BREAKING: Beethoven’s Metronome Manual Discovered!!! Prepare for a Major Musical Impact in 2020!

Imagine tomorrow we’d find a letter from
Beethoven hidden in a forgotten book somewhere in a dark corner from a gigantic Viennese
library. And imagine this letter, sent to a distant
friend, to be about the metronome and more especially the way we are supposed to use
it. Yes, his famously broken metronome that of
course functioned just fine. Probably this letter would be scanned in super
high resolution and sent in digital format to academic researchers all over the world. And so you would expect to see a modern Beethoven
tempo specialist as Doctor Marten Noorduin to soon be all over the news, revealing every
detail of that golden letter, finally solving a two century old ‘mystery’. Social and non-social media would be overwhelmed
with posts on this magical letter and how it would affect our view on the music of the
composer of the 9th symphony. At least, that is what we would expect to
happen. Except it would not. You think I exaggerate? Think twice. Since that document exists. Not hidden in a dark corner of a library. But in front of our eyes. And no, I’m not talking on the second movement
of the 8th symphony, the so-called metronome parody though it is related to this. I’m referring to the lesser known Maelzel
canon. Don’t lean back because our musicologists
have brainwashed us so many times claiming it’s an ‘obvious falsification from a
certain Anton Schindler because I couldn’t care less if Schindler’s claims are true
or not. I grant you that. It is totally irrelevant to this story. But what is relevant, what is absolutely relevant
and what should be written in capitals in all books talking or at least claiming to
talk about historical tempi, is the one sentence in which Schindler explains the ‘joke’
of the canon. Ever heard of that? I guess not many of you have. This little sentence that I’m about to give
you in a minute in fact is the only thing you need to cancel all claims that the WBMP-
the whole beat metronome practice, has never been mentioned in history. Share this video or this sentence with all
musicians you know, because it is powerful enough to change the entire musical world
on its own. In fact it is all you need. And so if you are ready for the uncompromised
historical truth, I invite you to lend me five more minutes of your time. It will totally change your musical life. Forever. I give you first a few lines on the history
of the Maelzel canon, which, indeed has the same theme as Beethoven’s second movement
of his 8th symphony. You will now see and understand the true reason
why some of our academics have spend so much time and effort to burn the source of this
information, Anton Schindler, down to the ground. I recently made an entire episode to factually
place Schindler in the context of its time. Link here in the infocards. I will not defend Schindler more than necessary
since I don’t need to defend him. Even if he made up the fascinating story of
Beethoven’s gift to Maelzel, the famous canon, since that is what Schindler claims
to be true, even then this evidence remains solidly intact. So according to Anton Schindler, Beethoven
thought about the theme of his 8th symphony on the occasion of Maelzel leaving Vienna. It would have been a farewell gift to the
famous marketer of the metronome. Beethoven had habit of writing little canons
like this for special occasions; As for instance his former colleague C.P.E.Bach tended to
do as well. Let’s read the Schindler passage together. I’ll picture the original version on screen
and read the English translation as given by MacArdle and Jolly. Here we go. “In the spring of 1812 Beethoven, the mechanic
Maelzel, Count von Brunsvik, Stephan von Breuning and others were gathered together for a farewell
dinner to celebrate first of all Beethoven’s journey to see his brother Johann in Linz
where he was to work on his eight symphony before going on to the baths of Bohemia, and
secondly Maelzel’s projected trip to England where he was to have presented his famous
mechanical trumpeter. Beethoven, who in the company of his intimate
friends was, as usual, cheerful, witty, satirical – ‘unbuttoned’, as he called it- improvised
at this farewell dinner the following canon, which the guests present joined in singing:
From this canon the allegretto emerged: the first voice presents note for note the theme
of this movement, the words indicate its humorous character, and the metronome marking shows
the proper tempo for the allegretto movement. ‘Ta, ta, ta, ta’ are the pendulum strokes
of the metronome. I am indebted to Beethoven himself for having
this canon in my possession, since in 1818 he allowed me to copy it.” End of quote. You’ll notice the fact that Schindler gives
a different Metronome Mark for the canon than Beethoven gave in his 8th symphony. Beethoven gave 88 to the eight note, Schindler
gives 72 to the same note value. Could it be Beethoven’s tempo? Possibly but again, it is not important to
this story. It is interesting, but totally unimportant
here. As are the dates and claims for falsification
in an article that you’ll see on screen in which you’ll only read assumptions for
falsifications not completely without any ground but certainly not with solid proof
either. But again I don’t care in the context of
this segment and you shouldn’t either, exactly because of this sentence, I quote:
“The metronome marking shows the proper tempo for the allegretto movement. ‘Ta, ta, ta, ta’ are the pendulum strokes
of the metronome.” This sentence is all you need to understand
Beethoven’s use of the metronome, or the historical use of the metronome in general. Let’s look at the canon again:
The ta ta ta’s, set in 16th notes, represent – so we read- the ticks of the metronome. Of course they do. What else could they be? But watch closer. The metronome marking says Eight note 72. But wait a minute. The 16th notes are the ticks, but the metronome
mark is given as an eight note? Aren’t we supposed to believe that in the
case of this metronome number the metronome ticks represent the eight notes? Not the 16ths? The great thing about it is that Schindler
explains the joke thereby implicitly exposing the historical use of the metronome. In other words: the correct historical use
of the metronome is implied in the explanation of the joke. Schindler is not even touching upon the general
use of the metronome. He just applies what was common sense in his
days. That makes this so strong. Even if he falsified absolutely everything,
this wouldn’t make any difference. If Schindler would mention Beethoven to have
bought a piece of meat on the local market place, we would not doubt the market place
to have existed. Same here. And this little sentence confirms in black
and white the whole beat metronome practice correct. How many times have I said it: In the 19th
century in general the metronome ticks indicate the subdivision of the note value of the metronome
mark. And here you have it, it couldn’t be better
illustrated than this. So and it is rather ironic that it should
be this musical joke that Beethoven might or might not have improvised that one evening
that brings all the gods of this planet with both feet firmly on the ground again. Musicians in the 19th century played slower
than we do today and they did so by considerable margins. Wouldn’t the opposite be more something
so seriously wonder about? One thing is sure from this exact moment in
history: no one can ever claim again that there has been not a single word published
on the WBMP, the whole beat metronome practice. I brought many sources to you, some very direct,
some indirectly pointing to the WBMP but this one sentence of Schindler is as good as a
metronome manual directly from the 19th century, directly from within Beethoven’s inner circles
if not from Beethoven himself. And it points unambiguously to the whole beat
metronome practice. Period. Musicologists who do not acknowledge this
as a fact are dishonest to the people they claim to serve. That sounds hard. But that is a fact as well. I have to especially thank a dear friend of
mine for getting my attention again on the Maelzel canon. Massimiliano Miani, my good Italian friend
and wonderful clarinetist who you’ll see this year appear on this channel asked me
for some context around the Maelzel canon and so here we are. Copy the canon on the ceiling above your bed
so you can look at it every day to be reminded how the metronome actually was used back in
the days. Indeed, each tick indicates the subdivision
of the note value of the famous MM’s. As we still teach our kids in music school:
one AND two AND three AND. What’s more beautiful than simplicity? The more when it can lead us to the lost Beethoven
paradise? More info on the WBMP in the video mentioned
in the infocard and in the description box, where you’ll also find the context around
the so-called tactus inaequalis, or in other words, the practice of a two-fold movement
indicating the time for ternary time signatures. So that was it for today. Like this video and share it with your friends
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inside updates as well. Link below and in the description box. Thanks for watching and see you soon again. Bye!