The metronome marks for Beethoven’s Ninth Symphony in context

Abstract In recent years, Beethoven’s metronome marks for his Ninth Symphony have experienced a renewed relevance, with several ensembles incorporating the indicated speeds in their performances. Nevertheless, previous research has shown that some of been incorrectly transmitted, and there is suspicion further mistakes are still undiscovered. Focusing particularly on second fourth movements, this article discusses historical sources scholarly contexts these markings, within framework draws general tempo principles, as well observations from contemporaries. The suggests trio movement three can be justified historically, although most popular option, minim = 160, arguably least supporting evidence. discussion also attention to another mark final section symphony often overlooked. Finally, it argues one cited examples an erroneously transmitted mark, dotted 96 Schreckensfanfare found later sources, consistent wider practice, should provide incentive performers experiment historically informed tempi familiar repertory.