Originally posted by Fidelio:
As conductor John Eliot Gardiner said: "It's very difficult to say anything intelligible or intelligent about the metronome marks of Beethoven, because it is clear that when he went deaf - whether his metronome was accurate or not - his perception of time, sitting at his desk, writing, was very different to that of a musician or human performer standing in a concert hall and articulating his music. I feel very strongly that they should be used as a basis for interpretation but not as a straight-jacket."
As conductor John Eliot Gardiner said: "It's very difficult to say anything intelligible or intelligent about the metronome marks of Beethoven, because it is clear that when he went deaf - whether his metronome was accurate or not - his perception of time, sitting at his desk, writing, was very different to that of a musician or human performer standing in a concert hall and articulating his music. I feel very strongly that they should be used as a basis for interpretation but not as a straight-jacket."
The marks should apply to the first few bars. I think Beethoven made this point when providing figures for the Oratorio (and presumably the remainder of the music should be paced in proportion with a moderate allowance of flexibility during transitional passages).
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"If I were but of noble birth..." - Rod Corkin
[This message has been edited by Rod (edited 08-18-2006).]
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