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In music, the dynamics of a piece are the variation in loudness between notes or phrases.Dynamics are indicated by specific musical notation, often in some detail.However, dynamics markings require interpretation by the performer depending on the musical context: a specific marking may correspond to a different volume between pieces or even sections of one piece.
Fortissimo: very strong: Very loud Mezzo forte: half-strong: Moderately loud Marcato: marked: A note played forcefully Messa di voce: placing the voice: A style of singing involving changing volume while holding a single note Piano: gentle: Soft Pianissimo: very gentle: Very soft Mezzo piano: half-gentle: Moderately soft Sforzando: strained ...
A music score of an opera, musical, or a vocal or choral composition with orchestra (like oratorio or cantata) where the vocal parts are written out in full but the accompaniment is reduced to two staves and adapted for playing on piano voce Voice volante Flying volti subito (V.S.) Turn immediately (i.e. turn the page quickly).
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 ...
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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 ...
Towards the end of the second movement, the music gradually becomes slower and softer until an unexpected fortissimo bassoon "fart" [7] brings the music back for the movement's closing. This shows Haydn's sense of humor—similar to the 2nd movement of the Surprise Symphony .
In Haydn's old age, his biographer Georg August Griesinger asked him whether he wrote this "surprise" to awaken the audience. Haydn replied: No, but I was interested in surprising the public with something new, and in making a brilliant debut, so that my student Pleyel, who was at that time engaged by an orchestra in London (in 1792) and whose concerts had opened a week before mine, should not ...