according to the older method, it would have been marked Allegro
maestoso. Now, when this kind of tempo continues through a long
piece, particularly if the themes are treated episodically, it
demands modification as much as, or even more than any other kind
of tempo; it is frequently chosen to embody the manifold
combinations of distinct motives; and its broad divisions into
regular bars of four beats are found convenient, as these tend to
render modifications of movement both easy and simple. This
moderate 4/4 time can be interpreted in many and various ways; it
may consist of four vigorous crotchet-beats, and thus express a
true animated Allegro (this is the main tempo I intend, which
becomes most animated in those eight bars of transition

[2 measures of music are shown here]

which lead from the march proper to the theme in E major); or, it
may be taken to consist of a demi-period made up of two 2/4
beats; as when, at the entrance of the shortened theme,

[2 measures of music are shown here]

it assumes the character of a lively Scherzando; or, it may even
be interpreted as Alia breve (2/2 time) when it would represent
the older, easily moving Tempo andante (often employed in church
music) which is to be rendered with two moderately slow beats to
a bar. I have used it in the latter sense, beginning from the
eighth bar after the return to C major, in a combination of the
principal march theme, now allotted to the basses, with the
second main theme, now sung broadly and with commodious ease, in
rhythmical prolongation, by the violins and violoncellos: