Page:Essentials in Conducting.djvu/66

54 been a great deal of misunderstanding as to the use and meaning of this valuable new expressional element.

Tempo rubato may be compared to speaking certain words more slowly or more rapidly in order that the essential meaning of the entire sentence may be more strongly impressed upon the listener. It must not however break up the continuity of the tempo; as one writer has said "we must bend the tempo, but not break it." Another well-known author, in treating the same point, states that

"Freedom in tempo does not mean unsteadiness.… We must have in music the sense of equilibrium, of stability. A careless, spasmodic hurrying and retarding leads only to flabbiness and inconsequence."

The most common kind of rubato is probably that in which the first part of the phrase (up to the climax) is accelerated, the climacteric tone lingered upon slightly, then the remainder of the phrase rendered a tempo or possibly slightly ritardando. But there are many phrases that demand a totally different sort of treatment; e.g., a ritardando in the first part instead of an accelerando. Which is the appropriate way of delivering any particular phrase must be determined in every case by musical feeling.

The thing that the beginner is apt to forget at the period when his musical feeling though sincere is yet characterized by lack of refinement, is that these nuances must always be subtle, and that the listener ought not to have fluctuations in tempo thrust in his face at every turn. Indeed we may say that he should hardly know that they are present, unless he is making a definite attempt to analyze the performance. The familiar story of Chopin's breathing toward a candle flame and making it flicker slightly, with the remark, "That is my rubato," then blowing it violently out and saying "This is yours," is quite to the point in this connection.