BEETHOVEN: THE EXPRESSED AND THE INEXPRESSIBLE
The article is devoted to the transition from the classical understanding of music as a structured «language of feelings» to the subjective understanding of musical expressiveness. The rudiments of the Baroque tradition (including the tempi ordinari) were no longer perceived by the musicians of the 1820s. For Beethoven, as a composer of the transition era, words that fix the tempo, character and imagery of music were always important, but in the works of the later period they form an independent semantic layer. Sometimes the author's designations are so multi-layered and internally contradictory that their exact reproduction is hardly possible in reality. The expressed is transferred to the sphere of the inexpressible, to the sphere of imaginary virtual sounds.