Beethoven, like many composers of his time, used words for tempo markings rather than specific beats per minute (BPM) for several reasons:
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Tradition: The practice of using descriptive words for tempo markings (such as "Allegro," "Adagio," "Vivace," etc.) was well established by Beethoven's time. These terms were understood within a musical context and conveyed a sense of character and feeling associated with the speed of the music.
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Subjectivity: Tempo can be somewhat subjective, as the perception of speed can vary among listeners and performers. By using descriptive words, composers could convey an intended mood or character rather than a precise measurement. This allowed performers some interpretative freedom while still following the composer’s overall intent.
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Prominence of Interpretation: The expressive and interpretive aspects of music were highly valued in the performance practices of Beethoven's time. Tempo markings in words provided a framework within which performers could make artistic decisions, adapting the tempo to suit their interpretation or the context of the performance.
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Limitations of Technology: Before the widespread use of metronomes (invented in the early 19th century), it was challenging to convey precise BPM numbers. The metronome became more common in the years following Beethoven’s life, making it easier for composers to specify exact tempos in later works.
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Cultural Context: Words conveying tempo markings often come with a cultural context that adds emotional depth. Phrases like "Andante con moto" (walking pace with motion) carry nuanced meanings that numerical markings alone may lack.
In summary, Beethoven’s use of words for tempo markings reflects a combination of tradition, subjectivity in musical interpretation, and the cultural values of his time. While modern performers might seek specific BPM numbers for clarity, the expressive intent often remains best captured through descriptive terms.
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