{"id":16741,"date":"2023-07-05T11:18:18","date_gmt":"2023-07-05T15:18:18","guid":{"rendered":"https:\/\/audioapartment.com\/?p=16741"},"modified":"2023-07-05T11:18:21","modified_gmt":"2023-07-05T15:18:21","slug":"what-does-largo-mean","status":"publish","type":"post","link":"https:\/\/audioapartment.com\/music-theory-and-composition\/what-does-largo-mean\/","title":{"rendered":"What Does Largo Mean? The Slow, Broad, and Dignified Dimension of Music"},"content":{"rendered":"\n

As one of the slowest tempos in musical notation, “largo” sets the stage for performances that resonate deeply, stretching moments into expansive experiences and immersing listeners in a world where time seems to slow down. So, what exactly does “largo” mean in music<\/strong>, and how has its use shaped the musical landscape across different eras? Prepare to be captivated by the broad and slow tempo that sets the stage for musical grandeur. <\/p>\n\n\n\n

What does “largo” mean?<\/strong> “Largo” in classical music refers to a slow and stately tempo, setting the stage for grandeur and emotional intensity.<\/p>\n\n\n\n

What does largo mean?<\/h2>\n\n\n\n

In music, “largo” is an Italian tempo marking that denotes a slow tempo. It’s one of the slowest tempos available, requiring the music to be played very slowly and broadly. The term may also suggest a feeling of being expansive or grand. It usually falls in the 40-60 beats per minute range in metronomic terms<\/a>.<\/p>\n\n\n\n

What is the difference between largo and adagio?”<\/h2>\n\n\n\n

While both “largo” and “adagio<\/a>” signify a slow pace, they convey separate meanings. “Adagio” is typically a bit faster than “Largo.” Adagio means “slowly” or “at ease” in Italian and typically indicates a tempo of 66-76 beats per minute (bpm) on a metronome while “Largo” typically indicates a tempo of 40-60 beats per minute (bpm) on a metronome.<\/p>\n\n\n\n

What are the different interpretations of largo?<\/h2>\n\n\n\n

In the Baroque era, where music flourished with grandeur and complexity, composers had their own unique take on tempo markings. Jean-Jacques Rousseau, an Enlightenment sage, deemed “largo” as the slowest of all tempo markings. <\/p>\n\n\n\n

Yet, interestingly, for English composers like Purcell and his contemporaries, “largo” fell somewhere between “adagio” and “andante.” With diverse perspectives like these, the tempo journey of “largo” continued to evolve. Beyond its technical meaning, “largo” carries an undercurrent of heartfelt personal intensity. Imagine the aria “Ombra mai f\u00f9” from Handel’s Xerxes, affectionately known as “Handel’s Largo.”<\/p>\n\n\n\n

Although the original marking is the diminutive “larghetto,” the mistake in labeling speaks volumes. It tells us that “largo” not only signifies a slow pace but also resonates with profound emotional depth and expression. It’s a gateway to music that tugs at your heartstrings.<\/p>\n\n\n\n

\"The
The theme of the largo of the new world symphony for french horn and transposed for oboe. Source: wiki commons<\/figcaption><\/figure>\n\n\n\n

Now let’s dive into the unique ways that composers like Haydn and Beethoven approached “largo.” Haydn, the master of surprises, reserved this tempo marking for special and personal utterances. Take, for example, the Cantabile e mesto slow movement from his Quartet Op. 76 No. 5. When Haydn employs “largo,” you know that something deeply meaningful is about to unfold.<\/p>\n\n\n\n

As for Beethoven, the maestro of the musical revolution, “largo” took on a whole new dimension. It became a realm where time seemed to suspend, and the music’s heartbeat almost came to a halt. Just listen to the near-timeless introductions of his Piano Sonata Op. 31 No. 2 (Tempest) and the finale of Op. 106 (Hammerklavier). You’ll witness the sheer power of “largo” in creating an otherworldly experience.<\/p>\n\n\n\n

What is the impact and evolution of ‘largo’ in the musical repertoire?<\/h2>\n\n\n\n

After the monumental works of Beethoven, there seems to be a “largo” lacuna in the standard repertoire. In the realm of orchestral music, one exceptional piece that stands out is the Largo from Dvor\u00e1k’s Symphony From the New World (No. 9). <\/p>\n\n\n\n

The hauntingly beautiful sound of the cor anglais weaving its melancholic melody within the expansive orchestral landscape is a splendid exception that captures the essence of “largo” and evokes a sense of longing and nostalgia.<\/p>\n\n\n\n

Shostakovich, a great 20th-century composer known for his powerful and emotive compositions, employs “largo” as more than just a tempo marking.<\/p><\/blockquote><\/figure>\n\n\n\n

Shostakovich, a great 20th-century composer known for his powerful and emotive compositions, employs “largo” as more than just a tempo marking. It becomes a vessel that carries a myriad of emotions, piercing the hearts of the listeners. <\/p>\n\n\n\n

Take, for example, the Largo of his Fifth Symphony, which reportedly had members of its first audience audibly sobbing. When Shostakovich uses “largo,” it’s an invitation to delve deep into the realms of human experience and embrace the full spectrum of emotions.<\/p>\n\n\n\n

If you want even more great tips and information, check out the video.<\/p>\n\n\n

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