of the Allegro to run its passionate course, without regard to
the quieter expression, which the soft second theme demands; for
I knew that I should be able SUFFICIENTLY TO SLACKEN THE PACE AT
THE RIGHT MOMENT, so that the proper movement for this theme
might be reached.

Evidently the greater number, if not all modern Allegro
movements, consist of a combination of two essentially different
constituent parts: in contrast with the older naive unmixed
Allegro, the construction is enriched by the combination of the
pure Allegro with the thematic peculiarities of the vocal Adagio
in all its gradations. The second theme of the overture to
"Oberon," which does not in the least partake of the character of
the Allegro, very clearly shows this contrasted peculiarity.
Technically, the composer has managed to merge the character of
this theme into the general character of the piece. That is to
say: on the surface, the theme reads smoothly, according to the
scheme of an Allegro; but, as soon as the true character of the
theme is brought out, it becomes apparent that A COMPOSER MUST
THINK SUCH A SCHEME CAPABLE OF CONSIDERABLE MODIFICATION IF IT IS
TO COMBINE BOTH PRINCIPLES. (Hauptcharactere.)

To continue the account of the performance of the Freyschutz
overture at Vienna: after the extreme excitement of the tempo
Allegro, I made use of the long drawn notes of the clarinet--the
character of which is quite that of the Adagio--so as
imperceptibly to ease the tempo in this place, where the
figurated movement is dissolved into sustained or tremulous tone;
so that, in spite of the connecting figure: