318 Sentences With "fortissimo" | Random Sentence Generator

Fortissimo will pay $40 million in cash at the deal's closing, while the rest will be structured as a loan from Delek to Fortissimo.

She ends with a fearless fortissimo high B flat, held for 10 seconds!

But on the "surprise" chord, their combined fortissimo amounted to little more than a poke.

Not only that, he writes a crescendo with sforzando in fortissimo, which is extremely violent.

Throwing his whole body behind fortissimo chords, he almost rose up, like a Russian Little Richard.

"It's like music in a symphony; you can't play fortissimo all of the time," he added.

This sound was followed by a synchronized, fortissimo cluster of notes, coming simultaneously from two pianos.

The music had darkened: The sunny theme was rendered in minor, fortissimo, and accompanied by churning triplets.

Although it is marked "Allegro molto," it requires a Lisztian barrage of fortissimo chords in various registers.

But when he wants to make a point, he plays with a heavy hand — fortissimo, when piano would have done.

"It was apparently totally undisturbed by my fortissimo singing and the orchestral flares depicting the downfall of Valhalla," she later wrote.

This is heroic music that builds pathos and excitement from the contrast of solo cello and large orchestra playing, yes, fortissimo.

The amplification, though sensitively done, tended to equalize the sound somewhat, giving soft passages more presence and taking the edge off fortissimo outbursts.

Mladenovic shouted "forza," Italian for power, but she may as well have yelled "fortissimo" to lead the fans' chorus at Court Suzanne Lenglen.

Then, when the protagonist's fever intensifies to forte and fortissimo, the music coming from Alexa again turns to nonsense—although this time it's deafening.

I started to feel confident enough to sing fortissimo measures with the full power of my big voice and to enjoy that act profoundly.

Bucking is done to the bawdy, pulsating fortissimo of a raucous brass section, the crack of a snare, or the explosive boom of a bass drum.

He holds the third iteration, reinforcing it mid-word, as the orchestra shifts from C minor to C Major in a crowning fortissimo burst of optimism.

And during the feisty passages of the pieces he played, Mr. Blechacz (pronounced BLEH-hatch) tended to go for steely-sounding climaxes and clangorous fortissimo chords.

The text often gets the treatment of an action-movie soundtrack — frenetic and epic, rarely softer than fortissimo, occasionally taking a turn for the obvious and gimmicky.

This ensemble builds gradually to a fortissimo climax, yet Norma is expected to send her voice — with its most shining brilliance and power — soaring above the din.

In his performance with Mr. Adès — a marvelous pianist capable of velvety pianissimos and pungent fortissimo growls — Mr. Bostridge mined the song cycle for its disturbing psychological undercurrents.

Still, during more straightforwardly dark highlights — as when Ms. Williams-Haas narrated the birth of the work's terrifying title character — a morphing fortissimo soundscape provided ideally hallucinatory support.

Well, the new film confirms that Oyelowo is one of those rare actors who can unleash a formal speech before a crowd, fortissimo, without seeming hammy or haranguing.

The Adagio's beginning seems to have all the hallmarks of classical form, until the restatement of the theme is interrupted by a non sequitur of violent staccatos and fortissimo outbursts.

"This is by an unknown artist in Detroit" — Brian Nickson, or BNick — "that I met right before I started shooting this season," Ms. Adlon declares, fortissimo, in her careering delivery.

It happened twice, actually, in the finale of a glittering performance on Sunday afternoon of Bruckner's Symphony No. 7, where the composer writes in a short silence before a fortissimo onslaught.

On Tuesday, I watched a powerful sextet at atrium level: the dancers of Rosas jetted past me, and sidestepped other spectators, while Ictus let loose with fortissimo bursts and scrambled aftershocks.

Those fortissimo salvos in the Bruckner had power but also a high-gloss polish — especially across the brass section, where individual colors were alloyed together, with just the gleaming trumpets sailing on top.

But time and again I found the music predictable: a sudden fortissimo outburst will send other instruments scurrying; in collective glissando patterns, the instruments rise, swell in sound, then slide down and dissipate.

JERUSALEM, Aug 20 (Reuters) - Israeli energy conglomerate Delek Group said on Monday it was selling 60 percent of its infrastructure unit to Israeli private equity firm Fortissimo Capital at a value of $206 million.

You have to show up if you want to really hear the texture, and not just the volume, of a Mahler fortissimo, or a dramatic soprano who can throw you back on your seat.

To conclude, Ms. Malkki drew a refreshingly transparent and probing performance of Strauss's sumptuous tone poem, and she certainly delivered during moments when the piece is supposed to wallop you with a fortissimo din.

Take the famous fortissimo surprise in the "Surprise": Here, where it's more of an arched eyebrow than a whoopee cushion, you're so busy taking in the quality of quiet playing around it that you miss the effect entirely.

Either way, there's no mistaking the seriousness of intent underlying Young's agile scat singing, and not just because of his fortissimo capitalization of the here, an idea of immediacy equated with the ghostly, disembodied presence of the poetic voice.

Haydn's "Surprise" Symphony gets its nickname from a fortissimo chord placed where it has no business being, at the end of the second go-round of a quiet little ditty that sounds like a nursery game played on tiptoes.

But while the opening of "De Materie," in which the same fortissimo chord is pounded out 144 times, seems to demand a high tolerance for repetition, the score is stuffed with a multitude of references to other styles, from Renaissance music to jazz.

During the fiendishly difficult final work, Stravinsky's Three Movements From "Petrouchka," there were fleeting moments when the slender, boyish Mr. Trifonov, 25, threw his arms so forcefully into pummeling fortissimo chords that his body lifted maybe six inches off the piano bench.

Yet I especially liked the way he tore into vehement episodes: He tossed off bursts of double octaves with steely fortissimo sound, and brought earthy rawness to the driving left-hand chords and crunchy theme that opens the finale, which sounded like a dark Norwegian dance.

Originally titled Air, Getting Home was financed by Filmko Films and Fortissimo Films and produced by Peter Loehr (of Ming Productions and the Imar Film Company) and Wouter Barendrecht of Fortissimo. This marked the first collaboration between Zhang and Filmko but the fifth with Fortissimo. Though the film documents Zhao's journey from Shenzhen to Chongqing, the majority of shooting took place in Yunnan, a Chinese province in the southwest.

The Bentley Fortissimo tennis racquet The Bentley Fortissimo tennis racquet of 1972 was the first oversize tennis racquet to be produced and demonstrated publicly.Siegfried Kuebler - Racquet Collector and Engineer Prior to its introduction, all tennis racquets were much smaller in terms of the stringbed size, measured in square inches. Today, that size, known as standard, is not used by any professional player for professional match play. The Fortissimo was shown in 1972 at the "Spoga", a sporting goods show in Germany.

The piece then builds to a fortissimo with a canon of the first primary theme in the trumpets and trombones that is taken up by the whole orchestra. The excitement decays to pianissimo for what appears to be a peaceful conclusion, until a unison fortissimo statement of the second secondary theme closes the movement.

It is a co- production of Singapore-based Spicy Apple Films, the Hong Kong-Netherlands company, Fortissimo Films and Singapore's InnoForm Media.

In the coda of the original version, the main subject is finally brought to a climactic, fortissimo conclusion on the tonic (bar 473).

The orchestra plays a fortissimo passage to represent the storm. The final choral number, sung pianissimo, praises the dead and sings of immortality.

In 2003 and 2012, the band took part in the Fortissimo Sunset Ceremony on Parliament Hill at the invitation of the Ottawa-based Ceremonial Guard.

Words relating to some music, piano, fortissimo. Or Italian culture, such as piazza, pizza, gondola, balcony, fascism. The English word umbrella comes from Italian ombrello.

Requiem – Fortissimo is the third part of Virgin Black's Requiem album trilogy and its second installment since Requiem - Mezzo Forte. The album was released on February 19, 2008. The music on this album is in a death/doom style reminiscent of early 1990s British groups like My Dying Bride and Paradise Lost. Metal Storm voted Requiem - Fortissimo as The Best Doom Metal Album of 2008.

In February 2020, GigaSpaces Launched GigaSpaces Cloud, a Managed Service on Google Cloud Platform. In May 2020, GigaSpaces announced $12 Million Financing Led by Fortissimo Capital.

Beethoven shifts gears: from G to B, from to , from pianissimo to fortissimo. The fortissimo descends immediately to piano, for a short interlude before the second fugue. This interlude is based on the main subject in diminution, meaning in double time. On top of this, Beethoven adds a lilting, slightly comic melody; analysts who see the fugue as a multi-movement work consider this section the equivalent of a scherzo.

The coda proper begins at bar 75. Bar 89 onwards contains parallel motion in both hands played forte and leading directly into the final arpeggiated cadences played fortissimo.

" He notes Vladimir Ashkenazy who says that his sound "is never rough. It's very weighty but at the same time is never heavy. In his fortissimo you always feel every voice.... I have never heard so beautiful a fortissimo in an orchestra", and Daniel Barenboim says he "had a subtlety of tone color that was extremely rare. His sound was always 'rounded,' and incomparably more interesting than that of the great German conductors of his generation.

Briefly, the piece transitions to a C major glissando in the piano, and is placid until drawn into the agitated closing section in which the movement ends in a C minor fortissimo.

Country Wedding () is a 2008 Icelandic film directed by Valdís Óskarsdóttir. The film was released in Iceland on 28 August 2008.Fortissimo ties the knot with Iceland's Country Wedding. Accessed July 15th 2007.

The two groups of instruments switch places, with the pianos playing a higher, softer version of the melody. The movement ends with a fortissimo note from all the instruments used in this movement.

Band of the Ceremonial Guard at Fortissimo Sunset Ceremony in 2012. The annual Fortissimo Sunset Ceremony in of the Canadian Forces is the Canadian equivalent to the beating retreat ceremony. It usually held on a July evening on the grounds of Parliament Hill in the capital of Ottawa and is organized by the Ceremonial Guard and its combined bands. The ceremony is unique in that it combines the Beating Retreat ceremonies with that of military tattoos and the lowering of the Canadian flag.

In The Human Stain by Philip Roth, the narrator attends a rehearsal at Tanglewood at which Bronfman performs. The following description is offered (pages 209–10): > Then Bronfman appears. Bronfman the brontosaur! Mr. Fortissimo.

German grip provides the widest dynamic range, achieving the control necessary for pianissimo passages without the need for much rebound from the drum and also allowing for very loud fortissimo strokes from the arm.

The movement ends with a coda (m. 423) – with Beethoven marking the word in the score which was unusual for him – that quickly builds from pianissimo to fortissimo, encapsulating the pattern of the whole movement.

Throughout the 1990s he maintained a portfolio of interests that spanned the mainstream fare of Hollywood, both established and emerging talent from Hong Kong and new wave directors from China and other film industries across Asia. Since 2000, he has been co-chairman of the multi-national film production, sales and distribution company, Fortissimo Films, which was founded in 1991 by Wouter Barendrecht.Wouter Barandrecht, Michael J. Werner – co-chairmen, Fortissimo Films , Variety; retrieved 2007-11-24 He has been based in Hong Kong since 1995.

"Most of the action takes place in a hotel room. So we built our own room on the rooftop of a hotel, and it looks exactly like a real hotel room," Pen-Ek said in the film's production notes. In March 2007, the Hong Kong/Amsterdam-based film financing and distribution company, Fortissimo Films, announced it would be executive producer of the film along with Thailand's Five Star Production. Fortissimo takes care of international sales for the film, while Five Star handles distribution in Thailand.

A work-in-progress version of the film was screened in the Film Bazaar in Goa in 2011. This is where Netherlands-based film sales company, Fortissimo Films, picked up world sales rights to the film.

The opening theme returns fortissimo on the strings "before a last echo of the song and a sadly modal approach on solo flute to the final chord" (Larner). This movement was played at Fauré's own funeral.

Since its premiere in April 2013 the play tours all over the country. In 2014 and 2016 Vladimir Karamazov played The Scoundrel (Flynn) in "Tales for Symphonic Orchestra" by Fortissimo Familia in "Bulgaria" Hall, conductor Maxim Eshkenazy.

"Fortissimo" is a 1966 song brought to success by Rita Pavone. The music was composed by Bruno Canfora, while the lyrics were written by director and screenwriter Lina Wertmüller, at the time a close collaborator of Pavone, after having directed her in the television miniseries Il giornalino di Gian Burrasca and in the musicarello film Rita the Mosquito. The arrangements of the song are by Luis Bacalov. "Fortissimo" was chosen as the opening song of the popular RAI variety show Studio Uno, whose 1966 edition Pavone presented, alternating with Mina, Ornella Vanoni and Sandra Milo.

Wouter Barendrecht (November 5, 1965, The Netherlands – April 5, 2009, Bangkok, ThailandObituary, Variety, April 5, 2009) was a film producer. With Michael J. Werner, Barendrecht was the co-chairman of Fortissimo Films, a company he founded in 1991 in Amsterdam.Wouter Barandrecht, Michael J. Werner – co-chairmen, Fortissimo Films , Variety, retrieved November 24, 2007 Barendrecht worked as a programmer at the International Film Festival Rotterdam and as a press officer for the Berlin International Film Festival. A member of the European Film Academy, he frequently served on the juries of international film festivals.

Sunflower () is a 2005 Chinese film directed by Zhang Yang. Zhang's fourth film, Sunflower is a joint production of Ming Productions, the Beijing Film Studio (as part of the China Film Corporation's 4th Production Company) and the Hong Kong subsidiary of the Netherlands-based Fortissimo Films. It was distributed by Fortissimo Films and New Yorker Films (US theatrical distribution). The film stars Sun Haiying and Joan Chen as a husband and wife, and the actors Zhang Fan, Gao Ge and Wang Haidi as their son over the course of 30 years.

Composition features marked use of fermate and wide dynamic range, from pianissimo to fortissimo. Occasionally the second verse is cut, but the complete song averages four minutes in duration. Published originally for voice and piano, orchestral arrangements exist.

In 2005 they had a concert tour with the album Canzoni allo specchio. On 13 April 2007 they released a new album, entitled Pianissimo fortissimo (EMI). In 2008 Stefano Milano left Perturbazione. His replacement was Alex Baracco (bass).

The last line about salvation for "us all" ("") reaches high tension, in terms of both harmony and fortissimo on "all", which is released within only two beats to pianissimo, then the last half line is repeated, beginning softly and fading away.

The 1980s witnessed an increase in activist organizations, publications, and conferences. In 1989 a group of people including actress Anne Zamberlan formed the first French organization for fat acceptance, Allegro fortissimo.[59] Organizations began holding conferences and conventions, including NAAFA.

There were twelve Fortissimo racquets produced and only two are reportedly still extant, both of which are possessed by Siegfried Kuebler, the designer notable for creating widebody racquets.Siegfried Kuebler - Racquet Collector and Engineer (via the Internet Archive's Wayback Machine -- July 18th 2009 snapshot) Those led to the very popular and extremely influential Wilson Profile racquet of 1987.Evolution of the Wilson Tennis Racquet Kuebler's first widebody racquet emerged in 1984. As few were produced and the two that were submitted to the German patent authority disappeared for many years, little is known in the tennis world about the Fortissimo.

Towards the end of the second movement, the music gradually becomes slower and softer until an unexpected fortissimo bassoon "fart"Brown, A. Peter, The Symphonic Repertoire (Volume 2). Indiana University Press (), pp. 252-256 (2002). brings the music back for the movement's closing.

Järvinen was dropped from the band in September 1981, due to alcohol-related unreliability.Hurriganes 2002, pp. 262–266. He was replaced by the renowned studio musician Janne Louhivuori. Louhivuori played on two Hurriganes albums – 1981's Fortissimo, and the following year's Rockin' Hurriganes.

