mezzo forte

(redirected from Mezzoforte)

mezzo for·te

 (fôr′tā)
adv. & adj. Abbr. mf Music
Moderately loud. Used chiefly as a direction.

[Italian : mezzo, half + forte, loud.]

mez′zo for′te

(ˈfɔr teɪ)
adj., adv.
Music. softer than forte but louder than piano; moderately loud.
[1805–15; < Italian: literally, half loud]

mezzo forte

moderately loud
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References in periodicals archive ?
Jack Liebeck played it straight and mezzoforte just as the composer requested and this set the pattern for a strong, sinewy performance which didn't try to make the work more "poetic" than it is.
There are five alternatives--fortissimo, forte, mezzoforte, piano, pianissimo, and the choice of these must be subject to the feeling of the music and poetry.
He cut his teeth with the National Youth Jazz Orchestra and took a sabbatical to tour with Icelandic group Mezzoforte.
Among the other musicians he has collaborated with are Mike Stern, Dave Weckl, Mezzoforte, Dephazz, Peter Herbolzheimer, Karen Bernod, Milcho Leviev, Theodosii Spassov, Angel Zaberski, Antoni Donchev and Hristo Yotzov.
When it says Mezzoforte in both parts, it often means that the pianist should be Mezzo piano and the violinist, for example, should be Mezzo forte-plus.
Since then he has been with Roadside Picnic, Itchy Fingers, Mezzoforte and the list goes on; plus playing with such diverse artistes such as Ray Charles, Sailf Keita, Peggy Lee and Martin Taylor.
Both Deborah Voigt, as Cassandra, and Ben Heppner, as Aeneas, were occasionally overwhelmed by the orchestra, even in relatively mezzoforte passages.
This effect is heightened by the dynamics and voice-leading of the phrase which lead to a mezzoforte on low C[sharp] in the center and taper toward much softer dynamics at the opening and closing.
In both the Minue and the Andantino he specified mezzoforte at the beginning of the movement, thus giving the player an idea of the dynamic level that should prevail throughout the movement, except where otherwise indicated.
Glassock emphasizes the formal shift to the B section with a sudden dynamic change to mezzoforte.
The gnarled, quicksilver second movement lacked proper articulation at speed and was more smeared than set forward; throughout, the Guarneri underplayed the dynamic contrasts innate to late Beethoven, and edging into that terrible Slough of Despond, the eternal mezzoforte.