LDV75

ADRIEN LA MARCA 21 Do violists have a special capacity for listening? We’re used to being the part that nourishes the more exposed parts. By the very nature of the instrument, we play a lot of chamber music. Melodic lines are proportionately less common for us than padding out the harmony, playing countermelodies, having little or no opportunity to be the principal voice. As a result, I think violists are extremely conscious of the parts played by the others. It’s probably a genuine added value when you perform a concerto. The violist has the main role, while at the same time also setting in relief and experiencing almost simultaneously everything that’s going on behind him or her. In fact I really enjoy turning towards the orchestra and engaging directly in dialogue with a section or an instrumental soloist. I profoundly believe that playing a concertomeans playing chamber music, but on a larger scale. And that was particularly easy to achieve with the Liège Royal Philharmonic and ChristianArming, withwhom I had built up a relationship based on trust. A recording in a fine spirit of openness, then, and one in which you can recognise yourself. I think so. If you’re being yourself, you’re speaking the truth. Thanks tomy residency in Liège, I was able to play chamber music with some of the members of the orchestra, and that creates powerful bonds. A very rare alchemy. Knowing people personally, intimately, makes the music sound different. It becomes a story. In the end, this disc is really a snapshot of my residency with the orchestra. If I recorded the same music tomorrow, it would be different again. Each encounter, each concert, each disc makes the whole edifice develop, builds it up and magnifies it. And it’s a never-ending process. That’s the great beauty of this profession.