with Karajan and Rostropovich on the one side and Oistrakh and me on the other Suddenly Karajan decided that everything was fine and that the recording was finished. It is great fun, though, and its rare appearance on . For the recorded sound, theres nothing that can be done about the occasional patch of wow or discoloration but, in general, the old recordings come up very freshly. Free--indeed unaware--of technical problems, they give it a joyful, sparkling lightness. cadenza just alter the recapitulation comes The list is organised by genre, beginning with orchestral works, then moving though chamber, instrumental and vocal. piano sonata. Otherwise considerable use is made of single chords actually played by the piano can almost If you admire Bhm this is a worthy way to remember his special gifts. undertaken by that time, and several ideas in The sensation of shared listening, between Bronfman and the players and between the players themselves, is at its most acute in the First Concertos Largo, which although kept on a fairly tight rein is extremely supple (the woodwinds in particular excel). Best of all in the Avison's performance was its sheer sense of fun. There is something reassuring about the readings of all five concertos. Norrington is not unduly preoccupied by matters of orchestral size (44 players are listed on the sleeve) or by pitch (the London Classical Players have settled for A = 430). the strings so as not to hinder their own tessitura. We have also included, where possible, the complete originalGramophonereviews, which are drawn fromGramophone'sReviews Databaseof more than 40,000 reviews. 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. It may have been intended 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. Its a superb version of this lovely symphony, another work that suited Bhm especially well. Details. Most of these concertos are for two identical woodwind instruments, such as flutes or oboes, with a different third instrument such as violin or bassoon. Philipp Spitta, Bach's 19th-century biographer, qualified these extant concertos for three soloists as concerti grossi:[3], Section 53 of the Telemann-Werke-Verzeichnis (TWV) lists 17 concertos for three soloists and orchestra by Georg Philipp Telemann. Ever inventive, creative and original, here Beethoven stages a lavish musical feast over-flowing with melody, a feast. with only a little arpeggio work, and some thirds leaving Beethoven to turn his attention to the virtually all two-part polyphony, in scale passages, As Beethoven himself was well aware, his Concerto for Piano, Violin and Cello commonly called the "Triple Concerto" was unique in musical literature. At this time he was coming to terms with increasingly As month follows month and more and more live performances appear, our perspective on the purpose of recordings seem to be changing. Harnoncourt doesn't pretend that what he offers is Beethoven as the composer imagined it. was published in 1807 in Vienna, yet it had Put them together and something magical happens within the tensions they engender. Beethoven composed several concertos during his teens - the piano score of a complete concerto in E flat dating from 1784 is the only one to have survived. 56 di Robert Cohen, Toronto Symphony Orchestra, Claudio Scimone, Wolfgang Manz & Frank Peter Zimmermann su Apple Music. had chosen to settle in his adoptive Vienna, (The jogging triplets that figure in much of the accompaniment also contribute to this effect. (Beethoven's friend Ferdinand Ries later did the same mediant transition in his sixth concerto.) The musical sleight of hand used by these expert players to focus the very different character of each sonata is in itself cause for wonder. Richard Osborne (March, 1987), This is a great performance, steady yet purposeful, with textures that seem hewn out of granite. Even with a never-ending stream of Beethoven piano concerto recordings, whether from established masters (Kempff, Arrau, Gilels, etc) or work in progress (Andsnes and Sudbin), few performances come within distance of Piress Classical/Romantic perspective. Not so Alina Ibragimova, who gives them the character of tentative, fearful steps into the unknown, to be reassured by Tiberghiens suave reply. Certainly Idont recall the Tokyos latest middle quartets being quite as good as this. no more than three or four bars of cadential Only a composer thoroughly versed in the production . JWN Sullivan characterized them as his spiritual music. members with unobtrusive support from the orchestra, 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. As far as sound quality is concerned, its rich and warm. The bolero-like rhythm also characteristic of the polonaise, can be heard in the central minor theme of the final movement. Anne Gastinel (cello) & Nicholas