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• W219189852 abstract "Every responsible musician struggles to recreate the work which they play or conduct so that it conforms as closely as possible to the composer's intentions. This does not mean, however, that performers need to abrogate their own views about the work because - within certain limits - artists have the opportunity to promote their own personal interpretations. In fact, it is quite fascinating to compare the views of the same work as expressed in different performances by famous soloists or conductors. Each artist experiences a masterwork in a personal way, and infuses the spirit ofthat experience into their performance. It is precisely this individual expression that imparts a special charm to the rendering of works of art, that compels listeners' attention and gives them pleasure. Performers, however, must never give preference to their own vision of the work over that of the composer, must never assault the character of the work by any expression that may pervert its style or character. I perceive such a violence, for example, in the practice of omitting any prescribed repetition, particularly of the exposition in movements in sonata form, such as found in first and also in last movements in chamber music and symphonies. This, however, is quite another topic, which I must reserve for a separate article. Here we are concerned with the question of the right tempo. Indications for tempo are often quite general {Allegro, Andante, Adagio, Presto, etc.), and it is evident that variations based on the performer's perception of these timing directions are possible and reasonable. A solid artistic conception, however, will restrain a real musician from engaging in any excess in timing in either direction. In or near the year 1816, Johann Nepomuk Malzel (1772-1838) invented a timing device which later became known as the metronome. This instrument made it possible for composers to give exact tempo directions. When Beethoven first learned about the metronome, he was enthusiastic about its possibilities, and wrote the Malzel canon for four voices. (The theme of the second movement of the Eighth Symphony is based on that canon; we do not know which came first, the canon or the sketches for the second movement.) At a later time, however, Beethoven expressed his doubts about the usefulness of the metronome, and supposedly told his friend Schindler: No more metronome! Anyone who can feel the music right does not need it, and for anyone who can't, nothing is of any use; he runs away with the whole orchestra anyway!.1 He did, however, subsequently supply metronome indications for the Ninth Symphony to the publisher Schott.2 Nonetheless, it is an interesting fact that just about all performers consider most of Beethoven's metronome designations to be too fast. Indeed, Franz Liszt did not adhere to these designations, and his slower speeds were generally felt as being beneficial and advantageous for the works performed. There is another point to consider here, which is discussed in the article on Malzel in the 1961 edition of Hugo Riemann's MusikLexikon. When they perform their own works, most composers proceed at a slower rate of speed than their own metronome markings. Why is this so? Most composers assign metronome marks to their works while seated at their desks, thus imagining the music, rather than the speed of an actual performance of the work. This also seems to apply to Beethoven, whose earliest metronome markings could not have been made before 1816 when he could hardly hear his music anymore. In our imagination, a work proceeds much faster than in reality during a performance. I have repeatedly experienced this miscalculation with my own compositions. Typically, Wagner erred in the estimate of duration of performance not only for Rienzi, but also with Lohengrin. …" @default.
• W219189852 created "2016-06-24" @default.
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• W219189852 date "1988-04-01" @default.
• W219189852 modified "2023-09-24" @default.
• W219189852 title "The Right Tempo: Beethoven and the Metronome" @default.
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