109 Sentences With "diminuendo" | Random Sentence Generator

Florestan's characteristic gesture, for instance, is a surge: a crescendo with no corresponding diminuendo.

That made this episode something of a diminuendo — a comedown from the intensity of Episodes 6 and 7.

" But after critics began to complain, Mr. Solti dialed it back, in what Mr. Friedman called "the great diminuendo.

Just as the emotional transformation reaches its climax, the music startles with a shimmering, introspective diminuendo that drifts down from the heavens, a passage Ms. Netrebko navigates with trembling and bewitched delicacy.

In der Rolle Wolframs, der zuverlässigen und anständigen Gegenfigur zum gequälten und verwirrten Tannhäuser, hat Christian Gerhaher das großartige "Lied an den Abendstern" mit einem Diminuendo ausklingen lassen, bis es fast nicht mehr hörbar war.

CreditCreditCesar Rodriguez In the casual opinion of most Americans, I am an old man, and therefore of little account, past my best, fading in a pathetic diminuendo while flashing his AARP card, a gringo in his degringolade.

As media coverage of classical music continues a decades-long diminuendo across the United States, The Boston Globe is trying something new: On Monday it announced a pilot program in which a consortium of nonprofit groups would help it pay for a critic.

Get out of my business with that nightmare you call music, with your tears and pleading, the whining of excuses—oh, sorry, that is your music, that crybaby boohoo-ery, that blurt, that diminuendo, that waaah, that large-ass mess, that chicken pot pie all pocked with freezer burn, that coyote hung from a fencepost as a trophy and a caution.

Calvert wrote and produced a 2018 science fiction feature film starring actors Richard Hatch and Walter Koenig, titled Diminuendo, with Bryn Pryor (also known as Eli Cross) serving as film director. Calvert and Pryor were inspired by a film script written by David Aaron Clark. Calvert directed Diminuendo over a six-week shooting period. Her budget for the film production on Diminuendo was $350,000.

Diminuendo, Crescendo and Blues is an album recorded in 1958 by the C Jam All- Stars led by Paul Gonsalves.

Dykstra had her first major acting role starring as Cello Shea in the film Diminuendo opposite Battlestar Galactica star Richard Hatch.

These signs are vast and cover phrasing but also dynamics such as crescendo and diminuendo, descending glissandi, ritardandos, fermatas, accelerandos and much more.

After appearing to have a good chance early in the straight he weakened in the closing stages to finish third behind Minster Son and Diminuendo.

In his final film performance, Hatch played director Haskell Edwards in the film Diminuendo which wrapped a few months before he learned of his pancreatic cancer. Hatch was able to see a rough cut of the film before he died, and a work-in-progress screening was held as a memorial shortly after his death. Diminuendo had its world premiere at the 20th Annual Sarasota Film Festival on April 20, 2018.

The independent Timeform organisation gave Diminuendo a rating of 126 in 1988, making her the highest-rated three-year-old filly. In the same year, she was also the top-rated filly of her generation in Europe on the official International Classification. In their book, A Century of Champions, based on the Timeform rating system, John Randall and Tony Morris rated Diminuendo an "average" winner of the Oaks.

She was made 7/4 favourite ahead of Dabaweyaa and the Prix Cléopâtre winner Indian Rose. Diminuendo turned into the straight before accelerating into the lead approaching the final quarter mile. She drew clear in the closing stages to win by four lengths from Sudden Love, with the French-trained Animatrice in third. Five weeks after her win at Epsom, Diminuendo started the 2/9 favourite for the Irish Oaks at the Curragh.

Although she had little immediate success as a dam of winners she had a long-term impact through her daughters and was the female-line ancestor of All Along, Vaguely Noble, Diminuendo, Enstone Spark and Casamento.

In 2018, she co-starred in the film Diminuendo opposite Richard Hatch, her friend from the BSG reboot. Cairns had a recurring role as Kathryn "Kat" MacLaren for the 3 seasons (2016–2018) of the series Travelers.

These pulses eventually diminuendo with a lower frequency to a piano. A recapitulation of the motives from the beginning of the piece reach a final climax to conclude the movement, as the strings linger on a high A.

The movement progresses by revisiting and varying these elements, at the same time introducing an octave-leap element that prefigures the main characteristic of the second movement. The movement closes with a diminuendo recapitulation of the violin's opening figures.

Diminuendo was held up by Cauthen in the early stages before moving up to join the leaders in the straight but soon came under pressure and it was only in the final strides that she caught the Michael Stoute-trained Melodist to force a dead heat. Melodist, the winner of the Oaks d'Italia was also owned by Sheikh Mohammed, whose Kildangan Stud sponsored the race. At York in August, only five fillies appeared to oppose Diminuendo in the Yorkshire Oaks. Starting the 30/100 favourite, she was never in danger of defeat and won impressively by five lengths from Sudden Love.

Then the orchestra played "Day In, Day Out". Following this, Duke announced that they were pulling out "some of our 1938 vintage": "Diminuendo and Crescendo in Blue" joined by an improvised interval, which Duke announced would be played by tenor saxophonist Paul Gonsalves.

Diminuendo, Crescendo and Blues was released in Germany by Bertelsmann Record Club. It was reissued on CD in the US by RCA Victor in 1999. The AllMusic reviewer commented on the brief running time of the CD version, but concluded that the album was "highly recommended".

This is answered by the sopranos in diminuendo, and the music softens and reverts to the dreamy harp arpeggios that it began with as the violin melody floats upwards to the final note in E flat major and the full choir repeats,with the altos finally joining: "".

The piece concludes with a coda from measure 98 to the end (m. 113). A six-measure melodic hocket is played by the horn, trombone, euphonium and trumpets, ending with a climax in G major. October concludes with the low brass and woodwinds playing a long diminuendo into silence.

Messa di voce (Italian, "emission of voice") is a singing technique that requires sustaining a single pitch while gradually making the voice louder (crescendo) and then softer (diminuendo)."Messa di voce" Merriam-Webster. Retrieved 21 November 2012. It is considered to be a particularly advanced test of singing ability.

Diminuendo was bought by Mohammed bin Rashid Al Maktoum (always known as "Sheikh Mohammed" in racing circles) and was sent to be trained by Henry Cecil at his Warren Place Stables in Newmarket. The filly was ridden in all her major victories by the American jockey Steve Cauthen.

