{"id":4679,"date":"2012-10-02T19:42:44","date_gmt":"2012-10-02T18:42:44","guid":{"rendered":"http:\/\/kennethwoods.net\/blog1\/?p=4679"},"modified":"2013-10-11T19:08:53","modified_gmt":"2013-10-11T19:08:53","slug":"what-do-you-do-when-beethoven-doesnt-give-you-a-metronome-marking","status":"publish","type":"post","link":"https:\/\/kennethwoods.net\/blog1\/2012\/10\/02\/what-do-you-do-when-beethoven-doesnt-give-you-a-metronome-marking\/","title":{"rendered":"What do you do when Beethoven doesn&#8217;t give you a metronome marking?"},"content":{"rendered":"<p><a href=\"http:\/\/ensemble-epomeo.net\/brokenthirds\/2012\/10\/02\/beethoven-looking-for-the-right-tempo-or-at-least-avoiding-the-wrong-ones\/\" target=\"_blank\">Reblogged from Broken Thirds, the Epomeo Blog<\/a><\/p>\n<p>&nbsp;<\/p>\n<p>It\u2019s been a few months since I sat down for a rehearsal with my colleagues in Ensemble Epomeo, but next week we begin a busy two-week tour of the East Coast, with a mountain of repertoire to learn- four huge programs in all. Central to most of our concerts is Beethoven\u2019s first String Trio, opus 3 in E flat. It\u2019s a big piece in six movements (it\u2019s really a Serenade, although Beethoven apparently didn\u2019t call it one) and a huge undertaking for any group that takes its challenges seriously.<\/p>\n<p>Although all of us had performed opus 3 at various times in our individual careers, we first played it as Epomeo last April. Among the many issues that brought up spirited discussions was the question of tempo.\u00a0 Perhaps since we all had played it before, we each came in with fairly strong ideas about tempi, and, in this case, those ideas didn\u2019t initially mesh. How does a democratic group with three independently minded artists come to a consensus about how fast we ought to play a movement of Beethoven? How do we know what the \u201cright\u201d tempo is?<\/p>\n<p>Can there even be a \u201cright\u201d tempo?<\/p>\n<p>Beethoven certainly thought there could be, and, more importantly, he was certainly concerned that performers avoid the wrong tempi. To this end, he was the first major composer to adapt the use of the metronome, and to give metronome markings to some of his works.<\/p>\n<p>How much did tempo matter to Beethoven? Well, late in his career he begged that the premiere of his <em>Missa solemnis<\/em> be postponed until the conductor received the new metronome markings for the piece. Better no performance at all than one that got all the tempi wrong.<\/p>\n<p>However, Beethoven\u2019s metronome markings have remained controversial, and there are many misunderstandings about what his metronome markings do and don\u2019t tell us. For instance, \u00a0many people think that taking note of the metronome markings leads to \u201cmetronomic\u201d playing in which everything is played in strictly unyielding time. This seems not to have been at all what Beethoven had in mind- as a pianist, he was very much a <em>rubato<\/em> player, and his tempi could vary quite a bit within a movement.\u00a0 A metronome marking is certainly not an attempt on Beethoven\u2019s part to tell us that ever bar in a movement should go at exactly that speed- in fact, it\u2019s perfectly possible that not a single bar will actually go at that exactly that speed. What it does tell you is the neighbourhood of the speed.<\/p>\n<p>Metronome markings also clarify the relationship between the tempi of different movements. For instance, in the 2<sup>nd<\/sup>\u00a0Symphony Beethoven marks both the main body of the first movement and the Scherzo at 100 beats per minute (the first mvt is in half notes, the third in dotted half notes). The Finale is marked 152, which means the quarter notes in the 3<sup>rd<\/sup>\u00a0mvt are the same speed (or as close as he could get on his metronome) to those\u00a0 in the Finale (300 per minute).\u00a0 So yes, one might decide that the marking for the first\u00a0 movement is \u201ctoo\u201d fast, but one then has to take that into account and adjust the last two movements accordingly. Also- the 2<sup>nd<\/sup>\u00a0movement is at 92- if the first movement gets much slower than the 100 he marks, the 2<sup>nd<\/sup>\u00a0movement no longer sounds very slightly slower as it should.