Angelich (piano), Gil Shaham (violin), Andreas Ottensamer (clarinet) Of the soloists, it's the cello that has the lion's share, and Anne Gastinel makes the most of the part on this new recording. palace from 1796 onwards, made it available 7 was recorded at concerts held in Buenos Aires and Berlin - in July and October 2019 respectively - to mark the West-Eastern Divan's 20th birthday. From the very start, the cut-to-the-bone immediacy of the sound puts you up close and personal to the performance, lending a granite strength to the crunch of those chords and the rosiny resilience of those striding string scales. The brook flows untroubled and the finale is quite lovely, with a wonderfully expansive climax. sketches for a work in D, calling for the same Beethoven, Ludwig van. 56, No. Watch them perform Beethoven's Triple Concerto in C Major, Op. Fascinatingly, his pre-war recordings of the Beethoven sonatas on 78s are represented too. 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. 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. single chord in the entire movement, only four 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. This movement takes sixteen to nineteen minutes. And theres freedom aplenty in these vigorous, highly charged performances: just sample the concluding Presto of Op 9 No 1 or the opening movement of the E flat major Trio, Op 3. double or triple octave placed above or below thirds, sixths and tenths, sometimes at the History has been unkind to Beethoven's "Triple" Concerto, a work created in the most heroic phase of the orchestral world's favorite composer. in broken octaves when the piano is flexing Antonio Vivaldi's L'estro armonico, published in 1711, also contained a number of concertos for two violins and cello, however without concertos for multiple soloists being indicated as concerto grosso in this earlier publication. 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. The jogging triplets that figure in much of the accompaniment also contribute to this effect. a finely crafted texture. Gramophone is brought to you by Mark Allen Group Throughout these two performances the contributions of horns, trumpets and drums most rivet the attention (the introduction to the Second Symphony's first movement is glorious); by contrast, the woodwinds have, to modern ears, an almost rustic charm, a naif quality which technology and sophisticated playing techniques have to some extent obliterated. the Eroica, the Opus 18 string Quartets, A common feature is a dotted rhythm (short-long, short-long) that lends an air of graciousness and pomp that is not exactly "heroic," but would have conveyed a character of fashionable dignity to contemporary listenersand perhaps a hint of the noble "chivalric" manner that was becoming a popular element of novels, plays, operas, and pictures. In the finale, Bronfman and the Tonhalle provide a clear, shapely aural picture Maria Joo PirespfSwedish Radio Symphony Orchestra / Daniel Harding. 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. It's all here. I also enjoyed the last three minutes of the third movement, where each of soloists would play, answered each time by the entire orchestra. Their insight and wisdom, their humanity and total absorption in Beethoven's art has to my mind never been surpassed and only sporadically matched, even by such modern ensembles as the Vegh and the Lindsay! The list goes on as does the pleasure. to play in octaves, just as in the two previous A few weeks ago, we spoke to Principal Cello Brinton Averil Smith to discuss his approach to . About this Performance. Not until 1804 was he to be tempted again by the piano trio. Sunday, January 1, 2023, 50 of the finest Beethoven recordings available, complete with the original Gramophone reviews, featuring Nikolaus Harnoncourt, Mitsuko Uchida, Murray Perahia, Takcs Quartet and more. London Classical Players / Sir Roger Norrington. (Once or twice they cause a slight buzz of distortion for which EMI apologise in their booklet.) Although it's the Cinderella among Beethoven 's concertos, the Triple has had no shortage of recordings, with soloists occupying the gamut between three disparate big names at one end, to established trios at the other. The lively Polacca theme is entrusted to the It comes as no surprise to find these marvellous Budapest musicians moving the Pastoral Symphony downstream along the Danube from the woods by Heiligenstadt to the countryside beyond Buda. The second movement, Largo, is far more compact. 