On her three-year-old debut, Diminuendo started 7/4 favourite for the Nell Gwyn Stakes, a trial race for the 1000 Guineas, over seven furlongs at Newmarket on 12 April. She was restrained by Cauthen in the early stages and despite making progress in the closing stages she was beaten three quarters of a length by Ghariba, to whom she was conceding five pounds. Sudden Love and Ela Romara, the fillies in third and fourth place, went on to win the E. P. Taylor Stakes and the Nassau Stakes respectively. On 28 April, Diminuendo started the 6/1 second favourite for the 175th running of the 1000 Guineas over Newmarket's Rowley Mile.

There is a later recording of "Diminuendo In Blue/Blow by Blow" on the album Ella and Duke at the Cote D'Azur, recorded live in Juan-les-Pins on the French Riviera between June 26 and July 29, 1966, for Verve Records. Paul Gonsalves is featured on the "Blow by Blow" section.

Mekas 1966, pp. 230–231. Although the frames are entirely black or white, many people report seeing movement, shapes, or colors.Joseph 2008, p. 341. P. Adams Sitney, in his 1969 article defining structural film, characterized the structure of The Flicker as "one long crescendo–diminuendo... with a single blast of stereophonic buzz".

All voices united proclaim the name "Jesus" three times in growing intensity (bars 15-20). The second part is for all voices. It begins in canon on "Sancta Maria", and evolves diminuendo with a point d'orgue on bar 30 ("ora pro nobis"), when Mary is asked to "pray for us sinners".M. Auer, pp.

Niente (), also called quasi niente , is a musical dynamic often used at the end of a piece to direct the performer to fade the music away to little more than a bare whisper, normally gradually with a diminuendo,Collins Encyclopedia of Music, p. 379. al niente.Bauer, Helen (2009). Young People's Guide to Classical Music, p.32.

Several works by Dessau featured in these wartime exhibitions including And So To Bed, showing a carefully laid-out uniform of an auxiliary fireman, and several fine portraits including one of Divisional Officer Blackstone, who was awarded the George Medal for his actions after a fire station was bombed during the Blitz. Menace is a set of four canvases, now in the London Fire Brigade Museum, entitled Overture, Crescendo, Rallentando and Diminuendo, which show fire-fighters tackling a giant demonic fire figure which towers over them in the first canvas, Overture, but lies defeated in the final Diminuendo. Dessau also contributed illustrations to the 1942 NFS anthology Fire and Water, to the 1943 WAAC booklet Air Raids and to a 1943 book on firemen co-written by Stephen Spender.

Two of the most famous performances in the festival's history are Miles Davis' 1955 solo on "'Round Midnight" and the Duke Ellington Orchestra's lengthy 1956 performance of "Diminuendo and Crescendo in Blue", featuring a 27-chorus saxophone solo by Paul Gonsalves. A reconstructed Ellington at Newport, from his 1956 performance, was re-issued in 1999. Aside from the actual festival performance of "Diminuendo and Crescendo in Blue", including the distant-sounding Gonsalves solo, the original album used re-creations, note for note, of some of the set's highlights, which were re-recorded in the studio. The new set restored the original festival performance after a recording from the Voice of America (which broadcast the performance) was discovered and, among other things, the odd timbre of the Gonsalves performance.

In a change of tactics, Cauthen sent the filly into the lead from the start, but in the final quarter mile she was overtaken and beaten into third place by Ravinella and Dabaweyaa. Twelve days after her defeat at Newmarket, Diminuendo was moved up in distance for the Musidora Stakes over ten and a half furlongs at York. Startin the 8/13 favourited, she took the lead three furlongs from the finish and accelerated clear of the field to win impressively by four lengths from Asl, with Princess Genista five lengths back in third. On 4 June, Diminuendo was one of eleven fillies to contest the 210th running of the Oaks Stakes (known for sponsorship reasons as the Gold Seal Oaks) over one and a half miles at Epsom Downs Racecourse.

The earlier settings were composed for his mistress, Marie Vasnier. The settings in his Fêtes galantes cycle contained some material from the earlier versions, mostly in "Fantoches", although in that song the composer replaced the original flamboyant and virtuosic ending with a gradual diminuendo, which became a frequent feature of his style.Nichols, Roger. Notes to Hyperion CD set CDA 677883 (2012).

He sang the Carmen Flower Song so tenderly yet passionately that I > was moved almost to tears. He delivered the difficult rising scale ending > with a clear and brilliant B flat. Almost apologetically I asked him to try > to sing it as written – pianissimo, rallentando and diminuendo. Without > turning a hair he achieved the near-miracle, incredibly beautifully and > without effort.

Her role was nominated for a Best Actress in a Lead Role by the Film Critics Circle of Australia. She also had a minor supporting role in the 2007 USA Network TV miniseries The Starter Wife. She had a leading role in three seasons of Rescue: Special Ops from 2009. In 2018, she appeared in the film Diminuendo opposite Richard Hatch.

On the piano it refers to use of the soft pedal which controls whether the hammer strikes one or three strings; see una corda, tre corde below. ; count : Series of regularly occurring sounds to assist with ready identification of beat ; crescendo : Growing; (i.e. progressively louder) (contrast diminuendo) ; cuivré : Brassy. Used almost exclusively as a French Horn technique to indicate a forced, rough tone.

Other systems of indicating volume are also used in both notation and analysis: dB (decibels), numerical scales, colored or different sized notes, words in languages other than Italian, and symbols such as those for progressively increasing volume (crescendo) or decreasing volume (diminuendo or decrescendo), often called "hairpins" when indicated with diverging or converging lines as shown in the graphic above.

This last passage is characterized by sweeping arpeggios with violent dynamic contrasts – a series of subito fortissimo decaying to piano, following the rise and fall of the melody. On the last iteration, the melody hits triple forte at the zenith of its register and then plunges four octaves in a descending arpeggio, marked poco a poco diminuendo al pianissimo. An emphatic cadence then concludes the piece.