A second theme, fortissimo, offers a passage full of sforzandos and wedge accents. The original theme then returns, forte, but quickly decrescendos. These passages end with repeats. The third theme enters as an ostinato under a thundering accompaniment with a grace note before every chord.

Another climax leads into the coda. The final pages of the movement are dominated by the descent motif and the second subject. After a climax, the music comes to a momentary pause. The descent motif quickly builds up to an even greater climax (molto fortissimo).

It was funded by several production companies from China (Beijing Film Studio, Beijing Rosart Film), France (Orly Films, Paradis Films), and the Netherlands (Fortissimo Films). Unlike Kite, which deployed a large cast, spanned decades, and carried a political message, Springtime is a small intimate chamber-piece.

This builds up to the climax of the piece at m. 28, where the main thematic material of the A section, hinted at throughout the preceding material, is presented in C major fortissimo. The thick block chords played with both hands evoke the sound of an organ.

It is also harmonically unusual because of its ambiguous tonality. This theme is repeated by the whole orchestra in a sudden and powerful fortissimo, which leads to the first theme climaxing in a brass chorale. At the beginning of the repetition, the cell-grupetto reappears insistently.Tranchefort, 919.

In 2010 her song "Tra noi l'immensità", first single of her third album La mia discreta compagnia, was chosen as the theme song of a Telecom commercial. In 2013, after a three-year hiatus, she released the single "Fortissimo", a cover version of a Rita Pavone hit.

As in previous movements, Ligeti chooses to introduce a new pitch class—G--near the middle of the piece at a fortissimo in three octaves, being especially conspicuous, though the G/A disappears after only a few bars as it becomes subsumed by the main waltz theme.

The music reaches a great climax (molto fortissimo); the tempo reverts to the opening Lento, and the brass intone the Lasciate ogni speranza theme from the slow introduction, accompanied by the drum-roll motif. Once again Liszt inscribes the score with the corresponding words of the Inferno.

The second episode, in C minor, marked cantabile, is succeeded by an abrupt ending with a fortissimo chord.Nectoux (1991), p. 381 ;Barcarolle No 9 in A minor, Op. 101 (1909) The ninth barcarolle, in Koechlin's view, "recalls, as in a hazy remoteness, the happiness of the past".

The tonic returns in measure 181, with a brief teaser of the staccato eighth-note theme, to be replaced by the sixteenth notes played by all instruments in the fortissimo dynamic. In the final three bars, all four instruments play a succession of tonic B major chords.

Its dynamic scheme is highly suggestive of a procession passing by, starting out pianissimo, poco a poco rising to a fortissimo climax and then receding back to pianissimo by the coda. Unlike much of Beethoven's other orchestral music, the woodwinds are the dominant voice rather than the strings.

Out of this quiet the first violin suddenly erupts to a forte, only to fall back into another piano section. The texture thins and the tension descends, until a second burst of fortissimo, with first violin and cello playing the fugal subject in canon, leading to the dramatic finale.

The opening bars of the Hammerklavier sonata The first movement opens with a series of fortissimo B-major chords, which form much of the basis of the first subject. After the first subject is spun out for a while, the opening set of fortissimo chords are stated again, this time followed by a similar rhythm on the unexpected chord of D major. This ushers in the more lyrical second subject in the submediant (that is, a minor third below the tonic), G major. A third and final musical subject appears after this, which exemplifies the fundamental opposition of B and B in this movement through its chromatic alterations of the third scale degree.

One contemporary usage, however, is that by Erik Satie in the third movement of "Embryons desséchés" ("Desiccated Embryos"), where the obbligato consists of around twenty F-major chords played at fortissimo (this is satirising Beethoven's symphonic style). The term is also used with an entirely different meaning, signifying a countermelody.

Jean Dunand, Fortissimo (1924-26), screen of lacquered wood, eggshell, mother- of-pear, and gold leaf. (Metropolitan Museum of Art). Jean Dunand (1877–1942) was a Swiss and French painter, sculptor, metal craftsman and interior designer during the Art Deco period. He was particularly known for his lacquered screens and other art objects.

The Music Branch handles all CF Military Tattoos around the country, including the Royal Nova Scotia International Tattoo, the Fortissimo Sunset Ceremony and the Canadian International Military Tattoo. The first tattoo to be managed by the branch was the Canadian Armed Forces Tattoo in 1967, which was the world's largest travelling show.

The recapitulation is fairly straightforward. The piece concludes with a fiery coda beginning with a fugue section on the main theme and a counterpoint theme in quavers, with several homophonic passages that feature the brass and present the primary theme at half the speed. The symphony closes solidly with a tutti fortissimo statement.

154), followed by a stormy development passage ("a shocking fortissimo plunge"). A full re-statement of the first theme in the original key then begins in the oboe (m. 173). The coda (m. 209) begins with a marching motif in the strings that was earlier heard in the major section (at mm.

The horns and woodwinds then layer on top of the strings and the dynamics return to fortissimo. It then drops to piano again. Prokofiev creates the dark and foreboding mood through the extreme dynamic range and very dissonant harmonies. The following section is identical with No. 13 of the complete score, Dance of the Knights.

Oteri, p. 1. Vanada begins with two bars in fortissimo, only to restart with a pianissimo and piano section punctuated with contrasting forte notes (bars 3 to 22). Later sections continue with dynamically contrasting material. The piece ends with the synthesizers rising in crescendo to a final blast at fffff or fortississississimo (bars 353 & 354).

The body of the piece concludes with a series of accented fortissimo chords, followed by a momentary calm of five pianissimo chords. This then suddenly leads into an extremely fast, turbulent coda, written in exuberant counterpoint. Structurally Ballade No. 4 is decidedly intricate. A distinguishing feature of the fourth Ballade is its contrapuntal nature.

The second movement opens with an angry, somewhat turbulent fortissimo theme in F minor. While marked largo, the frequently double-dotted first theme lends a great deal of tension to this movement. Eventually the first theme gives way to a quiet, lyrical second theme. The first theme is reprised, ending on the C major dominant.

Ay-Ay :Ay-Ay is a friend of Miruka's. She is in the same grade as the narrator and Miruka, but in a different class. She is the leader of the piano club "Fortissimo", and is equally attractive with Miruka. When not in class, she spends most of her time in front of a piano.

This is followed by an agitated Presto section, based on the final bars of the main theme, and the sonata concludes with a bold evocation of its very opening measures, with an ascending arpeggio (essentially an inversion of the descending figure from the Allegro's second phrase), followed by a fortissimo full statement of the opening fanfare in retrograde.

Doug Fury: guitar and vocals. Doug is a recording engineer and producer in Vancouver (Fortissimo Sound ), and has toured as Bif Naked's guitarist for over 10 years. Mike Southworth: drums and vocals. Mike is a recording engineer and producer in North Vancouver (Creativ ) and producer of music videos for Hilary Grist and Dominique Fricot, among others.

Fortissimo Films acquired the film as its international sales agent after its debut at Sundance Film Festival. The film was released in theaters in France by Diaphana Distribution. In January 2016, it was announced that Kino Lorber had come on board as the North American distributor releasing the film in select theatres nationwide beginning in March.

Gervasutti, also known as "Il Fortissimo" ("the toughest", "the roughest"), was born in Cervignano del Friuli. He started climbing at the age of 16 years. In 1931, he moved to Turin to study at the local university. Together with other well known climbers of the time he climbed the most difficult and sought-after faces in the Western Alps.

The low strings bear the heavy burden of the ox-cart, with the melody carried by horns and tuba. The climax is ushered in by an overwhelming percussion crescendo, the melody in the violins, trumpets, horns and the ox-cart in the timpani. Stokowski follows Mussorgsky's original score here by having the movement start fortissimo, instead of Ravel's pianissimo.

"Elgar, Edward. Letter to Ernest Newman, 4 November 1908, reproduced in Edward Elgar: Letters of a Lifetime, ed. Jerrold Northrop Moore (Oxford: Oxford University Press, 1990), p. 200. The musicologist Michael Kennedy writes "One cannot call it a motto-theme, but it is an idée fixe, and after its first quiet statement, the full orchestra repeat it fortissimo.

A variation of the first theme reasserts itself. This is followed up by a third theme, thirty-second notes in the violas and cellos with a counterphrase running in the flute, oboe, and bassoon. Following an interlude, the whole orchestra participates in a fortissimo, leading to a series of crescendos and a coda to close the movement.

James Webster, Haydn's 'Farewell' Symphony and the Idea of Classical Style, p. 267 The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form. Towards the end the tempo is increased to presto. The symphony ends with 29 bars of C major chords, played fortissimo.

The second movement, a waltz, opens with a lilting dance melody in C minor. The first section repeats, and the second section begins in E Mixolydian. A string of eighth notes in the violins transitions into the second theme in A major. The first theme returns, and Part A is closed with a cadential fortissimo C-sharp minor chord.

The music grows more tense and eventually reaches a cadence in C minor. The next section brings back the opening theme in chords and further develops it: it appears in A major (bars 221–224), then F minor (225–228) and then D major (229–232); it is fragmented into shorter phrases (233–238) and then transits into a quiet section with major 7th arpeggios, returning after much drama to the C major theme played fortissimo. The second theme reappears, followed by another characteristic long line of beautiful dance-like music. Another series of fortissimo chords announces a short, delicate pianissimo section: the movement seems to die away but then unexpectedly segues into a virtuosic prestissimo coda that plays with the various themes of the movement, ending in a triumphant rush of grandeur.

The Oboe Sonata is very difficult in places, especially the Scherzo. The sorrowful Déploration also requires great skill. To express his mourning for his friend Prokofiev, Poulenc uses the extremes of the oboe. For example, in one passage the player must play a phrase at the bottom of the oboe's range including B flat, the oboe's lowest note, very loudly (fortissimo).

To name a few, besides above mentioned Mina songs : Fortissimo, Rome by night. Canfora was the conductor for the Sanremo Music Festival in 1961, 1988 and 1993. In the Eurovision Song Contest, he was the musical director in the 1991 contest that was held in Rome, Italy. He conducted the Italian home entry "Comme è ddoce 'o mare" by Peppino di Capri.

The first commences with a declamation from the soloist, echoed by the orchestra, in which the "Bashmet motif" is first heard. This is followed by an extended version of the declamation culminating in a fortissimo chord from the orchestra. The movement closes with a delicate cadence. The second movement begins with frenetic arpeggios, including multiple double stopping, from the viola.

The recapitulation begins with the first theme fortissimo, turns to G major with the viola melody, and the second subject returns on the cello and then the violin. The coda is primarily based on the opening theme but also reintroduces the molto tranquillamente melody now at double speed, and ends quietly in the major.Johnson, Stephen. Notes to Hyperion CD CDA30007, 1986; Vielhaber, Gerhard.

The act begins with a short but powerful introduction, "almost Verdian" in its effect. Fortissimo French horns play the variant of Hamlet's Promise (the King's Ô mortelle offense!) which began the septet that closed act 2. The music becomes more agitated, reflecting Hamlet's highly conflicted state of mind. The trumpets sound mutated snippets of the royal court's Danish march. 13\. Monologue.

Fortissimo sold the US distribution rights to Miramax Films during the 2001 Cannes Film Festival. Miramax then sent word that it wanted to alter the film. Wisit offered the company an even shorter version than the international cut, but the company refused. "They didn't allow me to re-cut it at all", Wisit said in an interview with the Los Angeles Times.

Recapitulation: The orchestra restates the theme in fortissimo, with the wind instruments responding by building up a minor ninth chord as in the exposition. For the return of the second subject, Beethoven modulates to the tonic major, C major. A dark transition to the cadenza occurs, immediately switching from C major to C minor. Cadenza: Beethoven wrote one cadenza for this movement.

Later, it moves to doppio movimento agitato at measure 49 and features fortissimo octave passages and double octave arpeggi. Finally, the piece ends with a reprise of the initial melody with extremely fast chordal accompaniment The piece is a total of 77 measures long. The Nocturne in C minor has been categorized as one of Chopin's greatest emotional achievements.Dubal (2004), p.

In the reprise, Cherubini discards the exposition's sidestepping modulation as a twice-told tale, and, moreover, replaces the initial second-subject theme with the quoted development variant. A presto coda begins with what is in effect an aristocratic forebear of a Rossini-crescendo, building from pianissimo to fortissimo, and bold reminders of G minor punctuate before the overture ends in triumph.

The coda that follows at measure 125 can be subdivided in two parts. The first is a triumphant fortissimo statement of the descending motive of the second theme over the first theme. The second part is an exact transposition of the codetta of the exposition (which also features the same thematic superposition), which leads the whole movement to a calm end.

The ending part of the piece is marked religioso and uses legato chords in the right hand part. The piece also has extreme dynamic contrasts, ranging from fortissimo to pianissimo (see Dynamics). The piece departs from the usual ternary form in a Chopin nocturne. The concluding section is not only unrelated thematically to the opening one but in a different key (F major).

At the outset of the recapitulation (which repeats the main melodic themes) in bar 301, the theme returns, this time played fortissimo and in D major, rather than D minor. The movement ends with a massive coda that takes up nearly a quarter of the movement, as in Beethoven's Third and Fifth Symphonies. A typical performance lasts about 15 minutes.

It was a little less > successful in its third section (Alborada, in B-flat major), where the > brasses somewhat drown the melodic designs of the woodwinds; but this is > very easy to remedy, if the conductor will pay attention to it and moderate > the indications of the shades of force in the brass instruments by replacing > the fortissimo by a simple forte.

After the orchestra enters, the restless and melancholy first theme is played, again by the piano solo. Saint-Saëns drew the theme from his student Gabriel Fauré's abandoned Tantum ergo motet. A brief second theme appears, followed by a middle section of increasing degrees of animato. The main theme is recapitulated fortissimo and the soloist is given a long ad libitum cadenza.

Shortly after, a very short fortissimo bridge, played by the horns, takes place before a second theme is introduced. This second theme is in E major, the relative major, and it is more lyrical, written piano and featuring the four-note motif in the string accompaniment. The codetta is again based on the four-note motif. The development section follows, including the bridge.

Ravel described La valse with the following preface to the score: > Through whirling clouds, waltzing couples may be faintly distinguished. The > clouds gradually scatter: one sees at letter A an immense hall peopled with > a whirling crowd. The scene is gradually illuminated. The light of the > chandeliers bursts forth at the fortissimo letter B. Set in an imperial > court, about 1855.

The Andante slow movement, is a ternary form movement in E major in triple time. The first subject is very lyrical. A second idea, which brings back the repeated eighth notes from the intermezzo, begins the transition to the second main section. The second section is in C major and starts with fortissimo chords in dotted rhythm for the piano solo.

The Flying Inkpot, 9 December 1999. Retrieved on 22 June 2007. Strings dominate the musical textures and the music is rarely loud—the dynamics reach fortissimo in only a few bars. The symphony is scored for solo soprano, four flutes (two players doubling on piccolos), four clarinets in B, two bassoons, two contrabassoons, four horns in F, four trombones, harp, piano and strings.

Over the years Vladimir Karamazov is involved in many initiatives and charity campaigns - Bulgarian Christmas (of the President of Republic of Bulgaria), UNICEF (“Violence-Free Future for Every Child”, “Together since Kindergarten”, and others), Openly for Diabetis, Theaters Night, Fortissimo Family, Recreate Classics, The Poets (of Interview.to), Mission Maverick, Great Together, Wings for Life World Run, Better with Pets, Praktika.

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.

