In the final presto, Dallas McMurray and Julie Worden, in gray and bright blue, mirror the allegro's vigorous pace, darting from side to side in steps that convey, with a jazzy sway of the hips, a free-spirited innocence.
The book unrolls at a non-urgent pace; not allegro, not even andante — largo.
However, the majority of Schubert scholars tend to dismiss such an interpretation, arguing instead for a more flowing pace, a measured allegro.
"In my organisation, I set a rapid pace, which is called allegro in symphonic circles". "I have to admit that my knowledge of classical music is limited". "Can you imagine if Luciano Pavarotti had been singing, contentedly, in some obscure place his whole life, what we would have missed?
Robert Garland, in the New York Journal American suggested that Rodgers and Hammerstein "had confused allegro [which means at a fast pace] with, say, lento, which means 'slow', 'unhurried', and even downright 'serious'".
Once the main Allegro section started, the tempo seemed driven.
Yet the tempo marking, Allegro vivace, conveys urgency.
Likewise, the variant sonata-allegro form is misleading, for it need not be in a quick tempo such as allegro.
Igor Buketoff, the conductor keeps the tempo on the allegro side.
Nothing in the way of grand, expansive gestures was withheld, either in the playing or in Mr. Kogan's pacing of the score, and the Allegro molto vivace movement sounded so crashingly final that one could empathize with listeners who felt impelled to applaud before the closing Adagio lamentoso.
Although the first movements are in sonata form, their pace is slower than the ordinary Classical allegro and is supported by long nonthematic passages that expand the harmonic arch.