Joel Spiegelman’s career has encompassed a variety of musical activities as composer, conductor, pianist, harpsichordist, teacher, and author. In 1946, he made his debut with the Buffalo Philharmonic. His performance as piano soloist was reviewed in Musical America, giving him national attention. In the Spring of 1967, Spiegelman was harpsichord soloist with Leonard Bernstein, as the New York Philharmonic performed Edison Denisov’s “Crescendo e Diminuendo”.

For examination purposes it was designed to show off the performer's ability to play a slow melody with a good sound and sensitive phrasing. The andante finishes with a diminuendo-ing long pause, and then moves into the 6/8 allegretto. This section demands a flamboyant and ostentatious playing style with quick tonguing. It is written for the more exuberant side of the trumpet's personality.

The Fader's Jordan Darville described the track as a "Latin trap-influenced slow burn," and Pitchfork's Colin Lodewick noted a reggaeton beat. Brazilian news portal R7.com labeled the track as a "modern R&B; with Latin touches." Mxdwmm's Ashwin Charey compared the song's production to that of 1980s synth-pop, while noting its influences from hip hop and format which follows a crescendo and diminuendo pattern.

As the soprano begins to sing, her words are supported by the orchestra until she reaches a climaxing top A. The movement is resolved when the strings hold a chord without diminuendo for nearly one and a half minutes. The final words of the movement are the first two lines of the Polish Ave Maria, sung twice on a repeated pitch by the soprano.

As a two-year-old in 1987, Diminuendo was undefeated in four races, beginning with a maiden race at Leicester Racecourse in June, in which she was ridden by Willie Ryan and won by ten lengths despite starting slowly. In late June she won the six furlong Ewar Stud Farm Stakes on the July course at Newmarket Racecourse by 2½ lengths and in July she returned to the same course and distance for the Group Three Cherry Hinton Stakes and won at odds of 6/4 from Magic of Life, a filly who went on to win the Mill Reef Stakes against colts and the Group One Coronation Stakes. In September, Diminuendo was moved up in distance and class for the Fillies' Mile at Ascot Racecourse. Starting at odds of 2/1 she won from Haiati with the subsequent Prix Marcel Boussac winner Ashayer in third place.

"Diminuendo and Crescendo in Blue" is a jazz composition written in 1937 by Duke Ellington and recorded for the first time on May 15, 1937 by the Duke Ellington Orchestra with Wallace Jones, Cootie Williams (trumpet), Rex Stewart (cornet), Barney Bigard (clarinet), Johnny Hodges, Otto Hardwick (alto saxophone), Laurence Brown, Joe Nanton (trombone), Harry Carney (clarinet, baritone saxophone), Sonny Greer (drums), Wellmann Braud (bass), Freddie Guy (guitar), and Duke Ellington (piano). No tenor saxophone was present in this recording section, nor in "Crescendo in Blue," which was recorded the same day. In its early form, the two individual pieces, "Diminuendo in Blue" and "Crescendo in Blue," were recorded on opposite sides of a 78 rpm record. The 1956 performance at the Newport Jazz Festival revitalized Ellington's career, making newspaper headlines when seated audience members chaotically began rising to dance and stand on their chairs during Paul Gonsalves's tenor saxophone solo.

The messa di voce is universally considered a very advanced vocal technique. To be properly executed, the only feature of the note being sung that should change is the volume – not the pitch, intonation, timbre, vibrato, and so on. This requires an extremely high level of vocal coordination, particularly in the diminuendo, so the technique is not often explicitly called for and is rarely heard outside classical music.

The pattern is kept for most of the piece. Dynamically, the music begins softly (p), growing slightly (to mp) for the "shining stars", and again later for "moon and stars". A climax is "Christ", marked crescendo to a strong (f) "light of the world" (with all voices holding the word "light" for more than a measure), but diminuendo to a very soft ending, with all voices and the accompaniment calming to slow movement.

Sir Rudolf Bing said in his memoirs, "The most spectacular single moment in my observation year had come when I heard his diminuendo on the high C in "" in Faust: I shall never as long as I live forget the beauty of that sound".Bing, Rudolf (1972) 5000 Nights at the Opera. Hamish Hamilton, p. 145. During his years of international celebrity, Di Stefano won a gold Orfeo, an Italian musical award.

Strings, bassoon, tuba, timpani and gran cassa (bass drum) march along with moody determination. Trombones sharply pronounce a D, followed by tuba and oboe in a sudden diminuendo. For several bars, the orchestra issues ever waning threats, at the same time making inexorably for the tonic, at which point the piano enters and the music immediately gains force. The march of the introduction continues as the piano modulates into new harmonic territory.

The Oxford History of Western Music: Music in the seventeenth and Eighteenth centuries, p. 494\. Oxford University Press. The fierce C minor drama that pervades the Allegro con brio ed appassionato movement from Beethoven's last Piano Sonata, Op. 111, dissipates as the prevailing tonality turns to the major in its closing bars "in conjunction with a concluding diminuendo to end the movement, somewhat unexpectedly, on a note of alleviation or relief".Taruskin, R. (2010).

String players can exert stronger pressure when bowing near the frog than when bowing near the tip, due to the bowing hand's proximity to the bow's contact point with the string. Down-bows, which begin near the frog, are therefore often used to play the downbeat (strong beat) within musical phrases. Notes that begin loudly and diminuendo are ideally down-bowed — from frog to tip — allowing pressure on the string to decrease naturally.

Diminuendo is a 2018 drama film directed by Adrian Stewart and written by Sarah Goldberger and Bryn Pryor. The film had its world premiere at the Sarasota Film Festival on April 20, 2018. Set in the near future, the film stars Richard Hatch as a director who becomes obsessed with a lifelike robot that replicates his girlfriend who killed herself nine years earlier. The film also stars Chloe Dykstra, Leah Cairns, Walter Koenig, Gigi Edgley and James Deen.

A number of Cecil's most notable horses had been owned by Sheikh Mohammed, including Oh So Sharp, Diminuendo, Indian Skimmer and Belmez. The incident has been flagged as the 'end of an era' in Cecil's career. Between July 2000 and October 2006, Cecil failed to train a winner in any Group One race. In 2005 he saddled just a dozen winners overall. His stable of 200 horses shrank to barely 50 and Cecil began to talk of retirement.Paley, Tony.

