To play at a tempo like that.

When playing classical music, it is especially difficult.

That is to play at the proper tempo.
If you play Bach with an enka-like humor or Chopin with a Vocaloid-like groove, the listener will feel uncomfortable. (unless it is a challenging attempt).

Don't be difficult. It will make you scared to play in front of people!

For those of you who think so: ・・・・
In this article, I would like to discuss the "difference in tempo" in classical music.

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◆◆When playing Baroque works such as Bach.

As a general rule, a continuous tempo is required.
It is safe to play lightly and plainly without trying to sing too much.
However, there are some pieces and sections where a relatively free tempo is allowed, such as cadenzas and unaccompanied melody instruments.


◆In case of playing Mozart
Basically, a constant tempo is required.
However, small "fluctuations" that occur when emphasizing dissonances may be acceptable.


◆When playing works by Chopin, Liszt, and other early Romanticists.

In this period, a technique called tempo rubato became popular.
Rubato means "to steal.
Specifically, if you want to lengthen a note, you shorten the length of another note. (i.e., stealing length from other notes).
By using tempo rubato, the player can adjust the note value within a fixed scale, allowing the player to play freely while still maintaining momentum.
While you can expressively sing a sweet melody, you run the risk of not feeling the beat there is also a risk that the performance will be unfeeling of the beat. For this reason, there are jazz musicians and lovers who cannot hide their dislike for tempo rubato. (The fluctuating beats seem to sicken them.)


◆If you play works of German origin among the early Romantics.

For works by Schubert, Schumann, Brahms, and others of German origin even after the Romantic period, it would be better not to rock the tempo too much.
Schumann, in his music criticism, wrote, "One should not imitate the performance of a master who seems to be drunk.


◆◆When playing the Wiener Waltz.

It is said that delaying the second beat of a three-beat waltz is a way of keeping the beat that is typical of Wiener Waltz.


◆When playing Roma pieces.

The Roma are a people in Eastern Europe who do not live in permanent settlements, but live on the move. （They live in campervans.) They were somehow very talented in music and lived off the money they received from the citizens who were attracted to their talent.
Their musical arrangements of "Hungarian Dances" and "Czardas" are composed of free sections with a slow tempo and sections that require a rapid tempo.

In performing them, you will be required to music the tempo and to play at a tempo that the audience can understand (i.e., with good accuracy).


◆For playing modern French music such as Debussy-Ravel.

It must be played at a precise tempo, but also with a good degree of grace. ・・・・
In other words, you have to be cool and fashionable.
It seems quite a challenge.


◆If you play contemporary music.

All of the expressions are written in the score, so if you can play them correctly, 80% of the time you will be OK.
Rather, if you weirdly express emotion, the composer (while he was still alive) may be angry with you.

However, there are some pieces that are "left largely to the performer's discretion" (there is no score, but written instructions).
(No score, only written instructions, etc.).
The intelligence and humor of the performer may be tested.


◆Conclusion
How was it?

The descriptions so far are not absolute.
There may be many exceptions. (Please refrain from making any claims. ・・・・

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