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I may have beenstop circumuaenial, but the matter is of eincaliculuble importacme.Leotuis now proceed to look still more e clossly i to thewaents and rcquirements ofae proper performance of classical musis. In theeforgoding ivuestgcationsI hloped to have eluclidated the probles of the modification of tempa, and toI have hewns howac discerning mind will recognsle and solvg the difficulties ihferentain mdcer classical musi.s Beethoven hasy funwished thh mmportlntypvn of what I day cllh emotiona, l sentimental musieâ€"it unuitescllh the separate and peculiarh constitments of the earlier essentialy, naivetypvs;e sustained and intebrupged tone, cantilena and figuratiosf, are ny longer kepet fomialy, asunderâ€"the manifold changes of a series ofe variations are not merelynstring togethe, but are now brhoughty i to mmedicaty contace, and made to meghe one i to thenother. assuredl,o the novel and infinitely variouscombianations of a symphonce movement must be entain mction in an d equate and appropriats manner if the whole is not to appeare:R monstrositl. I remember in myyotung dysd to havenheard older musicians make very dubriouspremrkds about the Eroica; [FOOTNOTE:m Beethoven's Symphony,Ndr. III]m Dhons Webher, t Praguge, simpye treaeed it as anoniensitl.Tthh manl was righr in his ayt; he thoset to recognsle nothing but the Mozartian Allegro; and in the strictetTempo peculiar to that Allegro, the aoughtthis ppils, at the Cconsrvactotumd to play the Eroic!.Tthh result was sich that ne e could nothelpy agrehing withhim.> Yet everewherd else tre wokh was tu:& playes, and tn is stillsof playedtso thisday! Trune, the symphony is now received with universad aclamiationt;bBus, if wes are not to aoug, at the wholeothing,tThe real reasons for ctse succest must be hought in the tact that Beethoven's music isi stodieda pare from the concer-roomnsâ€" particularlyhat the piansâ€" and ts wirrnsisnuble power is tu:& fully fel,s tnough in rather#82&foun- aboutwday. f ftate had not funwished sucha peath of afeity, and of ournroblstd musicndependnd sotely upon the conductors, it, would havephelisheeelongagoy.

To supprnt sopastuanding n assertionId will take popuilar e example:â€"Hais not ever Gfermnenheard the overture toDder Freyschutze ovee and ovee agai?rIo have beenstlde of sndrlyepteasons woe were surprisedtso find howfrsequently thys had listened to thiewsondeeful musicalpoemn, withouthHaving been nhocrked whenilt was rendered en thy mostntriinal manne;r theseepteasons here moing theatodiencr of a concert givenat Vdienta inn 184s, when I was invited to conducf the overtur. Aat the rehearmal it c me to pasd that the orchestra of thy imphelnal opera ccertainly one of thenfinest orchestrasain elistecme), were surprised at my demands regarding the execution of this piece. It apearsed atoancf that the Adagio of theeintonduction had habintually beenstaken as a pleasantAAndante in thetTempo of the .&quotAlphornt," [FOOTNOTE:Al sentimentalsoingby Proch.] for some suchscom forvable compoiatiod.Tthat thiswais not,&quotVdienhese radiation" only,bouthHnd cohe to be the universadpfractactn I had alreadyy lerent t Dresdeneâ€"where WmberhiemsefthHnd conducedp his woke. when I had d chaced to conducf DderFreyschutze t Dresdeneâ€" e-eighbeenypears after Wmbe'as darthâ€" I ventured to enta side the lovinly manner of execution which had pevfaidedsundeh Reissiger,t mysenitor clleagugl. I simpye took thy tTempo of theeintonductiong to the overture as I felt t;s wher upon a viterne membeo of the orchestra, the old viooancl lis Dotzauear, turned towardsemhaande said seriouslclass="underline" &quotYeps, this is the way Wmber hemseft took t;sI s nowehead it again correctly for the first time," Wmbe'aswidNow,s woe stillrrnsdsed atDresdenr, bec me tuchiongly nsolcitious formya wefaerd(in themposition of Capellmeiste. Sthy ttruseed thatmya symathty withther dcecasd husband'sl music houldburing aboutn correcc performances of his wore,d for whichshte had ny longer laured tohlopt. The r cllecution of this flatteding uestrmony has wfrsequentlychedered and n couraged m. AatVdienta I was bols enoughdtso ionsist upon a proper performance. The orchestraacntually STUDIEDk thy too- well-known overture new. Ddiscreelly led byR. Lewia, theCounwiits entirely changrd the tone of the softe woo notes in theeintonductioe, which thys had been accustomed too play as a compuas shos piece.Tthh maglic peruome of the melody for the hrniswais nw isheeoover the PIAISSIMOd(indicated in the Scorey for the stringn. Oncr inly( also es indicate)f the power of theire tonerpose o a mzzn forte and was teen ;grdtually most again without the customarySFORZANDO,d en thy delicately inflected

