Gerig: Chapter 6

Gerig’s assertion that Beethoven respected musical integrity above all else is easily confirmed by accounts of his playing and teaching; even more important, a survey of his piano sonatas reveals his concern only for the most sincere and deep expression. In an attempt to attain this “integrity” of interpretation central to the Beethoven Sonatas many influences must be considered. A pertinent idea to me now is that Beethoven would advocate the ability to hear the tones before they are struck. Considering all the masterpieces he wrote when he could no longer hear, he could probably do this better than anyone…

Beethoven’s physical approach is also a good model, being described as “masterfully quiet.” Extraneous motion seems to be avoided, he insists that the fingers should not be raised more than necessary.

Gerig’s discussion of Beethoven’s relationship with the metronome is a myopic one. The majority of this discussion involves a single quotation from Schindler, who is not the most reliable source. I believe Gerig underestimates the importance of the metronome to Beethoven... In his compositions, rhythm and pulse are paramount. As he became older he went through increasing trouble to describe specifically the way his music should be performed. Indeed, in his correspondences regarding performances of his works we find his question, “how were the tempos?” often the first thing asked, as if everything else was less important. His metronome marks therefore must not be dismissed.

Outside the realm of jazz, improvisation has become largely unknown in music. I think this is unfortunate… I wish it could be a part of the standard classical curriculum, as it incorporates so many essential elements of our art including ear training, technique, theory, spontaneity, and of course, creativity.