BEETHOVEN AND THE METRONOME

Mu123 – 27 April 2011Joe Jewell

OUTLINE

Background Tempo controversies in Beethoven’s

music Examples

Symphony No. 5 in C minor, Op. 67 Symphony No. 7 in A major, Op. 67

Conclusion Bibliography

ROLE OF TEMPO IN MUSIC

Tempo is the “heartbeat” of the music Sense of rhythmic speed is not limited

to tempo; composers can simply write more notes at a slower tempo.

Tempo is inextricably linked to melody (according to Schuller)

TEMPO MARKINGS

Grave — slow and solemn Largo — very slow Adagio — slow and stately (literally, "at ease") Andante — at a walking pace Moderato — moderately Allegro moderato — moderately quick Allegro — fast, quickly and bright Vivace — lively and fast Presto — very fast Prestissimo — extremely fast

JOHANN NEPOMUK MAELZEL

1772 (Regensburg) – 1838 (at sea, S. America)

Active in Vienna during Beethoven’s time there

“Mechanic” (engineer), inventor, pianist

1815 “invented” and marketed the metronome

MAELZEL METRONOME (1815)

TEMPO MARKINGS (METRONOME)

Grave — 20-40 bpm Largo — 40–60 bpm Adagio — 66–76 bpm Andante — 76–108 bpm Moderato — 101-110 bpm Allegro moderato — 112–124 bpm Allegro — 120–139 bpm Vivace — 140 - 160 bpm Presto — 168–200 bpm Prestissimo — more than 200 bpm

BEETHOVEN AND MAELZEL

BEETHOVEN AND THE METRONOME

“I have thought for a long time of giving up these nonsensical terms allegro, andante, adagio, presto, and Malzel’s metronome gives us the best opportunity to do so…” (Letter to von Mosel, 1817)

Very specific with tempo indications: e.g. “Andante con moto assai vivace quasi allegretto ma non troppo” for the “Kyrie” in the C minor Mass.

Took the time to add metronome markings to previously published pieces.

TEMPO CONTROVERSIES

John Rockwell (1987): “As a rule, Beethoven’s metronome markings indicate quicker speeds…than we hear today.”

Symphony halls (and symphonies) are larger—articulation issues

Some claim that indicated fast tempos are “unplayable” (though this has been demonstrated false)

John Rockwell (1987): “A steady entropy of tempo…Western classical music has slowed down.”

ARTURO TOSCANINI

1867-1957Beethoven symphony tempi: Generally right on Beethoven’s mark

LEONARD BERNSTEIN

1918-1990Beethoven symphony tempi: Usually quite a bit slower than marked

HERBERT VON KARAJAN

1908-1989Beethoven symphony tempi: Vary, usually close to the mark. 1963 cycle slower; 1977 and 1984 cycles faster.

SYMPHONY NO. 5, MVT. 1: ALLEGRO CON BRIO

Beethoven: 108 bpm Toscanini (NBC): 104

bpm

SYMPHONY NO. 5, MVT. 1: ALLEGRO CON BRIO

Beethoven: 108 bpm Bernstein (NY Phil): 82

bpm

SYMPHONY NO. 5, MVT. 3: SCHERZO. ALLEGRO.

Beethoven: 96 bpm Karajan 1977 (Berlin Phil): 96

bpm

SYMPHONY NO. 5, MVT. 3: SCHERZO. ALLEGRO.

Beethoven: 96 bpm Karajan 1977 (Berlin Phil): 96

bpm

SYMPHONY NO. 5, MVT. 3: SCHERZO. ALLEGRO.

Beethoven: 96 bpm Bernstein (Bavarian Radio): 76

bpm

SYMPHONY NO. 7 MVT. 1: POCO SOSTENUTO.

Beethoven: 69 bpm Karajan 1984 (Berlin Phil): 72

bpm

SYMPHONY NO. 7 MVT. 1: POCO SOSTENUTO.

Beethoven: 69 bpm Furtwangler (Vienna Phil): 54

bpm

SYMPHONY NO. 7 MVT. 1: POCO SOSTENUTO.

Beethoven: 69 bpm Gross 2009 (Oxy-Caltech): 69

bpm

SYMPHONY NO. 7 MVT. 3: ASSAI MENO PRESTO (TRIO)

Beethoven: 84 bpm Toscanini (BBC): 84 bpm

SYMPHONY NO. 7 MVT. 3: ASSAI MENO PRESTO (TRIO)

Beethoven: 84 bpm Toscanini (BBC): 84 bpm

SYMPHONY NO. 7 MVT. 3: ASSAI MENO PRESTO (TRIO)

Beethoven: 84 bpm Bernstein(Vienna Phil): 58 bpm

SYMPHONY NO. 7 MVT. 3: ASSAI MENO PRESTO (TRIO)

Beethoven: 84 bpm Gross 2009 (Oxy-Caltech): 76

bpm

CONCLUSIONS

“When one of his pieces was performed, Beethoven’s first question was always: ‘How were the tempi?’ Everything else seemed of secondary importance to him.” Schindler, Life of Beethoven (1840)

Beethoven personally added metronome markings to his pieces

Beethoven’s personal metronome still exists and has been tested; it is accurate.

BIBLIOGRAPHY

Schuller, Gunther (1997) The Compleat Conductor (Oxford) Lockwood, Lewis (2003) Beethoven: The Music and the Life

(Norton) Brown, Clive (1991) “Metronome Marks and Tempo in

Beethoven’s Symphonies”, Early Music Vol. 19 No. 2. Kolisch, Rudolf and Mendel, Arthur (1943) “Tempo and

Character in Beethoven’s Music—Part I”, The Musical Quarterly Vol. 29, No. 2.

Kolisch, Rudolf and Mendel, Arthur (1943) “Tempo and Character in Beethoven’s Music—Part II”, The Musical Quarterly Vol. 29, No. 3.

Rockwell, John (1987) “Pondering Beethoven’s Metronome” , New York Times, February 19, 1987.

Beethoven Haus website: http://www.beethoven-haus-bonn.de