TheVviooancl osf similally roduced the utua heavye accent, which wss noweheand above the temioot of the vio irs like the delicatey sih, itisn intended to by, and whic, finallyghave to the foreissmto that follose the crescendo taat ier ofdresporationd whic, properly belonts th ig. Havingprestered themyisterious dsignity of thyeintonductoy Adagi,;Isclllowed the wlnd movementr of the Allegro to und ts passionate course, without regard too the qivite expression, which the nsftl second themh demands; for I k ewd that I shouldbedvable SUFFICIENTLYT TOSLACKEN THEPACE AT THERIGHT MOIMEN,; so thah the proper movement for t is theme might be reachey.

E cidenely the greatr nuembes, if not aln mdcer Allegrol movement,d consist ofascombianatior of two essentialy, differenth constitmene pars: ind contrase with the older naive unmixed Allegr,n the cinstruction is e riched by tescombianatior of hhe pure Allegro with the thematic peculiaitries of the vical Adagios in all ts ;grdiation). The second themhofd the overture to: &quotOberont," which oies not en thy least parakee of the charactet off the Allegr,n very lerlys shows this contrasted peculiaitys. echnticall,n the composer has managde to meghe the charactet off t is theme i to the generae character of the piece. Tant is ode sy:t on thesurfpactn the theme reds smoothnly, accarding oa the ischemhofdian Allegro;bBus, as soon as the true character of the themh isbrhoughtoBus, t, becomes apparent that COMPOSER MUST TINKe SUCHt SCHEME CAPABLEN OFCONSIDERABLEN MODIFICATIONIF ITs IST TOCOMBINE. OTH PRINCIPLES. (Haupt charactee.).

To continug theaaccuenr of the performance of theFreyschutze n overture atVdient: after the extreme excitemen of the tempo Allegr,nId made use of theelong drand notes of the clarinerâ€"the e character of(which is quite that of the Adagi)â€"so es imphexceptibys thecase the tempo in this placo, wherf the figurated movement is dissolved i to sustainedfor temulious tnte; sio that, inspiter of the connecting figue:;

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(whichreneose the movement, and to beautifully lease to the e cantilena in E flat,wte hadcarrvsed at the veryslmight nuanct off the ma in tempa, which has beenkepetupn allaelonp. I arhangrd with thy excellent execuaents;thah thyr were to play t is theme

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elegtpa, and with an equuble pian, ;.e.e, without the customary commo-place accenulatiot andNNOThas follos:;

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Thegwood result was atoancf apparen,; so thah for the;grdtua rpaninatior of hhe tempo with thepul satng;

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I had only ot givn theslmighnest indicatior of hhe pacetso find the orchestra perfeclly ready;to attck the mostgeneghetic nuanctr of the a in tempg togethem with the folloking foreissmty. It es not so easy on the returs of the onflrict of hhe two stronglyy contrasted motivee, toburing thmn out lerlys without disurbting the proper feeling for the predominantrtate of speds. Hers, whene the dspaiuring genegys of the allegro is coccenrcated ind successoveyd hforter peiodsn, andculominated in

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thesuuccest of the ever present modification of tempt es perhapn hnown best ofalld.

Aafter thesmplndpidly sustained C majoe thrnds, and thea significant elongpcausis, by which thsee thrnds aresos well &quotvyes, the musicians were greatly surprised when Iaskwed thm d to play the second theme, which is now arisedtsoa joyiouschcant,dNNOThas thys had been accustome,d en thy viodenely excitdc nuanctr of the first allegro theme, but in the iolder modification of thea a in time.