My friends at Music Appreciation were bemused about my "excellent detective work" until I explained to them that it's simply a matter of playing what's written in the score. Here's the Allegretto with accompanying score so you can see what I mean by the notation - orchestra unknown: Kleiber's version is a little faster, more febrile and dramatic IMO:
He favours the 'grace note' approach, as you can hear. Then there's Carlos Kleiber (who else?!). Now, those double appoggiaturas can and are interpreted differently if they're leaning on notes of longer value clearly Klemperer thought a dotted crotchet was a longer note in his lugubrious version! Here's Harnoncourt - faster and more convincing IMO!! (Klemperer sucks the life and energy out of his Beethoven #7 by making it ponderous.)
These are most definitely not triplets in Harnoncourt's version but are played correctly as rapid notes leading up to the note itself. Then a favourite, the Chamber Orchestra of Europe/Harnoncourt. Firstly, the Klemperer: it could be argued that in slowing down the movement to a dirge the conductor was left with no alternative but to use the slower triplets!! Now, you can hear the difference with these versions. Klemperer is playing them as triplets, but they are not triplets. I thought the performance much too slow, but my 'beef' was those double appoggiaturas from Bar 29. Last week at music appreciation one of my colleagues played this Beethoven 7th symphony, recorded in 1955 with Klemperer.
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