of the Adagio’s tendency towards infinite expansion; there, limitless freedom in the expression of sound, with fluctuating, yet delicately regulated movement; here, the firm rhythm of the figurated accompaniments, imposing the new regulation of a steady and distinct pace—­in the consequences of which, when fully developed, we have got the law that regulates the movement of the Allegro in general.  We have seen that sustained tone with its modifications is the basis of all musical execution.  Similarly the Adagio, developed, as Beethoven has developed it in the third movement of his Ninth Symphony, may be taken as the basis of all regulations as to musical time.  In a certain delicate sense the Allegro may be regarded as the final result of a refraction (Brechung) of the pure Adagio-character by the more restless moving figuration.  On careful examination of the principal motives of the Allegro it will be found that the melody (Gesang) derived from the Adagio, predominates.  The most important Allegro movements of Beethoven are ruled by a predominant melody which exhibits some of the characteristics of the Adagio; and in this wise Beethoven’s Allegros receive the emotional sentimental significance which distinguishes them from the earlier naive species of Allegro.  However, Beethoven’s [Musical Score:  Symphony III.  “Eroica.”] and Mozart’s [Footnote:  Symphony in C major, “Jupiter.”]

or:—­

[Musical Score excerpt]

are not far asunder.  And with Mozart, as with Beethoven, the exclusive character of the Allegro is only felt when the figuration gets the upper hand of the melody (Gesang) that is, when the reaction of the rhythmical movement against the sustained tone is entirely carried out.  This is particularly the case in those final movements which have grown out of the Rondeau, and of which the Finales to Mozart’s Symphony in E flat, and to Beethoven’s in A, are excellent examples.  Here the purely rhythmical movement, so to speak, celebrates its orgies; and it is consequently impossible to take these movements too quick.  But whatever lies between these two extremes is subject to the laws of mutual relationship and interdependence; and such laws cannot be too delicately and variously applied, for they are fundamentally identical with the laws which modify all conceivable nuances of the sustained tone.

I shall now turn to the question of the modification of tempo; a question of which our conductors know nothing, and for which they consequently profess contempt.  Whoever has followed me so far with attention will, I trust, understand that this question goes to the root of the matter before us.  In the course of the argument so far, two species of Allegro have been mentioned; an emotional and sentimental character has been assigned to the latter, the true Beethovenian Allegro, whereas the older Mozartian Allegro was distinguished as showing a naive character.  I have adopted the expressions “sentimental” and “naive” from Schiller’s well-known essay upon “sentimental and naive poetry.”