Although standing as a stallion in Kentucky, Diesis' most successful progeny ran in Europe, including Epsom Oaks and Irish Oaks winners Diminuendo, Love Divine and Ramruma, Eclipse Stakes winner Elmaamul, and multiple Group 1 winning 10 furlong specialist Halling. He also sired North American Grade 1 winners Continuously, Husband, Rootentootenwooten, ex-English trained Storm Trooper, and 2010 Arlington Million winner Debussy. Diesis was euthanised on 18 November 2006 at Mill Ridge Farm, Lexington, Kentucky after fracturing a hip.

The bass is sparse, marked staccatissimo. ;Variation I The bass, still marked staccatissimo, takes on the melody while the treble continues playing three note chords (also staccatissimo) in a supplementary fashion. The first four bars are marked forte, followed by a diminuendo passage where the treble figuration descends to piano, before a forte finish in the last bar. ;Variation II The unusual right-hand notation The bass continues to take on the melody, this time in sixths, marked staccato.

Dynamics are indicated in various ways. The dynamic may be communicated by the size of the conducting movements, larger shapes representing louder sounds. Changes in dynamic may be signalled with the hand that is not being used to indicate the beat: an upward motion (usually palm- up) indicates a crescendo; a downward motion (usually palm-down) indicates a diminuendo. Changing the size of conducting movements frequently results in changes in the character of the music depending upon the circumstances.

He also taught at the Yehudi Menuhin School. His dicta included that a pianist must pedal not with the foot but with the ear; and must be able to make a crescendo without hurrying, and a diminuendo without slowing. His art is characterized by shimmering tonal colours and a singing legato combined with an effortless ease of interpretation. Those who heard him live say that his playing was characterized by an enchantingly subtle tone that recordings fail to capture fully.

In early performances, "Crescendo" was played before "Diminuendo." It was played at the 1938 Randall's Island concert with Ellington playing the interlude on piano. During the mid-1940s, Ellington tried all sorts of pieces between these tunes, particularly in a series of broadcasts he made for the Treasury Department in 1945 and 1946. There are issued recordings of him playing "I Got It Bad (and That Ain't Good)", "Carnegie Blues", "Rocks in My Bed" and "Transblucency" between these two pieces.

Example 3: Low winds and brass (mm. 24–27) The diminuendo is primarily accomplished by an inverted variation on the bassoon/trombone motive, which is accompanied by fragments from the chromatic theme played at one-quarter tempo in the violins. A solitary clarinet line is all that remains from the original treatment of the chromatic figure. The movement closes with a long B-minor chord held over the F in the bass, preserving the dissonant character and emphasizing the tritone relationship.

After a brief episode in C minor devoted to the night, based on figuration in staccato, a connected and expressive melody in E minor, played by cellos, introduces the morning. A new pathetic melody in A minor extends to a broad phrase with initial tone in E minor. A brief diminuendo precedes the attacca of the final coda in A major, a vigorous can-can in the manner of Romualdo Marenco's ' (1881), introduced by an abrupt change of tempo to allegro vivacissimo.

It was written at the monastery of Ireland's Eye, Dublin, and once kept in the nearby parish church of Howth. Only 86 folios have survived; for example only 5:12-10:3 of the Gospel of John have survived.No 28 in the table It is written with "diminuendo" script from initials, a feature of the oldest manuscripts in insular script such as Cathach of St. Columba. It has been described as the work of many scribes, none of them first-class.

Ravinella began her three-year-old season by winning the Prix Imprudence over 1400 metres at Maisons-Laffitte Racecourse. The filly was then sent back to England to contest the 1000 Guineas over Newmarket's Rowley Mile course on 28 April. Ridden by Moore, she started the 4/5 favourite against eleven opponents. She took the lead inside the final furlong and won by one and a half lengths from Dabaweyaa, with Diminuendo a further length and a half lengths back in third.

Sheriff's Star was made second favourite after winning the King Edward VII Stakes and the Great Voltigeur Stakes. Carson kept his horse towards the front of the field before sending him into the lead three furlongs from the finish, and Diminuendo emerged as his only serious challenger. Minster Son "stayed on gamely" to beat the filly by a length, with Sheriff's Star finishing eight lengths further back in third. Willie Carson became the first man to win a Classic on a horse he had bred himself.

Sarah Goldberger and Bryn Pryor began writing the script for Diminuendo in late 2014. A departure from the heroic roles normally played by Hatch, the script was written specifically for him to play a darker, more flawed character. The 18-day shoot began on August 14, 2016 with a break of several days over the Labor Day holiday. During that weekend, both Hatch and Edgley appeared as guests at 2016 DragonCon where they showed a teaser for the film and did a promotional Q&A.

Personnel of Newport July 1956 concert were: Clark Terry, Ray Nance, Willie Cook, Cat Anderson (trumpet), Britt Woodman, Quentin Jackson (trombone), Jimmy Hamilton, Paul Gonsalves (tenor saxophone), Johnny Hodges, Russel Procope (alto saxophone), Harry Carney (baritone saxophone), Jimmy Woode, Sam Woodyard (drums), and Duke Ellington (piano). "The Newport Jazz Festival Suite" and "Jeep's Blues" were rerecorded on July 9, 1956, in Columbia's New York studio. However, on every issue of Ellington at Newport, "Diminuendo and Crescendo in Blue" is from the Newport stage, with varying sound quality.

The cellos and double basses introduce the Adagio section in a serene, unison cantabile, before the rest of the string section joins. Again, however, the cellos and double basses descend before the piano joins, in una corda. The piano uses the string theme and develops it further, playing in a nocturne-like style with soft, flowing left hand arpeggios and a cantabile melody in the right hand. The section reaches a climax where a strong fortissimo is played followed by a descending diminuendo scale.

Allen Protege AP-31 digital organ, indicated by the organist's right foot. A crescendo pedal is a large pedal commonly found on medium-sized and larger pipe organs (as well as digital organs), either partially or fully recessed within the organ console. The crescendo pedal incrementally activates stops as it is pressed forward and removes stops as it is depressed backward. The addition of stops, in order from quietest to loudest, creates the effect of a crescendo (and, likewise, a diminuendo, when the stops are deactivated).

