On the performance of Beethoven's symphonies . ssage onpages 58 and 59. 58 FOURTH SYMPHONY. Page 62. The Finale is marked allegro, ma non humour of this delightful piece is quite destroyed how-ever if the ??ma non troppo^ is not observed, and the move-ment is played like the Presto of one of Haydns finalSymphony-movements. It must not only be begun with acomparatively quiet time, but this time must be maintainedthroughout, so that the piquant play of the semi-quaversdoes not degenerate into a study, nor the pleasing melodyof the secondary theme into a mere commonplace gre
On the performance of Beethoven's symphonies . ssage onpages 58 and 59. 58 FOURTH SYMPHONY. Page 62. The Finale is marked allegro, ma non humour of this delightful piece is quite destroyed how-ever if the ??ma non troppo^ is not observed, and the move-ment is played like the Presto of one of Haydns finalSymphony-movements. It must not only be begun with acomparatively quiet time, but this time must be maintainedthroughout, so that the piquant play of the semi-quaversdoes not degenerate into a study, nor the pleasing melodyof the secondary theme into a mere commonplace great charm of this movement lies just in the contrastbetween the moderate time and the animated figuration. Itgives an impression of speed without really being playedquickly. The metronome mark J :^ 80 does not agree inthe least with the time-signature. I should think J =126would be about right. Page 64, bars 10—17. I recommend that this passage beohrased as follows: Violins Violoncell,and Basso p rn] I Jyir f^^ p esfr. » J^^ ^ Efc ^^ te. FOURTH SYMPHONY. 59 Page 67. The first part should be repeated. If this isnot done the whole piece is indecorously short. Page 73, bars 6—g. This is an extremely difficult passagefor thefirst bassoon; indeed it becomes impossible if eitherthe orchestra, or the conductor, or both, have allowed them-selves to become hurried. The four preceding, twice repeateds/orzaio-hars, and the short, cutting strokes of the brokenminor-ninth chords immediately before these, offer the bestopportunity of keeping to the original moderate time, andeven of holding it back if it has become quicker at anyprevious moment; thus the bassoonist can play his solo at arelatively moderate speed. Page 75, bars 6—13. See page 64, bars 10—17. Page 79, bar 10 to page 80, bar 2. This passage alsoshould on no account be hurried, otherwise both its lucidityand its grace are lost. Page 80, bar 13. I should like to mark this bar /j(f. Theff which governs the whole preceding
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