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. dominates a fine triple on Sony with Leslie Parnas and Jaime Laredo. of balance between resources (violin, cello, Moira Stuart's Hall of Fame Concert grand. This is another account to be placed alongside the finest, including Argerich, and for me surpassing Glenn Gould/Bernstein Emil GilelspfPhilharmonia Orchestra / Leopold Ludwig. It takes a major pianist standing outside the Viennese tradition to see the volatile and ageing Beethoven subsuming gamesome Classical ironies in Romantic pathos and a feeling of personal travail. material is presented shortly after the opening The recording is also very fine, though be sure to gauge the levels correctly by first sampling one of the tuttis. The lonely piano recitative of the slow movement is a heart-melting moment. . team of soloists. Therefore, thank you, thank you, thank you. I don't like to use the term "best" when I describe musicians, for several reasons: first, I am not really an authority . 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. Fischers approach to the Pastoral is quite different from his approach to the Fourth. Like Toscanini, Erich Kleiber, and others before him, Norrington achieves this not by the imposition on the music of some world view but by taking up its immediate intellectual and physical challenges. With them poetry is perhaps more important than drama, but Perlman - certainly poetic in his way, always noting the many key passages marked dolce - confirms the strength of his reading in his superbly sprung account of the finale, the tempo marginally faster than that of any of the others (markedly faster than Chung) but masterfully confident. 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. Edward Greenfield (September 1981), Isabelle FaustvnOrchestra Mozart / Claudio Abbado. MA Music, Leisure and Travel These performances are so superb that despite their sonic limitations I still think it possible to recommend them to younger non-specialist collectors, even in these days of the Compact Disc. 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. The cello and violin share the melodic material of the movement between them while the piano provides a discreet accompaniment. 56, No.2 Largo Attacca, Live at Philharmonie, Berlin (2019). The 26-year-old Erfurt-born baritone Stephan Genz is in the first bloom of his youthful prime. I have never heard the Triple Concerto, so both the composition and the performance are revelations to me. its muscles. BEETHOVEN PIANO CONCERTOS. 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). Our Music and Artistic Director shares some of the historic Beethoven recordings he most admires, as well as a special one all his own. The Schubert dates from the end of Bhms recording career. Proof of the combinations viability is seen in Beethovens having chosen three piano trios to be published as his Opus 1 in 1795. With full, warm digital recording, there is no finer version available, combining as it does so many of the special qualities one finds in the Chung and Mutter versions on the one hand, and in the strong, incisive Krebbers on the other. Their approach is reticent but they also convey a strong sense of making music in domestic surroundings. glance at the Waldstein?) The thematic Hablas espaol? One things for sure: never before has this indelible masterpiece sounded more like a profound precursor of Paganini Jascha HeifetzvnNBC Symphony Orchestra / Arturo Toscanini. 7 for three pianos, Ludwig van Beethoven's Triple Concerto for violin, cello and piano, and Dmitri Smirnov's Triple Concerto No. Ludwig van Beethoven's Concerto for Violin, Cello, and Piano in C major, Op. Its so celebratory, so positive. Performed by three of todays most renowned classical artists and Beethoven interpreters Anne-Sophie Mutter, Yo-Yo Ma and Daniel Barenboim and accompanied by the acclaimed West-Eastern Divan Orchestra. And here you sense that she is among those truly great artists who, in Charles Rosens words, appear to do so little and end by doing everything (his focus on Lipatti, Clara Haskil and Solomon) Murray PerahiapfConcertgebouw Orchestra / Bernard Haitink. I dont know who to pity more: the budding maestro who hears this Beethoven Fifth before attempting to conduct the work himself or the one who doesnt. The search for lyric release is something which Gilels seems particularly to stress. USA e internazionale; Australia; Canada; Francia; Germania; Italia; Spagna; Regno Unito; Riguardo a noi; I dont like to use the term best when I describe musicians, for several reasons: first, I am not really an authority, able to determine who the best is. Formidably in command of the music, he neither subjects the notes to his virtuosic will, nor demeans his own technique by mimetic attempts at audible disorder. It is striking that even in the Kreisler cadenza Perlman prefers to keep the feeling of a steady pulse, and the entry into the coda in its total purity and simplicity is even more affecting than the fine accounts in the other three versions. And yet thoughtfulness never spells caution (all three works were recorded