Christian Gottlieb Kratzenstein (1723–1795), professor of physiology at Copenhagen, was credited with the first free-reed instrument made in the Western world, after winning the annual prize in 1780 from the Imperial Academy of St. Petersburg. The harmonium's design incorporates free reeds and derives from the earlier regal. A harmonium-like instrument was exhibited by (1756–1837) in 1810. He called it an orgue expressif (expressive organ), because his instrument was capable of greater expression, as well as of producing a crescendo and diminuendo.

The beginning of the last movement is proclaimed, in a declamatory fashion, on brass only to introduce the robust and energetic main theme which persists throughout. Following the introduction the orchestra leads into a rondo-like section with alternatingly rousing and flowing treatments, where the main theme dominates. After several louder expositions the main theme is played out faster on strings building up a heroic atmosphere and leading to a bursting crescendo of kinetic energy after which a drumroll leads the movement to the spirited closing diminuendo.

Cheyne–Stokes respiration is an abnormal pattern of breathing characterized by progressively deeper, and sometimes faster, breathing followed by a gradual decrease that results in a temporary stop in breathing called an apnea. The pattern repeats, with each cycle usually taking 30 seconds to 2 minutes. It is an oscillation of ventilation between apnea and hyperpnea with a crescendo- diminuendo pattern, and is associated with changing serum partial pressures of oxygen and carbon dioxide. Cheyne–Stokes respiration and periodic breathing are the two regions on a spectrum of severity of oscillatory tidal volume.

It was to be his only defeat of the season. In July, Minster Son returned to Goodwood for the Gordon Stakes and won by two lengths from Assatis to establish himself as major contender for the St Leger. Shortly after Minster Son's win in the Gordon Stakes, Hern underwent heat surgery, and the colt's training was taken over by his assistant Neil Graham. At Doncaster Racecourse on 10 September, Minster Son started third favourite for the St Leger behind the filly Diminuendo who had won The Oaks, Irish Oaks and Yorkshire Oaks.

Stewart has discussed his desire for Haskell Edwards to be seen as an unreliable narrator. With much of the film told in flashback, Stewart utilizes a novel technique of inter-cutting scenes from the film Haskell is making with the moment from his life represented by that scene (as Haskell remembers it). The final effect is to create two completely disparate, and conflicting responses in the audience as they lose track of what is "real" (in the context of the film) and what is fiction. Diminuendo is Stewart's first feature film.

Rhythm and tune then fall into an abrupt piano, no less threatening than the previous forte. Trundling chromaticism has the music roll up to a fortissimo, the orchestra still proclaiming the originally wistful piano- theme. This is the only place outside the andantino where the piano exceeds the older range of seven octaves, jumping two octaves up to B7 just one single time. A long diminuendo of gliding piano rushes brings the volume to a minimum pp (Prokofiev does not once use a ppp in the concerto's piano part).

On the other hand, building an organ with no swell box – and thus unable to play later music – also seems to be a compromise. The usual way of dealing with this problem is to build an organ in which the pipes are divided into several sections or divisions, one or more of which are enclosed in a swell box or boxes, the other divisions remaining unenclosed. The kinds of music which are least compatible with enclosed pipes are precisely the kinds where gradual crescendo and diminuendo are not required.

A novelty are the distinct crescendo and diminuendo signs allocated "polyphonically" and sometimes even differing in the two voices played by the right hand. excerpt from the middle section of this étude (bars 40 – 42) In the middle section (poco più animato), characterized by rhythmic shifts and sudden harmonic turns, theme and accompaniment are fused into oscillating double notes. There are five eight-bar phrases. Leichtentritt observes that each eight-bar phrase is "ruled by a new motif" and that "each of these segments surpasses the preceding one in sonority and brilliancy".

Ramruma, a small, lightly-built chestnut filly with a white star, was bred at the Kentucky branch of her owner, Fahd bin Salman's Newgate Stud, sired by Diesis out of the mare Princess of Man. Diesis won the rare double of the Middle Park Stakes and the Dewhurst Stakes in 1982, before becoming an "excellent" sire, producing the winners of at least 25 Group One races including Halling, Diminuendo and Elmaamul. Princess of Man was a successful racemare winning the Musidora Stakes in 1978. In addition to Ramruma she was the dam of the Lingfield Oaks Trial winner Ausherra.

In 1972, he pioneered the technique of bowing the piano. Pianist David Burge wrote about the technique, saying "Loose bows made of strands of fishline are woven throughout the piano strings at various places in the instrument ... to give the pianist the possibility of crescendo and diminuendo on a single note or group of notes." Curtis-Smith performed at Carnegie Hall in 1968, and had several of his compositions performed at Carnegie Hall as well. In 1968, Curtis-Smith joined the faculty of Western Michigan University in Kalamazoo, Michigan, where he was Artist-in-residence and a part-time instructor of music composition.

Diminuendo was a chestnut filly with a white star and three white socks, bred in Kentucky by Nancy Dillman. She was from the first crop of foals sired by Diesis, a British-bred stallion who was the top-rated two-year-old in Europe in 1982. Diesis went on to become a successful breeding stallion, and though based at Mill Ridge Stud in Kentucky, he had his greatest successes in Europe: his best winners included Love Divine, Ramruma, Elmaamul and Halling. Diminuendo's dam, the American-bred mare Cacti, also produced Pricket, a filly who finished second in the 1996 Epsom Oaks.

The first performance was given in Vienna on 9 November 1896 in the presence of the composer, by two Dutch artists: the baritone Anton Sistermans and the 20-year-old pianist Coenraad V. Bos. Brahms came backstage and thanked Sistermans and Bos for the performance, which he said "perfectly realised [his] intentions". Two weeks later, Bos accompanied Raimund von zur-Mühlen in the four songs. Zur-Mühlen could not achieve the final diminuendo as marked in the score, so he instructed Bos to continue the crescendo after the vocal line finished and end the work rather than the that Brahms had indicated.

On her first appearance as a three-year-old, Magic of Life ran in the 175th running of the 1000 Guineas over the Rowley Mile course at Newmarket on 28 April. The French-trained filly Ravinella started odds-on favourite ahead of Diminuendo and the Nell Gwyn Stakes winner Ghariba with Magic of Life next in the betting at odds of 12/1. She never looked likely to win and finished seventh of the twelve runners, twelve lengths behind Ravinella. After the race she was found to be suffering from a respiratory infection: in Tree's words she had "muck in her lungs".