While Romantic era classical music from the mid- to late-1800s makes great use of dramatic changes of dynamics, from whispering pianissimo sections to thunderous fortissimo sections, some entire Baroque dance suites for harpsichord from the early 1700s may use a single dynamic. To give another example, while some art music pieces, such as symphonies are very long, some pop songs are just a few minutes long.

In a near-comical fortissimo flourish, a deliberately muddy fully voiced D major chord closes the first half of the work. #"Pause" ("Interlude"; B major): "Is it the echo of my love's pain? Or the prelude to new songs?" – the Miller, his heart too full to sing, hangs his lute on the wall with a green ribbon and reflects on the heavy burden of happiness.

Roseberry, 16. The threefold repeat of the Agnus Dei text gains intensity with each repetition through rising dynamics and register. The closing Dona Nobis Pacem builds to fortissimo; it is set with hammered repeated notes and overlapping intervals of a second between the voices. The organ ostinato finally breaks its pattern for the last two bars and the chorus closes with a pianississimo D minor triad.

Nevertheless, it was full, > resonant and extraordinarily fascinating. He was distinguished for his > breath control, extremely clear diction, vibrant and passionate tone and for > his ability to both soften and strengthen that tone. The way he produced > contrasts of colour and intensity was incomparable. Yet he sometimes over- > used unexpected contrasts of fortissimo and pianissimo and he also seemed to > sometimes slow down the tempo excessively.

Ysaÿe marks this with accents, syncopations, and a triple fortissimo. Following the end of this introduction, a new theme in B-flat minor, is introduced. This section is titled Scène funèbre (funeral scene) and is solemn and deeply felt, to be played in a very sustained manner. The piece then becomes more agitated, with more syncopated rhythms and interplay between the violinist and orchestra.

The two main themes of the work are presented at the outset, the first one in the bass register in the left hand, the second answering it in the right hand. Fragments of both themes are clearly audible throughout the composition, which reaches its climax only five bars from the end, with the right hand raining four fortissimo blows on three low notes, C, B, and A .

It is to be played fortissimo sempre crescendo to a fortississimo, whereby afterwards a dim. molto and a thinning of the chords escorts the piece to a brief conclusion. A final octave statement of the theme in the bass, harmonized in the right hand by murmuring chords, leads the piece to a seemingly quiet denouement, where a final fortississimo stamp signifies its proper finish.

Scientific director of the Palazzetto Bru ZaneAlexandre Dratwicki on Radio Classique – Centre de musique romantique française (Venice),pianiste.fr Conversation with Alexandre Dratwicki Libération.fr Venise fortissimo pour le romantisme français holder of a doctorate in musicology from the Paris-Sorbonne University in 2003) and former resident of the Académie de France à Rome (Villa Médicis),Libération.fr Alexandre Dratwicki is a graduate from the Conservatoire de Paris (esthetics).

The beginning is marked Presto and opens in B flat minor. However, most of the work is written in D flat major. The opening to the piece consists of two arpeggiated pianissimo chords, and after a moment's pause, goes into a set of fortissimo chords, before returning to the quiet arpeggiated chords. The piece then goes to an arpeggio section which leads to the con anima.

In some instances and applications, particularly for the performance of Romantic organ music, enclosure in an expression chamber can remove some of the shrillness of organ pipes. Romantic instruments frequently have more than one division (keyboard) under expression. On pipe organs, the expression pedal should not be confused with the crescendo pedal, which progressively adds stops as it is opened, building from piano to fortissimo.

This is followed by a pianissimo restart in B (m. 73), which is when the A theme is heard again, leading to a full fortissimo statement in the tonic key of E (m. 93). Later, a downward arpeggio motif with sforzandos on the second beat is played twice in unison, first by the strings (mm. 115–119) and then by the full orchestra (mm. 123–127).

Quartissimo is a Slovenian string quartet featuring Žiga Cerar on first violin, Matjaž Bogataj on second violin, Luka Dukarić on viola, and Samo Dervišić on cello. The group's name is a portmanteau of quartet and the Italian suffix -issimo, which means extremely (e.g., fortissimo, prestissimo). The young but established musicians have experience as soloists and members of chamber orchestras, including the Slovene Philharmonic Orchestra.

An excerpt from Movement VI ("Danse de la fureur ..."), which is played by all four instruments in unison. It shows Messiaen's use of additive rhythms, in which the underlying quaver beat (eighth notes) is sometimes augmented by a semiquaver (sixteenth note). Messiaen writes of this movement, which is for full quartet: Toward the end of the movement the theme returns, fortissimo, in augmentation and with wide changes of register.

The mandocello generally has four courses of two strings each. Because of the heavy gauge of the lowest course, some folk mandocello players remove one of the C strings to prevent rattling while playing fortissimo. There is a rare 10-string/5-course mandocello, containing an additional course of strings above the 1st (highest) course, sometimes termed a liuto cantabile or liuto moderno, although these instruments remain technically mandocellos.

At soft volumes it has a very warm, delicate sound because the bell is made of hammered tin or very thin brass. But it is also capable of an extreme fortissimo. Not everyone agrees on how to pronounce the name of the instrument, with variants including “boo-san”, “bue-san”, “boo-seen”, "buk- kin" and “buck-sin.” There are more than 60 buccins in museums throughout the United States and Europe .

Nectoux, p. 92 The viola solo that follows is a rhythmically modified version of the second subject from the first movement, transformed into a gently oscillating siciliano. At the start of the middle section, the bell figure is played on the strings in a mixture of arco and pizzicato. The movement builds gradually to a fortissimo climax before the return of the bell motif leads the music back to pastoral quiet.

This piece represents a typical nineteenth-century étude, similar in style to Frédéric Chopin's Études (Opp. 10, 25), with a melody interspersed between rapid sextuplet figures. It is in strict ternary form with a coda: identical beginning and ending sections beginning on measures 1 and 85, and a contrasting middle section starting on measure 45. The second section radically changes dynamics, constantly changing from piano to fortissimo and even sforzando.

After a recitative passage, the music goes somewhere unexpected. The second theme is brought back, this time fortissimo and marked trionfante with chords in both hands. The most technically difficult part of the entire piece consists of multiple pages of chordal jumps and repetition, requiring a large amount of stamina. The music eventually dies down, and after an arpeggiated variation of the first theme, the music dies out.

Little Red Flowers () is a 2006 Chinese film directed by Zhang Yuan. The film was a co-production between China's Beijing Century Good-Tidings Cultural Development Company LTD and Italy's Downtown Pictures. The Dutch company, Fortissimo Films handled worldwide sales. The film, based on author Wang Shuo's semi-autobiographical novel, Could Be Beautiful, follows a young four- year-old boy, Fang Qiang Qiang, at a kindergarten boarding school.

The work shows Shostakovich's willingness to adopt new techniques. All but two of the movements include themes using tone rows, which he uses to convey a sense of the abstract.Huth, Andrew, Notes to performance at the Barbican Arts Centre 13 April 2006, p. vi. He also makes dramatic use of tone clusters, such as the fortissimo chord illustrating the lily growing from the suicide's mouth in the fourth movement.

The film is in Tigaonon, the language of the people of Ticao Island in Masbate. Unfriend premiered at the Panorama Section of the 2014 Berlinale (Berlin International Film Festival) and got international and local media attention for highlighting the "dangerous power of social media". Unfriend has been featured by major news organizations like Reuters, Huffington Post, ABS CBN and Philippine Daily Inquirer. It was released internationally by Fortissimo Films.

There are also many different dynamic changes in the piece, ranging from pianissimo to fortissimo. In the Meno, quasi lento section, the violin plays "artificial," "stopped," or (less accurately) "false" harmonics. This involves the violinist placing their finger down on the note and playing another note, with the finger only just touching the string 5 semitones above. This gives the effect of the violin sounding two octaves (24 semitones) higher.

Minsk, 1991, p. 93 - 111. While at H.S. Skovoroda Kharkiv National Pedagogical University he prepared seven winners of the international competition "Fortissimo". Bilotserkovskiy authored a study manual reflecting his series of lectures on the history of string performance and his teaching methodology (1972), a monograph "Psychological background of ensemble performance", articles on problems of ensemble performance in special musical journals, articles and sketches on the history of string performance in Kharkiv.

The music contained so many unusual note combinations that Monteux had to ask the musicians to stop interrupting when they thought they had found mistakes in the score, saying he would tell them if something was played incorrectly. According to Doris Monteux, "The musicians thought it absolutely crazy". At one point—a climactic brass fortissimo—the orchestra broke into nervous laughter at the sound, causing Stravinsky to intervene angrily.Kelly, p.

The slap which Mrs Noye administers when finally persuaded is accompanied by an E major fortissimo. The storm scene which forms the centre of the opera is an extended passacaglia, the theme of which uses the entire chromatic scale. In a long instrumental introduction, full rein is given to the various elements of the children's orchestra. Slung mugs struck with a wooden spoon give the sound of the first raindrops.

Brahms then uses the technique of theme and variations to construct four variations on this theme, each eight measures long. A short idea based on the opening theme closes the exposition, which is not repeated. The development section begins by restating the theme from measures 32–35 in E minor. This moves to B major for a new fortissimo idea (perhaps a variation) based on the same theme.

The film stars Karin Anna Cheung as a pregnant woman who is looking for the true identity of her baby's father. White Frog is a coming of age story about an autistic teenager who struggles through the loss of his older brother. It stars Booboo Stewart, Gregg Sulkin, and Harry Shum Jr. The film premiered at the CAAMFest in 2012. Fortissimo Films purchased the international distribution rights in 2011.

It is officially revealed in episode 48, where Sabaku reveals that some of Yuri's DNA was used for her creation. Dark Precure was defeated by Moonlight's Floral Power Fortissimo in episode 47, and she died in the next episode. ; : :Sasorina is one of the Cadets of Sabark, and the first to appear before the heroines. She speaks with a foreign accent and can use her hair as a scorpion tail with poison.

Unlike the CX-3, which did not come with an expression pedal, the BX-3 has an expression pedal, which enables the performer to adjust the volume while performing; the CX-3 expression pedal also has a spring-mounted feature which returns the pedal to a default position after the performer has depressed it to its maximum for a fortissimo effect. The BX-3/CX-3 expression pedal is identical to the FC7 by Yamaha.

Listen Presto is in ternary form with a coda. The piece begins with a fortissimo introduction with a thick texture in the left hand consisting of chromatic sextuplets. The melody is a "rising quasi-military" idea, interspersed between replications of the left hand figure, the mostly two-note melody being a strong unifying element. The middle section is a brief period of pianississimo falling figures in the right hand and rising scales in the left.

164–165 The fast music culminates in a long trill on high G, followed by a brief silence from which there comes, unexpectedly, a quotation from the dotted rhythm "mélancolique" theme of the first movement's middle section, in its original key of F sharp minor.Mellers, p. 165 The music gathers speed again and the sonata sprints to a double fortissimo finish, "strictement en mesure sans ralentir" ("strictly in time without any slowing down").Poulenc, p.

His students included Virgil Fox and Cecilia Clare Bocard. Fox frequently used as an encore to his performances Middelschulte's "Perpetuum Mobile", an elaborate piece that builds from a subdued sound to, by the end, fortissimo and played almost entirely on the pedals; the penultimate measure contains an ascending scalar flourish and the last measure a single chord both played on full organ. Ferruccio Busoni's Fantasia contrappuntistica was dedicated to "Wilhelm Middelschulte, Meister der Kontrapunkte".

The middle section of the Impromptu, marked Trio as standard in minuets, is contrasted in character with the main section. It is written in D major, and features continuous triplet motion. The second part of the Trio moves to D minor (written in the same key signature but with accidentals added), then climaxes on A major (written without a key signature), fortissimo, and finally calms down and repeats the major-mode first phrase.

17 - but were published as Op. 44 in 1804. The theme is a series of simple unadorned arpeggios in octave unisons by all three players. Beethoven then develops fourteen variations, decorative in the tradition of the eighteenth century but with contrasting spirit and textures employed. The tenth variation, syncopated and vigorous, is followed by an almost exaggeratedly reserved dialogue while the twelfth variation's gentle ambling is interrupted by a burst of coarse fortissimo.

2, Haydn at Eszterhaza, 1766–1790.. The third movement contains an even higher note for horn, a written C6 for horn in B alto (sounding as B5), which is one of the highest notes ever written for horn. Heartz has noted the character of the fourth movement as reminiscent of the French rondeau. The first contrasting section is an oboe solo in E major and the second contrasting section is fortissimo and in G minor.

Satirizing the self-publicizing artist's attitude and his overblown adoration, it varies from Busch's other stories as each scene does not contain prose, but is defined with music terminology, such as "Introduzione", "Maestoso", and "Fortissimo vivacissimo". As the scenes increase in tempo, each part of his body and lappet run around. The penultimate scene again depicts the pianist's movements, with score sheets floating above the grand piano on which musical notes are dancing.Weissweiler, pp.

Huisman joined Eerste Divisie side FC Emmen after his contract with Vitesse expired. Huisman also had spells with amateur sides VV Blauw Geel '55 and KSV Fortissimo prior to his nine-year spell with Vitesse. Whilst with Vitesse, he also represented Netherlands at under-17 level in 2011. On 19 August 2016, Huisman went on to make his professional debut in a 1–0 away defeat against Jong PSV, in which he replaced Frank Olijve with thirteen minutes remaining.

The film also opened the Los Angeles Asian Pacific Film Festival on May 2. The film's distribution in the United States was being handled by Creative Artists Agency, while Fortissimo Films obtained the international distribution rights. Ketchup Entertainment, LA based distribution company, picked up US distribution rights for Linsanity on July 24, 2013. Stephen Stanley of Ketchup negotiated the deal with Nick Ogiony and Dan Steinman of CAA, Gregory Schenz at Endgame Entertainment and Helen Dooley at Williams & Connolly.

Among his pupils was Valerie Boissier, whose mother, Caroline, kept a careful diary of the lessons.: > M. Liszt's playing contains abandonment, a liberated feeling, but even when > it becomes impetuous and energetic in his fortissimo, it is still without > harshness and dryness. [...] [He] draws from the piano tones that are purer, > mellower and stronger than anyone has been able to do; his touch has an > indescribable charm. [...] He is the enemy of affected, stilted, contorted > expressions.

The second theme of the exposition begins in the key of G minor, and is repeated in D minor at measure 33. It is not until measure 47 that the traditional dominant key is finally reached, where a subsidiary theme in the second thematic group appears, marked "dolce." A forte shows later, leading to a very rich melody with left and right hand. Then a similar outburst of a broken-chord and broken-octave sections appears in fortissimo.

Then it ends with some difficult trills and an octave scale. Beethoven opens the development by improvising on trill patterns introduced in the end of the exposition, which are much more difficult to play. Following a broken-chords section filled with harmony changes, the main theme is restated in D major (pianissimo), the supertonic key of C major. Then a fortissimo and Beethoven's very common syncopations appears in the music giving a rhythm, this continues on to the resolution.

The piano reframes it initially in D major, then slides into a bitonal obbligato against a G major underpinning in strings. Then the coda explodes into a musical battle between soloist and orchestra, with prominent piano ornamentation over the orchestra (including famously difficult double-note arpeggi, sometimes approximated by pianists with keyboard glissandos using the knuckles), eventually establishing the ending key of C major and finishing in a flourish with a fortissimo C tonic ninth chord.

The closing movement of this part, 'The Three Kings', is in fact a march on a grand scale which starts with a quiet but steady and springy tread and moves inexorably on to close fortissimo with the full orchestra. The movement includes the narrator (see above), with words of the journey of the Three Kings (Matthew 2:9,11). There are three main themes of this movement. While all the themes are independent, all begin with the same germ idea.

