The Short

Ex. 11.18. Viotti, Violin Concerto no. 27/ii, in Chappell White, ed., Recent Researches in the Music of the Pre-Classical,
Classical, and Early Romantic Eras, v(Madison, Wis., 1976)
Ex. 11.19. Chopin, Impromptu op. 36/2
TYPE OF TEMPO MODIFICATION 413
sense, two quite distinct techniques. In the hands of the most accomplished artists, however, the distinction became
blurred, since, as can be seen from García's examples, redistribution of notes and accents and addition of
ornamentation seem often to have been used in combination. Henri Herz, apparently oblivious of the use of tempo
rubato by his contemporary Chopin, provides some interesting insights into Dussek's employment of the technique,
but certainly implies that the technique was encountered much less frequently towards the middle of the nineteenth
century than formerly:
A too exact and uniform tempo at times produces monotony. A phrase of melody may require to be slower than
the brilliant passage which follows it; sometimes even the double character of the accompaniment and the melody
requires a different rhythmic effect from each hand. Thus while the right hand seems to lose itself in frivolous
variations, the left, accenting the off-beats in the bass, follows it in heavy steps and with syncopated notes. This