Shortly after Beethoven’s death, several of his closest associates provided performance indications for editions of his works. Previous discussions of Carl Czerny’s and Ignaz Moscheles’s metronome marks for Beethoven’s piano sonatas have highlighted the importance of these indications for our understanding of the intended performance practice of these works. Nevertheless, the provenance and meaning of these metronome marks have remained unclear, which has led to some confusion in the literature.By presenting new evidence, including the discovery of what are most likely the metronome marks intended for the missing sonatas from the first ‘complete’ edition by Tobias Haslinger, the article presents a more complete overview of the indications in these editions, as well as their chronology. In addition, it also discusses to what degree the editors seem to have influenced each other, which indications are most likely representative of Beethoven’s intended speeds, as well as why the metronome fell out of favour later in the nineteenth century. Finally, it discusses the meaning of these metronome marks for modern performers, and how these editions give options to disentangle the author from the text.

中文翻译：

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重新审视贝多芬钢琴奏鸣曲的车尔尼和莫舍莱斯节拍器标记

贝多芬去世后不久，他的几个最亲密的伙伴为他的作品版本提供了性能指标。先前对卡尔·车尔尼和伊格纳兹·莫舍莱斯对贝多芬钢琴奏鸣曲的节拍器标记的讨论强调了这些指示对于我们理解这些作品的预期演奏实践的重要性。然而，这些节拍器标记的出处和含义仍然不清楚，这导致了文献中的一些混乱。通过提出新的证据，包括发现最有可能用于第一首“完整奏鸣曲”中缺失的奏鸣曲的节拍器标记' 由 Tobias Haslinger 出版，文章对这些版本中的适应症及其年表进行了更完整的概述。此外，它还讨论了编辑似乎在多大程度上相互影响，哪些迹象最有可能代表贝多芬的预期速度，以及节拍器在 19 世纪后期失宠的原因。最后，它讨论了这些节拍器标记对现代表演者的意义，以及这些版本如何提供选项以将作者与文本分开。