Military musicians of Canada and the United States conversing during a rehearsal for the Fortissimo Sunset Ceremony. Military music is one of the many trades for individuals in the militaries of both countries. Military specialisms are the chosen or assigned trade or career specialties in the armed forces which demand from the individuals achievement of qualifications, and a degree of knowledge and skill in the tradecraft to perform tasks and assignments to an acceptable level of completeness or quality.

Loren Rush (born August 23, 1935) is a U.S. composer. His works include the drone piece Hard Music (1970) for three amplified pianos. The piece features no melodic figuration but rather clouds created by only one note, the low D above cello C, repeated quickly enough by each player to be heard as nearly continuous. The surface results from the composite rhythms of percussive attacks and the interplay of partials brought out through the rhythms and fortissimo dynamics.

Instead of a lyrical slow movement which might have been expected after a scherzo (cf Brahms's Second Piano Concerto), Prokofiev provides a fast-paced, menacing Intermezzo. Layton characterises this movement as "in some ways the most highly characterized of all four movements, with its flashes of sardonic wit and forward-looking harmonies". The movement starts with a heavy-footed walking bass theme – directed to be played heavily (pesante) and fortissimo. The music has returned to G minor.

Its designer is Kurt Klemmer, who made the racquet with an epoxy fiberglass process. The Fortissimo was not produced on a commercial scale, with twelve having been made. Racquet engineer Siegfried Kuebler stated that it did not create a favorable impression with tennis players but was positively received by racquet designers.Siegfried Kuebler - Racquet Collector and Engineer (via the Internet Archive's Wayback Machine -- July 18th 2009 snapshot) At the time, there was resistance to large-headed racquets.

The first dance (Allegro vivace) is rhapsodic in form, though with a recurrent main theme. This theme, which provides the melodic, textural, and rhythmic foundations of the work, is first heard pianissimo in the murky depths of the keyboard. The middle section, Lento, presents an evocative modal melody against a various tremolo harmonies in the bass. This section fades away, and, after a long and increasingly frenzied crescendo, the main theme returns in triumphant fortissimo octaves.

Copious pedal point notes and phrase markings are present in the second theme, but the entire étude lacks any pedal indications. Similar to the Op. 10, No. 4 étude, Chopin emphasizes legato playing through the phrasing and (lack of) pedal marking. Throughout the entire work, Chopin marks only five dynamic markings; the entire first theme is to be played forte to fortissimo, and the whole second theme is piano.Palmer, W: Chopin Etudes for the Piano, page 108.

In measure 151, all strings crescendo to the returning sixteenth-note theme in measure 152. In measure 162, the staccato eighth-note trade-off section returns, in the tonic key and piano dynamic. A fortissimo appears in measure 172, beginning the lead into the I7 chord fermata. Beginning in the following measure, the viola, and two violins pass each other the opening sunrise motif for a measure at a time, while the remaining instruments sustain chords.

The glowing body of the Mandarin is represented by the entry of a chorus singing wordlessly, once again in the interval of a minor third. The climax, after the girl embraces the Mandarin, is a theme given out fortissimo by the low brass against minor-second tremolos in the woodwinds. As the Mandarin begins to bleed, the downward minor-third glissando heard at his entry is echoed in the trombone, contrabassoon and low strings. The work then stutters arhythmically to a close.

DLC was created for the title as both promotional material and post-release content, which included downloadable scenarios including a "Hot Spring" scenario. An English version was announced at E3 2015, with the release date being revealed in a Nintendo Direct presentation in March 2016. It was released in North America and Europe on June 24, 2016, and in Australia the following day. A limited edition similar to Japan's "Fortissimo Edition" was made available as an online exclusive through Amazon.

Only the first subject and central motto theme are used in the development. After a long dominant pedal, the music slowly transitions to the recapitulation in E major, in which only the second subject is recapitulated, but is heavily expanded on compared to the exposition. This device of omitting the first subject from the recapitulation was also used by Tchaikovsky in his second, fourth and sixth symphonies. The coda in E minor builds up intensely and the movement culminates in two fortissimo outbursts.

Before the film's release, The Weinstein Company bought from Fortissimo Films the right for a North American release of Reign of Assassins while Lions Gate Pictures UK received licensed for the United Kingdom. Reign of Assassins had its premiere on September 3, 2010 at the 67th annual Venice Film Festival where it was shown out of competition. The film was released in China on September 28, 2010. The film premiered in Hong Kong on October 7 and in Taiwan on October 10.

The 2nd movement, by stark contrast in G minor, is reflective of Weber's many operas. With its operatic phrasing, this movement really exhibits the rich tone of the clarinet. The clarinet melody has very expressive dynamics, often going from fortissimo to piano in the space of one bar. After the initial statement of the melody, the work moves into an orchestral section in G major which acts as a sort of extended dominant to C minor when the clarinet enters again.

The overall key of the Boléro is difficult to establish. It was often listed as Boléro in C major - A minor, as the work opens with three unison octaves in G (dominant chords of C major) in fortissimo, then a lengthy Introduction in C major, moving to A minor (relative minor) for the Boléro proper. It is interrupted by sections in A major, A-flat major and B-flat minor before returning to A minor. It ends triumphantly in A major (parallel major).

Section A consists exclusively of tone clusters, with sparse notes followed by rapid arpeggios, which climax in an (forte fortissimo) A0, which is the lowest possible note of the piano. This starts section B, which consists mainly of pulsating low notes with slow sixteenth notes with the right hand. A0 is played seven times. After that, C♯1 pulsating notes are played, only this time just a bit faster, which then jumps to the cluster E1-F1 performed by the left hand.

Dedicated to the Ones We Love is a covers album by The Blackeyed Susans, focusing on songs that have influenced and inspired the band. In May 2000, the group parted ways with their record company Mds after it was bought by Festival Records. They had been working on their Shangri-La album since mid-1999 but this was postponed until 2002. In September–November 2000, the band recorded Dedicated to the Ones We Love at Fortissimo Studios in South Melbourne.

The cello then plays the theme again in E major. This concerto requires a lot of technical ability, especially in the coda, where the cello plays octaves and many double stops. After the resolution by the solo cello, there is a modulation in which the winds play an E-flat minor chord, changing the key. The solo cello ends with trills on a high B. The movement ends tutti with the restatement of the first theme marked grandioso and fortissimo.

Siegfried Kuebler - Racquet Collector and Engineer (via the Internet Archive's Wayback Machine -- July 18th 2009 snapshot) Howard Head and the company formerly known as Prince Sporting Goods (not Prince Sports) received the mind share and market success for oversize racquets in their early years. The article that appeared on the sporting goods company Tennis Warehouse's website in 2005, in which Kuebler provides the historical details regarding the Fortissimo, is now only available via one of the Internet Archive's Wayback Machine snapshots.

Seven chords played fortissimo bring the work to a close.Whitehouse, notes to Naxos 8.557766, 2. Philip Glass's Fifth Symphony, completed in 1999 and subtitled "Requiem, Bardo and Nirmanakaya", is written in 12 movements to fulfill its programmatic intent. Glass writes, "My plan has been for the symphony to represent a broad spectrum of many of the world's great 'wisdom' traditions", synthesizing "a vocal text that begins before the world's creation, passes through earthly life and paradise, and closes with a future dedication".

When the award was overturned on appeal, local resident Monica Waud led her neighbours in a civil disobedience campaign during the 1997 performance of Haydn's Le Pescatrici. The protesters simultaneously began cutting their lawns with electric lawnmowers and diesel tractors, trimming their hedges, and turning on their hoses. Car alarms were set off and as a grand finale a private plane piloted by Miss Waud's companion flew overhead.Sarah Lyall, From the Opera's Neighbors, a Reply (Fortissimo), The New York Times, 7 July 1997.

The bass in the opening bars takes Diabelli's rising figure and presents it in descending sequence. Out of these flimsy materials, Beethoven builds his powerful triple fugue. The themes are presented in a variety of harmonies, contexts, lights and shades, and by using the traditional fugal techniques of inversion and stretto. About two thirds through, a fortissimo climax is reached and, following a pause, there begins a contrasting pianissimo section with a constantly hurrying figure serving as the third fugal subject.

George Bernard Shaw, reviewing the work in 1885, criticized it heavily, complaining that the manner in which the program was presented by Liszt could just as well represent "a London house when the kitchen chimney is on fire". He then notes that the symphony is "extremely loud", mentioning the fortissimo trombones, that later repeat at . On the other hand, James Huneker called the work "the summit of his creative power and the ripest fruit of that style of programme music".

Elgar was insistent that the first entrance of this new subject be played religiously pianissimo without sacrificing the expression dictated. This subject is formed from the repetition of a two-bar theme through a sequence that builds from pianissimo to fortissimo. This then gives way to a slow, soft cello theme at rehearsal 11, featuring a song-like character. Throughout this section, the violas play a subtle accompaniment figure consisting of a quarter note moving up Diatonic and chromatically to an eighth note.

Layzelber can also combine with another jet to form Sky Layzelber, a drill tank to form Ground Layzelber, and a high-speed submarine to form Marine Layzelber. Or Layzer can skip the Rayhawk and combine with the other 3 support vehicles to form Dailayzer. Chyota’s rival Gallio has a robot called Emperios that can combine with a racing limousine to form Emperios Forte, who can combine with an armored vehicle to form Emperios Fortissimo. Gallio is aided by his servants Roberto and Fiore.

Tartarecker was Tom's opponent in "Trading Cards" whose battle team consists entirely of Tartarek. Tank made a bet with Tom because he had lost to Tartarecker that if he beat Tartarecker without losing a single match, he would give him his Ribbian. Tartareck attacked Xaerv and Xaerv won with some difficulty, and the final battle was Tom's Maxxor vs Tartarek, Tom won this using a Fortissimo mugic while Tartarek was in the air. Afterwards Tom got the Ribbian scan as promised.

First-print runs of the Japanese release included codes for special costumes inspired by other Atlus games. In addition, Atlus produced a "Fortissimo Edition", containing a special box, an original artbook, a six- track CD release including "Reincarnation", and downloadable content (DLC) outfits for the playable characters. A Wii U bundle was also created, featuring similar content in addition to special stickers and special lyric cards. Between its original reveal and the retail release, Kiria's stage costume for her number "Reincarnation" was altered to be less revealing.

The reviews of the initial performance at the Music Society on April 6th, 1908 were not very favorable. Dannebrog maintained: "It is not music at all, nothing but juxtapositions of sounds and an eternal build-up from pianissimo to fortissimo." William Behrend, writing in Illustreret Tidende concluded that though the piece had a "highly stimulating effect... it seems to lack proportions — to be at once too short and too long, as dreams after all can be." Robert Henriques, writing in Vort Land was however far more positive.

The opening movement, Roncesvalles, begins Path of Miracles at a geographically popular starting point for the pilgrimage. As the choir begins a mysterious glissando (termed Pasiputput, from the Bunun people),Crouch, p. 4 travel is ingrained in the stage direction, calling the tenors and basses from offstage to join the main choir. The aura is open and overwhelming as multiple languages and sound clusters of E major and E minor fill the air, finally climaxing with a fortissimo E minor chord featuring “bells,” played by crotales.

Liner notes. Like the second and fourth pieces, number six is written in the form of an étude, with a repetitive but technically challenging chordal melody that is doubled in both hands. In all, the work has three distinct elements played simultaneously: the main melody, the continuous thirty-second note broken chord figures, and a descending eighth note motif. Dynamics play a large part in this piece: the fortissimo marked at the beginning is maintained all throughout the first section, with only brief respites to mezzo forte.

International sales rights to Tears of the Black Tiger were purchased by Fortissimo Films, which marketed a 101-minute "international cut", edited by director Wisit Sasanatieng from the original 110-minute length. The shorter version omits some transitional scenes in order to streamline the pacing of the film. This version was released theatrically in several countries, including France, the Netherlands and the United Kingdom. Among the deleted scenes are those involving the comic relief character, Sergeant Yam, Rumpoey's engagement to Captain Kumjorn and other transitional scenes.

She arranges her dynamic levels so as > never to have need of fortissimo ... In 1938, Boulanger returned to the US for a longer tour. She had arranged to give a series of lectures at Radcliffe, Harvard, Wellesley and the Longy School of Music, and to broadcast for NBC. During this tour, she became the first woman to conduct the Boston Symphony Orchestra. In her three months there, she gave over a hundred lecture-recitals, recitals and concerts These included the world premiere of Stravinsky's Dumbarton Oaks Concerto.

Virgin Black's next project began with London and Escarbe composing a series of scores for what was to become the three-volume Requiem set. On 10 March 2006, The End Records issued a press release explaining the upcoming releases. The first part of the trilogy, Requiem - Pianissimo, is a strictly classically oriented album featuring the Adelaide Symphony Orchestra, choral singing, and solo singers. Requiem - Mezzo Forte features music similar to the band's previous releases with the last part Requiem - Fortissimo primarily having a death/doom metal sound.

Virgin Black played some Australian shows with Arcturus in March and headlined the Elements of Rock Festival in Switzerland in April. Virgin Black announced a US tour for June and July 2007, and played shows on the east and west coast of the U.S. with To/Die/For and headlined shows in Mexico City, Monterrey, and Guadalajara. The third part and the second installment in the Requiem trilogy, Requiem - Fortissimo was released on 19 February 2008 by The End Records. The Massacre Records release date remains unknown.

Apparition de l'église éternelle (Apparition of the eternal church) is a work for organ, written by the French composer Olivier Messiaen in 1932. The piece is in arc form, beginning in pianissimo (pp) and building up to a fortissimo (fff) climax featuring a C major chord, and then receding back to pianissimo. Richly colored chords alternate with open fifths, on top of a throbbing bass which repeats a simple rhythmic pattern. Programmatically, the piece describes the appearance of the eternal church, which then fades away.

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.

The irregular-seeming cadences ending the major phrases and sections catch you by surprise or make you wait a bit for each return to the attack. Many analyses of this composition include the overall form and harmonies, but have not been able to find a pattern in how the cadences are formed. The dynamics are jagged and shocking as well through the entire piece. For example, there are accent marks and the (which means "subito fortissimo"/“suddenly very loud”) above these lines of the score.

B minor, trio section and ending in B major, The B minor scherzo combines delicate filigree passages with fortissimo outbursts. The exuberant mood of the first movement returns in the trio section in B major. A Picardy third, which ends the movement in B major, sets the scene for the third movement, also in B major. The only alterations Brahms applied to this movement in his revision of the work were a doubling of the climactic trio melody in the cello, and a reworking of the coda.

Eventually the orchestra moves into a lush Andante, recapitulating the chorale-style melody. Rather suddenly, the piano climbs up to a flurry of double octave trills and a climactic trumpet fanfare, leading to the jubilant finale based once more on the hymn theme played at triple time. The concerto concludes with the piano, in cadenza-like cascades, guiding the orchestra to a fortissimo close. The piano concerto was premièred on October 31, 1875, at the Théâtre du Châtelet of Paris, with the composer as the soloist.

"Nessuno" (literally "Nobody") is a 1959 Italian song composed by Antonietta De Simone and Edilio Capotosti. The song premiered at the ninth edition of the Sanremo Music Festival, with a double performance by Wilma De Angelis and Betty Curtis, and placed at the eighth place. Ignored by the public in its original versions, the song got a large commercial success thanks to the rock'n'roll version recorded by Mina. Mina's version was performed in fortissimo and in a syncopated style, distorting the linearity of the original melody.

