“He liked crescendo and diminuendo to be short and effective just like Toscanini, who obtained in this way the most striking effects of his staggering dynamism. Fauré had adopted the rule for shading that Hans von Bülow had laid down: when one reads "crescendo," it means leaving a more "piano" tone for a reinforcement of the sound; and when one reads "diminuendo," it indicates that one is playing as loudly as one can to allow the tone to be so softened.”