For those fans calling for a return to the high-tempo, dynamic attacking football that characterised Villa's resurgence, Sherwood has pointed to the loss of Delph and Tom Cleverley, highlighted how that midfield pair set the tone for the team with their energy and industry, and said "you can only be as swashbuckling as the players will allow you to be".
The Maestro lets the audience control the tempo and dynamic of the orchestra using nothing but their hands.
They sing "Drink me" countless times at super-rapid speed with some 17 changes of tempo and dynamic markings that vary from "raucous", "rough", "savage", "violent" and "pressing".
His disdain for classical form extended to a rejection of Italianate terms for tempo and dynamic markings – Grainger's scores indicate "louden" rather than "crescendo", or instruct the player to interpret a passage "with pioneering keeping on-ness".
When he sat in on a rehearsal with the quartet, and she had a difference of opinion on a phrasing or tempo or dynamic with Charles, the chubby and assertive second violinist, whose face shone with late-flowering acne, Edward was intrigued by how cool Florence could be.
As ensembles grew in size and complexity and their problems of coordination increased, the leader set aside performance on an instrument and focused on the beating of time and the communication through clear hand signals of the appropriate moment for entrances, tempo changes, dynamic accents, and the shaping of phrases.
Mr. Carter's Double Trio (2011) — like its earlier counterpart, the Triple Duo (1983) — takes its energy from the interplay of competing groups (two trios) within the larger ensemble, though tempo and dynamic contrasts are everywhere, even within the distinct trios.
As a recording, it is meant to be reproduced to exact specifications of tempo and dynamic, therefore turning the pianist into a human phonograph needle of sorts.
Midori's playing was remarkable not only for its steely poise in exceedingly difficult music but also for its freedom of tempo and broad dynamic contrasts.
It is also not clear who authorized the dynamic, tempo and textual changes in the other 16 songs that were printed as "Dichterliebe" (Op. 48) in 1844 by the publishing company C. F. Peters.
As composers' scores became increasingly precise, the performers' interpretative decisions were increasingly limited to matters of technique, tempo, rhythmic and dynamic nuance and personality a subjectivism justified by the cult of Romantic genius prevalent in 19th-century artistic life.
