The Metronome Wars

Why experts still squabble over Beethoven’s tempo marks

In 1817 Johann N. Mälzel coaxed Beethoven into adding metronome numbers to his scores, promising that a swinging pendulum would end arguments about “fast” and “slow.” Instead it started a 200‑year food fight. Beethoven’s markings often make familiar pieces feel like they’ve had a double‑espresso—his Eroica finale clocks in around 45 minutes if you follow the numbers, a good ten minutes quicker than most modern readings.

Many conductors simply ignore the figures; Benjamin Zander has spent decades insisting on them, finishing the Ninth in just under an hour while others linger for 75 minutes. His camp argues that Beethoven knew what he wanted and that later tradition just got lazy. The opposition counters that the composer’s metronome—or his eyesight—was faulty.

Physics gives that critique some bite. A 2020 big‑data study of 36 recordings found that orchestras, on average, settle about 12 beats per minute slower than Beethoven’s marks. The gap exactly matches the height of the metronome’s sliding weight—meaning a tiny mis‑reading could explain the “absurdly fast” tempos. Other engineers have shown that wear on the spring or a heavier upper weight would also make the scale read high.

So who’s right? Probably everyone a little. Beethoven’s late deafness meant he felt rhythm in his body more than he heard it, so he may have aimed high to keep the music from sagging. Even if the device was off, the numbers reveal his restless energy. Today the best performances split the difference: fast enough to feel the spark, slow enough for the notes to speak. The next time you stream the Fifth, check the stopwatch—then decide which camp you’re in.