<\/p>\n<p>One can also see that the speed of\u00a0 the pulse in the last movement of the 5<sup>th<\/sup>\u00a0Symphony should be slower than that of the Scherzo (many conductors, even George Szell, get this relationship completely backwards).<\/p>\n<p>Anyway- conductors have struggled with, argued about and ignored LvB\u2019s metronome markings for centuries. At least they get discussed. Beethoven also wrote metronome markings for all the quartets through opus 95.\u00a0 I\u2019m going to name drop for a moment here to make a point. I \u2018ve coached with members of the Borodin, Tokyo, La Salle, Pro Arte, Vermeer, Orford, Emerson, Vegh, Amadeus and Berkshire quartets, and that list is not all-inclusive. In all my years as a student, I never had a teacher call our attention to, discuss or, god forbid, achieve a single one of the metronomes in the Beethoven quartets. They literally never, ever once came up that I can remember (and if I\u2019ve forgotten, I apologize!). Sure, they\u2019re often fast and difficult, but they tell us so much about the pieces, about the relationships between movements, about what the Italian tempo terms mean.\u00a0 I wish I\u2019d been more curious as a young man when I was actually playing Beethoven quartets all the time. I feel like I wasted a great deal of time with those pieces. I would guess the Hungarian Quartet worked with Beethoven\u2019s metronome markings based on some of their tempi, and the\u00a0<a href=\"http:\/\/www.thebeethovenproject.com\/how-fast-shall-we-play\/\">Elias Quartet<\/a>\u00a0\u00a0have written about them, but the vast majority of quartets seem to ignore them or not even know about them.<\/p>\n<p>But back to opus 3!<\/p>\n<p>Fond as he was of the metronome, Beethoven didn\u2019t provide metronome markings for all of his music, and there are none for the string trios (at least to the best of my knowledge). So is all of this\u00a0 discussion of metronome markings irrelevant to Ensemble Epomeo and the Beethoven String Trios? Do we have to resort to instinct and taste? Well, I\u2019d argue that metronome markings can and should\u00a0<em><strong>always<\/strong><\/em>\u00a0be applied with instinct and taste. On the other hand,\u00a0 I was worried last spring that we were gravitating towards tempi that weren\u2019t consistent with what I\u2019d learned in 20 years of trying to understand the metronome marks in the symphonies.<\/p>\n<p>In the end, I decided to look for examples in other works of Beethoven of movements with similar Italian tempo markings, meters and rhythmic units. For instance, our most colourful discussions had been about the fourth movement of opus 3, and Adagio in 2\/4 in which the fastest notes are 32nds, and the harmonic rhythm is fairly slow. Were there movements in the symphonies that could be instructive as to what Adagio in 2\/4 with 32<sup>nd<\/sup>\u00a0notes meant to Beethoven? What about the second movement, an Andante in 3\/8, or the Finale, an Allegro in 2\/4? Is it in \u201ctwo\u201d or in \u201cone? Did Beethoven write any 2\/4 Finales with a metronome marking given in quarter notes? Only one- the Finale of his first String Quartet, opus 18 no. 1 is marked quarter=120, but there are oodles of sixteenth-note sextuplets and even 32<sup>nd<\/sup>\u00a0notes in it. All the others I can think of are marked in half notes and they all, like the Finale of opus 3, go up to sixteenth notes.<\/p>\n<p>Below are my findings. Of course, these kinds of extrapolations can\u2019t fully take into account the character and harmonic rhythm of a distinct piece of music, but I found this very interesting and instructive. Yes, most movements would likely end up faster than we played them last spring extrapolating from this list, but the 2nd Menuet will end up slower, which I think will be cool.<\/p>\n<p>Fellow musicians: What is your experience looking for the right tempo in Beethoven\u2019s music where there is no metronome marking?<\/p>\n<p>In any case, remember, a metronome marking is just a starting point.<\/p>\n<p>Meanwhile, here is a list of my comparisons, followed by links to some of Paavo Jarvi\u2019s performances of the symphonies which tend to be both technically accomplished and fairly close to the metronome marks. I\u2019ll also include a list of all the metronome markings for the quartets.<\/p>\n<p>And, have no doubt- even with this research done, the spirited discussions will continue!<\/p>\n<p><!