Evolving Performance Practices in Beethoven's Cello Sonatas: Tempo, Portamento, and Historical Interpretation of the First Movements

TL;DR

This study analyzes how Beethoven's cello sonata performances have evolved from 1930 to 2012, focusing on tempo and portamento, revealing shifts influenced by technological, pedagogical, and interpretative changes.

Contribution

It provides a comprehensive analysis of historical and modern performance practices, highlighting the decline of audible portamento and the reinterpretation of Beethoven's tempo markings over time.

Findings

Decrease in audible portamento in late 20th century

Increase in tempo after 1970 linked to pedagogical shifts

Persistent use of silent portamento for expressive purposes

Abstract

This paper examines the evolving performance practices of Ludwig van Beethoven's cello sonatas, with a particular focus on tempo and portamento between 1930 and 2012. It integrates analyses of 22 historical recordings, advancements in recording technology to shed light on changes in interpretative approaches. By comparing Beethoven's metronome markings, as understood through contemporaries such as Czerny and Moscheles, with their application in modern performances, my research highlights notable deviations. These differences prove the challenges performers face in reconciling historical tempos with the demands of contemporary performance practice. My study pays special attention to the diminishing use of audible portamento in the latter half of the 20th century, contrasted with a gradual increase in tempo after 1970. This development is linked to broader cultural and pedagogical shifts, including the adoption of fingering techniques that reduce hand shifts, thereby facilitating greater technical precision at faster tempos. Nonetheless, my study identifies the persistence of 'silent portamento' as an expressive device, allowing performers to retain stylistic expression without compromising rhythmic integrity. My paper offers valuable insights for performers and scholars alike, advocating a critical reassessment of Beethoven's tempo markings and the nuanced application of portamento in modern performance practice.