— ' '

ANDAMENTO ANDAKTINO 83
three or four notes, culled from the subject, or under a multitude of changing forms, serves to
one of its counter- subjects, is a mere point of bind the powerfully-contrasted elements of the
imitation, inti-oduoed for the purpose of adding composition into a consistent whole.
interest to the composition, binding it more Sebastian Bach's Choral Vorspiel, ' Wir glau-
closely together, or establishing a more intimate ben air an einen Gott,' is based upon a Canto
correspondence of style between its various fermo, an Andamento, and a Soggetto.
sections. The Canto fermo.
A
fugue developed from a well-considered
Andamento must, of necessity, be a lengthy
one. A fine instance ofan Andamento con-
sisting of two distinct sections will be found
in the second portion of the chorus, 'When
his loud voice,' in Handel's ' Jephthah,' at the
words They now contract.
'

(a) (6)

In this Canto iermo, weie it uoi tor

They now contract their boistrous Pride, and lash
The ' Amen Chorus,' in the Messiah,' affords '
another equally fine example, in which the two
sections, though distinctly separated, are not
so strongly contrasted with each other.
A- men,
On
the other hand, in the chorus, Righteous
case, the
"with
the fact that it an old ecclesiastical melody, and
is
not an original theme, might be technically de-
scribed as the true Soggetto, and the Soggetto as
a counter-Subject, the office of which it performs
throughout the entire composition. It should
be mentioned that some German authorities use
the term as equivalent to what we call episodes
A - etc.
(see Attaoco, and Soggetto). w. s. e.
'
ANDANTE (Ital., participle of the verb

Heaven,' in 'Susanna,' the subject introduced andare, 'to go'). Going, moving along at a
at the words, 'Tremble guUt,' though phrased
moderate pace. In modern music this word is
chiefly used to designate a rather slow rate of
in three which admit of distinct
divisions
breathing-places between them, is very nearly
movement formerly however it was used more
;

homogeneous in its general character.

generally in its literal sense. Thus in Handel's
Nearly all the fugues in Sebastian Bach's music we frequently find the indication 'andante
allegro,' a contradiction in terms in the modern
'Wohltemperirtes Clavier are formed upon '

sense of the words, but meaning nothing more

Soggetti while nearly all his finest organ
;

than moving briskly.' Andante is a quicker

fugues, with pedal obbligato, are developed
from long and well-sustained Andamenti.
curious instance, in two sections, will be found
in the fugue in E major from the third toccata
(B.-G. vol. XV. p. 278).
'
rate of movement than larghetto, but on the
A
other hand is slower than allegretto. As with
most other time -indications it is frequently
modified in meaning by the addition of other
words, e.g. andante sostenuto would be a
'

In the well-known organ fugue in G minor,

'

little slower, andante un poco allegretto

and '

the construction of the Andamento is a miracle

or 'andante con moto' a trifle faster, than
of melodic skill :

'andante' alone. Like adagio, largo, etc.,

this word is also used as the name of a piece of
musid {e.g. Beethoven's 'Andante in F') or as
the name of a slow movement of a symphony,
One of the finest Andamenti to be found sonata, etc. E. P.
among fugues of later date is that which forms the ANDANTINO The diminutive of
(Ital.).
subject of the ' Zauberflbte overture. 'Another Andante (q.v. As andante means literally
).
' '

foiTns the theme of the first of Mendelssohn's Six '

going,' its diminutive must mean rather '

Fugues for the pianoforte (op. 35). going, 'i.e. not going quite so fast and properly ;

Andamenti may be found both in real and '

andantino designates a somewhat slower time
'

tonal fugue the examples are, however, much

; than andante. The majority of modern com-
more frequent in the former than in the latter. posers however, forgetting the original meaning
The Andamento is frequently used in combina- of the word, and thinking of andante as equiva-
tion, both with the Soggetto and the Attacco ;
lent with slow,' use andantino for 'rather slow,'
'

and either, or both of them, may occasionally
be found in combination with a Canto fermo.
The ' Hallelujah Chorus ' is developed from a
Canto fermo adapted to the words, For the
Lord God Omnipotent reigneth,' a Soggetto,
'And He shall reign for ever and ever,' and a
constantly- varying Attacco, ' Hallelujah, ' which,
i. e. quicker. In which sense the word
somewhat
isintended can only be determined by the char-
acter of the music itself. No more striking proof
'
of the uncertainty which prevails in the use of
these time-indications can be given than is to be
found in the fact that three movements in Men-
delssohn's 'Elijah,' the first of which, 'If with