[131] "The tempo of the Sonata, fixed by Maelzel's metronome, you shall have by next post," says Beethoven, in his letter of the 30th of April. Why not have sent it with the manuscript of the music? It was a mechanical occupation, and Beethoven was not inclined to turn to it on that day. Unfortunately, he was not better disposed to set about it before the departure of the following post.
[132] The reader will recollect Beethoven's letter to Moscheles, dated March 18th, 1827, alluded to in the third period. In that letter he enclosed the metronomic signs for the Ninth Symphony, after the Symphony to which those signs belonged had been some time in London.
[133] If Beethoven, though acknowledging the useful adaptability of the metronome, was, nevertheless, frequently undetermined, and, by twice fixing metronomic signs to the same works, contradicted himself, it merely shows that he was influenced by the musical feeling of the moment. Another proof that two different musicians, like Czerny and myself, could naturally hardly fail to deviate slightly in pointing out the tempo of Beethoven's works. His saying here quoted, "Better no metronome!" is no proof that he wished to abolish its use, but that he only feared that it might be insufficient to determine the rate of movement in its different variations.—ED.
[134] See my note, [p. 100].—ED.
[135] With regard to pianoforte playing, Beethoven always inculcated the following rule:—"Place the hands over the key-board in such a position that the fingers need not be raised more than is necessary. This is the only method by which the player can learn to generate tone, and, as it were, to make the instrument sing." He abjured the staccato style, especially in the performance of phrases, and he derisively termed it "finger-dancing," or "manual air-sawing." There are many passages in Beethoven's works which, though not marked with slurs, require to be played legato. But this a cultivated taste will instinctively perceive.
[136] I agree with M. Schindler in these remarks. The slight deviations of time recommended must give life and expression, not only to this movement, but also to the imaginative compositions of all the great masters.
Their success, however, can only be assured by intimate acquaintance on the part of the band with the manner of the conductor, and his mode of conveying his intentions, either from long intercourse or careful rehearsals.—ED.
[137]?!—ED.
[138] See Score, p. 3.
[139] See Score, p. 23.