Marten Noorduin

Bio: Marten Noorduin is an academic researcher from University of Oxford. The author has contributed to research in topics: Piano sonata & Metronome. The author has an hindex of 2, co-authored 4 publications receiving 8 citations.

Re-examining Czerny’s and Moscheles’s Metronome Marks for Beethoven’s Piano Sonatas

Abstract: Shortly after Beethoven’s death, several of his closest associates provided performance indications for editions of his works. Previous discussions of Carl Czerny’s and Ignaz Moscheles’s metronome marks for Beethoven’s piano sonatas have highlighted the importance of these indications for our understanding of the intended performance practice of these works. Nevertheless, the provenance and meaning of these metronome marks have remained unclear, which has led to some confusion in the literature.By presenting new evidence, including the discovery of what are most likely the metronome marks intended for the missing sonatas from the first ‘complete’ edition by Tobias Haslinger, the article presents a more complete overview of the indications in these editions, as well as their chronology. In addition, it also discusses to what degree the editors seem to have influenced each other, which indications are most likely representative of Beethoven’s intended speeds, as well as why the metronome fell out of favour later in the nineteenth century. Finally, it discusses the meaning of these metronome marks for modern performers, and how these editions give options to disentangle the author from the text.

Beethoven's tempo indications

Abstract: Beethoven?s tempo indications have been the subject of much scholarly debate, but a coherent understanding of his intended tempos has not yet emerged. There are several reasons for this. Firstly, some of the discussion has been based on unreliable sources, or an unrepresentative sample of sources. Secondly, the substantial differences between tempo preferences in the early nineteenth century and now has made these tempo indications difficult to approach for musicians in the twentieth and twenty-first centuries. Thirdly, discussions of Beethoven?s tempo have typically focussed on works in one particular genre. This thesis overcomes these limitations by incorporating all of Beethoven?s works, and rooting the whole research in a wide variety of sources from the eighteenth and nineteenth century that have a plausible relationship with Beethoven?s practice. In particular the metronome marks by Beethoven, as well as those from his close contemporaries Carl Czerny, Ignaz Moscheles, and Karl Holz, provide great insight into the composer?s sense of tempo. By using as many sources on Beethoven?s tempo as possible, this approach makes reasonable estimations of the actual speeds that Beethoven had in mind for his works. Furthermore, it also allows an exploration of the musical intuitions that are the root cause of these speeds.

Is There Any Scope for Another Edition of Beethoven's Piano Sonatas?

Abstract: Beethoven's piano sonatas have appeared in innumerable editions – most of them in more than one hundred, as the collection in the library of the Beethoven-Haus in Bonn reveals. The sources for these works have also never been as readily available as they are now, as most first editions can be viewed on the Beethoven-Haus website, which also hosts scans of many important manuscript sources, as well as links to images of source materials on the websites of other archives. Thus, the question must be asked: Is there any scope for another edition of Beethoven's Piano Sonatas?

Why Do We Need Another Recording of Beethoven's Ninth Symphony? - Symphony No. 9 Benjamin Zander Discusses Beethoven's Ninth Symphony - Rebecca Evans sop, Patricia Bardon mezzo-sop, Robert Murray ten, Derek Welton bass-bar Philharmonia Chorus and Orchestra, Stefan Bevier chorus master, Benjamin Zander cond. Brattle Media 610877733781 3 CDs: 58 minutes [music] + 159 minutes [discussion] Notes and discussion in English

Abstract: After more than 150 recordings of Beethoven’s Ninth Symphony, why do we need another? According to Benjamin Zander – who also recorded it with the Boston Philharmonic in 1992 – the answer is that ‘none of the available versions I know actually follow Beethoven’s instructions literally throughout. Neither in the matter of tempo, nor dynamics.... I believe that we are offering, as closely as we are able, Beethoven’s stated intentions.’Accordingly, Zander takes Beethoven’s metronome marks as holy writ, and every section starts exactly at the indicated speed and stays there, with very few departures from the tempo that are not explicitly indicated in the score, and a fairly rigid adherence to the printed dynamics. As a result, and with a few exceptions that will be discussed below, Zander’s recording follows Beethoven’s tempo indications and dynamics to an unprecedented extent. Thismight surprise those familiarwith the recordings of this symphonybyperiod instrument ensembles such as theLondonClassical Players andAnimaEterna, or the 2011 recording by the Leipzig Gewandhaus Orchestra under Riccardo Chailly, and others that made similar claims about the tempo and often even printed the published metronome marks in the CD booklet. Nevertheless, all of these ensembles

The Intentional Fallacy

Abstract: Sometimes we find ourselves believing in the existence of an object which provides the basis for a new investigation. Its provenance is irrelevant. The properties of the source of an artwork are irrelevant to our reception of it. We find ourselves confronting the work, and it provides die material for further investigations. The artist's intentions are irrelevant to the identity of a work. Similarly, an author is only the source of a text. He has no other properties. The investigation is about the nature of the text.

Beethoven's ʿAppassionata' sonata

Abstract: Introduction Part I: The Final Version: Overview and First Movement Second Movement Third Movement Part II: The Source of the Sketches: The Sketchbook Mendelssohn 15 Part III: The Sketches: Overview and First Movement: Exposition First Movement: Development Recapitulation First Movement: Coda Second and Third Movements Part IV: The Autograph: Overview and revision in the Finale Part V: Transcriptions and Facsimiles: Preface Transcriptions Facsimiles

Is There Any Scope for Another Edition of Beethoven's Piano Sonatas?

Abstract: Beethoven's piano sonatas have appeared in innumerable editions – most of them in more than one hundred, as the collection in the library of the Beethoven-Haus in Bonn reveals. The sources for these works have also never been as readily available as they are now, as most first editions can be viewed on the Beethoven-Haus website, which also hosts scans of many important manuscript sources, as well as links to images of source materials on the websites of other archives. Thus, the question must be asked: Is there any scope for another edition of Beethoven's Piano Sonatas?