Definition, Meaning & Synonyms | English word PIANISSIMO

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Definitions of PIANISSIMO

1. A dynamic sign indicating that a portion of music should be played pianissimo.
2. A portion of music that is played very softly.
3. (music) To be played very softly.

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Examples of Using PIANISSIMO in a Sentence

• Anatoly Karpov used the Giuoco Pianissimo against Viktor Korchnoi twice in the 1981 World Championship match, with both games ending in a draw; Garry Kasparov used it against Joël Lautier at Linares 1994, resigning after 29 moves; Vladimir Kramnik chose it against Teimour Radjabov at Linares (2004); Viswanathan Anand used it to defeat Jon Hammer in 2010; Magnus Carlsen used it against Hikaru Nakamura at London 2011, winning in 41 moves and Ian Nepomniachtchi used it against Magnus Carlsen in the 2021 World Championship match, losing in 49 moves.
• 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.
• The cadenza Beethoven wrote is at times stormy and ends on a series of trills that calm down to pianissimo.
• The rondo begins with a pianissimo melody played with crossed hands that soon becomes fortissimo, over daringly fast scales in the left hand and a continuous trill on the dominant in the right, as described above.
• Almost apologetically I asked him to try to sing it as written – pianissimo, rallentando and diminuendo.
• It opens with a lyrical G minor theme in the cellos, horns, clarinets and first bassoon with trombones playing pianissimo accompaniment, and violas and double basses pizzicato.
• Following a broken-chords section filled with harmony changes, the main theme is restated in D major (pianissimo), the supertonic key of C major.
• Requiem - Pianissimo, the first of the trilogy, was released on 30 June 2023 and is to be followed by Requiem - Mezzo Forte on 28 July 2023 and Requiem - Fortissimo on 18 August 2023.
• He was admired for his vocal skills, clear diction, passionate phrasing, captivating interpretation and the exquisite lightness of pianissimo and shades.
• The first movement, marked Andantino and commencing in 6/8 meter, opens with a lyrical violin melody to be played sognando (dreamily) and pianissimo (very softly) over viola tremolos.
• If the let-off is too large, it can be very difficult to achieve a pianissimo, to execute rapid trills, and to play powerful fortes; if too small, notes can acquire a "pinched" sound, or even block.
• In the course of the Grosse Fuge, Beethoven plays this motif in every possible variation: fortissimo and pianissimo, in different rhythms, upside down and backwards.
• For the 1890 version, the triumphant ending was cut, and the despondent passage extended by a few bars to form a pianissimo coda in itself (thus becoming the only instance of a first movement ending softly in Bruckner's symphonic œuvre).
• 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.
• Agnus Dei is in B-flat minor, marked "molto adagio" (very slow) and "molto espressivo" (very expressive) and in the beginning "pp" (pianissimo, very soft).
• This comes to a close on an E minor chord, and after one beat's rest an unexpected fanfare in B major which is then answered by the strings in pianissimo, restating it in E minor.
• In addition, the first note within a pair receives an attack of some sort—legato for piano and pianissimo, accent for mezzo forte and mezzo piano, and sforzando for forte and fortissimo.
• 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.
• In the coda, Dvořák writes tranquillo for a chorale-like section, which features the theme of the movement this time in augmentation and played pianissimo, before the pace quickens with an accelerando, and the quintet rushes to the finish.
• Soon enough, right as the violin finishes playing the melody, the development section begins with tarantella material in the piano, played pianissimo and una corda.
• 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.
• Coupled with the morendo and piano pianissimo dynamic markings, this gives the impression that the prelude simply flickers off without resolving itself.
• The heavy tum-tum of the basses throbbed obscurely against the rhythms of Spohr and Berlioz all the evening, like a toothache through a troubled dream; and occasionally, during a pianissimo, or in one of Lady Hallé's eloquent pauses, the cornet would burst into vulgar melody in a remote key, and set us all flinching, squirming, shuddering, and grimacing hideously.
• 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.
• Despite being fugal in nature, it does not adhere to the strict rules of counterpoint, surprising the listener instead with ingenious episodes, alternating between the ripieno and concertino; at the close, where a bold restatement of the theme would be expected, Handel playfully curtails the movement with two pianissimo bars.

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