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Dan Coren
The first movement is marked “Allegro ma non troppo” with a fermata over the fourth measure. I think this is exactly what Beethoven meant. He was pretty explicit about tempo changes. Maybe a tiny, little delay just before the fermata is called for. This excerpt from a recording George Szell made with the Cleveland Orchestra is exactly what I mean.
On February 24th, Eschenbach performed it as if “Molto Ritardando” were written over the third bar.
Why? Does he think this is what Beethoven probably meant? Does he just like it this way? Any Orchestra members out there who’d like to share their thoughts about this? The first time, it bothered me a bit. The third time (he repeated the exposition), it drove me nuts.
Just asking.
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