New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-03-04

now THE GREAT COMPOSER WISHED TO HAVE
HIS MUSIC PLAYED.
An interesting contribution 10 the discussion OF the
socaled REFORM In the matter OF phrasing Boetho-
ven's symphonies comes TO US from source which
was mentioned In The Tribune last January as hholy
TO contain evidence germane and valuable Whether
e. is authoritative not is question which must be
left TO the determination Of each reader We do not
think however. that any will be far out OF the
way who Will accept the plain indications OF Beetho-
ven concerning the manner in which he wished TO
have his music played authoritative and caicu-
lated to lead to the most beautiful results The ev
denoe which is brought forward to sustain the
view conended for by The Tribune last January after
the performance OF the major symphony, and be-
fore that in November 1881, is Beethovens explicit
testimony 1t is not the evidence of any printed
score no matter how carefully edited, but the owl
dence of the composers revision Of the voice
parts used In the first performance Of the symphony
under the direction Of the composer himself In Vienna
on December 8, 1913 TIC existence of such proofs
was suggested in this journal January ID last in
the following words:
Perhaps this CprcOf q the treatment given to
dence. for the soheol of pedagogues would not
markings OF Beethoven himself (such markings exist
IN the archives OF the Gesellschaft der Muskfreunde
u n S''P must 'n be- fOsod into the Of
scientific principle concerning which the composer
pnSapP as II e maj apgo be %aas
to the and TO that sense of the beautiful which
has not only been satisfied, but delighted with the
traditional readings On those respects ever since the
day of the composer himself.
After the last performance Of the seventh SYM
phony by the Philharmonic Society request
sent to Mr.. A. W. Thayer, In Trieste, the eminent
hographer Of Beethoven fOr answers to a number Of
questions touching the original voce-parts preserved
by the Society Of the Friends Of Music In Vienna.
Mr. Thayer I'M the long ago one of the editors OF
The Tribune and in spite of an absence OF over
generation from his native land, he stll has warm
interest in all that pertains 10 Il and It's music He
forwarded the lester TO the official of the Vienna
society who has charge Of It's archives The voice
parts IN questiosl IL ought TO be said, found
among the pos ehumous papers of Beethoven, and
wore bought by the Society at the auction sale OF
Beethoveu's effects after his death. There IS no
question that they authentic and Of the date men,
toned They older than the first printed parts
and contain marks and memoranda in Beethoven's
handwriting. indicating careful revision by MIN Oh
the copyists work They are extremely Interesting
as showing the caro- which the master bestowed on
all the nuances of expression, including phraSing ana
bowling Noucbohm in his " Beethoveniana,' VOL l,
says foot-nOte, page lo5l;
Beethoven had wsaoful eve on the voice paris
IN first violin part somebody had written two \ n
tiers So the bss t s B. The sSG ne se time be
"This also made by an ass
Among OTHER things the parts prove by Beethovcns
own markings that the tempo dcslEhd'OH "Hoe'o'
to- is original (Which has been Questioncd that Beet
hoven distinguishes between the two kinds of staccato
marks dots and dashcsl in the second movement and
that he marked the phrasing with great care mis-
placed slur place is marked out, and Beet hoven
writes on the margin: AWAY with the tslur'
The arCflivlst of the society Of the Friends OF Music
has examined these parts at the request OF Mr.
Thaycr. and the results OF his examination may be
learned from the following letter:
(Translation)
Vienna. Feb. G. 1889.
Mr.. r. f Krehbel, New-York City.
ngnN esteemed Sir At the request OF a. W.
ThAyer. in Trieste, ! take the liberty Of communi-
eating t. you the following information
have examined The voice parts of BcethoVcns
seventh symphony which were used in the lifetime
of Beeshoven and contain many marks and memoranda
made by him and compared them with tho score
published by Brekopf Il Haertcl with particular ref
erence TO the passages quoted by you. All OF those
passages appear in the of b. e. H. exactly
as they stand In the original voice parts OF Beeth0vens
time In the first violin part the first passage