The applause was probably included :)
:)
T*
On 08.09.20 12:18, Rainer wrote:
According to a source I cannot remember the Sonata lasted 55 minutes
when played by Liszt.
This is much slower than some modern performances.
Rainer
Am 08.09.2020 um 01:09 schrieb howard posner:
On Sep 7, 2020, at 1:19 PM, Rainer <rads.bera_g...@t-online.de> wrote:
Even List could not play the Hammerklavier Sonate at Beethoven's
metronome markings - if they are meant as they are today.
Hector Berlioz seems to indicate otherwise in an 1836 review of a
Liszt concert in the La Revue et Gazette musicale de Paris:
"Liszt has explained the work in such a way that if the composer
himself had returned from the grave, joy and pride would have swept
over him. Not a note was left out, not one added (I followed the
performance with the sheet music), not one alteration was made in the
tempo that was not indicated in the text (….) It was the ideal
performance of a work with the reputation of being unperformable. Liszt,
in bringing back a work that was previously not understood has shown
that he is a pianist of the future.”
This quote is from "Early Performances of Beethoven’s ‘Hammerklavier’
Sonata op. 106 in France and England” by Marten Noorduin:
https://www.ripm.org/cnc/?p=592
Here’s a different translation:
"A new Oedipus, Liszt, has solved it, solved it in such a way that
had the composer himself returned from the grave, a paroxysm of joy
and pride would have swept over him. Not a note was left out, not one
added . . . no inflection was effaced, no change of tempo permitted.
Liszt, in thus making comprehensible a work not yet comprehended, has
proved that he is the pianist of the future."
I haven’t seen the original Berlioz article in French (and it
wouldn’t do me much good if I did).
The real problem with Beethoven’s metronome marks is that they were
ignored in the early 20th century, and by time the early music
movement got to Beethoven there was a performance tradition going
back a few generations, and zillions of recordings establishing an
accepted range of tempi. Some of them worked even though they were
ridiculously wrong as a matter of performance practice: the
Allegretto second movement of the Seventh Symphony played as if it
were a slow movement comes to mind.
If I’m not mistaken, the Hammerklavier was the only piano sonata
Beethoven published with metronome marks. There are far more of them
in the orchestral works. Roger Norrington, in his recordings of the
Beethoven orchestral works, adhered to the metronome markings, and
often offers explanations of them in his written notes.
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