LDV82

22 BEETHOVEN/LISZT, SYMPHONY NO.9 How are the notes distributed between the two pianists? Did you decide at once who would play which part? Philippe Cassard: Cédric had already played Piano 1 in this symphony when he was still a student, so I learned the Piano 2 part. The two parts are relatively well balanced in terms of distribution and registration, even if Piano 1 is given primacy for the main themes and motifs, and my part concentratesmoreon thebass and theharmonic support. But there’sno frustration on my side, I have so much to do! Cédric Pescia: All the same, Liszt does reverse the roles sometimes, especially in the first movement, where he switches certain themes played by Piano 1 in the exposition to Piano 2 for the recapitulation, and vice versa for the accompaniment formulas. When you play music like this, you realise that there’s not a single note that isn’t essential – which is not the case in all of Liszt’s transcriptions. The idea of a ‘dominant’ part and a ‘secondary’ one has no place here, and each note contributes to the whole; that’s as true of Beethoven’s original score as it is of Liszt’s masterly transcription.