For example, if we go from the 1792 clock's slow (perhaps spurious) Quail minuet' (a 'traditional' title, no manuscript source is available) to the 1793 clock's fast Minuetto allegretto from Haydn's'Clock'symphony, the ranges on the Niemecz mechanical organs, flywheel going at 6o, go from dotted minim = 36 to 72.
It is surely significant that at c.6o rpm for the 1793 machine's flywheel, the tempo of the Haydn Clock' Symphony's Menuetto Allegretto (Czerny marks it Allegro) is dotted minim = c.72, certainly reasonably close to Czerny's 76 for the same music.
Neumann further excuses this fast Beethoven minuet tempo, referring to the fast verbal tempo indications by Haydn for the minuets of his last eight quartets, by calling attention among other things to Beethoven's accompanying words to this Menuetto,'Allegro molto e vivace" saying that when Haydn [and, we presume, Beethoven] wanted a minuet to be played faster than the unhurried Allegretto, he unfailingly indicated his intentions with eloquent tempo words.But how do we know this to be so?
There is no substance to Neumann's remark that the many minuets [of the classical masters] without tempo indications were understood to be in Tempo di menuetto - or in Allegretto - and that, we have seen, was anything but fast.' His statement is misleading: Tempo di menuetto'may have been anything but fast, but as we have seen, Allegretto tempos are a different matter.
It appears that Neumann's conversion is taking place incrementally: he quietly begins to accept the concept of a one-in-a-bar tempo for a Haydn minuet marked Allegretto, and here he steps ten significant MM degrees ahead of Marty, whose fastest-ever tempo for a Menuetto Allegro is 56: