What, notationally speaking, would change if Beethoven had chosen 4/4? He obviously didn't make the choice arbitrarily, and Schiff gives other evidence for his choice of tempo...not just the time signature.
Schiff isn't the first to have said this, but I actually agree, nearly 100%.During the 18thC time signature was tempo, often. A Baroque performer would instinctively know the tempo of a 2/4 invention, which would have been different to a 4/4 invention. Why else did Baroque masters sometimes write things with 1 beat to a bar? Now, obviously Beethoven wasn't a Baroque composer/musician, however Beethoven's father would have been extremely well informer on Baroque performance and practice. Now consider that Beethoven's first teacher was his father, and we have an interesting argument. We know Beethoven maintained features of Baroque composition in his works, I'm going to dig around and see what else is going on.PS: I don't know anything about you really Faulty, but Schiff is a graduate of a world standard conservatory and a competition winner, surely that implies a certain amount of study?
But what was Adagio to Beethoven? There no metronome markings back then, slow could have been anything it's all relative. If you examine Beethoven's use of metronome markings, they were always really quite fast, even for slow movements. Personally, op 27/2's Adagio I find to be really quite boring. I don't want to be sitting in concert listening to that first movement for 10mins, however glorious the harmonic progression is. I don't think it is musical to place it just so slowly, it seems to just be a false tradition of sentimentality. Now, perhaps Schiff does take it too fast, I don't know, I haven't heard him play it, but really, it shouldn't be too slow.
Beethoven did supply the metronome mark for Hammerklavier sonata!Walter Ramsey
Interesting opinion! To me it sounds more like hyperventilation!Walter Ramsey
Adagio means slow. Why does Schiff interpret it as moderato/allegretto?