At (6:29), a violin solo begins playing quietly in the background; the reason for the quietness being the song using the same solo as recorded by Luke Sutherland for "Xmas Steps", which was played significantly faster. At (6:34), the guitars begin the last counter- melody of the song, doubling each other with noticeable variations. The drums cease playing at (7:10), leaving the guitars playing their melodies, and gradually slowing down in a diminuendo with the violin solo playing faintly in the background, until (10:28), when the guitars cease playing, ending on a C♯, which fades out.

At Doncaster Racecourse on 10 September, Diminuendo was matched against colts for the first time in the St Leger Stakes over fourteen and a half furlongs. Ridden by Walter Swinburn (Cauthen was injured), she was made odds-on favourite, but was beaten a length by the colt Minster Son. She was expected to be retired after the Leger, but Cecil allowed the filly to travel to Longchamp Racecourse for the Prix de l'Arc de Triomphe, for which she was well-fancied despite an unfavourable draw. After reaching fourth place early in the straight she faded in the closing stages and finished tenth behind Tony Bin.

By far the shortest of the five movements at approximately three and a half minutes, the entire movement forms an arch—a slow crescendo to a climax with winds and brass at the halfway point followed by an equally paced diminuendo. Example 1: Bass figure (opening) The opening movement is characterized by an incessant bass ostinato on a low F, which continues in a regular pattern throughout. The bass ostinato introduced here also becomes a unifying motive for four of the five movements (only the third movement does not contain a defined ostinato figure). Two additional motives occur during the build-up to the climax.

"Yes, he plays like a god," Hanslick writes in closing, "and we do not take it amiss if, from time to time, he changes, like Jupiter, into a bull".Schonberg, 275 Sergei Rachmaninoff's fellow piano student Matvey Pressman adds, > He enthralled you by his power, and he captivated you by the elegance and > grace of his playing, by his tempestuous, fiery temperament and by his > warmth and charm. His crescendo had no limits to the growth of the power of > its sonority; his diminuendo reached an unbelievable pianissimo, sounding in > the most distant corners of a huge hall. In playing, Rubinstein created, and > he created inimitably and with genius.

Although the piano is not especially loud at full power, it does show an impressive width of dynamic range compared to the plucked string instrument and it is fully capable of satisfying the original demand that Ferdinando di Medici made of Cristofori – to create an instrument that would, in accompanying his voice at home singing from the popular entertainments of the day mimic the gradual rising crescendo and falling diminuendo volume as well as the power to surprise an audience with the sudden 'snap' of a loud note or chord to contrast with a quieter preceding passage sforzando of an opera house light orchestra.

His wife, Pepita Embil, as a choral soloist in France in June 1939, less than a year before they married Domingo debuted as a singer at the Parisiana Theater of Zaragoza with the work, Los gavilanes. He was heavily influenced by Aragonese tenor Miguel Fleta, whose famed diminuendo and pianissimo he tried to imitate. A light-voiced lyric baritone, he was repeatedly encouraged to study in Germany to be a Wagnerian heldentenor, but he did not want to live so far away from his family. He spent the years of the Spanish Civil War (1936-1939) almost trapped in Zaragoza performing in local theaters as part of the zarzuela company, Teatro Ambulante en Campaña.

" Legge adds, "Even in the most difficult fioriture there were no musical or technical difficulties in this part of the voice which she could not execute with astonishing, unostentatious ease. Her chromatic runs, particularly downwards, were beautifully smooth and staccatos almost unfailingly accurate, even in the trickiest intervals. There is hardly a bar in the whole range of nineteenth-century music for high soprano that seriously tested her powers." And as she demonstrated in the finale of La sonnambula on the commercial EMI set and the live recording from Cologne, she was able to execute a diminuendo on the stratospheric high E-flat, which Scott describes as "a feat unrivaled in the history of the gramophone.

Love Divine is a bay mare owned and bred by Trevor Harris's Lordship Stud in Newmarket, Suffolk. Her sire Diesis won the rare double of the Middle Park Stakes and the Dewhurst Stakes in 1982, before becoming an "excellent" breeding stallion, producing the winners of at least 25 Group One races including Halling, Diminuendo and Elmaamul. Love Divine's dam, La Sky finished second in the Lancashire Oaks and was a half-sister of the Champion Stakes winner Legal Case. The filly, who was named after the popular hymn by Charles Wesley, was sent into training with Henry Cecil at his Warren Place stable in Newmarket and was ridden in five of her six races by Richard Quinn.

The film had its cast & crew premiere at the Landmark Theater on January 14, 2015. The official Cowboys & Engines trailer was released online in February 2015, and according to the film's blog, Cowboys & Engines had been accepted by several film festivals to be screened in 2015/2016. In February 2015, Showtime premiered the Pryor-directed X-Rated: The Greatest Adult Movies of All Time, a documentary profiling a handful of major adult films from Deep Throat in the 1970s through the modern era. In 2016, Pryor, along with Sarah Goldberger co-wrote the screenplay for Diminuendo, a feature film starring several actors from Cowboys & Engines including Hatch (in his final film role before his death) and Koenig.

The first English production was on 6 October 1964 on BBC Radio 3 with Denys Hawthorne (Opener) and Patrick Magee (Voice). “The play was originally to be called Calando, a musical term meaning 'diminishing in tone' (equivalent to diminuendo or decrescendo), but Beckett changed it when ORTF officials pointed out that calendos was the slang word for camembert in French."Bair, D., Samuel Beckett: A Biography (London: Vintage, 1990), p 574 The term ‘cascando’“From the Italian, it means stumbling, falling, tumbling, and is usually associated with rubble or jumbled ruins." - Bair, D., Samuel Beckett: A Biography (London: Vintage, 1990), p 574 (‘cascades’) involves the decrease of volume and the deceleration of tempo.

Diminuendo (9 February 1985 - 2010) was an American-bred, British-trained Thoroughbred racehorse and broodmare best known for winning the classic Epsom Oaks in 1988. She was one of the best two-year-old fillies of 1987, when she won all four of her races including the Cherry Hinton Stakes and Fillies' Mile. In 1988 she was beaten in her first two races, but won her next four, taking the Musidora Stakes, Epsom Oaks, Irish Oaks and Yorkshire Oaks. She finished second when favourite for the St. Leger Stakes and ended her racing career by finishing unplaced in the Prix de l'Arc de Triomphe, but was rated the best three-year-old filly of the season in Europe.

