On 02.06.2003 12:08 Uhr, David H. Bailey wrote > On what do you base your assumption that he followed his own metronome > markings? Especially in light of the fact that most modern composers > who conduct don't follow their own metronome markings, I find it hard to > believe that he always followed his own markings. > > But I am willing to be convinced otherwise.
Ok, I'll try. First of all I honestly don't think that one can make the assumption that if modern composers don't stick to their own markings that this has any relevance to composers in the first half of the 19th century. In addition, you may want to read a few comments on metronome markings by Schönberg (published in the larger edition of Style and Idea as far as I remember). The point is that in the early 19th century it was not common to mark metronome numbers. If they were marked there is a reason for this, usually the reason was that the composer wanted to prevent his music from being played to slowly. In the 20th century metronome markings are much more common, plus they are in certain pieces needed to get any idea of what the tempo is meant to be, or rather to understand the character of the music. (I am not saying that those metronome markings are necessarily less exact than those in the 19th century.) (Furthermore, I wonder whether generally it is every right of the composer himself to take whatever tempo he believes is correct, while this is not necessarily the right of the performer. But that's a different question.) I am actually convinced that most of Beethoven's metronome markings are to be taken seriously as well. However, the case with Mendelssohn is a little different, as he more than any other 19th century composer was not only a composer who occasionally conducted, but also a pianist, violinist, violist and especially one of the most famous conductors. Reports about his performances all agree that he took the tempi rather swift, or more to the point, extremely fast. There is a letter from his mother (I think) writing to him about a quartet performance of one of his string quartets by another quartet, saying that the performance was not so bad, but not comparable to when they were played by the quartet where Mendelssohn himself played viola. If I remember correctly she makes some specific comments about the tempi. Mendelssohn started marking his pieces at a very early age, when he was a very "specific" child. Even the first string symphony is numbered, and this was not written for publication, but for a specific performance in the Mendelssohn house. His markings (not only the metronome numbers) in this piece are those of a very clever but also very determined, educated and strict mind. It makes no sense for him to be so extremely exact in everything _but_ metronome markings. To add just one value judgement: I think all the Grete Wehmayer (or however her name is spelled) theories about Beethoven's and other's metronome markings not meaning what they say is a whole lot of b*llsh*t. Discuss... If you'd like an interesting read on Beethoven's metronome markings try Rudolf Kolisch's essay. Johannes -- http://www.musikmanufaktur.com http://www.camerata-berolinensis.de _______________________________________________ Finale mailing list [EMAIL PROTECTED] http://mail.shsu.edu/mailman/listinfo/finale