The time changes often allow for a natural declamation of the text, including extra measures of . A first climax is reached with the words "He is the great King", where the choir is divided in five parts, marked fortissimo. The following verses are given to one part only, with the altos beginning "He shall subdue the people under us", marked tranquillo. The text "O sing praises unto our God" is broader, while "sing ye praises with understanding" is given to the choir a cappella.

'To hear him rattle off "Schaudernd zittern meine Glieder, Angst schlagt meinen Muth darnieder" in the se(x)tet in Don Juan in steady crescendo up to fortissimo, and with every syllable distinct was a caution!':William Foster Apthorp, By The Way (Copeland and Day, Boston 1898), II, p.67: Formes gave Les Huguenots and Roberto il diabolo with Poinsot and Laborde. Anschütz and Formes then led the company's touring progress en route to New Orleans (arrived 23 February), while Piccolomini left to make her farewell.

From that moment on he dedicated himself exclusively to teaching, perfecting his extraordinary innovative method for piano teaching. This method, based on an accurate study of the anatomy of the pianist, allows a complete relaxation of the muscles and tendons of the hands and the arms even when the pianist performs the most difficult pieces of music. As a consequence, the sound is always smooth and round, never metallic, not even in the fortissimo, and the performer is never troubled by any muscular stiffening. Hence, Scaramuzza devoted himself only to teaching from 1923 onwards.

With 238 bars and a 92 bpm Andante tempo marked as malinconico, it has a 2/2 time signature. The introductory melody is established under a staccato accompaniment on the left hand with the middle section marked by the contrasts of the staccato rhythm of left hand over the melodic phrases of the right, followed by a series of moduations. The third motif in B-flat comes with a fortissimo shift of the melody, followed by a long coda with light variations in triplets in the final bars.

This first Scherzo takes A-B-A-Coda form and begins with two chords in fortissimo. At tremendous speed, a series of dramatic outbursts in the B minor tonic follows. Near the center of the piece, the music leads into a slower section in B major; finally one hears a tangible melody in the middle register, surrounded by accompaniment in both the left and upper right hands. Chopin quotes here from an old Polish Christmas song (Lulajże Jezuniu); the tempo in this section is marked Molto più lento.

Settling in C minor, Bernstein starts "Domine deus", the longest portion of text in the movement. He continues into "quoniam" and finishes the movement in C minor with bells playing fortissimo. Bernstein lays out the instructions for the bell playing as follows: > There are two sets of bells, one in each wing or on each side of the chorus, > each having at least three different notes (any notes at all, but preferably > covering a wide range). The notes should be sounded one at a time at the > most rapid possible tempo.

Characteristic semiquaver-tuplets that make up most of this étude The étude is a study for developing stamina, dexterity, and technique – essential skills for any concert pianist. It begins with a piano introduction of the main melody. The first theme follows, consisting of tumultuous cascades of semiquaver-tuplets (sixteenth-note- tuplets) and a leaping figure for the left hand in the relative major, C major, which shortly segues into a repetition of the first theme. It finishes with a short development into a fortissimo coda, and ends with one final statement of the theme.

Newman 1972, 207; Pyron and Bianco 2001. Later in the century, Heinrich Ignaz Franz Biber, in certain movements of Battalia (1673), added to these effects the device of placing a sheet of paper under the A string of the double bass, in order to imitate the dry rattle of a snare drum, and in "Die liederliche Gesellschaft von allerley Humor" from the same programmatic battle piece, superimposed eight different melodies in different keys, producing in places dense orchestral clusters. He also uses the percussive snap of fortissimo pizzicato to represent gunshots.Arnold 1994, 54.

Crash cymbal Suspended cymbal In percussion, cymbal choke is a drum stroke or push which consists of striking a cymbal with a drum stick held in one hand and then immediately grabbing the cymbal with another hand, or more rarely, with the same hand. The cymbal choke produces a burst of sound which is abruptly silenced, which can be used for punctuation or dramatic fortissimo effects. In some modern music, namely heavy metal, it is "often employed to emphasize a particular beat or signal an abrupt conclusion to a passage."(2007). , FloodWatchMusic.com.

It is a fast and simple evocation of a Viennese ballroom or German country dance. This proceeds in contrast to the first section but eventually grinds to a halt on a fortissimo diminished chord. There follows a brief return of section 1 (10 bars) followed by a briefer return of section 2 (5 bars) (in a minor) followed by an ever briefer return of section 1 (only 2 bars). This is followed by section 3, which is really a lengthier return of section 2, which starts in G and moves back to B.

While George Gershwin was clearly a major influence, Vodery's mention shows us that besides Gershwin, the entire jazz and Broadway zeitgeist of the day served as the influence for this piece. Frederick Delius also served as an inspiration. The chorus’s fortissimo opening statement is a direct transcription of the fanfare that appears frequently in Delius' work (the famous "Walk to the Paradise Garden" from A Village Romeo and Juliet, to quote just one instance, has it in almost every bar). Delius knew much about spirituals from living among African-Americans in Florida.

While the symphony is not a pictoral or descriptive work, the number seven plays a significant part in it. The work is not only written in seven movements but is "pervaded by the number 'seven' at various levels," with an extensive system of seven-note phrases binding the work together, "while the frequent presence of seven notes repeated at a single pitch will be evident even on a first hearing, as also the seven fortissimo chords bringing the seventh and final movement to an end."Whitehouse, notes to Naxos 8.557766, 2.

The Passion is almost entirely atonal, except for two major triads which occur once at the end of the Stabat Mater, a cappella, and once, an E-major triad, at the very end of the work with full choruses, orchestra and organ. It makes very frequent use of tone clusters, often played fortissimo by brass or organ. The contrapuntal equivalent of tone clusters is micropolyphony, which is one approach to texture that occurs in this piece . Occasionally, Penderecki employs twelve-tone serialism, and utilizes the B-A-C-H motif.

All these innovations allowed the organist to execute a seamless crescendo from pianissimo all the way to fortissimo: something that had never before been possible by the organ. Composers were now able to write music for the organ which mirrored that played by the symphony orchestra. For this reason, both the organs and the literature of this time period are considered symphonic. César Franck, Charles-Marie Widor, and Félix-Alexandre Guilmant were important organist-composers who were inspired by the sounds made possible through Cavaillé-Coll's advances in organ building.

Yale University Press. The music at this point is in B minor, and carries the expectation is that the chord of F sharp (Chord V) will be followed by the tonic chord of B. However, "Dynamics become softer and softer; dominant and tonic chords of B minor appear isolated on the first beat of a bar, separated by silences: until in sudden fortissimo ... the recapitulation bursts on us in the tonic E minor, the B minor dominants left unresolved." Mellers, W. (1983, p.210), Beethoven and the Voice of God.

The piece then leads into a heroic, powerful warrior march, whose valiant and triumphant chords are backed by powerful cascades of ostinato octaves in the bass. This theme builds in intensity until it reaches a fortissimo peak, at which point it breaks suddenly into its conclusion. It is in this conclusion that Liszt reintroduces each theme from the piece, beginning with the funeral march theme, this time more powerful and emphatic. He then briefly reiterates parts of the A-major theme before bringing back the left-hand octave-driven warrior march.

The 80-bars piece, scored for solo tenor, choir and organ, is primarily in the Phrygian mode, with some remote enharmonic modulation. In the first part (bars 1-16) the soloist and the choir are dialoging a cappella. In the second part (bars 17-36), which begins fortissimo by the soloist with the organ on "Tu gloria Jerusalem", the choir becomes divided till 9 voices. In the third part (bars 37-52), which begins on "O, Maria", the soloist and the choir are dialoging a cappella as in the first part.

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).

"Mary Mac" was the second single released by Australian rock band The Blackeyed Susans from their fourth studio album, Mouth To Mouth. It was released on the Hi Gloss Record label in October 1996, three months after the album's release. The song was recorded as part of the band's recording of Mouth to Mouth during the autumn of 1995 at the Fortissimo Sound Studios in Melbourne. The single proved to be the band’s most successful thus far and the song an essential part of The Blackeyed Susans’ catalog.

This culminates in a sequence of arpeggiated sixteenth note chords in both hands, to be played fortissimo and staccatissimo. ;Coda After this sequence, another eight-bar interlude in the bass, irregularly grouped, follows, making only oblique references to the theme in the manner of Alkan's Mort. This is followed by a development section of 11 bars long, consisting of wide chords rising and falling. This culminates in a final explosion of chords that starts in A minor, modulates to G major and finally E minor, with brief references to E major.

Some Barbershop arrangements have elaborate tags featuring a long hanger, and the hanger is usually sung at a high volume (fortissimo in musical terminology). The best singers in Barbershop quartets at the highest level of competition can sing hangers that can be upward of 20 seconds long. The combination of the one note, held long and loud, and the other three voices singing various creative harmonies around that one note, is one of the most thrilling aspects of Barbershop music. Singing a hanger is also referred to as posting a note.

The relationship of the minuet (in F-sharp major) and the trio (in F-sharp minor) continues the overall tension between major and minor. The minuet features a startling harmonic shift: its second half is suddenly interrupted by a fortissimo D-major chord, far remote from the home key, before a chromatic passage leads back to the dominant of C-sharp major. The trio is linked to the minuet by the rhythmic similarities of their opening motifs. The finale is a fugue that builds on motifs presented in the earlier three movements.

It bears the somewhat paradoxical subtitle "Allegro tristamente": accordingly, the piece is always in motion, but proceeds with a sense of grieving. After a brief fortissimo introduction consisting of angry spurts of figuration in the clarinet punctuated by piano chords, the piano quiets to a murmur. The clarinet's lines are built of a self-perpetuating series of arcs that leave a shape but not a tune in our ears. At one point the clarinet seems stuck in a motivic rut, sadly leaping up and down between octave B tones over a shifting harmonic background.

This is the identical material that is used in quality acoustic guitar soundboards. Cheap pianos often have plywood soundboards. The design of the piano hammers requires having the hammer felt be soft enough so that it will not create loud, very high harmonics that a hard hammer will cause. The hammer must be lightweight enough to move swiftly when a key is pressed; yet at the same time, it must be strong enough so that it can hit strings hard when the player strikes the keys forcefully for fortissimo playing or sforzando accents.

Lacombe, p. 249 Berlioz described the opera's score as beautiful, expressive, richly coloured and full of fire, but Bizet himself did not regard the work highly, and thought that, a few numbers apart, it deserved oblivion. Parisian critics of the day, attuned to the gentler sounds of Auber and Offenbach, complained about the heaviness of Bizet's orchestration, which they said was noisy, overloaded and Wagnerian—"a fortissimo in three acts". The conductor Hans von Bülow dismissed the work contemptuously as "a tragical operetta", and when it was revived after 1886, resented having to conduct it.

It begins very softly and gradually gathers excitement with an increase in orchestration, fugato sections, and circle-of- fifths progressions. Shortly before the recapitulation, the strings break into a homophonic fortissimo statement of rising quarter notes for eleven measures, marked pesante (measures 310–320), before the full orchestra joins in for the retransition into the recapitulation in D major. The movement ends with a D major coda (measure 480) that reviews the previous themes over pedals emphasizing the dominant and tonic pitches. The same string pesante section that preceded the recapitulation returns in measure 512.

Gimbel, "Elgar's Prize Song", 234–235. Featuring a recurring two sixteenth–eighth note rhythm and a sprightly character, it is traded between strings and woodwinds in quick successive units, maintaining a sense of rhythmic unrest through offbeat accompaniment patterns and hemiolas. A second sweeping theme in C minor begins at rehearsal 93, similar in contour and rhythm to the first movement motive mentioned above. Marked fortissimo and sonoramente in the strings, it is occasionally supplemented by winds and horns and punctuated by accented off-beats in the brass and timpani.

The first movement begins with fortissimo chords that span almost the entire range of the piano register. A movement in sonata form, it is essentially composed of two musical subjects. The first of these is in F minor, which is followed by a brief episode that features the "fate motif" from Ludwig van Beethoven's Symphony No. 5 in the same key as the symphony, C minor. After a return of the initial F minor subject, the second subject area begins in the key of the relative major (A major) but ends in D major.

Pour le piano has been regarded as Debussy's first mature piano work. The suite consists of three movements: # Prélude # Sarabande # Toccata The first movement, called Prélude, is marked "Assez animé et très rythmé" (With spirit and very rhythmically). It was dedicated to Debussy's student Mlle Worms de Romilly, who notes that the movement "tellingly evokes the gongs and music of Java". The pianist Angela Hewitt notes that Prélude begins with a theme in the bass, followed by a long pedal point passage. The theme is repeated in chords marked fortissimo, together with glissando runs that Debussy connected to "d’Artagnan drawing his sword".

The opening solo can be seen as one drawn-out crescendo, which eventually reaches fortissimo before swiftly returning to piano and being joined by a light orchestral accompaniment. Shortly after the orchestra joins in, the cello introduces a new idea: a playful mixture of scales and the mordent theme - somewhat reminiscent of the second variation. After several sequences of this new idea, the cello fluidly transitions into the coda. The coda greatly contrasts the character of the variation itself, embodying a greater sense of drama as Tchaikovsky reintroduces the theme and alludes to several of the variations.

An ascending organ development prepares an outcry of six parts, all fortissimo and in high register: "Quomodo cantibimus canticum Domini" (How could we sing the song of the Lord), followed subdued and in four, the two parts: "in terra aliena?" (on alien soil?) The voices then demand, in the position of the captives, in agitated mood that they should be mutilated if they ever forget Jerusalem. Finally they curse the Babylonians in forceful homophonic setting. After a few chords of the organ and general pause, the voices return to text and music from the beginning, ending with "when we remembered Zion".

The Requiem by the Hungarian composer György Ligeti is a large-scale choral and orchestral composition, composed between 1963 and 1965. The work lasts for just under half an hour, and is in four movements: Introitus, a gradual unbroken plane of sound moving from "mourning into the promise of eternal light";Kaufmann, Harold (1968) Liner notes to Wergo CD WER 60 045-50 Kyrie, a complex polyphonic movement reaching a fortissimo climax; Dies Irae, which uses vocal and orchestral extremes in theatrical gestures; and the closing Lacrimosa, for soloists and orchestra only, which returns to the subdued atmosphere of the opening.

The music in Katamari Damacy was widely hailed as imaginative and original (winning both IGN's and GameSpot's "Soundtrack of the Year 2004" awards) and was considered one of the game's best features. The soundtrack was released in Japan as Katamari Fortissimo Damacy. Its eclectic composition featured elements of traditional electronic video game music, as well as heavy jazz and samba influences (Shibuya-kei). Most of the tracks were composed by Yuu Miyake, and many feature vocals from popular J-pop singers, such as Yui Asaka from the Sukeban Deka 3 TV series, and anime voice actors, including Nobue Matsubara and Ado Mizumori.

The Overture to an Italian Comedy for orchestra was composed in 1936 by Australian composer Arthur Benjamin; it was first performed in London on 2 March 1937, under the direction of Gordon Jacob. The piece opens fortissimo, presenting its first main subject in the woodwinds against pizzicato strings and creating a lively mood. The second theme is much softer, and is presented by a solo horn. Following this is a gayer melody for two flutes playing in thirds; this is soon taken up by the trumpets, who are instructed in the score to play in a "vulgar" manner.

In section C, "" (and if you coldly close yourself to them, they stiffen), Reger uses word painting, by means of downward lines and a final decrescendo for the line erstarren sie bis hinein in das Tiefste (they stiffen, up to the deepest). On the word ' (stiffens), the chorus settles on a dissonant 5-part chord, held for two measures, suddenly fortissimo with a crescendo at the end, then repeated pianissimo, an octave lower, motionless. In great contrast, in "" (The storm of night then grips them), a storm is depicted in dense motion of four parts imitating a theme in triplets.

