Rubato

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The rubato in Béla Bartók's 1st Rhapsody, op. 1 (1904)

Rubato or tempo rubato (free in the lecture, ital. Rubare = to rob, to steal), also rubamento di tempo , rubando , denotes in music different types of lengthening or shortening in the playing of notes, often combined with the requirement that the "stolen Time ”must be returned.

As early as the 18th century, tempo rubato was naming various types of manipulation of tone durations and beats. For example, tempo rubato is the reversal of the metric weight ratios by emphasizing light beats.

Above all, the term referred to a way of playing in which the melody voice leads or lags, while the accompaniment stays strictly in time, so that the melody and accompaniment are not synchronized for a while. Franz Benda , Wolfgang Amadeus Mozart and Frédéric Chopin were famous for this technique .

“That I always watch my tact with accurat. they are all amazed at that. The tempo rubato in an adagio that the lincke hand knows nothing about it cannot be understood at all. the left hand gives in to them. "

- Wolfgang Amadeus Mozart : In a letter to his father from 23./24. October 1777

This practice can also be heard on early recordings, not least in the pianistic manner of playing melody tones almost basically according to the bass note.

In the course of the 19th and 20th centuries, the term was used more and more synonymously with agogic , i.e. as a general acceleration or deceleration of the pace. In the 18th century, the designation for a free approach to tempo was con discrezione . The actual rubato game "went completely out of fashion at the beginning [...] of the 20th century [...] and a certain skin gout sticks to it to this day".

The rubato, which is explicitly required in the musical text, is found primarily in Romantic music . In particular, Chopin's piano music as well as some works by Franz Schubert and Alexander Scriabin have detailed instructions on the rubato.

In jazz, rubato is a means of interpretation that is given a different meaning under the term offbeat . With the drive , accents are set before the basic stroke. Relaxed, the accents lag behind the basic beat.

See also

Web links

Individual evidence

  1. ^ Pier Francesco Tosi: Opinionide 'cantori antichi e moderni . 1723.
    Johann Joachim Quantz: Attempting an instruction to play the flute traverse . 1752.
  2. ↑ Wolfgang Amadeus Mozart: 83rd letter to the father, Augsburg, October 24, 1777. In: Ludwig Schiedermair (ed.): The letters of WA Mozart and his family , 5 volumes, volume 1. Munich / Leipzig 1914, p. 96 ; from: Zeno.org , accessed December 1, 2016.
  3. ^ Christian Thielemann : My life with Wagner . CH Beck, Munich 2012, ISBN 978-3-406-63446-8 , p. 163.