On the performance of Beethoven's symphonies . P ?• • ##-» «/»|^ ^ !S 33iaz // / / $ i 303 s/ wy ?/m/ */!/?. NINTH SYMPHONY. 147 One other question I would like to submit for exami-nation; it concerns the last bar of page 40. Is there nota mistake of Beethovens here, and should not the lastdemi-semi-quaver here be G, as it is in the preceding similarpassages, and not C? The thematic progression AD is cer-tainly just as important here as before. It is in fact actuallyexecuted by the flutes and the kettle-drum, but it is almostinaudible if the trumpets, contrary to their previous modeof procedur
On the performance of Beethoven's symphonies . P ?• • ##-» «/»|^ ^ !S 33iaz // / / $ i 303 s/ wy ?/m/ */!/?. NINTH SYMPHONY. 147 One other question I would like to submit for exami-nation; it concerns the last bar of page 40. Is there nota mistake of Beethovens here, and should not the lastdemi-semi-quaver here be G, as it is in the preceding similarpassages, and not C? The thematic progression AD is cer-tainly just as important here as before. It is in fact actuallyexecuted by the flutes and the kettle-drum, but it is almostinaudible if the trumpets, contrary to their previous modeof procedure, remain on the C. I have therefore no hesi-tation in correcting this demi-semi-quaver to m n: In the next two bars (beginning of page 44) comes atlast the relief of a general diminuendo, and at the same timea moderate retardation of the original time, which is alreadysomewhat heavy. We have a passing impression of peaceduring bars 2—8 of page 44. I should like to insert atranquillo here, and in my opinion the bars ought to beplayed with a very restful, I might almost say, smiling ex-pression, withou
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