Cowan developed Cowboy Booking International, a consolidating global sub-distributor for film sales agents such as Celluloid Dreams, Fortissimo Film Sales, Films Transit, Flach Pyramide and Christa Saredi Films, and producers such as Good Machine and Telling Pictures. Cowboy pioneered the application of a consistent fee structure for the growing number of film festivals worldwide to access international art films and documentaries. In 1995, Cowan and John Vanco launched and served as co-presidents of Cowboy Pictures, an art house cinema distributor. Cowboy-released films were acclaimed by a number of organizations including the New York Film Critics Circle and The Academy Awards.

The texture is now more contrapuntal and polyphonic, and a fortissimo dynamic is maintained for several minutes, after reaching a final crushing dissonance, the music fades away to a single mysterious line doubled in the cellos and basses, which acts a transition into Part Two of the symphony, a central Adagio. The Adagio is the central heart of the whole work, and acts as reflective contemplation in the midst of violence and unrest. After a sonority presented in pianissimo in the woodwinds and cellos, the first and second violins enter, marked ppp in the high register.

The listener is exposed to the apocalyptic blare of several horns, trombones, trumpets and tuba, which, as Jaffé describes it, "balefully [play] the opening 'fate' theme fortissimo", while piano, flutes and strings still shriek in unison up and down the higher ranges. Two cymbal crashes end the cataclysm in G minor. A decrescendo brings the music back to an almost spooky piano in which the piano timidly puts forth the second narrante theme, echoes its last notes, repeats it pianissimo, ever fading. Pizzicato strings point several more times to the opening theme, the significance of which has now been revealed.

The Lowland Band continues to take part in military and civilian events all over the UK and the world on behalf of 6 SCOTS and the Royal Regiment of Scotland, including the Battalion's annual Beating Retreat and Remembrance Day ceremonies in George Square, the Edinburgh Military Tattoo and the Opening of the Scottish Parliament.Scottish Parliament article on the Lowland Band In August 2009 the Lowland Band was joined by the Combined Scottish Universities Officers Training Corps Pipes and Drums in an exercise to Ottawa, Canada where they participated in Fortissimo 2009 and the Changing the Guard by the Canadian Ceremonial Guard.

In the late 1990s and early 2000s, he worked on the soundtracks of the tokusatsu series and . He is also featured on the Katamari Damacy soundtrack Katamari Fortissimo Damacy where he sings , the main theme of the game. Tanaka has had his name variably written as and in his career, before choosing in 2004, and then switching back to his birth name kanji in 2013. Masayuki rerecorded on one of his greatest hits, Kamen Rider Kuuga's theme song with Rider Chips for the release of Heisei Kamen Rider 20 Titles Commemoration Best, which was released on May 1st, 2019.

Bowed notes in the lowest register of the instrument produce a dark, heavy, mighty, or even menacing effect, when played with a fortissimo dynamic; however, the same low pitches played with a delicate pianissimo can create a sonorous, mellow accompaniment line. Classical bass students learn all of the different bow articulations used by other string section players (e.g., violin and cello), such as détaché, legato, staccato, sforzato, martelé ("hammered"-style), sul ponticello, sul tasto, tremolo, spiccato and sautillé. Some of these articulations can be combined; for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds.

This piece is an extremely volatile one as fierce alternating notes in fortissimo fire away. Soon the notes alternate even more fiercely, followed by a flying right hand arpeggio accompanied by long arpeggiated chords. Then new difficulties are introduced as the right hand jumps high up the keyboard and returns firmly, offsetting a set of same note left hand- right hand alternations. As the climax of the piece approaches it crescendos and plays even fiercer low pitched notes, and soon the right hand figures explode with erratic chords that climb high up to the keyboard and then back down.

This fingering hinders speed, is more difficult than moving from the thumb and third finger for the first interval to the index and fourth for the second interval, and is therefore not used by every performer. However, this fingering is given for specific purposes; it makes the consecutive thirds sound more like a horse by preventing legato and expressive playing and builds strength in the second and fourth fingers. Earlier versions were marked "Staccatissimo"; some later editions are marked "Sempre fortissimo e con strepito." An earlier version of this piece was published under the same name in 1840 (S.138).

It was added in the compilation movies by Aoki's suggestion, and she changed the hairpin's shape into a fortissimo symbol. Aoki stated that the music motif design was inspired by the animation team from the TV series as they add music notes to Sayaka's transformation sequences and abilities. For the 2013 sequel film Puella Magi Madoka Magica the Movie: Rebellion, Urobuchi said that he developed Sayaka's role as someone that knows "more [things] than Homura does for once". In an interview with manga artist Kazuo Koike, Koike asks if Sayaka might become the new protagonist in the future.

66 After the orchestral rehearsals began in late March, Monteux drew the composer's attention to several passages which were causing problems: inaudible horns, a flute solo drowned out by brass and strings, and multiple problems with the balance among instruments in the brass section during fortissimo episodes.Van den Toorn, pp. 36–38 Stravinsky amended these passages, and as late as April was still revising and rewriting the final bars of the "Sacrificial Dance". Revision of the score did not end with the version prepared for the 1913 premiere; rather, Stravinsky continued to make changes for the next 30 years or more.

More complex versions of this system are reversible, and furthermore can activate a predetermined registration without moving the stop knobs. Certain large organs of the romantic era (such as the organ built by Friedrich Ladegast for the cathedral in Merseburg, Germany) feature this kind of combination action. Often, the toe studs will be labeled with dynamic markings reflecting the loudness of the registrations which result when they are pressed. For example, an organ may have two of these combinations, one labeled p (for piano, Italian for "soft") and one labeled ff (for fortissimo, Italian for "very strong").

The first appearance in print of the present melody was in Lieder für Freunde der Geselligen Freude ("Songs for Friends of Convivial Joy"), published in Leipzig in 1782, together with Kindleben's German lyrics; however, the tune was evidently well known before this date. The first publication of the present Latin text together with the present melody was probably in Ignaz Walter's 1797 operatic setting of Doktor Faust. It is also heard in Berlioz' Damnation of Faust. Johannes Brahms quoted the melody in the final section of his Academic Festival Overture, in a fortissimo rendition performed by the full orchestra.

In the third verse, the organ provides a brief discordant intervention, "the one jarring note in Noye's Fludde" according to the musicologist Peter Evans. Graham Elliott believes that this may be a musical joke in which Britten pokes gentle fun at the habits of some church organists. The mingled chimes of slung mugs and bells continue during God's final valedictory blessing. As Noye leaves, the full orchestra provides a final fortissimo salute, the opera then concluding peacefully with B flat chimes of handbells alternating with extended G major string chords – "a hauntingly beautiful close", says Roseberry.

The third movement of the Gloria is a tenor aria, setting "Domine Deus rex celestis" (Lord God, King of Heaven). Marked Allegro giusto and fortissimo ( = 120) in common time, it is introduced by a march-like theme with a pattern of a syncopated long accented note on beat 2 of most measures, which the tenor picks up. The second thought, "Domine Deus Agnus Dei" (Lord God, Lamb of God) is presented in contrasting triple-piano and even rhythm. A third aspect, "Domine Deus Filius Patris" (Lord God, Son of the Father), appear forte and with an even accompaniment in triplets.

A proposal for the film to open the Hungarian Film Week out of competition had previously been rejected by the festival's board. Following its Cannes appearance, the film was screened at the film festivals of Toronto, Melbourne, Edinburgh, Split, Vancouver and New York. It proved controversial in New York, where elements of the audience reacted favourably when the film appeared to end prematurely due to a technical fault; others greeted the actual conclusion with fervent applause and calls of bravo. Global sales rights to the film were bought by Fortissimo Films, and it was re-dubbed in French and English.

Both words and tune are quoted in a number of musical works. Gounod took a very plain melody based on the chant as the subject of his "March to Calvary" in the oratorio "La rédemption" (1882), in which the chorus sings the text at first very slowly and then, after an interval, fortissimo. Franz Liszt wrote a piece for solo piano, Vexilla regis prodeunt, S185, and uses the hymn at the beginning and end of Via crucis (The 14 stations of the Cross), S53. Anton Bruckner composed a motet based on strophes 1, 6 and 7 of the text (1892).

In 2010, Fortissimo Records re-released Branca's 1981 album The Ascension as a special edition on 180 grams vinyl and Branca wrote a piece The Ascension: The Sequel, which was released in the same year on the label Systems Neutralizers. This follow up piece led to new interest in his work and notable performances at Primavera Sound Festival 2011 and Villette Sonique 2011. In October 2014, Branca premiered Ascension Three, touring it with Glenn Branca Ensemble in Europe. In February 2015, Branca's second 100 electric guitars piece, Symphony No. 16 (Orgasm), was premiered at Cité de la Musique in Paris.

SamShady is Tom's first opponent in "Welcome to Chaotic" Part 1 and Part 2. He fights as Takinom against Tom's Maxxor. It's a tough 1-on-1 battle for Tom, but he finally wins when he uses the mugic, Fortissimo, to make Maxxor a giant. He makes an appearance in "Stelgar Strikes" fighting as Etalla in the BattleDrome. Befitting his screen name, Sam is an underhanded person in the show who takes losses hard, insults others, and has no problems letting other Chaotic players like Kaz be kicked out of Chaotic, describing it as “less Competition”.

Under the title Lost in Paradise, the film's world premiere was at the Toronto International Film Festival in September 2011, with further showings at the Vancouver International Film Festival, and the Busan International Film Festival. International distribution rights were subsequently acquired by Amsterdam and Hong Kong-based Fortissimo Films, making it the company's first Vietnamese title. The film premiered as Rebellious Hot Boy in Ho Chi Minh City on 12 October 2011, in Hanoi the following day and was released across Vietnam on the 14 October. The film opened the Hong Kong Lesbian and Gay Film Festival in 2011 where it was described as "Vietnam's first gay film" by AFP.

91 Chiefly a composer and conductor of operas, Weber had a flair for the theatrical, which he used to great effect to introduce the soloist by the orchestra. At the end of the introduction the orchestra plays five measures of a cadential six-four while raising a massive crescendo from piano to fortissimo, lands on a root-position dominant seventh chord, then drops out, leaving a solo timpani playing the tonic F at a pianissimo for two measures of alternating eighth notes and eighth rests, creating what Waterhouse calls “theatrical expectancy.”Waterhouse 2005, p. 217 The bassoon enters triumphantly with the first full statement of the movement's militaristic first theme.

The opening of the Tempo giusto section of the first movement The first movement begins with violas softly oscillating between the C and A notes; after four bars of the single, minimally-inflected line, a pair of bassoons enters with the initial theme. The beginning has been described by Nielsen scholar Robert Simpson as like being "in outer space"; the subsequent wave-like line "appears from nowhere, as if one were suddenly made aware of time as a dimension". The very first theme ends at b. 20 with a descending scale, followed by a fortissimo interruption from violas and a subsequent horn and flute dialogue.

105:47) and the Agnus Dei of the Roman Rite. The 8th section, a gigantic fortissimo section, never resolves itself - it cadences on its own dominant, G, and never resolves into the tonic, avoiding any sense of victory. This is reflective of the fact that Górecki never meant the Miserere to be triumphant, given the context that it was written in. The final and eleventh section, is quiet, yet 'błagalnie'; it returns to the A Aeolian mode after a shift in tonal center (to E in the 7th section, to C in the 8th), hammering out the same A minor chords only with slight shifts in the melodic line.

Even though Nemessányi's best instruments look nearly identical to their Italian counterparts, it is not this fact alone that created the illusion that some were indeed the genuine articles. It is their playability that also compares favourably with the instruments they were meant to represent. Herbert Goodkind said this about the playability of Nemessányi's instruments: "They possess both mellowness and power, and an ease and evenness of response that enables the performer to produce the gamut of dynamic shadings from pianissimo to fortissimo without loss of quality." Heinrich W. Ernst once owned a Del Gesù with a label that read "Joseph Guarnerius fecit Cremona 17__".

Joselito Altarejos is an accomplished Filipino filmmaker having won several prestigious awards in the Philippines as well as internationally. He is well known for his ground-breaking openly gay-themed film features like The Man in the Lighthouse (in Tagalog Ang Lalake sa Parola), Antonio's Secret (in Tagalog Ang Lihim ni Antonio), Kambyo, The Game of Juan's Life (in Tagalog Ang Laro ng Buhay ni Juan ), Pink Halo-Halo, Unfriend, The Commitment (in Tagalog Kasal .Screen Daily: Fortissimo Films secures rights to Joselito Altarejos' Unfriend His 2017 film Tale of the Lost Boys was filmed in Taiwan. His films were celebrated at international LGBT film festivals.

The symphony is in four movements: The symphony opens with horns and woodwinds, and trumpets join with a higher A. As the music solidifies into large, slow syncopated chords, Tchaikovsky unleashes the musical equivalent of lightning bolts: two short fortissimo chords, each followed by a long measure of silence. As the music ebbs away, the woodwinds hint at the main melody, which is properly introduced by the strings at the Moderato con anima. (The score at this point is marked "In movimento di Valse", as it is written in .) The melody develops quite rapidly. Much later in the movement, the same A is played by the trumpets.

Virgin Black played with Amorphis and Samael for a North American tour in fall 2008. Readers of the website Metal Storm voted Requiem Fortissimo for "the best doom metal album of 2008".The Best of Doom Metal. Metal Storm On 2 November 2012 it was announced on the band's official Facebook page that "...Virgin Black is still on an extended hiatus but preparing themselves for a return at some stage, and the release of Pianissimo when that happens", and went on to say that "...it might not be for some time yet, but thank you for your patience and continued enthusiasm for the band regardless".

Music from the Romantic music era and later, particularly contemporary classical music and rock music genres such as progressive rock and the hardcore punk subgenre mathcore, may use mixed meter; songs or pieces change from one meter to another, for example alternating between bars of and . Directions to the player regarding matters such as tempo (e.g., Allegro, Andante, Largo, Vif, Lent, Modérément, Presto, etc.), dynamics (pianississimo, pianissimo, piano, mezzopiano, mezzoforte, forte, fortissimo, fortississimo, etc.) appear above or below the staff. Terms indicating the musical expression or "feel" to a song or piece are indicated at the beginning of the piece and at any points where the mood changes (e.g.

The belief was that they made the game too easy and were a form of cheating or crutch. This belief was held not only by many amateurs but also by many professionals, such as Martina Navratilova, who, in 1980, argued in favor of banning all racquets larger than standard for making the game too easy. Rod Laver, John McEnroe, and others agreed but tennis authorities allowed even very large-headed racquets. The Fortissimo emerged two years prior to the filing of the influential and lucrative patent for racquets sized 95-135 square inches by Prince Sporting Goods (now Prince Sports and commonly called Prince).

His masterpiece was the first ascent of the difficult east wall of the Grandes Jorasses, together with Giuseppe Gagliardone in 1942, while he served as a military officer in World War II.Storia dell'alpinismo: Giusto Gervasutti , February 15, 2012.Giusto Gervasutti “il fortissimo” (1909-1946) Gervasutti was member of the Ski Club Torino. Due to an injury at the third Trofeo Mezzalama in 1935, he had to withdraw. Paula Wiesinger, who was invited to view the race, took his military uniform, covered her face with sunglasses and his cap, and took part instead of him, but the cheat was discovered at a check point of the race.