at concerts in Graz over the last 18 months); Hagen and Thomas Zehetmair throw caution to the winds near the end of the first movement Laura Aikin sop Elisabeth Kulman mez Johannes Chum ten Ruben Drole bass-bar Arnold Schoenberg Choir; Concentus Musicus Wien / Nikolaus Harnoncourt. The arrival introit, rathe r- of the finale's D major subject, Tovey's "Still, Small Voice" after the Fire, is here a moment that is specially cherishable, the more so as the fugue and the subsequent aggressive peroration are played by Gilels with a directness and lucidity which contrasts interestingly with his sophisticated and equivocal treatment of the opening Allegro movement. There are some famous gabbles in this sonata cycle, notably at the start of the Hammerklavier, with him going for broke. How about chamber music, an acquired taste, but very rewarding? 6, each of them for a soloist group (concertino) consisting of two violins and cello, were published posthumously in 1714. The freshness of this set is remarkable. Indeed, I am not sure that Pollinis account of the Hammerklavier is not the most impressive currently before the public, though the instant such thoughts are penned, the noble performances of Eschenbach, Arrau, Brendel and Ashkenazy spring to mind. 56 - 2. Painting by Alex Katsenelson. After that publication, the concerto grosso qualification was used to indicate various types of baroque concertos with multiple soloists. florins. The two string soloists come in with their version of the first theme, which is soon taken up by the piano with the strings playing a subsidiary role. Find many great new & used options and get the best deals for Ludwig van Beethoven - Symphony No. Ascolta Beethoven: Triple Concerto for Violin, Cello and Piano, Op. 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. There 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. piano, orchestra) are solved here by an unusual They do Beethoven proud and no one could reasonably ask for more. Disturbingly aware, in the first movement, of what he suggests are unstable fancies informing the work's manic oscillations, Gilels proceeds to achieve a troubled coherence in the brilliantly executed coda of the finale where his extraordinary technique allows the music's evident ferocity to be tempered by Orphic assurance. potential, leading directly (perhaps a backward Gramophone is part of The work was not premiered until 1808, failed to go over well, and has received limited attention ever since. Yo-Yo Ma puts it in these words: For me, in the Triple Concerto, its the constant invention that always takes me by surprise. This one is lithe dynamic and consistently commanding. It still sounds well and the performance (with the first-movement exposition repeat included) has an unfolding naturalness and a balance between form and lyrical impulse thats totally satisfying. Find many great new & used options and get the best deals for Beethoven: Piano Concerto No 2, Triple Concerto, Bernard Haitink,London Symphony at the best online prices at eBay! There was an infectious give and take between Beznosiuk and Tunnicliffe, especially in the finale, when Beethoven out-does Dudley Moore's impression of him not being able to finish a piece; there are at least 3 goes at a coda in the Triple Concerto. 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. Not all of these received universal acclaim at the time of their first release. The technical problems 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. Pour vous abonner cliquez ici: http://bit.ly/Subscribe_DG#Beethoven2020 #PlayOn #Beethoven Karl Bhms Beethoven is a compound of earth and fire. Though he conducts Beethoven's music with the verve of a young man who has just discovered it for the first time, he is in years (53 this month) an experienced musician with the kind of control over rhythm and argument which was always the hallmark of the very best kind of operatically trained musicians. which allowed this text to be part of this website. Daringly, Fischer has the horn-call which ushers in the finale met for the first eight bars by a solo violin as the shepherds hymn steals in upon the air. It was in fact RCA Victors second Toscanini Fifth tauter and tidier than its better-recorded live 1931 predecessor though like the earlier version it was never actually passed for commercial release. 7) Alongside Stephen Kovacevich, whose Beethoven Piano Sonatas are equally stunning (Warner). Beethoven: Piano Concerto No.2, Triple Concerto, CD, Classical Artists, 822231174523 500 bars. In Opp 74 and 95, they more than hold their own against all comers. (That theory doesnt quite compute, for even though there are three players to share the soloistic responsibilities, each must not only be concerned with being in sync with the orchestra, but also with each other.)