tutti

Fong's violin gradually assumes more control over the quartet, leading it into imitation, sparking its tempo, and supplying high-pitched notes in dissonant 'tutti' chords.

The slow movement dares much with bare textures, interrupting 'tutti' passages with one instrument singing the remnant of a song.

Even in the 'tutti' sections, the instruments say only as much as they need to.

Words are clear, and the hymns, presented in their entirety, are imaginatively varied in terms of solo, a cappella, sectional and 'tutti' singing.

Such movements were characterized by the alternation and contrast between solo and 'tutti' sections, the tuttis being based always on the same material.

In contrast, the larger forces of, say, the Chicago Symphony in the Pearlman / Giulini recording, add power in the 'tuttis' and a greater weightiness to the effect generally, but I am not sure that is really needed in this work.

The forms of both concertos are quite free and tend towards a pattern of orchestral 'tuttis' interspersed with cadenza-like periods of rumination.

The concerto is mostly lightweight with 'tuttis' the more dramatic when they appear.

There was pathos in the evocatively dovetailed dialogues with the strings; left-hand chords emerged inconspicuously from 'tuttis' , the melody poised evanescently above.

The concept of a dialogue was enhanced in the Classical period by a growing distinction in ‘public’ concertos between the grand symphonic manner of orchestral 'tuttis' and the more intimate sonata style of solo passages.