Poco Allegretto - Bernard Haitink donne son analyse et ses retours à Anne-Marie Granau

Music Lesson: Third Movement Insights

The third movement is extremely touching.
It features:

• Still more chamber music
• A smaller orchestra
• A wonderful tune for celli and violins
• Later on, the oboe takes over

What's interesting about this movement is that orchestras and musicians really want to immerse themselves in it. It is extremely espressivo. However, Brahms notated mezzavoce.

Introspection in Interpretation

So, it should be very introverted in a way, not so much introverted as inward-looking. It should not resemble a quasi Italian aria. No, it needs to be... I don't like the word humble, but in that direction.

Scoring Insights

The third movement has a compelling beginning with a wonderful tune, espressivo, but marked mezzavoce. This indicates a very subtle sound.

• There are little hairpins here for the violas.
• It is a very nostalgic piece, Brahms was a lonesome man, and sometimes, as you can hear from his music, he was rather nostalgic.

There exists a sort of longing for something, perhaps unknown. This balancing act between lyricism and longing must translate into sound, which is very difficult.

Performance Technique

But the playing should not sound like daily bread and butter. The celli must really find a way to express this espressivo but mezzovoce.

• Try to answer, Celia.
  • "Yeah. I would not start the crescendo too soon."

Timing is crucial in this piece:

• Tip: Bow to the next bar after two beats.
  • One, two. And now, no crescendo.

Yes, here lies the nostalgia. He has no espressivo. Yes, there is vibrato, but there is no crescendo there.

Rehearsal Notes

Let's try it once more:

• One, two, sample piano.
  • Okay, I hope this aligns with your way of thinking too.

Another challenge for the conductor is to convey that mood with the limited options of two hands and maybe a face.

• May I try it once?
  • "Sorry, I feel always a bit inhibited because one sings. Of course, it's an ego trip. Conducting is an ego trip. But in this case, I really mean it. I mean well."

Finding the Right Tempo

Of course, you don't have to adopt my slow tempo; take your own. But try to find the right mood.

• Important Note: In the score, you might notice a small form at the last letter "I".
  • You are getting dangerously slow, and gaps are beginning to appear.

Keep the line moving a little bit more.

• Notice: If it feels a bit blocked.

Revisiting Letter I

Let's revisit letter I.

• "I'd like to do this one once more, please. Be careful in the last four bars."
  • Retenuto is already composed by Brahms himself, don't add something extra to it.

At letter I, the gaps feel too big for my taste.

• Reminder: Keep it moving.
  • Let's do it once more.

Conducting Challenges

It is essential for a conductor to maintain the right concentration and not get upset when things go wrong during performances. In such moments:

• You can't talk or criticize.
• Don't make bad faces; just go on and try to give them confidence.

This is very important. You have to convey to them that you are there not to criticize, but to give them confidence.