The WEIDINGER Legacy - II movement скачать в хорошем качестве

The WEIDINGER Legacy - II movement

The second movements are a turning point in classical concerts. As a general rule, there is a tendency to think that they are slow movements as opposed to the first and third movements. Truly, the second movements present a contrasting character, a different material and musical ethos, which does not always imply a slow interpretation of it. I mean, in this particular case we are speaking according to the indication of the composer of a andante, not an adagio or any other indication of slower tempo. As Brian Moore argues in his “Haydn concerto in Twentith Century” research, a too slow interpretation of the second movement distorts its nature. What is it based on? To answer this question, we must bring out a new character, Sigismund Neukomm, who was Haydn's student. Neukomm added metronomic indications to the edition that was made in 1832 about the piano reduction of Haydn's Oratory of The Creation. The answer is found in the words of Neukomm himself: “... (speaking of Creation) I have heard it interpreted so many times under the direction of its author and, many times having personally directed it in his presence, I am able, I hope, to render a valuable service to the world of music by setting (metronomic indications) the speed of all the pieces; several of which have been frequently performed in a tempo never conceived by the composer ... ” That said, it is interesting to know the relationship or similarity between 6/8 of our Andante and nº 8 of Creation. As we mentioned earlier, in the review of the piano reduction that the Neukomm oratory makes, it establishes the relationship: eighth note = 120 To finish, I would like to include a table (photo) where some of the metronomic indications that both Neukomm, Czerny and Hummel establish for some of the last 6/8 Andantes of the last symphonies by Haydn and Mozart are collected.