quested Beethoven to make notes upon paper regarding the metronomic
marks of speed at which the composition should be played. The metronome
at that time was a comparatively new instrument. Maelzel, its inventor
(or, rather, its improver, since the principle of the metronome was of
Dutch origin), was a friend of Beethoven. At times they were on the best
of terms, and at other times they were literally "at swords' points."
Nevertheless, Maelzel, who had a strong personality, succeeded in
inducing Beethoven to put metronomic markings upon several of his
compositions. Naturally, the metronome was immediately accorded an
important place in the musical world even at that day. Ries was
consequently very anxious to give the Choral Symphony according to
Beethoven's own ideas. Beethoven had complied with the publisher's
desire and sent a slip of paper with the tempi marked metronomically.
This slip was lost. Ries wrote to Beethoven for a duplicate. Beethoven
sent another. Later the lost slip was found, and, upon comparing it with
the second slip, it was found that Beethoven had made an entirely
different estimate of the tempi at which he desired the Symphony to be
played.

Even with the most elaborate and complete marks of expression, such as
those, for instance, employed by Beethoven and by Wagner, the composer
is confronted with his great poverty of resources to present his views
to the mind of the interpreter. Extensive as some of the modern
dictionaries of musical terminology seem to be, they are wholly
inadequate from the standpoint of a complete vocabulary to give full
expression to the artist's imagination. It also gives full scope to an
infinite variety of error in the matter of the shades or degrees of
dynamic force at which the conventional marks may be rendered.

One might venture to remark that composers are the most keen, most
conscious judges of their own works, or, rather, of the garments which
fit them best. There is in all composition a divine part and also a
conscious part. The divine part is the inspiration. The conscious part
has to do with dressing the inspiration in its most appropriate
harmonic, polyphonic, and rhythmic garments. These garments are the
raiment in which the inspiration will be viewed by future generations.
It is often by these garments that they will be judged. If the garments
are awkward, inappropriate and ill-fitting, a beautiful interpretation
of the composer's ideal will be impossible.