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Updated: June 8, 2025
They are creatures of moods, melodic air plants, swinging to the rhythms of any vagrant breeze. The metronome is for the student, but metronome and rubato are, as de Lenz would have said, mutually exclusive. The third Mazurka of op. 24 is in A flat. It is pleasing, not deep, a real dance with an ornamental coda. But the next! Ah! here is a gem, a beautiful and exquisitely colored poem.
How one's mind can be brought to bear on one's work. 4. Correct ideas of Time and Shape. 5. Elements of Rubato and its application. 6. Elements of Duration and Pedaling and their application. 7. Some details as to the application of the Element of Tone-variety. Such themes must cause the thoughtful reader to pause and think. They are treated with illuminating originality.
What to the sensitive critic is a charming wavering and swaying in the measure "Chopin leans about freely within his bars," wrote an English critic for the classicists was a rank departure from the time beat. According to Liszt's description of the rubato "a wind plays in the leaves, Life unfolds and develops beneath them, but the tree remains the same that is the Chopin rubato."
The right tempo will come with time and you must have patience until you can develop it. In the matter of 'tempo rubato' passages, which always invite disaster upon the part of the student, the general idea is that the right hand must be out of time with the left. This is not always the case, as they sometimes play in unison.
If a Beethoven symphony or a Bach fugue be played with metronomical rigidity it loses its quintessential flavor. Is it not time the ridiculous falsehoods about the Chopin rubato be exposed? Naturally abhorring anything that would do violence to the structural part of his compositions, Chopin was a very martinet with his pupils if too much license of tempo was taken.
When Liszt speaks of the tempo rubato as a unique characteristic of Chopin's style, he must not be understood too literally. As a matter of fact, the rubato is too important an element of expression not to have been partially anticipated in the works of some of Chopin's predecessors, just as Wagner's leading motives had imperfect prototypes in the works of some preceding composers.
Perhaps the cause of their comparative neglect is, that they are so thoroughly Polish in spirit; unless they are played with an exotic rubato, their fragrance vanishes. There is more local color in the mazurkas than in any of his other works. The Mazurs are musically a highly gifted nation, and Chopin was impressed early in life with the quaint originality of their melodies.
She told me the secret of the true tempo rubato without which Chopin's music is disfigured. It in no way resembles the dislocations by which it is so often caricatured. I have spoken of her great talent as a pianist. We saw this one evening at a concert given by Madame Schumann.
Mikuli, another pupil of Chopin's, explains his master's tempo rubato thus: "While the singing hand, either irresolutely lingering or as in passionate speech eagerly anticipating with a certain impatient vehemence, freed the truth of the musical expression from all rhythmical fetters, the other, the accompanying hand, continued to play strictly in time."
That anguished melody of speculation as to Isabella Kingan's heart he had played over again with the tempo rubato and the pressed loud pedal of sentimentality, and it was now no more than agreeably affecting as a Scotch song ... being kind to the wean for the sake of her who was my sweethairt in auld lang syne....
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