Author: brycon
Date: 2019-03-02 21:36
Richard Taruskin writes about the changes to tempi (though not specifically about the Mozart concerto) in his collection of essays Text and Act. In short, he attributes speeding up to the influence of the historical performance movement and Toscanini's conducting. (But he interestingly shows that Furtwangler, at his fastest, can exceed the tempi of historically-minded conductors.)
I enjoy quicker and slower performances--Furtwangler and Norrington draw out different things from the music. For people complaining about faster Mozart concertos, how much of your opinion is formed by what you grew up listening to? Also... Quote:
It sounds a bit cynical, but I think many soloists of today don't care so much about studying sources and find out what the piece is all about - it´s a competition, you have to show your skills and to attract attention if you want to survive. ...this sentiment, while true perhaps for a few performers, is largely hokum. Beethoven's tempo markings, for instance, are incredibly fast. I assume no one would argue that Beethoven didn't care so much about what his own music was about and just wanted to draw attention to himself.
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The Clarinet BBoard
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