A Dictionary of Music and Musicians/Allegro

ALLEGRO (Ital.) The literal meaning of this word is 'cheerful,' and it is in this sense that it is employed as the title of Milton's well-known poem. In music however it has the signification of 'lively' merely in the sense of quick, and is often combined with other words which would make nonsense with it in its original meaning—e.g. 'allegro agitato e con disperazione' (Clementi, 'Didone abbandonata'). When unaccompanied by any qualifying word 'allegro' indicates a rate of speed nearly intermediate between 'andante' and 'presto.' There is however no other time indication which is so frequently modified by the addition of other words. To quote only some of the more common, 'allegro molto' 'allegro assai,' 'allegro con brio' (or 'con fuoco'), and 'allegro vivace,' will all indicate a quicker time than a simple allegro; an 'allegro assai,' for instance, is often almost equivalent to a 'presto.' On the other hand, 'allegro ma non troppo,' 'allegro moderato,' or 'allegro maestoso,' will all be somewhat slower. The exact pace of any particular allegro is frequently indicated by the metronome, but even this is by no means an infallible guide, as the same movement if played in a large hall and with a great number of performers would require to be taken somewhat slower than in a smaller room or with a smaller band. In this, as with all other time indications, much must be left to the discretion of the performer or conductor. If he have true musical feeling he cannot go far wrong; if he have not, the most minute directions will hardly keep him right. The word 'allegro' is also used as the name of a piece of music, either a separate piece (e.g. Chopin's 'Allegro de Concert,' op. 46), or as the first movement of a large instrumental composition. In these cases it is generally constructed in certain definite forms, for which see Symphony and Sonata. Beethoven also exceptionally uses the word 'allegro' instead of 'scherzo.' Four instances of this are to be found in his works, viz. in the symphony in C minor, the quartetts in E minor, op. 59, No. 2, and F minor, op. 95, and the Sonata quasi Fantasia, op. 27, No. 1.

[ E. P. ]