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發表於 2015-1-30 20:35:02
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本帖最後由 dvmrp 於 2015-1-30 20:58 編輯
Just a layman opinion.
Beethoven probably starting to buy in the idea of metronome around 1817, “So far as I am myself concerned, I have long purposed giving up those inconsistent terms ‘allegro’, ‘andante’, ‘adagio’, and ‘presto’; and Mälzel’s metronome furnishes us with the best opportunity of doing so”. So, as of the others, tempo are marked in #9 in fact.
http://imslp.org/wiki/Symphony_No.9,_Op.125_(Beethoven,_Ludwig_van)
1st Movement: Allegro ma non troppo, un poco maestoso, 88
2nd Movement: Scherzo: Molto vivace - Presto, 116
3rd Movement: Adagio molto e cantabile, 60
4th Movement: Presto, 96
There are a lot of different opinions regarding the accuracy of the tempo marks. I do believe that his purpose is to enforce his idea on the performer, similar to other detailed markings in his scores. He itself probably does not need it, even though his hearing should be quite bad in that moment.
Anyway, conductors have their own preference that Beethoven just can't control. Although, there are many variations of tempo, emphasise on different combinations of inner or outer parts, one cannot turn a lion into a cat, especially #9 has such a strong character by itself.
If you're really concern with tempo, here are a few references for your information. The range can be quite large between different conductors.
Toscanini, NBC Symphony Orchestra, 1952
13:30/13:09/14:21/23:24
Karajan, 1977
15:21/10:04/16:50/24:23
Celibidache, 1989
17:32/12:31/18:01/28:57 |
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