Sentence examples for movement development from inspiring English sources

Despite some uncharacteristic horn fluffs, the wind playing in the first movement development was compellingly expressive: wild flowers on a rocky hillside.

For too long the peak environment, social welfare, labour movement, development aid and human rights bodies have got used to politely courting Labor governments and sympathetic Coalition politicians.

Perhaps, in his already celebrated recent recording, Barenboim achieves a balance that allows moments like the oboe solo in the first movement development to shine forth even more eloquently than they did in the hall.

"There is no limit to geometric shapes with DRIE," said Carole Forestier-Kasapi, the director of movement development at Cartier, which has just used a silicon wheel coated with a diamond-like carbon in the ID Two concept watch.

"We know that a balance spring in a mechanical watch is disturbed in vertical positions due to gravity causing the advance or delay depending on the positions," Carole Forestier-Kasapi, Cartier's director of movement development, said in an e-mail.

Compared with various later versions — and with those versions more or less firmly rutted in the mind, comparisons are inevitable — the original is rife with asymmetries, digressions and irrelevancies, like the deep, dark, isolated episode at the beginning of the first movement development section.

In particular, Szigeti's handling of the concerto's saddest, worldliest music -- the G minor section ending the first-movement development -- seems to me a supreme benchmark.

Encouraged by Mr. Langrée, David Punto, the timpanist, played with the same force and fervor he had brought to the Beethoven, producing a particularly resounding thud near the end of the first-movement development section.

But one harmonic shift was far from subtle: the hushed lurch into C sharp minor at the start of the first-movement development seemed positively epochal, appropriately so in Mr. Hamelin's grand concept of the movement.

She noted the unusually detailed and mercurial dynamic markings, pointing specifically to a passage in the first-movement development section with four bars fortissimo, four pianissimo, then another four fortissimo.

Her deliberation and analytical approach in the first-movement development section and in the second movement appeared to be focused less on Beethoven than on the isolated beauty of a particularly lovely turn of phrase or an exquisite pianissimo.