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This is the only real way to undo mistakes that are bound to creep into one's performance when pieces are constantly played in a rapid tempo. Do not attempt to practice your whole piece at first. Take a small section or even a phrase. If you take a longer section than say sixteen bars, you will find it difficult to avoid mistakes.
"You are right, I think, and so does Tante, evidently," Karen continued, "about the tempo rubato in the Mozart. It is strange that Monsieur Ivanowski doesn't feel it." "Ah! but that is it, he does feel it; it is only that he does not think it," said Herr Lippheim, now running his fingers through his hair. "Hear him play the Mozart. He then contradicts in his music all that his words have said."
Once he could poke his nose through the blue curtain and see what was on the other side, the satisfaction of his eternal curiosity might have made him a rollicking comedian. As for Jag Ear, his baton was once more conducting his orchestra in spirited tempo. He, who was nearest of all three in heart to Firio, might well have been saying to himself: "I knew!
For a while, Hradzka was afraid it had spotted him, and was debating the advisability of using his blaster on it. Then it banked, turned and went away. He watched it circle over the valley on the other side of the mountain, and got to his feet. Almost at once, there was a new sound a multiple throbbing, at a quick, snarling tempo that hinted at enormous power, growing louder each second.
It proved at once strikingly effective concise, laconic as Beethoven meant it. The tempo, which up to that point had been kept up with passionate animation, was firmly arrested, and very slightly modified just as much, and no more than was necessary to permit the orchestra properly to attack this thematic combination, so full of energetic decision and of a contemplative sense of happiness.
The clang of machinery, beginning slowly, increased in tempo. The exultant shriek of the saws rose to heaven. Bob, peering forth into the young daylight, caught the silhouette of the elephantine tram horse, high in the air, bending his great shoulders to the starting of his little train of cars. Not knowing what else to do, Bob sauntered to the office. It was locked and dark.
Being quickened by the breeze, the lake danced on in its earlier smoothness, only in a faster tempo, improving the ruggedness of the watery wrinkles.
The minuet, by the way, is frequently played too fast. The minuet from Beethoven's Eighth Symphony is a notable example. Many conductors have made the error of rushing through it. Dr. Hans Richter conducts it with the proper tempo. This subject in itself takes a tremendous amount of consideration and the student should never postpone this first step in the analysis of the works he is to perform.
Elektra herself is perhaps more truly incarnate fury than Salome is incarnate luxury; ugliness and demoniacal brooding, madness and cruelty are here more sheerly powerfully expressed than in the earlier score; the scene of recognition between brother and sister is more large and touching than anything in "Salome"; Elektra's paean and dance, for all its closeness to a banal cantilena, its tempo di valse so characteristic of the later Strauss, is perhaps more grandiosely and balefully triumphant than the dancer's scene with the head.
The whole duty of a conductor is comprised in his ability always to indicate the right TEMPO. His choice of tempi will show whether he understands the piece or not. With good players again the true tempo induces correct phrasing and expression, and conversely, with a conductor, the idea of appropriate phrasing and expression will induce the conception of the true tempo.
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