Robert Schumann:Nyitány,Scherzo és Finálé Op.52 1.Nyitány:Andante con moto - Allegro 00:00 2.Scherzo:Vivo 06:37 3.Finálé:Allegro molto vivace 11:51 Európai Kamarazenekar Vezényel:Nikolaus Harnoncourt
I doubt that the metronome markings in the first orchestral edition (1853), which Harnoncourt adheres to, is from Schumann, tbh, although it's nice to hear a recording with these metronomes. In his 4 hands version of it, which was issued 5 years earlier (1847), he indicates considerably faster tempi to the point where you question how can a composer change his mind this drastically about the tempo of his own composition! 80 for the Andante instead of 60, 138 for the Allegro instead of 108, a whopping 112 instead of 84 for the Scherzo, and get this: minim 168 for the Finale instead of semibreve 74. 74 doesn't even exist on the Maelzel metronome scale, so it's most likely either a misprint, or whoever was responsible for the revision of Schumann's metronomes (I suspect Clara), didn't know what he/she was doing.
Correction: apparently Clara Schumann counted how many beats she would play in a minute instead of just giving an exact figure. A confusing approach nonetheless.
Interesting, I was wondering if I was the only one to consider the Scherzo performed here to be too slow (at least to my personal liking) - but perhaps Schumann himself would have played it faster... (perhaps.)
Robert Schumann:Nyitány,Scherzo és Finálé Op.52
1.Nyitány:Andante con moto - Allegro 00:00
2.Scherzo:Vivo 06:37
3.Finálé:Allegro molto vivace 11:51
Európai Kamarazenekar
Vezényel:Nikolaus Harnoncourt
I doubt that the metronome markings in the first orchestral edition (1853), which Harnoncourt adheres to, is from Schumann, tbh, although it's nice to hear a recording with these metronomes. In his 4 hands version of it, which was issued 5 years earlier (1847), he indicates considerably faster tempi to the point where you question how can a composer change his mind this drastically about the tempo of his own composition! 80 for the Andante instead of 60, 138 for the Allegro instead of 108, a whopping 112 instead of 84 for the Scherzo, and get this: minim 168 for the Finale instead of semibreve 74. 74 doesn't even exist on the Maelzel metronome scale, so it's most likely either a misprint, or whoever was responsible for the revision of Schumann's metronomes (I suspect Clara), didn't know what he/she was doing.
Correction: apparently Clara Schumann counted how many beats she would play in a minute instead of just giving an exact figure. A confusing approach nonetheless.
All of Schumann's MM markings are terrible. He was also a terrible conductor, which may be a related issue.
Interesting, I was wondering if I was the only one to consider the Scherzo performed here to be too slow (at least to my personal liking) - but perhaps Schumann himself would have played it faster... (perhaps.)
What CD is this from?
14:45