Gould’s version of Beethoven's Appassionata differs enormously from what is considered standard today. And because almost everyone plays this piece in about the same way, at least with more or less the same tempo in mind, most people today think that Beethoven must have wanted it "more or less" like that. The question is whether that is the case.

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Our solution to the metronome problem is called the WBMP (Whole Beat Metronome Principle). Many other 19th century metronome marks is to read them in what we believe was the old way: in Whole Beat. In this reading, like the pendulum is still used today by physicians, the metronome ticks indicate the subdivision of the note value in the metronome mark. So you end up counting like one AND two AND three AND... That results in a different tempo yes, but a tempo that exactly matches the metronome mark given by the composer. In our current reading of these metronome marks, we are not able to do that for the simple reason most are way too fast. A logical consequence from actually doubling (yes) the intended tempo. New to the WBMP? Start here:    • How Fast did Beethoven and Chopin rea...  

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