I recently met up with Zander to talk about the new recording and the ideas behind it, particularly with regard to his interpretation of Beethoven’s metronome marks.
Does the world need yet another recording of Beethoven’s Ninth Symphony? Zander feels very strongly that it does. He has worked on the symphony for over 40 years and given many performances of it. He is passionate about investigating Beethoven’s original score and feels that the new recording is the first time that all the best musicological points have been made in the same recording.
The History Behind the Recording
One of the focuses of his new recording is Zander’s interpretation of Beethoven’s metronome marks. Ever since he was a small boy, Zander has been fascinated both with Beethoven and with the tempos of his symphonies.Back in 1967, Zander conducted his first performance of Beethoven’s Symphony No. 5 in Boston, and it caused a sensation because of his approach to the tempos and to the music. No one had heard Beethoven that way, and everyone was talking about it. This was the period before historically informed performance had reached Beethoven. So, in a sense, Zander has spent a lifetime as a pioneer and is proud of it.
He points out that now news travels fast and new interpretations are heard and shared rapidly, but back in the pre-internet days things happened slower. He readily admits that there were other pioneers before him, who experimented with Beethoven’s tempos, but none of these made a global impact.
Beethoven and His Metronome
Beethoven was very keen on the newly invented metronome, as it enabled him to be even more detailed about tempos. His Italian tempo markings in the score are quite complex in an attempt to come to grips with delicate variations of tempo.But the metronome Beethoven was using had limitations: The speed only went down to 50. And the transcription of Beethoven’s metronome marks was not done without error, so Zander went back to Beethoven’s conversation books, where an interaction with his nephew Karl clarified Beethoven’s exact intentions.
Many of Beethoven’s metronome marks are uncontroversial, and in the narration that accompanies the new recording, Zander goes through them in detail, showing how the majority of conductors adhere to them.
But a few are controversial. The final movement of the March is one example. Originally it was thought to be a slow tempo, but by examining the original conversation book, Zander came to realize that the tempo Beethoven was aiming at was far faster.
One of the more controversial areas is the trio of the Scherzo, which one observer at the very first performance referred to as having unusual exhilaration—something that does not happen with the traditional, slower speed. And, as Zander points to a motif that repeats some 27 times, he feels that the faster tempo makes sense of the repetition.
Another of Zander’s key points is that orchestras rarely play Beethoven’s exact dynamics. Repeatedly during our study of the score together, he pointed out places where pianissimos are ignored and where fortes are played fortissimo. For example, the orchestra is marked pianissimo at the beginning, and the first entry of the soloists is another key point, rarely taken quietly enough so that the soprano soloist doesn’t swamp the mezzo-soprano.
The Bigger Picture
Zander calls himself essentially a teacher. His new recording of Beethoven’s Symphony No. 9 includes two discs of introduction, explaining how he reached the conclusions he did regarding the tempos and other issues. The aim is something more than purely academic. He hopes that the general populace will listen to the explanations and get a deeper understanding of the music, and he hopes that he is teaching people how to listen to the music.With that in mind, Zander takes a practical view of the score as well. There is a viola passage in the last movement that is usually never heard; Zander attributes this miscalculation to Beethoven’s deafness. To compensate, he doubled the violas with the horns, making the musical line present in the overall texture for the first time, something he finds very satisfying. And he has adjusted the timpani parts, as Beethoven was limited by the timpani of the time whereas modern timpani are more flexible.
While Zander is comfortable that other interpretations and views of the music will co-exist, he feels that Beethoven’s vision is so much more powerful when you do what he says, not just following the metronome marks, but every detail of the score. One of Zander’s comments sums up his attitude: He isn’t a god, he’s a conductor, “so let’s not be careless with Beethoven’s music.”