Beethoven's choice to use words for tempo markings instead of specific BPM (beats per minute) numbers can be attributed to several factors, including historical context, musical conventions of his time, and the expressive qualities he sought to convey in his music.
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Historical Context: During Beethoven's time, the use of metronomes was not yet widespread, and those that did exist were not as accurate or standardized as modern metronomes. Composers often relied on descriptive language to communicate tempo to performers. Words like "Allegro," "Andante," and "Largo" evoke a particular character and feel, which can be more meaningful than a strict numerical value.
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Musical Interpretation: Beethoven believed that music is not just about the tempo itself but also about its emotional content and interpretation. By using descriptive terms, he allowed performers some flexibility in their interpretation, fostering a more expressive performance. The same term could be interpreted differently by different musicians, and Beethoven might have appreciated the individuality that this allowed.
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Deafness and Intuition: Although Beethoven became deaf in his later years, he maintained a profound understanding of music and its structure. He had already developed a strong internal sense of rhythm and tempo through his extensive experience as a composer and performer. His use of tempo markings likely reflected an intuitive grasp of the desired pacing and emotional impact of his works, rather than relying on a specific BPM.
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Evolution of Performance Practice: The approach to tempo and performance practice has evolved over time. In Beethoven's era, the concept of a "correct" tempo was less rigid compared to modern standards. The focus was more on conveying the mood and character of the piece rather than adhering to strict tempos.
In summary, Beethoven's use of tempo markings in words rather than BPM numbers can be understood as a reflection of the musical conventions of his time, his desire for expressive interpretation, and his deep intuition as a musician, even in the face of his deafness.
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