It is of course understood that rubato is to be employed almost exclusively in moderate or slow tempos, having little or no place in rapid, strongly rhythmic music. It should also be remarked that the more severe the form of the music,—the more architectonic it is—the less variation in tempo should there be in its rendition, for in this type of music the expression is primarily intellectual. Such instrumental works (of which certain compositions of Bach and Mozart are typical) must not be played sentimentally, as a modern English writer has remarked, and yet they must be played with sentiment. The remarks of this same author may well be quoted in closing this discussion:[1]
Rubato is necessary in emotional music and is an excellent means of picturing longing, persuading, dreaming, et cetera. That is why its use is so characteristic in performing the works of the romantic school and why it must be used with such caution in the classics. The classic must be clear as daylight—the structure must be evident even on the surface; but the romantic composition needs often to be played in a veiled manner in order to produce atmosphere. In such a case the rhythm is veiled as it were, draped in gauze, but the rhythmic design is there under the veil just the same. To express calmness, decision, et cetera, avoid rubato.
It must now be evident to the reader that this whole matter of musical nuance is too subtle to be treated adequately in a book of this character, and it becomes necessary for us once more to advise the amateur to study music, both vocal and instrumental, in order that his latent musical feeling may be developed into a ripe and adequate musical taste.
TEMPO RECORDED IN MUSCLESIn concluding the chapter let us emphasize the fact that the establishing of a tempo is a matter of muscle even more than of mind, and that before beginning to beat time the conductor should have the tempo recorded in his muscular memory. Before rising to conduct a com-- ↑ Matthay, Musical Interpretation, p. 88.