--more--><\/p>\n<p><strong>I Allegro con brio<\/strong><\/p>\n<p>See Symphony 1 mvt 1 Allegro con brio half=112<\/p>\n<p>See Symphony 2 mvt 1 Allegro con brio half=100<\/p>\n<p>&nbsp;<\/p>\n<p><strong>II Andante (in 3\/8))<\/strong><\/p>\n<p>See Symphony 1 Andante cantabile con moto 8th=120<\/p>\n<p>And Symphony 2 Larghetto (slower than Adagio or Andante) 8th= 92<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Menuetto: Allegretto (in \u00be)<\/strong><\/p>\n<p>See opus 18 no.\u00a0 4 (Menuetto: Allegretto) bar= 84<\/p>\n<p>&nbsp;<\/p>\n<p><strong>IV Adagio (in 2\/4)<\/strong><\/p>\n<p>See Symphony 3 Adagio assai (ie slower than Adagio) 8th= 80<\/p>\n<p>See Symphony 4 Adagio 8th=84<\/p>\n<p>See opus 18 no. 2 Adagio cantabile (ie slower than Adagio) 8th= 72 (note goes up to 64th notes rather than 32nds)<\/p>\n<p>See opus 18 no. 5 Poco Adagio (ie faster than Adagio) 8th=88<\/p>\n<p>&nbsp;<\/p>\n<p><strong>V Menuetto: Moderato (in 3\/4)<\/strong><\/p>\n<p>See Symphony 8 Quarter= 126<\/p>\n<p>See opus 59 no. 3 (Menuetto: Grazioso) quarter=116<\/p>\n<p>&nbsp;<\/p>\n<p><strong>VI Finale: Allegro<\/strong><\/p>\n<p>See Symphony 1 Finale: Allegro molto e vivace bar=88<\/p>\n<p>See Symphony 3 Finale Allegro molto bar=76<\/p>\n<p>See Symphony 4 Finale: Allegro ma non troppo (ie slower than Allegro), bar=80<\/p>\n<p>See Symphony 6 Mvt 1 Allegro ma non troppo (ie slowwer than Allegro) bar=66<\/p>\n<p>See Symphony 7 Finale: Allegro con brio bar=72 (note there are more 16ths in this one, so likely to be slower than an Allegro con brio with mostly 8ths)<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Beethoven 1 Jarvi<\/p>\n<p><a href=\"http:\/\/youtu.be\/4C3eAbYFTHo\">http:\/\/youtu.be\/4C3eAbYFTHo<\/a><\/p>\n<p>Beethoven 2 Jarvi<\/p>\n<p><a href=\"http:\/\/youtu.be\/VAnjfp7vUvA\">http:\/\/youtu.be\/VAnjfp7vUvA<\/a><\/p>\n<p>Beethoven 3 Jarvi<\/p>\n<p><a href=\"http:\/\/youtu.be\/cziRynzmWaA\">http:\/\/youtu.be\/cziRynzmWaA<\/a><\/p>\n<p>Beethoven 4 Jarvi<\/p>\n<p><a href=\"http:\/\/youtu.be\/RMzLZsoPDU4\">http:\/\/youtu.be\/RMzLZsoPDU4<\/a><\/p>\n<p>Beethoven 6 Jarvi<\/p>\n<p><a href=\"http:\/\/youtu.be\/iQGm0H9l9I4\">http:\/\/youtu.be\/iQGm0H9l9I4<\/a><\/p>\n<p>Beethoven 8 Jarvi<\/p>\n<p><a href=\"http:\/\/youtu.be\/9-f3iKeUJm4\">http:\/\/youtu.be\/9-f3iKeUJm4<\/a><\/p>\n<p>&nbsp;<\/p>\n<pre>Quartet\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Movement\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Unit\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Speed<\/pre>\n<pre><\/pre>\n<pre> Op. 18 #1\u00a0\u00a0\u00a0\u00a0 I. Allegro con brio\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 54<\/pre>\n<pre>\u00a0\u00a0 (in F)\u00a0\u00a0\u00a0\u00a0\u00a0 II. Adagio affettuoso<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 ed appassionato\u00a0\u00a0\u00a0\u00a0 eighth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 138<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. Allegro molto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 112<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 120<\/pre>\n<pre><\/pre>\n<pre> Op. 18 #2\u00a0\u00a0\u00a0\u00a0 I. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 96<\/pre>\n<pre>\u00a0\u00a0 (in G)\u00a0\u00a0\u00a0\u00a0\u00a0 II. Adagio cantabile\u00a0\u00a0\u00a0\u00a0 eighth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 72<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 69<\/pre>\n<pre>\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0III. [Scherzo] Allegro\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 52<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Allegro molto<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quasi presto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 92<\/pre>\n<pre><\/pre>\n<pre> Op. 18 #3\u00a0\u00a0\u00a0\u00a0 I. