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."

It is needless to discuss the aesthetic problems Schiller touches
upon. It is enough to state here that I take Mozart's quick Alla-
breve movements as representative of the naive Allegro. The
Allegros of the overtures to his operas, particularly to "Figaro"
and "Don Giovanni" are the most perfect specimens. It is well
known that Mozart wished these pieces to be played as fast as
possible. Having driven his musicians into a sort of rage, so
that to their own surprise they successfully rendered the unheard