From 1998 to 2013, Bilotserkovskiy worked in Kharkiv University of Humanities ‘People’s Ukrainian Academy’, where he was a creator and permanent leader of the "Vdokhnoveniye" People's performance violinists’ ensemble. The ensemble is a laureate, award winner and winner of musical festivals and contests. It won national contests such as ‘Students’ Spring’ and ‘Barvy Oseni’, International music contests such as ‘Landysh’, ‘Fortissimo’, ‘The Flower of Hope’ Festival of children's and youth's art in Turkey and the Festival of Ukrainian and Polish music. In 2010, the ensemble won a Grand-prix and a Special prize of S-tet TV-Channel at ‘Zvezdnye Mechty’ Kharkiv first television festival of children's and youth art.

This piece, subtitled Zwölftondauer-Komplexe (twelve-tone-duration complexes), was published in 1925 in Berlin, but was possibly written as early as 1914. It makes use of various 12-note and 12-duration complexes, making it one of the earliest pieces of music composed using a variant of twelve-tone technique, and predating Olivier Messiaen's work. There are five movements, four provided with titles referencing their dynamics: # Mezzo-forte (Largo) # Fortissimo (Allegro) # Piano (Andante) # Pianissimo (Allegretto) # Adagio (Adagio) The dynamics in the last movement are left to the performers to decide on. Copies of the archival score can be ordered directly from Robert Lienau, the original publishers of the work.

The choral phrases 'O rising stars! Perhaps the one I want so much will rise, will rise with some of you' pivots between two passages where despair alternates with the delusional hope for a glimpse or an echo of the beloved. This culminates in the fortissimo 'O in vain!', repeated by the chorus as the climax, and then the long coda, mainly sung by the baritone ('O I am very sick and sorrowful'), lamenting the loss of their life together ('We two together no more'), and the words 'no more' echoed like the murmuring sea and wind by the choir, bring the work to a close.

Since Wirkola would be the a priori and a posteriori star of any event he participated in, spectator attention and excitement levels were building up in the minutes leading up to any of his ski jumps, with appropriate crescendo and forte fortissimo culmination during his flying through the air – inadvertently causing the next participant, regardless of fame, nationality or ability, to jump in and into the vacuum of tired spectator silence. Other countries have similar expressions: for example in Australian popular culture the equivalent is "batting after Bradman" , in reference to Australian cricketer Don Bradman who was considered the greatest batsman in the history of Test cricket.

The version shown at the 2000 Cannes Film Festival was three hours long. This was a working version that was later cut to 139 minutes with director Jiang Wen's full participation in order to enhance the film's commercial prospects and to tighten the storyline, which he did not have time to do before the Cannes premier.Werner, Michael (President of Fortissimo Films), "A note about this DVD edition" (attached with DVD) The film was booked for showing on 3 November 2014 at the Cornerhouse Manchester (UK) as part of Asia Triennial Manchester 14, and a 161-minute version arrived, somewhat to the organisers' surprise. The film was well received at this screening.

Very atypically, the recapitulation begins not with the first theme, but with the second theme in G major. The resolution is short-lived, as it moves back to the minor mode, where it cadences after an imitative development of the first theme in G minor. The recapitulation ends with a coda that is relatively brief but intense, concluding with an ascending passage built through imitation of the opening cell, whose buildup comes suddenly crashing down in a descending 'fortissimo' phrase. The piece ends on a desolate and incomplete-sounding G minor chord, the highest notes being the third and fifth scale degrees of the tonic triad rather than the tonic.

An effective dynamic increase begins in bar 23 but does not end in a climax as the crescendo does not lead to fortissimo but eases off in diminuendos (bars 36 and 40). Harmonically the section (bars 23–41) may be interpreted as an extended and ornamented D-flat major cadence. Musicologist Hugo Leichtentritt (1874–1951) compares the left hand of bars 33–48 to horn signals. These "announce" the recapitulation of the A part which begins as a literal restatement in bar 49, seems to approach a climax and eases off with a sudden delicatissimo pianissimo smorzando passage, leading via a cadence to the coda.

Following the third modulation, the four brass ensembles, specified by Berlioz to be placed at the corners of the stage but more commonly deployed throughout the hall, first appear with a fortissimo E-flat major chord, later joined by 16 timpani, two bass drums, and four tam- tams. The loud flourish is followed by the choral entry, "Tuba mirum", a powerful unison statement by the chorus basses at the top of their register, followed by the rest of the choir. There is a recapitulation of the fanfare, heralding the coming of the Last Judgment ("Judex ergo") by the full choir in canon at the octave. The choir whispers with woodwinds and strings to end the movement.

The musical influences on his piano works were on the whole conservative: for the early works McCanna mentions Haydn and Mendelssohn in this context. Much of the piano music published in the years after the First World War was aimed at a domestic audience; it requires only a modest technical proficiency to play and is simple in structure with deft harmonies. The most commercially successful of the Vodorinski works was the Prelude in C minor (1907). McCanna comments that not only the title but the material is reminiscent of Rachmaninoff: "the music turns out to copy some of the more illustrious composer's features, notably the final fortissimo statement of the melody in the bass".

The symphony is characterized by its use of string and woodwind solos; the first movement opens with a long and discursive clarinet solo over a timpani roll; (this idea returns at the start of the fourth movement, fortissimo in the strings, with wind and brass chordal accompaniment), and subsequent movements include violin, viola, and cello solos. Most performances of the work last between 35 and 40 minutes. Many conductors choose to slacken the speeds suggested by Sibelius's metronome markings, particularly in the fast part (allegro energico) of the first movement. Because of this, many versions of the symphony are about 38–40 minutes long (the publishers suggest the duration is 40 minutesMusicSalesClassical.

Following is a cello solo, which exploits a wide tessitura. Low register flutes play a dotted motif in sixths, accompanied by cello trills which subsequently is expanded upon by the solo trombone. A side-drum roll brings the entire brass section to a fortissimo statement of the initial flute theme, and a fortississimo restatement of the opening chorale for brass, timpani, bassoons and double basses sounds against a chromatic melody for strings and high woodwind. After a recapitulation of the trombone melody, an adagio celesta solo is imitated by the combination of cello string harmonics and vibraphone, eventually accompanied by the solo double bass, before a final reference to the opening brass chorale.

This movement and the second movement were first performed in the Town Hall, New York City, on January 29, 1927, by 50 members of the New York Philharmonic Orchestra on a Pro Musica International Referendum Concert conducted by Eugene Goossens. While 50 players are sufficient for the chamber-like scoring of the first movement, the second movement in reality requires almost twice as many players, yet this was Ives's only experience of hearing any parts of the Symphony performed live. In contrast to Ives's other works for large orchestra, which begin in quiet and meditative moods, the first-movement Prelude starts with a strong, maestoso, fortissimo bassline, immediately followed by a rising trumpet fanfare. A quiet passage follows.

The piece begins with an introduction in G major, with vocal assistance in the form of a recitative which is omitted in the symphonic version. Then follows in sequence: the dance of the hours of dawn, the hours of day, the hours of the night and the morning. The episode devoted to dawn (in E major) merges with the extensive introduction to the episode dedicated to daytime hours, anticipating the rhythmic structure of four notes, which characterizes the episode. The transition point between the two episodes, where it marks the birth of the day, coincides with the intervention in fortissimo of the chorus (""), which follows a slow chromatic passage, typical of Ponchielli's style.

The Fortissimo, however, was made with the new oversize head size, using the improved resistance to warpage (when compared with wood) and lighter weight (when compared with metal) of fiberglass. Fiberglass never achieved market dominance, though, as wood racquets with graphite layering and metal racquets, including oversize models, continued to find popularity. Graphite, which offered better stiffness and resistance to cracking than fiberglass, eventually displaced all other materials as the primary constituent material of a tennis racquet. The change from the "standard" (the smallest) racquet head size, which was used until the 1970s by all tennis players, to larger sizes is considered to be the most dramatic in terms of tennis racquet technology change by some tennis historians.

This brilliant virtuoso piece is rhythmically complex, contrasting thunderous left-hand ostinato against a jagged right hand melodic line. As in Chopin's Revolutionary Etude, the performer must possess considerable left-hand endurance to maintain a consistent legato throughout the piece. The structural form of the piece is ternary, roughly "ABA" with a coda. The main "idea" of the composition appears in measure 3: 300px Measure 3 Here, the left-hand ostinato continues unimpeded as the treble line, accented and marked sempre marcato and fortissimo makes a regal entrance. By measure 20, the kernel of measure 3 is varied drastically, into a transcendent sequence that introduces an inner voice and offsets the main theme.

The theme is a four note descending tune on harp; the first interval is the tritone. As the men are deciding who will be the executioner, the motif is repeated quietly and perpetually to establish Gypo's guilt and the musical motif is synchronized with the dripping of water in the prison. As it appears in the end of the film, the theme is played at a fortissimo volume as Gypo staggers into the church, ending the climax with the clap of the cymbals, indicating Gypo's penitence, no longer needing to establish his guilt. Silent film mannerisms are still seen in Steiner's composition such as when actions or consequences are accompanied by a sforzato chord immediately before it, followed by silence.

While the opening movement and the finale are in F major, the Scherzo in D minor and the trio in E flat major, the third movement (4/4 time) in G flat major (lower part of the Grosz to F major) increases, The main theme, recited by the First Violin, is set directly without preparation and flows widely. On the constant eighth pulse of Second Violin and Second Viola, a new thought sounds as a reversal of the main theme. In the lead-through section, a downward-pearling sixteenth-note figure is continually increased, until it comes to an increasing clumping of sound. After a fermata, an increase wave begins again, culminating in a treble in triple fortissimo followed by a delicate epilogue.

Libera me The baritone soloist sings the first section alone. On a bass in an ostinato rhythm of two quarter notes, a rest and the upbeat to the next two quarters, he sings the text "" (Free me, Lord, from eternal death on that terrible day when the heavens will move and the earth, when you come to judge the world with fire.), embarking on a melody of wide range, with some sharp leaps. The text is continued by the choir in four parts in homophony: "" (I am trembling). In more motion, "" (day of wrath) is expressed by fortissimo chords, giving way to the prayer for rest in the same motion, but piano, with a crescendo on "", but suddenly softening on a last "".

Five octaves above the intermezzo's end note, a fortissimo tirade pounces out of the sky, written in four-four-time but played in seven-eight (one-two-three-four-one-two-three etc.). After six bars it settles down in the vicinity of middle C. Running up to an acid semitonal acciaccatura in both hands, the piano goes over into a sprint of octave-chords and single notes, jumping manically up and down the keyboard twice a bar. An audible theme is picked out, and during a piano and staccato repetition of the theme, the strings and flutes rush up, bringing the music to the briefest of halts. A moment later the piano goes back to forte and the sprint sets off anew.

The triumphant and exhilarating finale is written in an unusual variant of sonata form: at the end of the development section, the music halts on a dominant cadence, played fortissimo, and the music continues after a pause with a quiet reprise of the "horn theme" of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the third "dance" movement was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is unknown whether Beethoven was familiar with this work or not.

Theme of the scherzo movement Trio section of the scherzo Cobbett describes the third movement as the "dance of the demon fiddler". There is indeed something demonic in this fast-paced scherzo, full of syncopations and, like the other movements, dramatic leaps from fortissimo to pianissimo. The scherzo is designed as a classical minuet: two strains in time, repeated, in D minor, followed by a contrasting trio section in D major, at a slower tempo, and ending with a recapitulation of the opening strains. The trio section is the only real respite from the compelling pace of the whole quartet: a typically Schubertesque melody, with the first violin playing a dancing descant above the melody line in the lower voices, then the viola takes the melody as the first violin plays high eighth notes.

The middle section is of an improvisatory, fantasia-like character, with extremely harsh modulations and sonorities, culminating in C minor with fortissimo chords. The chromaticism, triplet emphasis, and modulatory patterns of this section are all reminiscent of the developments nested within the Allegro's exposition. After the C minor climax (according to Fisk, a key of great importance in the cycle due to its relation to "Der Wanderer"), a recitative section with startling sforzando outbursts emphasizing an ascending minor second leads to a serene phrase in the major mode (C major), which in turn leads (as the dominant of F minor) back to the A section, here somewhat transformed, with new accompanimental figuration. The final bars of the movement feature rolled chords that prefigure the opening of the following Scherzo.

The final section of the development begins with a chromatic alteration of D to D. The music progresses to the alien key of B major, in which the third and first subjects of the exposition are played. The retransition is brought about by a sequence of rising intervals that get progressively higher, until the first theme is stated again in the home key of B, signalling the beginning of the recapitulation. In keeping with Beethoven's exploration of the potentials of sonata form, the recapitulation avoids a full harmonic return to B major until long after the return to the first theme. The coda repetitively cites motives from the opening statement over a shimmering pedal point and disappears into pianississimo until two fortissimo B major chords conclude the movement.

Tomás Luis de Victoria, composer of the theme upon which the piece is based Both sections of the piece are based on a theme from a motet, Ecce sacerdos magnus ("Behold a great priest"), by the Spanish composer Tomás Luis de Victoria (or "Vittoria", 1548–1611). The theme, which comes from a plainchant melody used in Vittoria's day on the feast day of a saint and bishop, is nine notes long and does not range widely. The Prelude, which is in time (four minims to a bar), opens with a statement of the theme played on the pedals in quintuplets (five quavers played in the time of four), marked ff, (fortissimo, "very loud"). The theme is repeated frequently in the pedals during the prelude, which is marked "largamente" ("broadly").

Then the alto takes over the melody, marked "più f[orte] sempre espressivo" (somewhat stronger and always expressive), while the soprano sings "miserere nobis" (have mercy on us) for the first time on a counter-melody. In measure 28, the bass takes over the melody, marked "p cresc. molto espressivo" (soft but growing, very expressive), while the three upper undivided voices sing "dona nobis pacem" (give us peace) the first time. In measure 35, the tenor takes over the melody, all parts are marked "with increasing intensity", soon the soprano gets the melody, interrupted by the alto moving in octaves, then finally the soprano leads to the climax on the words "dona nobis pacem", ending in long chords, fortissimo, in extremely high register for all parts, followed by a long general break.

Wagner was critical of the Dante Symphony fortissimo conclusion, which he thought was inappropriate as a depiction of Paradise. In his autobiography he later wrote: > If anything had convinced me of the man's masterly and poetical powers of > conception, it was the original ending of the Faust Symphony, in which the > delicate fragrance of a last reminiscence of Gretchen overpowers everything, > without arresting the attention by a violent disturbance. The ending of the > Dante Symphony seemed to me to be quite on the same lines, for the > delicately introduced Magnificat in the same way only gives a hint of a > soft, shimmering Paradise. I was the more startled to hear this beautiful > suggestion suddenly interrupted in an alarming way by a pompous, plagal > cadence which, as I was told, was supposed to represent St Dominic.

The meaning of this imperative is given as "Lift up," equivalent to "loud" or "fortissimo," a direction to the accompanying musicians to break in at the place marked with crash of cymbals and blare of trumpets, the orchestra playing an interlude while the singers' voices were hushed. The effect, as far as the singer was concerned, was to mark a pause. This significance, too, has been read into the expression or sign, selah being held to be a variant of "shelah" (="pause"). But as the interchange of shin () and samek () is not usual in Biblical Hebrew, and as the meaning "pause" is not held to be applicable in the middle of a verse, or where a pause would interrupt the sequence of thought, this proposition has met with little favor.

He followed Coffee and Cigarettes in 2005 with Broken Flowers, which starred Bill Murray as an early retiree who goes in search of the mother of his unknown son in attempt to overcome a midlife crisis. Following the release of Broken Flowers, Jarmusch signed a deal with Fortissimo Films, whereby the distributor would fund and have "first-look" rights to the director's future films, and cover some of the overhead costs of his production company, Exoskeleton. In 2009, Jarmusch released The Limits of Control, a sparse, meditative crime film set in Spain, it starred Isaach de Bankolé as a lone assassin with a secretive mission. A behind-the-scenes documentary, Behind Jim Jarmusch, was filmed over three days on the set of the film in Seville by director Léa Rinaldi.

