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die feste Rhythmik der figurativ geschmuckten Begleitung das neue
Gesetz der Festhaltung einer bestimmten Bewegung gegeben, welches
in seinen ausgebildeten Konseqnenzen uns zum Gesetz fur das
Zeitmaass des Allegro wird."]

of the Adagio's tendency towards infinite expansion; there,
limitless freedom in the expression of sound, with fluctuating,
yet delicately regulated movement; here, the firm rhythm of the
figurated accompaniments, imposing the new regulation of a steady
and distinct pace--in the consequences of which, when fully
developed, we have got the law that regulates the movement of the
Allegro in general. We have seen that sustained tone with its
modifications is the basis of all musical execution. Similarly
the Adagio, developed, as Beethoven has developed it in the third
movement of his Ninth Symphony, may be taken as the basis of all
regulations as to musical time. In a certain delicate sense the
Allegro may be regarded as the final result of a refraction
(Brechung) of the pure Adagio-character by the more restless
moving figuration. On careful examination of the principal
motives of the Allegro it will be found that the melody (Gesang)
derived from the Adagio, predominates. The most important Allegro
movements of Beethoven are ruled by a predominant melody which
exhibits some of the characteristics of the Adagio; and in this
wise Beethoven's Allegros receive the EMOTIONAL SENTIMENTAL
significance which distinguishes them from the earlier naive
species of Allegro. However, Beethoven's [Musical Score: Symphony
III. "Eroica."] and Mozart's [Footnote: Symphony in C major,
"Jupiter."]

or:--

[Musical Score excerpt]

are not far asunder. And with Mozart, as with Beethoven, the
exclusive character of the Allegro is only felt when the
figuration gets the upper hand of the melody (Gesang) that is,
when the reaction of the rhythmical movement against the
sustained tone is entirely carried out. This is particularly the
case in those final movements which have grown out of the
Rondeau, and of which the Finales to Mozart's Symphony in E flat,
and to Beethoven's in A, are excellent examples. Here the purely
rhythmical movement, so to speak, celebrates its orgies; and it
is consequently impossible to take these movements too quick. But
whatever lies between these two extremes IS SUBJECT TO THE LAWS
OF MUTUAL RELATIONSHIP AND INTERDEPENDENCE; AND SUCH LAWS CANNOT
BE TOO DELICATELY AND VARIOUSLY APPLIED, for they are
fundamentally identical with the laws which modify all
conceivable nuances of the sustained tone.

I shall now turn to the question of the MODIFICATION OF TEMPO; a
question of which our conductors know nothing, and for which they
consequently profess contempt. Whoever has followed me so far
with attention will, I trust, understand that this question goes
to the root of the matter before us. In the course of the
argument so far, two species of Allegro have been mentioned; an
emotional and sentimental character has been assigned to the
latter, the true Beethovenian Allegro, whereas the older
Mozartian Allegro was distinguished as showing a naive character.
I have adopted the expressions "sentimental" and "naive" from
Schiller's well-known essay upon "sentimental and naive poetry."

It is needless to discuss the aesthetic problems Schiller touches
upon. It is enough to state here that I take Mozart's quick Alla-
breve movements as representative of the naive Allegro. The
Allegros of the overtures to his operas, particularly to "Figaro"
and "Don Giovanni" are the most perfect specimens. It is well
known that Mozart wished these pieces to be played as fast as
possible. Having driven his musicians into a sort of rage, so
that to their own surprise they successfully rendered the unheard
of Presto of his overture to "Figaro," he commended them, saying:
"that was beautiful! Let us take it still quicker this evening."
Quite right. As I have said of the pure Adagio that, in an ideal
sense, it cannot be taken too slowly, so this pure unmixed
Allegro cannot be given too quickly.

The slow emanations of pure tone on the one hand, and the most
rapid figurated movement on the other, are subject to ideal
limits only, and in both directions the law of beauty is the sole
measure of what is possible. The law of beauty establishes the
point of contact at which the opposite extremes tend to meet and
to unite. The order of the movements in the symphonies of our
masters--from the opening Allegro, to the Adagio, and thence by
means of a stricter dance-form (the Menuet or Scherzo), to the
quickest Allegro (Finale)--shows a perfect sense of fitness. To
my mind, however, there are signs of a deterioration of the sense
of fitness when composers exhibit their platitudes in the SUITE
[FOOTNOTE: Compare Franz Lachner's Suites for Orchestra.] and
attempt to bolster up that old form, with its less thoughtfully
arranged succession of typical dance tunes; for these have been
fully developed elsewhere, and have already been embodied in far
richer, more extensive and complex forms.

