Tempo Markings As Movement Names and Compositions With A Tempo Indicator Name
This section needs additional citations for verification. |
Often, composers (or music publishers) will name movements of compositions after their tempo (and/or mood) marking. For instance the second movement of Samuel Barber's first String Quartet is an "Adagio".
Some such movements may start to lead a life of their own, and become known with the tempo/mood marker name, for instance the string orchestra version of the second movement of Barber's first string quartet became known as Adagio for Strings. A similar example is Mahler's most famous work - the Adagietto from his Symphony No. 5. Another is Mozart's Alla Turca (here indicating the Janissary music type of mood of the final movement of Mozart's 11th Piano Sonata, K. 331)
Sometimes the link between a musical composition with a "tempo" name and a separate movement of a composition is less clear. For instance Albinoni's Adagio, a 20th-century creative "reconstruction" based on an incomplete manuscript.
Some composers chose to include tempo indicators in the name of a separate composition, for instance Bartók in Allegro barbaro ("barbaric Allegro"), a single movement composition.
Read more about this topic: Tempo
Famous quotes containing the words tempo, movement and/or names:
“I have never yet spoken from a public platform about women in industry that someone has not said, But things are far better than they used to be. I confess to impatience with persons who are satisfied with a dangerously slow tempo of progress for half of society in an age which requires a much faster tempo than in the days that used to be. Let us use what might be instead of what has been as our yardstick!”
—Mary Barnett Gilson (1877?)
“Im real ambivalent about [working mothers]. Those of use who have been in the womens movement for a long time know that weve talked a good game of go out and fulfill your dreams and be everything you were meant to be. But by the same token, we want daughters-in-law who are going to stay home and raise our grandchildren.”
—Erma Bombeck (20th century)
“It was a poetic recreation to watch those distant sails steering for half-fabulous ports, whose very names are a mysterious music to our ears.... It is remarkable that men do not sail the sea with more expectation. Nothing was ever accomplished in a prosaic mood.”
—Henry David Thoreau (18171862)