This second theme uses the same melodic contour (5–8–7–6–6–5–(5–4–4–3)) of the remarkable C-major modulation in the final A section of the second movement, implying further connotations of conflict resolution. After an abrupt end to the second theme and a pregnant pause, a minor dotted-rhythm chordal theme in F-minor suddenly enters fortissimo, elaborating and modulating before sublimating into a pianissimo version of itself in the parallel major. This third theme is highly similar in rhythm and melodic contour as well as left-hand pattern to the tarantella of the C minor sonata, which may not be a coincidence when considering the overall high level of cyclic connection between the sonatas. This theme evolves into a rhythmic segue that leads seamlessly back to the main theme of the rondo.

The musical score has received positive reviews. Writing for New York magazine, Justin Davidson compared Sakamoto's score to the contemporaneous score by Ennio Morricone for The Hateful Eight, stating: > Iñárritu made a completely different choice of composer: Ryuichi Sakamoto, > who came to film from a career in experimental electronics... Sakamoto's is > the more successful score. Both films slouch toward inevitable spasms of > bloodshed, with long pensive stretches in between... Sakamoto slowly > progresses through glacial chords that build toward a fortissimo horizon... > The score doesn't so much follow the action here as lead it, urging the > fighters on, even as it registers their single-minded lunacy. The score was nominated for Best Original Score at the 2016 Golden Globe Awards, and Best Film Music at the 2016 British Academy Film Awards (BAFTAs), in both cases it was beaten by Morricone's soundtrack.

He've written the telefilm Cercai l'amor (Italian Rai). In 1983 he started to work for TV programs like Forte Fortissimo with Piero Chiambretti and Corinne Cléry, Il sabato dello Zecchino with Topo Gigio, Spazio Aperto, Bellezza e dintorni, Regali di Natale, Ciao Italia with Sydne Rome and Maria Teresa Ruta, Una giornata frizzante with Nino Manfredi, Pomeriggio sul Due with Giulia Fossà, Scrupoli with Enza Sampò. In 1988 he directed the thriller for children Operazione Pappagallo (Operation Parrot), written with Piero Chiambretti and Claudio Delle Fratte and interpreted by Leo Gullotta, Nicola Pistoia, Siusy Blady, Tiberio Murgia, Didi Perego, Carlotta Leonori. He wrote the novels for young readersIl giovane cavaliere, Tre ragazzi ed il Sultano, "Il ladro di Picasso", "Due ragazzi nella Firenze dei Medici",Mamma Natale, Mamma Natale ed i Pirati and the travel books Rome for two and Walkin' Rome.

Public duties undertaken by the Ceremonial Guard includes sentry duties at the National War Memorial, Rideau Hall, as well as performing the Changing of the Guard ceremony in Parliament Hill, and the Fortissimo Sunset Ceremony. Members of the Ceremonial Guard wear the uniforms of the Canadian foot guards, as they have historically staffed the summer public duties detachment, before membership in the Ceremonial Guard was opened to the entire Canadian Armed Forces. The Ceremonial Guard are considered an ad hoc detachment, as its members are drawn from various units of the armed forces, and does not constitute a permanent unit in the Canadian Forces' order of battle. The Canadian Armed Forces also maintains a National Sentry Program, where its members perform sentry duties at the National War Memorial from early-April to 10 November, the day before Remembrance Day.

First page of the score in the first edition, 1909 A timpani roll on C of two measures leads to an orchestral Dmajor chord in the third measure, marked ff (fortissimo), and a syncopated entry of the choir one beat later, pronouncing in unison "" (Rejoice, rejoice), the first topic. The choir first sings a motif a fourth downwards, while the strings add a turn motif (') which gets repeated throughout the piece and finally opens a theme of the double fugue in Part4. The short motifs are treated to upward sequences, then continued in upward scales in triplets, again in sequences, then another upward line in dotted rhythm, but no melody, rendering only the repeated word "" with different expression. Fred Kirshnit, who introduced the piece for a performance of the American Symphony Orchestra, regarded the treatment as an "orchestral explosion".

Denisov was Shostakovich's protégé for a long time. Benjamin Britten's Rejoice in the Lamb (1943) contains the DSCH motif repeated several times in the accompaniment, progressively getting louder each time, finally at fortissimo over the chords accompanying "And the watchman strikes me with his staff". The vocal text given to the motif is "silly fellow, silly fellow, is against me". A further reference appears in Britten's The Rape of Lucretia (1946), where the DSCH motif acts as the main structural component of Lucretia's aria "Give him this orchid." The DSCH motif also appears in the orchestral accompaniment of Viola Concerto (Walton) - (1929) in bars 115-116 (up a minor 6th - 'B', 'C', 'A', 'G#') and in 122-123 (at the original pitch - 'D', 'Eb', 'C', 'B') of the First Movement (Andante Comodo) and, during the orchestral tutti before the Recapitulation of the same movement.

The Fantasia opens with a colossal fortissimo prelude for organ in the phrygian mode leading to a chord – causing one reviewer in The Observer to comment, in a spirit of an all too prevalent parochialism, that "when Holst begins his new Choral Fantasia on a six four of G and a C♯ below that, with an air of take it or leave it, one is inclined to leave it" – which introduces the soprano ("Man born of desire, cometh out of the night") over almost inaudible organ line. A chromatic fugato section bearing the otherworldly bleakness of Egdon Heath and Saturn follows before trumpets, trombones and timpani rise menacingly in introducing an important, typically Holstian, ostinato figure. The chorus enters, hymnlike, in with the words "Rejoice, ye dead where ere your spirits dwell" to diatonic brass accompaniment. This leads to a climax with a reprise of the opening organ prelude.

With directions such as furiosamente ("furiously"), violente ("violent"), mordento ("biting"), and salvaggio ("wild"), Ginastera left no doubt as how to play the third dance, Danza del gaucho matrero ("Dance of the Outlaw Cowboy"), should be performed. Ginastera makes use of gratuitous dissonance in this piece, opening it with a 12-tone ostinato and frequently using minor seconds to harmonize otherwise simple melodies. The structure is an approximate rondo (ABACDACD), and the thematic material alternates between chromatic passages (sections A and B) and highly tonal, melodic passages (C and D). The jubilant sound of the C section is achieved by harmonising every single melody note with a major chord, even if they are totally foreign to the tonic key. The D section, by contrast, does not use a single accidental; here, jubilance is expressed through the use of brisk tempo, strong rhythm, fortissimo, and a simple, majestic chord progression.

Influenced largely by Elgar's Pomp and Circumstance Marches 1 and 4, it begins in the key of E major with bright trumpet fanfares before leaping into the famous march section, heavily syncopated and brightly orchestrated. This section moves briefly through C major before returning to E. As with Crown Imperial, written by Walton in 1936 for the coronation of Elizabeth II's father, King George VI, the middle section is a quieter trio in C. This theme is heard subdued on the strings, before being repeated in its more stately and grand form. The main march section is then heard again, this time even more colourfully, and this parades on, building up to the final hearing of the stately trio section back in the home key of E. This time Walton uses the whole orchestra, percussion steadily beating away, while the tune is shared between fortissimo strings and fanfare-like brass. A short, fast coda ends the piece in his usual very Elgarian style.

After an abrupt interjection, the development section begins, which is in two sections, the first of which introduces new melodic ideas, and the latter of which revolves around a descending scale. The recapitulation initially only presents the first subject, before moving into a dominant pedal, building up to the triumphant restatement of the broad melody now in the home key of E major, in which fragments of the first theme, motto theme, and descending scale can be heard in the accompaniment. A whirlwind coda brings the symphony to a close, with a fortissimo restatement of the brass chorale that appeared at the end of the second movement. The final bars present another fixture of Rachmaninoff's large-scale works, the characteristic decisive four-note rhythm ending (in this case presented in a triplet rhythm), also heard in his Cello Sonata, second and third piano concertos, and in an altered form in his fourth piano concerto and Symphonic Dances.

International critics describe Irina Lankova as a pianist with ‘genuinely poetic touch’ and ‘infinite palette of colours’. In 2008, Irina Lankova was invited to join the worldwide piano elite ‘Steinway Artists’. Known for her ‘very personal and sensitive’ interpretations and recordings, but also for her innovative projects such as ‘Piano Unveiled’ and ‘Goldberg Mirrors’, Irina Lankova popularise classical music worldwide. Irina Lankova performs in most prestigious concert halls such as Wigmore Hall in London, Salle Gaveau in Paris, Flagey, Queen Elisabeth Music Chapel and La Monnaie in Brussels, Cidades das Artes in Rio and in St Martin-in-the-Fields in London.. She is invited to play in many international festivals: Piano Folies Touquet, Académie d'Été de Nice, Sagra Musicale Umbria, Schiermonnikoog Kamermuziekefestival, Festival de Wallonie, Brussels Summer Festival, Fortissimo d'Orleans, Berlin Summer Festival etc. Her albums dedicated to Rachmaninoff, Scriabin, Chopin and Schubert are highly acclaimed by critics for their ‘great sensitivity’ (Pianiste), ‘very personal narrative’ (La Libre Belgique) and ‘compelling authority’ (The Independent).

It is repeated three more times in total before the piano performs a stormy gallop of triads (tempestoso), the hands flying apart more or less symmetrically, while the strings throw in a frantic accompaniment of regular staccato eighths. The piano puts a momentary end to its own fury with a barely feasible manoeuvre, both hands jumping up three or four octaves simultaneously and fortissimo in the time of a semiquaver. But by then the sprint has transformed into a "fearful pursuit with an obsessively repeated triplet motif [first heard fleetingly in the Scherzo movement] overshadowed by the baleful roars of tuba and trombones". Only moments later, the orchestra has reached a halt and the piano, unaccompanied, plays soft but dissonant chords which, Jaffé suggests, are "reminiscent of the bell-like chords which open the final piece in Schoenberg's Six Little Piano Pieces, Op. 19" which were composed in homage to Mahler shortly after his death.

1–2 minutes Opening of the finale The short finale, marked Presto and in time, is a perpetuum mobile in "relatively simple" binary form consisting of parallel octaves played sotto voce e legato (similarly to the Prelude in E minor, Op. 28 No. 14) and not a single rest or chord until the final bars with a sudden fortissimo B bass octave and a B minor chord ending the whole piece. In this movement, "a complicated chromaticism is worked out in implied three- and four-part harmony entirely by means of one doubled monophonic line";Rosen (1995), p. 298 very similarly, the 5 measures that begin Bach's Fugue in A minor (BWV 543) imply a four-part harmony through a single monophonic line.Rosen (1995), p. 290 Garrick Ohlsson remarked that the movement is "extraordinary, because he’s written the weirdest movement he's ever written in his whole life, something which truly looks to the 20th century and post- romanticism and atonality".

In September 2011, Emmanuel Deruty wrote in Sound on Sound, a recording industry magazine, that the loudness war has not led to a decrease in dynamic variability in modern music, possibly because the original digitally-recorded source material of modern recordings is more dynamic than analogue material. Deruty and Tardieu analyzed the loudness range (LRA) over a 45-year span of recordings, and observed that the crest factor of recorded music diminished significantly between 1985 and 2010, but the LRA remained relatively constant. Deruty and Damien Tardieu criticized Sreedhar's methods in an AES paper, saying that Sreedhar had confused crest factor (peak to RMS) with dynamics in the musical sense (pianissimo to fortissimo). This analysis was also challenged by Ian Shepherd and Bob Katz on the basis that the LRA was designed for assessing loudness variation within a track while the EBU R128 peak to loudness ratio (PLR) is a measure of the peak level of a track relative to a reference loudness level and is a more helpful metric than LRA in assessing overall perceived dynamic range.

The name malaria derived from mal aria ('bad air' in Medieval Italian). This idea came from the Ancient Romans who thought that this disease came from pestilential fumes in the swamps. The word malaria has its roots in the miasma theory, as described by historian and chancellor of Florence Leonardo Bruni in his Historiarum Florentini populi libri XII, which was the first major example of Renaissance historical writing: > Avuto i Fiorentini questo fortissimo castello e fornitolo di buone guardie, > consigliavano fra loro medesimi fosse da fare. Erano alcuni a' quali pareva > sommamente utile e necessario a ridurre lo esercito, e massimamente essendo > affaticato per la infermità e per la mala ariae per lungo e difficile > campeggiare nel tempo dell'autunno e in luoghi infermi, e vedendo ancora > ch'egli era diminuito assai per la licenza conceduta a molti pel capitano di > potersi partire: perocchè, nel tempo che eglino erano stati lungamente a > quello assedio, molti, o per disagio del campo o per paura d'infermità, > avevano domandato e ottenuto licenza da lui (Acciajuoli 1476).

Darrow was a nephew of the famed trial attorney Clarence Darrow. In his book Atomic Energy (1948), which contains four lectures he had given in 1947, he points out that in reality his subject is nuclear energy, but that at the time of the bombing of Hiroshima someone wrote of it as an atomic bomb, and the misusage spread "like a chain reaction". The book includes the following passage: > Here is the climax of my lectures, and here is where you should be > frightened; and if I had an orchestral accompaniment, here is where the > orchestra would have mounted to a tumultuous fortissimo, with the drums > rolling and the trumpets blaring and the tuba groaning and the strings in a > frenzy, and whatever else a Richard Wagner could contrive to cause a sense > of Gotterdammerung; for, let there be no doubt of it, this is something that > could bring on the twilight of civilization. But at this crucial juncture I > have only words to serve me, and all the words are spoiled.

Katamari Fortissimo Damacy, a soundtrack album for the original game, was released by Columbia Music Entertainment in 2004, Katamari wa Damacy was released as a soundtrack album for We Love Katamari by Columbia Music Entertainment in 2005, and Katamari Original Soundtrack Damacy was released in 2006 as a soundtrack album for Me & My Katamari by the same publisher and also included tracks from We Love that were not included in its album. Katamari Suteki Damacy was released by Columbia Music Entertainment in 2007 as a soundtrack album for Beautiful Katamari, and the latest album, Katamari Damacy Tribute Original Soundtrack: Katamari Takeshi, was released in 2009 by Columbia Music Entertainment as the soundtrack album for Katamari Forever. The soundtracks to the other Katamari games have been composed of tracks from previous games in the series, and have not had separate album releases. Both the soundtracks and their associated albums have been well received by reviewers, who have cited the "catchiness" and "quirkiness" of the music as their most notable features.

In measure 37, the opening sunrise theme returns, this time with the solo in the cello and the sustained chords in the violins and viola. The lively sixteenth-note section returns in measure 50, beginning with sixteenth notes in the cello which move to the viola, and finally, the violins. In measure 60, all instruments drop to piano for a six-measure staccato eighth-note section before jumping to an all sixteenth-note fortissimo in measure 66 to finish off the exposition. ; Development The development in measure 69 begins with the same texture as the opening of the movement—with the 2nd violin, viola, and cello sustaining a chord while the 1st violin plays a solo on top. The first chord, sustained from bars 69–72, is a D-minor chord, the relative minor of the dominant, F major. The second chord, sustained from bars 75–79, is an F diminished seventh chord, resolving to G minor in measure 80, which signifies the return of trading moving sixteenth notes. The following five measures revolve around G minor, only to modulate to E major in measure 86. The major tonality lasts but two measures, as it shifts to F minor in measure 88, F diminished in 89, and G minor in measure 90.