One of the problems for a conductor working with Beethoven on such a large scale movement is the sense of space that transpires from the music. This problem is rectified somewhat by the tempo of the movement which is remarkably fast, some would say too fast, for a work of this size. [Simpson 1986, pp. 20]. Two forte E flat major tutti chords announce the movement and establish the key before piano strings feed into the exposition which stars officially (according to the bar lines) in bar four. This is a very overt start to the performance and will require a lot of rehearsal as these chords need to be very precisely...
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...orchestra about the music that is being rehearsed. He is there to make performance decisions for the composer about the best way to interpret, communicate and perform the work. [Schuller 1997, pp. 13 - 16] Without this, the performers start to lack in confidence and the entire piece will not be of as good a quality than from a knowledgeable conductor who knows what the music is trying to communicate and can then bring this across in the performance. A pre rehearsal analysis of the music, however shallow, is guaranteed to positively affect the outcome of any rehearsal and therefore any performance of the piece in question.
Del Mar, Norman, 1992: Conducting Beethoven (Oxford: Oxford University Press)
Schuller, Gunther 1997, The Complete Conductor (New York: Oxford University Press).
Simpson, Robert, 1970: Beethoven Symphonies (London: BBC Publications)
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