The movement ends in that key, pianissimo, with a segue (an explicit direction given by Haydn to avoid too long a pause between the movements) to the D-major minuet. The minuet is the shortest among those of the Opus 50, but the trio features an exceptionally long second section, which uses drifting melodies, a fermata and a pair of two-measure pauses to create a sense of timelessness. Neither the minuet nor the trio reaches a proper conclusion, and in this they continue a feature of the first two movements. The minuet ends with a perfunctory reprise of its main theme and the trio draws out its final cadence with a chromatic passage marked "diminuendo".

This retransition continues to alternate between the tonic and subdominant harmonies but also contains many added tones. These sixteenth-note rhythms and chords are fairly syncopated, but Barber includes accent marks over the certain beats to further enhance the syncopation. Even though starting in measure 53 there is a diminuendo included, the motion and intensity is still preserved through the stringendo a poco a poco. After ending the retransition section from B1 to A1 on a middle C, Barber alters the original motive 1 again. The beginning of the A1 section alters motive 1 with “appoggiaturas built on chromatic quartal harmonies.”Carter, p. 48 Sifferman hears these chromatic grace notes as imitations of “the sound achieved through breathing alternately in and out on a harmonica.”Sifferman, p.

Central to both these elements is the note C, which is scored in the middle range between these two extreme registers of the orchestra, giving the note a magnetic quality. Throughout the work, the cluster moves to a variety of pitches, always with its central note having a magnetic quality. The opening fifth leap of the work is productive in many ways. One of these ways is to cause doublings at the fifth of various harmonies and even melodic lines. After the initial dramatic opening, marked ‘Sostenuto, marcato’, swells of unusual sonorities derived from the characteristic harmony outlined above are presented, the music fades out to reveal the note G, sustained in the strings and clarinets in the same octave over a gradual diminuendo.

On her racecourse debut, Magic of Life contested the West Ilsley Maiden Stakes over five furlongs at Newbury Racecourse and won by one and a half lengths from Jodoka. She was then moved up in class and distance for the Group Three Cherry Hinton Stakes over six furlongs at Newmarket Racecourse in July. She started the 100/30 second favourite and finished one and a half lengths into second by the Henry Cecil-trained Diminuendo, after appearing to be outpaced by the winner in the closing stages. She was well-fancied for the Princess Margaret Stakes at Ascot later in the month, but after disputing the lead for most of the way she faded in the final furlong and finished third of the five runners behind Bluebook.

The orchestral preludes to Acts I and III are also frequently performed separately as concert pieces. Many consider the Act I prelude Wagner's greatest single composition, an inspiring free-variation curtain-raiser on one soaring theme starting and ending softly on divided violins in high register, then building to a mighty climax with full brass and two climactic cymbal crashes in a classic orchestral crescendo-diminuendo, gradually approaching the one climax and then just as gradually receding, to end as ethereally as it started in the high divided violins, and representing the descent of the Holy Grail (the cup out of which Christ legendarily drank out of in the Last Supper the night before his crucifixion) from Heaven back down to Earth.

In the second stanza, he asks himself what she might be doing in this moment and bets she is searching for him too; but he has no true hope, because "the city is too big for two who, like us, are looking for each other". The three stanzas are followed by an instrumental coda which represents the explosion of nostalgia. In Battisti's rendering, the coda has a final diminuendo in which all of the instruments dissolve into silence, leaving only the singer's voice, as to represent his loneliness in the world. Mogol, who wrote the song's lyrics, told that the protagonist «still hopes in a casual encounter; the desire to see each other is such that there is the will for a miracle, for something impossible, opposed to the reality which seems impregnable.

The development section, based entirely on the rhythmic pattern of the main rondo theme, is characterised by juxtaposed eighth notes and triplets, reaching a climax on C major, from which the bass descends in chromatic modulation eventually to G in an extended diminuendo to return to the main theme. In the coda, the main theme is fragmented in a manner also similar to the finale of the previous sonata; in a highly chromatic and unstable progression, the octave on G here descends through G to F, in an extension of the G-G-F resolution of the theme. After finally reaching this dominant preparation for the final time, the movement closes with an exceedingly triumphant and affirming presto section that totally resolves all dramatic conflicts in the sonata and the series.

Gioachino Rossini, painted by an unknown artist Alan Blyth reviewed the first version of the album on LP in Gramophone in February 1977. If he were in charge of an opera house, he wrote, he would be eagerly planning a staging of Rossini's Otello, That was how much he had been enthused by hearing Frederica von Stade's performance of Rossini's version of Desdemona's Willow Song scene. To understand his excitement, readers had only to "listen how her voice runs delicately through the phrase 'Salce d'amor delizia' ending with a heartrending diminuendo ... or how affectingly she touches in the recitative, or how she rightly allows a little harshness into her lovely tone in the word 'l'ingrato' or covers it for the Prayer". These details were no doubt the result of meticulous design, and yet von Stade's execution of them felt wholly free of artifice.

Garnering positive reviews, The Black Crown was praised by Rock Sound earning a 7 out of 10 rating with a review headline reading "There's no more of that deathcore monotony from Suicide Silence..." and went on further to state "blastbeats and breakneck discordant technicality aren’t lacking on the five-piece’s third LP, but nor are they over-prescribed. In fact, to the group’s merit, there’s very little outright and over-used death metal fury, instead it’s partially replaced by modern metal ambiguities and churning, lengthy breaks." Metal Underground stated "What really makes 'The Black Crown' a worthy listen and elevates it above the dime-a-dozen dreck of today’s deathcore" coupled with the statement "All the familiar elements that make this band are present in spades." Diminuendo gave much praise to the album, giving the album a rating in amplifier attenuation of 8 out of 11.

Repeat and fade is a musical direction used in sheet music when more than one repeat of the last few measures or so of a piece is desired with a fade-out (like something traveling into the distance and disappearing) as the manner in which to end the music. It originated as a sound effect made possible by the volume controls on sound recording equipment and on the sound controls for speaker output. No equivalent Italian term was in the standard lexicon of musical terms, so it was written in English, the language of the musician(s) who developed the technique. It is very difficult to approximate this effect on an instrument such as the piano, but instrumentalists can simulate it by thinning the musical texture while applying diminuendo within the limits of their instruments, and by taking advantage of the open-ended feeling of an unresolved harmony or melodic tone at the end.

