Indeed, the musical protests are being heard around the world, loud and clear: Fortississimo!
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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.
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The next eight bars consist of a different melodic treatment of the theme, with elements of a canon as both hands take turns stating the melody. The first four bars are to be played sempre fortississimo, with the latter half dropping to mezzo-forte. A crescendo leads to a final eight-bar Maggiore statement of the initial trionfalmente variation, featuring the same rhythmic scheme. A final triplet flourish (fortississimo) finishes the first section of the variation.
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Three measures later, this interval is played fortississimo by the full brass. The girl's dance for the Mandarin contains both a waltz and the viola theme associated with her and the tramps. When the Mandarin seizes the girl, the minor second is heard again. The chase is represented by a fugue, whose subject also has a pentatonic flavor.
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The molto cresc. in the previous variation culminates in a trionfalmente, fortississimo (triumphantly, very very loud). Alkan makes use of the extreme registers of the piano, utilizing the lower bass octave statements (as in the previous variation) to punctuate the theme, in the rhythm of a dotted sixteenth note and a thirty-second note. This is contrasted with occasional triplet sixteenth flourishes.
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The Allegro in a modified sonata form begins with the solo harp expanding the material presented before. The woodwinds expose a second theme, accompanied by pizzicato. After a fortississimo climax in the development, a harp cadenza leads to a "straightforward" recapitulation and a close "without extensive fireworks or bombast of any kind". The work takes about 11 minutes to perform.
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These chords are purely chromatic and hold no dominant function. Alkan's specification to hold the pedal down for the entirety of the variation emphasizes its dissonant nature. ;Variation XX Labelled Impavidè ("fearless"), this variation consists of thirty-second notes stamps of thick chords marked fortississimo ("fff") each. It is marked Senz'arpeggiare alcunamente ("without any chord rolling"), though there are a few instances of acciaccaturae colouring.
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The Ballerina's tune is assigned to a trumpet in 1946 in place of a cornet, and the 1946 version provides an optional (fortississimo) near the piano conclusion. Stravinsky also removed some difficult metric modulations in the First Tableau. Separately Stravinsky created a suite for concert performance, an almost complete version of the ballet but cutting the last three sections. In 1956, an animated version of the ballet appeared as part of NBC's Sol Hurok Music Hour.
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The first section is, as mentioned, very mysterious, as Scriabin employs many tritones and seventh intervals which do not fall into the key of C minor. The first 8 bars feature modulations to D minor and F minor. The ninth bar, marked con anima, introduces an E major melody using more conventional harmonies, but the piece only delves yet again deeper into the depths of the mystery four bars later. Here, marked fortississimo, the initial melody comes out in full force using the broad tessitura scope of the piano.
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The score is among Stravinsky's most melodious. There is a wide dynamic range (reaching fortississimo, , at the moment when the Bacchantes dismember Orpheus); but mostly the orchestra plays quietly, seldom rising above mezzoforte. The size of the orchestra is very much "neo-classical"; like Beethoven, Stravinsky has scored for pairs of woodwinds (except that, like Beethoven in his 5th Symphony, he has added a piccolo to the two flutes). This economy in the scoring is, like the quiet dynamics that predominate in Orpheus, in stark contrast to the composer's The Rite of Spring of 35 years before.
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They begin playing very quietly (pianississimo) but gradually over the piece build up until they are playing very loudly (fortississimo). The second violins play exactly the same but an octave lower and at half the speed, which means they play 6 beats (one bar) of silence to begin, and appear to enter at the beginning of the second bar. Then the violas, which are the only voice not doubled, join in at quarter speed and another octave lower, the cellos at one eighth, and finally the contrabasses as one sixteenth. The basses are then playing each long note for 32 beats, and each short note for 16.
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Maestoso is full of this thick texture, complicating the "challenging chordal melody". The last piece in the set is a quintessential nineteenth-century work, and has been described as an "apotheosis or completion of struggle." The piece was once summarized as: This "stormy, agitated" work contains a "vehemently triple-dotted main theme and only some brief midsection hazy sunshine [that lightens] the storm before fortississimo thunders return and finally dominate." Despite the dark imagery presented to describe the piece, the work is in C major, and the end result is more light- hearted than dark, but not as triumphal as the Maestoso would make it sound.
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The sound here, while focused on a particular tonality, has ideas of chromaticism. Two sequences of pianistic figurations lead to a placid, orchestral reinstatement of the first theme in the dominant 7th key of G. The development furthers with motifs from the previous themes, climaxing towards a B major "piu vivo" section. A triplet arpeggio section leads into the accelerando section, with the accompanying piano playing chords in both hands, and the string section providing the melody reminiscent of the second theme. The piece reaches a climax with the piano playing dissonant fortississimo (fff) chords, and with the horns and trumpets providing the syncopated melody.
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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.
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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.
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Later in the development, a seemingly new tune, which is actually an inversion of part of the second theme, is introduced. In the climax of the development, Chopin combines three elements at once: the motifs from the Grave introduction and the main theme in the bass and treble respectively, with crotchet triplets in the middle. In the recapitulation, the principal section containing the main theme does not return, possibly inspired by the older binary sonata form typical of Domenico Scarlatti's keyboard sonatas;Leikin (1994), p. 187 instead, only the lyrical second theme returns in the tonic's parallel major of B. The movement is closed with a brilliant 12-bar coda, marked stretto and ending in three B-flat major chords marked fff (fortississimo).
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The organ was powered by an immense 100 HP Spencer blower, and the sound of the organ (in the words of the reviewer of Marcel Dupre's 1929 dedicatory recital) was immense: "...It was as if even the most ardent lover of chocolate soda were hurled into a swimming pool filled with it..." In a probably apocryphal story, long-time stadium organist Al Melgard was reputed to have broken windows and light bulbs while executing a fortississimo rendition of the National Anthem, to quell a riot that had erupted at a boxing match. The organ was removed from the stadium and placed in storage before the building was torn down. Unfortunately much of the organ was destroyed in storage by fire in October 1996, although the huge, one-of-a- kind console, which had been stored elsewhere, was saved, and is now in a private collection in Nevada. Another notable example is the "Rhinestone Barton", so named due to its unique and spectacular rhinestone-decorated console.
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The original 1786 work, for full classical orchestra, is as follows:HC Robbins Landon, Haydn: Chronicle and Works, 5 vols, (Bloomington and London: Indiana University Press, 1976–) v. 2, Haydn at Eszterhaza, 1766–1790 #Introduzione in D minor – Maestoso ed Adagio #Sonata I ("") in B-flat major – Largo #Sonata II ("") in C minor, ending in C major – Grave e cantabile #Sonata III ("") in E major – Grave #Sonata IV ("") in F minor – Largo #Sonata V ("") in A major – Adagio #Sonata VI ("") in G minor, ending in G major – Lento #Sonata VII ("") in E-flat major – Largo #Il terremoto (Earthquake) in C minor – Presto e con tutta la forza The seven meditations on the Last Words are excerpted from all four gospels. The "Earthquake" movement derives from Matthew 27:51ff. Much of the work is consolatory, but the "Earthquake" brings a contrasting element of supernatural intervention—the orchestra is asked to play presto e con tutta la forza—and closes with the only fortississimo (triple forte) in the piece.
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