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In the Baroque period, pieces would typically be given an indication, which might be a tempo marking (e.g. Allegro), or the name of a dance (e.g. Allemande or Sarabande), the latter being an indication both of tempo and of metre. Any musician of the time was expected to know how to interpret these markings based on custom and experience.
Consider: "Allegro" originally meant "happy," but that meaning is now largely lost: it's quite easy to find pieces marked "Allegro" which are not at all happy (e.g. Chopin etudes Op 10 No 12, or Op 25 Nos 10-12). The primary meaning of "Allegro" is now "fast;" it is a tempo marking, which has a very arguable emotional connotation.
The tempo marking is Allegro ma non troppo; this, like that of the third movement, is an afterthought on Beethoven's part: the original tempo indication in the autograph score is an unqualified "allegro". The composer added (in red chalk) "ma non troppo" – i.e. but not too much so. [24]
Although because of the very odd tempo marking Maynard Solomon warns against calling it a scherzo, preferring the phrase "march-trio". Scherzo (bars 1–40, with a repeat) Trio (bars 41–102) Scherzo (bars 103–144) Trio (bars 145–182) Scherzo (bars 183–206): This time the tempo increases (Più Allegro)
The first movement is, by definition, written in sonata form, in a fast tempo (allegro), and in the home key of the overall piece. This movement can also be called ...
The typical three-movement structure, a slow movement (e.g., lento or adagio) preceded and followed by fast movements (e.g., presto or allegro), became a standard from the early 18th century. The concerto originated as a genre of vocal music in the late 16th century: the instrumental variant appeared around a century later, when Italians such ...
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 ...
The tempo, allegro molto (very quickly), is of note since it marks the historical shift away from the old minuet (which was played at a slower, danceable, tempo) toward the scherzo; by his last quartets Haydn had started marking his minuets presto. The fourth movement is a characteristically rhythmic, energetic and propulsive Haydn finale.