[121] This was the exact number of performers on the occasion when his Symphonies were first brought forward.—ED.
[122] The metronomic sign may be compared to a paragraph of a code of laws which is cited as an authority for the decision in some particular case. The dictating movement of the metronome facilitates a just comprehension of a musical composition. A correct metronomic direction leads the intelligent musician by the right path into the spirit of the music; whilst an erroneous indication of the time leads him very far astray in his endeavours to seize that spirit.
[123] By way of excepting my self from the sweeping censure here bestowed upon all who have attempted to fix the metronomic signs to Beethoven's compositions, I hope I may be permitted to state, that in superintending for Messrs. Cramer and Co. the new edition of his works, and in metronomising the several compositions, I have not merely listened to my own musical feelings, but been guided by my recollections of what I gathered from Beethoven's own playing, and that of the Baroness Ertman, whom I have heard perform many of his works in his presence, and to his entire satisfaction, at the musical meetings alluded to by M. Schindler in this work, vol. i, p. 183, and at Mr. Zmeskall's. In some of the quick movements I have purposely refrained from giving way to that rapidity of piano-forte execution, so largely developed at the present time. It is with satisfaction that I add, that the tempi I have ventured to give differ very slightly from those affixed to Haslinger's Vienna edition, by Carl Czerny, whom I consider to be a competent authority in the matter.—ED.
[124] Did not M. Schindler, in page 119 of this volume, more duly appreciate the merits of Liszt than the reader might infer from the above, I should gladly avail myself of this opportunity to do homage to the amazing talent of that artist.—ED.
[125] I cannot calmly submit to be put under this ban, but rather stand up and defend my metronomic Signs of the Op. 27, as well as of all the others in the edition.—ED.
[126] In this angry denunciation against metronomising M. Schindler goes too far. The musical world knows, that marking the time by a metronome is but a slight guide for performers and conductors. Its object is to show the general time of a movement, particularly at its commencement; but it is not to be followed strictly throughout; for no piece, except a march or a dance, would have any real life and expression, or light and shade, if the Solo performer, or the orchestra under its conductor, were strictly to adhere to one and the same tempo, without regard to the many marks which command its variations. (See M. Schindler's own subsequent words on this subject, pp. 116 and 117.) The player or conductor, who enters into the time and spirit of the piece must feel when and where he has to introduce the necessary changes: and these are often of so delicate a nature, that the marks of the metronome would become superabundant, not to say impossible. This duly considered, the differences in the metronomic signs here denounced will be found too trifling to draw forth such animadversions.—ED.
[127] In Op. 27 both title and dedication vary from the mode in which they are given by the composer. The following are the words written by Beethoven, which refer specially to No. 1:—"Sonata quasi Fantasia, dedicata alla Madamigella Contessa Giulietta di Guicciardi."
[128] This reasoning seems to me somewhat void of logic, since the same spirit which would urge M. Schindler's "most fashionable" piano-forte player to exceed the tempi of Beethoven's Sonatas, would prompt him also to play the above-mentioned Studies with such a degree of celerity as must enable him to be prepared for the difficulties, at prestissimo speed, of the great master's Sonatas.—ED.
[129] Beethoven himself?—ED.
[130] I shall presently have occasion to quote a remark of Beethoven's, in which the above words occur.