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