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 120<\/pre>\n<pre>\u00a0\u00a0 (in D)\u00a0\u00a0\u00a0\u00a0\u00a0 II. Andante con moto\u00a0\u00a0\u00a0\u00a0 eighth\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a092<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 100<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Presto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 96<\/pre>\n<pre><\/pre>\n<pre> Op. 18 #4\u00a0\u00a0\u00a0\u00a0 I. Allegro ma non tanto\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 84<\/pre>\n<pre>\u00a0\u00a0 (in C min.) II. Andante scherzoso<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quasi allegretto\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0dotted qtr\u00a0\u00a0\u00a0\u00a0 56<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. [Menuetto]<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Allegretto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 84<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 whole note\u00a0\u00a0\u00a0\u00a0 66<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Prestissimo\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 whole note\u00a0\u00a0\u00a0\u00a0 84<\/pre>\n<pre><\/pre>\n<pre> Op. 18 #5\u00a0\u00a0\u00a0\u00a0 I. Allegro\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0dotted qtr\u00a0\u00a0\u00a0\u00a0 104<\/pre>\n<pre>\u00a0 (in A)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 II. Menuetto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 76<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. Andante cantabile\u00a0\u00a0 eighth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 100<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poco adagio\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 eighth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 88<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 whole note\u00a0\u00a0\u00a0\u00a0 76<\/pre>\n<pre><\/pre>\n<pre> Op. 18 #6\u00a0\u00a0\u00a0\u00a0 I. Allegro con brio\u00a0\u00a0\u00a0\u00a0\u00a0 whole note\u00a0\u00a0\u00a0\u00a0 80<\/pre>\n<pre>\u00a0 (in Bb)\u00a0\u00a0\u00a0\u00a0\u00a0 II. Adagio ma non troppo sixteenth\u00a0\u00a0\u00a0\u00a0\u00a0 80<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. [Scherzo] Allegro\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 63<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. [La Malinconia]<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Adagio\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0eighth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 58<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Allegretto quasi<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted qtr\u00a0\u00a0\u00a0\u00a0 88<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poco adagio\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 69<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Prestissimo\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted qtr\u00a0\u00a0\u00a0\u00a0 112<\/pre>\n<pre><\/pre>\n<pre> Op. 59 #1\u00a0\u00a0\u00a0\u00a0 I. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 88<\/pre>\n<pre>\u00a0 (in F )\u00a0\u00a0\u00a0\u00a0\u00a0 II. Allegretto vivace e<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sempre scherzando\u00a0\u00a0\u00a0\u00a0\u00a0 dotted qtr\u00a0\u00a0\u00a0\u00a0 56<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. Adagio molto<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 e mesto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 sixteenth\u00a0\u00a0\u00a0\u00a0\u00a0 88<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 126<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Adagio ma non troppo\u00a0\u00a0 eighth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 69<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Presto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 92<\/pre>\n<pre><\/pre>\n<pre> Op. 59 #2\u00a0\u00a0\u00a0\u00a0 I. Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted qtr\u00a0\u00a0\u00a0\u00a0 84<\/pre>\n<pre>\u00a0 (in E min.)\u00a0 II. Molto adagio\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 60<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. Allegretto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 69<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Presto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 whole note\u00a0\u00a0\u00a0\u00a0 88<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Piu presto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 whole note\u00a0\u00a0\u00a0 112<\/pre>\n<pre><\/pre>\n<pre> Op. 59 #3\u00a0\u00a0\u00a0\u00a0 I. Andante con moto\u00a0\u00a0\u00a0\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 69<\/pre>\n<pre>\u00a0 (in C )\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Allegro vivace\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 88<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 II. Andante con