Part 5 (2/2)

TERMS INDICATING A MORE RAPID TEMPO

1. A gradual acceleration _accelerando_ _affrettando_ _stringendo_ _poco a poco animato_

2. A definitely faster tempo at once _piu allegro_ _piu presto_ _piu animato_ _piu mosso_ _piu tosto_ _piu stretto_ _un poco animato_

TERMS INDICATING A SLOWER TEMPO

1. A gradual r.e.t.a.r.d _ritardando_ _rallentando_ _slentando_

2. A definitely slower tempo at once _piu lento_ _meno mosso_ _ritenuto_

3. A slower tempo combined with an increase in power _largando_ } _allargando_ } (literally, ”becoming broad”)

4. A slower tempo combined with a decrease in power _morendo_ } _perdendo_ } _perdendosi_ } (Usually translated, ”gradually dying away”) _calando_ } _smorzando_ }

(After any of the terms in the above list, a return to the normal tempo is indicated by such expressions as _a tempo_, _tempo primo_, _et cetera_.)

[Sidenote: TEMPO _NUANCES_]

But in addition to the variations in tempo more or less definitely indicated by the composer there are (particularly in modern music) innumerable tempo fluctuations of a much subtler nature; and since these are now recognized as a part of really artistic choral and orchestral interpretation, (as they have long formed an indispensable element in expressive piano performance) a brief discussion of their nature will be included before closing this chapter.

In some cases a variable tempo is asked for by the composer by means of one of the following expressions:

_tempo rubato_ (literally, ”robbed time”) _ad libitum_ (at pleasure) _a piacere_ (at pleasure) _a capriccio_ (at the caprice) _agitato_ (agitated)

(The term _tempo giusto_--in exact tempo--is the opposite of the above expressions, and is used to indicate that the music is to be performed in steady tempo.)

In the majority of cases, however, the composer gives no indication whatsoever, and the whole responsibility therefore rests upon the performer or conductor. It is because of this latter fact that the amateur must study these matters indefatigably. The advent of a more elastic rhythm and tempo has undoubtedly made all musical performance infinitely more pleasurable to the listener than it formerly was; but unfortunately (especially since the advent of Chopin's music) there has been a great deal of misunderstanding as to the use and meaning of this valuable new expressional element.

_Tempo rubato_ may be compared to speaking certain words more slowly or more rapidly in order that the essential meaning of the entire sentence may be more strongly impressed upon the listener. It must not however break up the continuity of the tempo; as one writer has said ”we must bend the tempo, but not break it.” Another well-known author, in treating the same point, states that[15]

Freedom in tempo does not mean unsteadiness.... We must have in music the sense of equilibrium, of stability. A careless, spasmodic hurrying and r.e.t.a.r.ding leads only to flabbiness and inconsequence.

[Footnote 15: d.i.c.kinson, _The Education of a Music Lover_, p. 21.]

The most common kind of _rubato_ is probably that in which the first part of the phrase (up to the climax) is accelerated, the climacteric tone lingered upon slightly, then the remainder of the phrase rendered _a tempo_ or possibly slightly _ritardando_. But there are many phrases that demand a totally different sort of treatment; _e.g._, a _ritardando_ in the first part instead of an _accelerando_. Which is the appropriate way of delivering any particular phrase must be determined in every case by musical feeling.

The thing that the beginner is apt to forget at the period when his musical feeling though sincere is yet characterized by lack of refinement, is that these _nuances_ must always be subtle, and that the listener ought not to have fluctuations in tempo thrust in his face at every turn. Indeed we may say that he should hardly know that they are present, unless he is making a definite attempt to a.n.a.lyze the performance. The familiar story of Chopin's breathing toward a candle flame and making it flicker slightly, with the remark, ”That is my rubato,” then blowing it violently out and saying ”This is yours,”

is quite to the point in this connection.

It is of course understood that _rubato_ is to be employed almost exclusively in moderate or slow tempos, having little or no place in rapid, strongly rhythmic music. It should also be remarked that the more severe the form of the music,--the more architectonic it is--the less variation in tempo should there be in its rendition, for in this type of music the expression is primarily intellectual. Such instrumental works (of which certain compositions of Bach and Mozart are typical) must not be played sentimentally, as a modern English writer has remarked, and yet they must be played with sentiment. The remarks of this same author may well be quoted in closing this discussion:[16]

Rubato is necessary in emotional music and is an excellent means of picturing longing, persuading, dreaming, _et cetera_. That is why its use is so characteristic in performing the works of the romantic school and why it must be used with such caution in the cla.s.sics. The cla.s.sic must be clear as daylight--the structure must be evident even on the surface; but the romantic composition needs often to be played in a veiled manner in order to produce atmosphere. In such a case the rhythm is veiled as it were, draped in gauze, but the rhythmic design is there under the veil just the same. To express calmness, decision, _et cetera_, avoid rubato.

[Footnote 16: Matthay, _Musical Interpretation_, p. 88.]

It must now be evident to the reader that this whole matter of musical _nuance_ is too subtle to be treated adequately in a book of this character, and it becomes necessary for us once more to advise the amateur to study music, both vocal and instrumental, in order that his latent musical feeling may be developed into a ripe and adequate musical taste.

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