When it is transformed into the truly intriguing composition it has always been, waiting for someone to notice the tempo marking (molto vivace) and the note values.  Anything marked vivace invites attention to the non-metric sequences of like note values, as opposed to allegro types of tempo in which bar lines and note values are somehow proportional.  
If respected, this piece becomes downright Beethovian in its subtlety: much more difficult to play and far more intriguing to listen to, for sure.
 


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