The routine ends as Astaire, now dancing with a statue, is interrupted by Rogers' entrance, a scene which, as in The Gay Divorcee and Roberta, typifies the way in which Astaire inadvertently incurs the hostility of Rogers, only to find her attractive and wear down her resistance. In "No Strings (reprise)", Rogers, after storming upstairs to complain, returns to her room at which point Astaire, still intent on dancing, nominates himself her "sandman", sprinkling sand from a cuspidor and lulling her, Horton and eventually himself to sleep with a soft and gentle sand dance, to a diminuendo reprise of the melody, in a scene which has drawn considerable admiration from dance commentators,Mueller (1986), p.80: "at once tender and erotic...This scene is one of the most memorable in Astaire's career," and Croce (1972), p.59: "in the movie's sexiest scene, dances...with caressive little strokes." and has been the subject of affectionate screen parodies.

" Critic Joachim Kaiser, course in German available on the web site of the Süddeutsche Zeitung newspaper."Many saw and see him as the greatest conductor of the 20th century", Von Stefan Dosch "An artist frequently regarded as the most important conductor in the history of phonography, or even of all time", Maciej Chiżyński In his book on the symphonies of Johannes Brahms, musicologist Walter Frisch writes that Furtwängler's recordings show him to be "the finest Brahms conductor of his generation, perhaps of all time", demonstrating "at once a greater attention to detail and to Brahms' markings than his contemporaries and at the same time a larger sense of rhythmic-temporal flow that is never deflected by the individual nuances. He has an ability not only to respect, but to make musical sense of, dynamic markings and the indications of crescendo and diminuendo[...]. What comes through amply... is the rare combination of a conductor who understands both sound and structure.

In the 2015 video VOX the Portuguese guitarist Norberto Lobo plays his theme "Eu Amo" under an umbrella on a promontory of the Portuguese coast. His performance is documented in a sequence-shot by a giro-stabilized camera mounted on a helicopter, which responds to the crescendo and diminuendo of the music which confers the video its performative character. Between 2016 and 2017 Onofre produced the site-specific performative work Untitled (orchestral) for the Museum of Art, Architecture and Technology in Lisbon, a sound installation controlled by the luminous intensity of the sun, performed in robotic percussion from a spatialized score created from a selection of ambient sounds of its location, an inactive boiler room. In 2017 he created another site-specific work, Untitled (bells tuned D.E.A.D.), a spatialized real-time composition in which four bell towers in the city of Coimbra, Portugal, ringed their bells in a specific order every day at 6 p.m.

Smaczny, 1999, p. 57 Specifically, the slow, wistful section, before the triumphant ending, quotes his song "Leave Me Alone (Kéž duch můj sám)", Op. 82, B.157, No. 1, a favorite of hers.Smaczny, 1999, p. 79 She died in May 1895, after which the concerto was further revised.Smaczny, 1999, pp. 81–82 Dvořák wrote to his publishers:Smaczny, 1999, p. 90, with slightly different translation into English The finale, he wrote, should close gradually with a diminuendo "like a breath ... then there is a crescendo, and the last measures are taken up by the orchestra, ending stormily. That was my idea, and from it I cannot recede". Hanuš Wihan first privately performed the concerto with the composer in Lužany in September 1895.Clapham 1979, Norton, p. 148 Although he had rejected most of Wihan's suggested changes, Dvořák still very much wanted Wihan to premiere the work publicly and had promised him that role. An account of the sequence of events whereby it did not happen is given by Clapham.

For the 1998 Verve 8CD reissue Côte d'Azur Concerts (Verve 314-539 033-2). The release comprises 110 performances, of which 88 are previously unreleased (Most part of disc eight are rehearsal takes including studio talk). ;Disc One: Duke Ellington and His Orchestra #"Diminuendo in Blue" / "Blow by Blow" (Duke Ellington) – 8:06 #"Caravan" (Ellington, Irving Mills, Juan Tizol) – 6:06 #"Rose of the Rio Grande" (Ross Gorman, Edgar Leslie, Harry Warren) – 2:51 #"Tutti for Cootie" (Ellington, Jimmy Hamilton) – 6:24 #"Skin Deep" (Louie Bellson) – 10:49 #"Passion Flower" (Billy Strayhorn) – 4:51 #"Things Ain't What They Used to Be" (Mercer Ellington, Ted Persons) – 3:02 #"Wings and Things" (Johnny Hodges) – 10:27 #"The Star-Crossed Lovers" (D. Ellington, Strayhorn) – 4:20 #"Such Sweet Thunder" (D. Ellington, Strayhorn) – 3:24 #"Madness in Great Ones" (D. Ellington, Strayhorn) – 5:23 #"Kinda Dukish" / "Rockin' in Rhythm" (Harry Carney, D. Ellington, Mills) – 5:07 #"Things Ain't What They Used to Be" – 2:35 ;Disc Two: Duke Ellington and His Orchestra featuring Ella Fitzgerald on tracks 9–11.

These motifs form a substantial part of the melodic material of the piece: the setting of "Bugles sang" is composed almost entirely of variations of them. Another linking feature can be found in the opening of the final movement, Libera Me, where the slow march tune in the double basses (preceded by two drums outlining the rhythm) replicates the more-rapid opening theme of the first poem, Anthem for Doomed Youth. One striking juxtaposition is found in the Offertorium, a fugue in the repeating three-part-time scheme , , where the choir sings of God's promise to Abraham ("Quam olim Abrahae promisisti, et semini eius" – "which you once promised Abraham and his seed"). This frames Owen's retelling of the offering of Isaac, in which the angel tells Abraham to: As the male soloists sing the last line repeatedly, the boys sing "Hostias et preces tibi, Domine" ("Sacrifice and prayers we offer thee, Lord"), paralleling the sacrifice of the Mass with the sacrifice of "half the seed of Europe" (a reference to World War I). The "reprise" of "Quam olim Abrahae" is sung in inversion, diminuendo instead of crescendo.