moto<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quasi allegretto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted qtr\u00a0\u00a0\u00a0\u00a0 56<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. Menuetto grazioso\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 116<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Allegro molto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 whole note\u00a0\u00a0\u00a0\u00a0 84<\/pre>\n<pre><\/pre>\n<pre> Op. 74\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0I. Poco adagio\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 60<\/pre>\n<pre>\u00a0 (in Eb)\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 84<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 II. Adagio ma non troppo eighth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 72<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. Presto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0 100<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Piu presto quasi<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 prestissimo\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted whole\u00a0 100<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Allegretto con<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 variazioni\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 100<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Un poco piu vivace\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 76<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a084<\/pre>\n<pre><\/pre>\n<pre> Op. 95\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I. Allegro con brio\u00a0\u00a0\u00a0\u00a0\u00a0 half\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 92<\/pre>\n<pre>\u00a0 (in F min.)\u00a0 II. Allegretto ma non<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 troppo\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 quarter\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 66<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 III. Allegro assai<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 vivace\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 69<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Piu allegro\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 dotted half\u00a0\u00a0\u00a0 80<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 IV. Larghetto\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 eighth\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 56<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Allegretto agitato\u00a0\u00a0 dotted qtr\u00a0\u00a0\u00a0\u00a0 92<\/pre>\n<pre>\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 All<\/pre>\n<div id=\"wp_fb_like_button\" style=\"margin:5px 0;float:none;height:100px;\"><script src=\"http:\/\/connect.facebook.net\/en_US\/all.js#xfbml=1\"><\/script><fb:like href=\"https:\/\/kennethwoods.net\/blog1\/2012\/10\/02\/what-do-you-do-when-beethoven-doesnt-give-you-a-metronome-marking\/\" send=\"false\" layout=\"box_count\" width=\"450\" show_faces=\"true\" font=\"arial\" action=\"like\" colorscheme=\"light\"><\/fb:like><\/div>","protected":false},"excerpt":{"rendered":"<p>Reblogged from Broken Thirds, the Epomeo Blog &nbsp; It\u2019s been a few months since I sat down for a rehearsal with my colleagues in Ensemble Epomeo, but next week we begin a busy two-week tour of the East Coast, with a mountain of repertoire to learn- four huge programs in all. Central to most of [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-4679","post","type-post","status-publish","format-standard","hentry","category-music-opion-life-as-a-performing-musician"],"_links":{"self":[{"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/posts\/4679","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/comments?post=4679"}],"version-history":[{"count":5,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/posts\/4679\/revisions"}],"predecessor-version":[{"id":5466,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/posts\/4679\/revisions\/5466"}],"wp:attachment":[{"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/media?parent=4679"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/categories?post=4679"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kennethwoods.net\/blog1\/wp-json\/wp\/v2\/tags?post=4679"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}