Mozart's ABSOLUTE Allegros belong to the naive species. As
regards the various degrees of power of tone (Nach der Seite der
Dynamik hin) they consist of simple changes of piano and forte;
and, as regards structure they show certain fixed and stable
rhythmic melodic traits (Formen) which, without much choice or
sifting, are placed side by side, and made to chime with the
changes of piano and forte; and which (in the bustling ever-
recurring semi-cadences) the master employs with more than
surprising ease. But such things--even the greatest negligence
(Achtlosigkeit) in the use of common-place phrases and sections--
are explicable and excusable from the nature of this sort of
Allegro, which is not meant to interest by means of Cantilena,
but in which the restless incessant movement is intended to
produce a certain excitement. It is a significant trait in the
Allegro of the overture to Don Giovanni that this restless
movement ends with an unmistakable turn towards the
"sentimental." Here--where the extremes meet, at the point of
contact indicated above--it becomes necessary to modify the tempo
in the bars leading from the overture to the first tempo of the
opera (which is also an alla-breve but a slower one)--and the
pace must be slackened accordingly. But our conductors, in their
customary crude way, generally miss this point in the overture.
We need not, however, now be lead into premature reflections. Let
us merely consider it established that the character of the older
classical or, as I call it, naive Allegro differs greatly from
the new emotional sentimental Allegro, peculiar to Beethoven.
Mozart became acquainted with the orchestral crescendo and
diminuendo at Mannheim, (in 1777) when the orchestra there had
acquired it as a novelty: up to that time the instrumentation of
the old masters shows that, as a rule, nothing was inserted
between the forte and piano sections of the allegro movements
which can have been intended to be played with emotional
expression. Now, how does the true Beethovenian Allegro appear
with regard to this? To take the boldest and most inspired
example of Beethoven's unheard-of innovation in this direction,
the first movement of his Sinfonia eroica: how does this movement
appear if played in the strict tempo of one of the Allegros of
Mozart's overtures? But do our conductors ever dream of taking it
otherwise? Do they not always proceed monotonously from the first
bar to the last? With the members of the "elegant" tribe of
Capellmeisters the "conception" of the tempo consists of an
application of the Mendelssohnian maxim "chi va presto va sano."

Let the players who happen to have any regard for proper
execution make the best of it in passages like:--

[Musical Score]

or the plaintive:--

[Musical Score]

the conductors do not trouble their minds about such details;
they are on "classic ground," and will not stop for trifles; they
prefer to progress rapidly "grande vitesse," "time is money."

We have now reached the point in our discussion from which we can
judge the music of the day. It will have been noticed that I have
approached this point with some circumspection. I was anxious to
expose the dilemma, and to make everyone see and feel that since
Beethoven there has been a very considerable change in the
treatment and the execution of instrumental music. Things which
formerly existed in separate and opposite forms, each complete in
itself, are now placed in juxtaposition, and further developed,
one from the other, so as to form a whole. It is essential that
the style of execution shall agree with the matter set forth--
that the tempo shall be imbued with life as delicate as the life
of the thematic tissue. We may consider it established that in
classical music written in the later style MODIFICATION of Tempo
is a sine qua non. No doubt very great difficulties will have to
be overcome. Summing up my experiences I do not hesitate to
assert that, as far as public performances go, Beethoven is still
a pure chimera with us. [FOOTNOTE: i.e.. in 1869.]

I shall now attempt to describe what I conceive to be the right
way of performing Beethoven, and music akin to his. In this
respect also the subject seems inexhaustible, and I shall again
confine myself to a few salient points.

One of the principal musical forms consists of a series of
VARIATIONS upon a theme. Haydn, and eventually Beethoven, have
improved this form, and rendered it artistically significant, by
the originality of their devices, and particularly, by connecting
the single variations one with the other, and establishing
relations of mutual dependence between them. This is accomplished
with the happiest results in cases where one variation is
developed from another--that is to say, when a degree of
movement, suggested in the one is carried further in the other,
or when a certain satisfactory sense of surprise is occasioned by
one variation supplying a complementary form of movement, which
was wanting in the one before it. The real weakness of the

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