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Many tempo markings also indicate mood and expression. For example, presto and allegro both indicate a speedy execution ... Adagio – slow with great expression [12] ...
Adagio (Italian for 'slowly', from ad agio 'at ease') may refer to: Music. Adagio, a tempo marking, indicating that music is to be played slowly, or a composition ...
The composer and music theorist Johann Kirnberger (1776) formalized and refined this idea by instructing the performer to consider the following details in combination when determining the best performance tempo of a piece: the tempo giusto of the meter, the tempo term (Allegro, Adagio, etc., if there is one, at the start of the piece), the ...
Metronome Marking. Formerly "Mälzel Metronome." [10] mobile Mobile, changeable moderato Moderate; often combined with other terms, usually relating to tempo; for example, allegro moderato modéré (Fr.) Moderate modesto Modest modulation The act or process of changing from one key (tonic, or tonal center) to another.
A tempo: to time: Return to previous tempo Fermata: held, stopped, orig. Latin firmo "make firm, fortify" Holding or sustaining a note Grave: grave, solemn: Slow and solemn tempo (slower than largo) Largo: broad: Slow and dignified tempo Largamente: broadly: Slow and dignified tempo Larghetto: broad-ish: Slightly less dignified than largo (so ...
In the second movement, the key shifts to the dominant, A major. The tempo marking is "Adagio", slower than many of Haydn's slow movements which are marked "Andante". In the middle of the second movement, there is an episode in the rather distant key C major. The final movement is the shortest movement of the concerto.
The entire first movement is slow, with the tempo marking adagio. It is uncommon for Haydn to have an opening movement set at a slow pace for its entirety; usually he will begin a first movement with a slow tempo for an introduction but the main body will be at a faster tempo. [2]
The adagio sostenuto tempo has made a powerful impression on many listeners; for instance, Berlioz commented that it "is one of those poems that human language does not know how to qualify". [23] Beethoven's student Carl Czerny called it "a nocturnal scene, in which a mournful ghostly voice sounds from the distance". [1]