https://www.academia.edu/42802248/Historical_Evidence_of_Tempi_in_the_18_th_and_19_th_Centuries

On Saturday, August 20, 2022 at 1:38:54 AM UTC-7, Dan Koren wrote:
> https://www.academia.edu/42802248/Historical_Evidence_of_Tempi_in_the_18_th_and_19_th_Centuries

https://www.youtube.com/watch?v=7PwoFoZTTHU

Wim Winters is A BIG IDIOT !!!

dk

He's a nice person, really, but his theory is bonkers.

People go off the deep end sometimes.

On Friday, August 26, 2022 at 4:04:54 AM UTC-7, Herman wrote:
> He's a nice person, really, but his theory is bonkers.
>
> People go off the deep end sometimes.

Do they also come back sometimes?

I can see he is a very nice guy. It is
obvious from his demeanor and
from the way he speaks. His
theories are something else.

dk

On Friday, August 26, 2022 at 9:04:32 AM UTC-7, Dan Koren wrote:
> On Friday, August 26, 2022 at 4:04:54 AM UTC-7, Herman wrote:
> > He's a nice person, really, but his theory is bonkers.
> >
> > People go off the deep end sometimes.
>
> Do they also come back sometimes?
>
> I can see he is a very nice guy. It is
> obvious from his demeanor and
> from the way he speaks. His
> theories are something else.

https://www.youtube.com/watch?v=CgiHZySaUcc

dk

Whatever historical practice is around tempi, I think there's a small window around tempo which is entirely about what fits the music. That has been my experience around writing songs, where 2 bpm can actually make a just perceptible difference. I write in software so it's easy to play around with the bpm. Music just seems to have a natural "swing" at a certain tempo. Push it too much and it doesn't sit right, and you lose the emotional impact. Slow it too much and it just drags.

If we take Bach for instance, I feel the same. Tempi de Klemperer was very draggy, and it's surprising we put up with his B Minor Mass for so long. But Tempi de Mickey Mouse, as Reinhardt Goebels' Brandenburgs were called by some critic, seems out of control at times. I always feel there's a "right tempo" for music, but having said that, it depends how you conceptualise it.. Tempo is much more about "how you can make it work".

On Wednesday, August 31, 2022 at 7:10:27 AM UTC-7, Andy Evans wrote:
> Whatever historical practice is around tempi, I think there's a small window around tempo which is entirely about what fits the music. That has been my experience around writing songs, where 2 bpm can actually make a just perceptible difference. I write in software so it's easy to play around with the bpm. Music just seems to have a natural "swing" at a certain tempo. Push it too much and it doesn't sit right, and you lose the emotional impact. Slow it too much and it just drags.
>
> If we take Bach for instance, I feel the same. Tempi de Klemperer was very draggy, and it's surprising we put up with his B Minor Mass for so long. But Tempi de Mickey Mouse, as Reinhardt Goebels' Brandenburgs were called by some critic, seems out of control at times. I always feel there's a "right tempo" for music, but having said that, it depends how you conceptualise it. Tempo is much more about "how you can make it work".

https://groups.google.com/u/1/g/rec.music.classical/c/5WTf-kj6kP8/m/UbZeIDYoBwAJ

On Saturday, August 20, 2022 at 1:38:54 AM UTC-7, dan....@gmail.com wrote:
> https://www.academia.edu/42802248/Historical_Evidence_of_Tempi_in_the_18_th_and_19_th_Centuries

Concerning Mozart, according to Norrington:

- The crucial factor was always tempo – the speed of the music.

https://www.theguardian.com/music/2022/sep/06/roger-norrington-mozart-period-instruments-francesca-dega

On Wednesday, August 31, 2022 at 3:10:27 PM UTC+1, Andy Evans wrote:
> Whatever historical practice is around tempi, I think there's a small window around tempo which is entirely about what fits the music. That has been my experience around writing songs, where 2 bpm can actually make a just perceptible difference. I write in software so it's easy to play around with the bpm. Music just seems to have a natural "swing" at a certain tempo. Push it too much and it doesn't sit right, and you lose the emotional impact. Slow it too much and it just drags.
>
> If we take Bach for instance, I feel the same. Tempi de Klemperer was very draggy, and it's surprising we put up with his B Minor Mass for so long. But Tempi de Mickey Mouse, as Reinhardt Goebels' Brandenburgs were called by some critic, seems out of control at times. I always feel there's a "right tempo" for music, but having said that, it depends how you conceptualise it. Tempo is much more about "how you can make it work".

I don’t agree with this. I’ve been listening to Afanassiev’s late Brahms solo music this morning, the first time I’ve heard the music in about a year. It sounds fine. I remember enough about other performances to hear that it’s slow, but it’s no problem. I don’t believe that it’s true that there’s a narrow range of ”correct” tempos, from a poetic point of view.

On Thursday, September 8, 2022 at 8:38:43 AM UTC+1, Mandryka wrote:
> On Wednesday, August 31, 2022 at 3:10:27 PM UTC+1, Andy Evans wrote:
> > Whatever historical practice is around tempi, I think there's a small window around tempo which is entirely about what fits the music. That has been my experience around writing songs, where 2 bpm can actually make a just perceptible difference. I write in software so it's easy to play around with the bpm. Music just seems to have a natural "swing" at a certain tempo. Push it too much and it doesn't sit right, and you lose the emotional impact. Slow it too much and it just drags.
> >
> > If we take Bach for instance, I feel the same. Tempi de Klemperer was very draggy, and it's surprising we put up with his B Minor Mass for so long.. But Tempi de Mickey Mouse, as Reinhardt Goebels' Brandenburgs were called by some critic, seems out of control at times. I always feel there's a "right tempo" for music, but having said that, it depends how you conceptualise it. Tempo is much more about "how you can make it work".
> I don’t agree with this. I’ve been listening to Afanassiev’s late Brahms solo music this morning, the first time I’ve heard the music in about a year. It sounds fine. I remember enough about other performances to hear that it’s slow, but it’s no problem. I don’t believe that it’s true that there’s a narrow range of ”correct” tempos, from a poetic point of view.

And another example, someone gave me a transfer of Schnabel’s live Mozart K491, the one with Wallenstein. It’s much faster in the first movement than the studio recording with Suskind. Is it a better tempo? Possibly Schnabel thought so, but it’s not so obvious to me.

On Thursday, September 8, 2022 at 12:46:18 AM UTC-7, Mandryka wrote:
>
> And another example, someone gave me a transfer of
> Schnabel’s live Mozart K491, the one with Wallenstein.
> It’s much faster in the first movement than the studio
> recording with Suskind. Is it a better tempo? Possibly
> Schnabel thought so, but it’s not so obvious to me.

You listened to the wrong pianist playing the wrong
instrument. You should have listened instead to
Malcolm Bilson:

https://www.youtube.com/watch?v=vVA2D-UKarU

dk