| I. | Adagio, = 60. |
| II. | Allegretto, = 84. |
| III. | Presto agitato, = 92. |
In the London edition of Beethoven's piano-forte works, edited by J. Moscheles, the same Sonata has affixed to it the following metronomic directions:—
| I. | Adagio, = 60. |
| II. | Allegretto, = 76. |
| III. | Presto agitato, = 92. |
In the Vienna edition of the Sonata in E flat major, the metronomic directions are as follow:—
| I. | Andante, = 72. |
| II. | Allegro, 6/8 · = 116. |
| III. | Allegro molto vivace, 3/4 · = 138. |
| IV. | Adagio, = 69. |
| V. | Finale, allegro vivace, = 160. |
In the London edition the different movements of the same Sonata are thus marked:—
| I. | Andante, = 69. |
| II. | Allegro, 6/8 · = 104. |
| III. | Allegro molto vivace, 3/4 · = 126. |
| IV. | Adagio, = 76. |
| V. | Finale, allegro vivace, = 132. |
What a Babel of confusion as to the right feeling, and what confusion also in regard to the conception of Beethoven's sacred legacy to posterity is thus exhibited![126] and similar inconsistencies are apparent throughout all his works in these new editions.[127] Who does not with deep regret feel that such gross neglect amounts almost to profanation of the works of the great master? Are, then, these divine compositions to be converted into show pieces for the performance of professional piano-forte players? Nevertheless, I am bound to admit that some of the tempi, as marked in the new London edition, approximate more nearly to the composer's original intention.
The fashion of the day tends to preclude any one from attempting to play one of Beethoven's Sonatas who has not for a year together practised the hand and finger-spraining exercises of modern performers. What is now-a-days thought of a simple Allegro, as written by Mozart or Beethoven? It is converted into a Presto; and so other movements are accelerated in gradation. And, truly, this is the method whereby the works of these great masters, already become antiquated, are accommodated to modern taste!
It is not yet very long since an assiduous practice of the Studies of Aloys Schmidt and of John Cramer used to smooth the way of the intelligent pianist to the most difficult works of Beethoven; and if greater mechanical dexterity of fingering was required to make the path more secure, the Studies of Hummel, Moscheles, or Kalkbrenner were found sufficient. But what would the practice of these exercises now avail?[128] They would not enable the student to play the first three Sonatas of Beethoven according to the newest fashion. What, then, it may be asked, becomes of feeling and expression which ought to have room to develop themselves, so that in certain passages the tone may seem, as it were, to sing and reverberate? Where now is feeling—where expression, and, indeed, where opportunity for the manifestation of any sensibility? Let Beethoven's piano-forte works be played according to the new metronomic directions, and it will soon be perceived that no more opportunity is left for feeling and expression than the most rapid fingering affords; and that this rule extends even to the execution of the Adagio.