A Dictionary of Music and Musicians/Allegretto

ALLEGRETTO (Ital.). A diminutive of 'allegro,' and as a time-indication somewhat slower than the latter, and also faster than 'andante.' Like 'allegro' it is frequently combined with other words, e. g. 'allegretto moderato,' 'allegretto vivace,' 'allegretto ma non troppo,' 'allegretto scherzando,' etc., either modifying the pace or describing the character of the music. The word is also used as the name of a movement, and in this sense is especially to be often found in the works of Beethoven, some of whose allegrettos are among his most remarkable compositions. It may be laid down as a rule with regard to Beethoven, that in all cases where the word 'allegretto' stands alone at the head of the second or third movement of a work it indicates the character of the music and not merely its pace. A genuine Beethoven allegretto always takes the place either of the andante or scherzo of the work to which it belongs. In the seventh and eighth symphonies, in the quartett in F minor, op. 95, and the piano trio in E flat, op. 70, No. 2, an allegretto is to be found instead of the slow movement; and in the sonatas in F, op. 10, No. 2, and in E, op. 14, No. 1, in the great quartett in F, op. 59, No. 1, and the trio in E flat, op. 70, No. 2, the allegretto takes the place of the scherzo. This use of the word alone as the designation of a particular kind of movement is peculiar to Beethoven. It is worth mentioning that in the case of the allegretto of the seventh symphony, Beethoven, in order that it should not be played too fast, wished it to be marked 'Andante quasi allegretto.' This indication however does not appear in any of the printed scores. In the slow movement of the Pastoral Symphony, Beethoven also at first indicated the time as 'Andante molto moto, quasi allegretto,' but subsequently struck out the last two words.

[ E. P. ]