crescendi

Iso was the director, and waved her hand in command, urging crescendi as the line of passengers grew shorter.

The Women’s Room Marilyn French 1977

Iso was the director, and waved her hand in command, urging crescendi as the line of passengers grew shorter.

The Women’s Room Marilyn French 1977

Iso was the director, and waved her hand in command, urging crescendi as the line of passengers grew shorter.

The Women’s Room Marilyn French 1977

The suggestion of orchestral relationships is contained in the massiveness of the harmonic texture, and in the cumulative effect of the climaxes and crescendi.

Edward MacDowell Gilman, Lawrence, 1878-1939 1908

The suggestion of orchestral relationships is contained in the massiveness of the harmonic texture, and in the cumulative effect of the climaxes and crescendi.

Edward MacDowell Lawrence Gilman 1908

Thus, in the coloratura passages of Mozart's arias, I have always sought to gain expressiveness by _crescendi_, choice of significant points for breathing, and breaking off of phrases.

How to Sing [Meine Gesangskunst] Lilli Lehmann 1888

If the larynx has acquired the habit properly, the trill can be carried on into a _piano_ and _pianissimo_ and prolonged almost without end with _crescendi_ and _decrescendi_, as the old Italians used to do, and as _all Germans_ do who have learned anything.

How to Sing [Meine Gesangskunst] Lilli Lehmann 1888

I remember an occasion when all the musicians began to breathe at ease on my taking this piece at the true moderate pace: then the humorous sforzato of the basses and bassoons at once produced an intelligible effect; the short crescendi became clear, the delicate pianissimo close was effective, and the gentle gravity of the returning principal movement was properly felt.

On Conducting (Üeber Das Dirigiren) : a Treatise on Style in the Execution of Classical Music, Richard Wagner 1848

It was nothing more than 5 to 10-bar sustained cacophonous triads with some crescendi and decrescendi and an occasional tri-tone shocker.

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X. plays skilfully and correctly, but his expression continues crude, cold, monotonous; he shows too pedantic a solicitude about mechanical execution and strict time; he never ventures on a _pp. _, uses too little shading in _piano_, and plays the _forte_ too heavily, and without regard to the instrument; his _crescendi_ and _diminuendi_ are inappropriate, often coarse and brought in at unsuitable places; and -- his _ritardandi_! they are tedious indeed!

Piano and Song How to Teach, How to Learn, and How to Form a Judgment of Musical Performances Friedrich Wieck 1829