Dynamics cannot always be taken literally when a player embarks upon serious study of a particular composition. In fact, what often governs the shaping of phrases through many measures even with composer inserted soft (piano) or loud (Forte) directives, are harmonic rhythm and metrical considerations. So while a set of measures might attach a Crescendo in the score, it might be modified by a harmonic resolution that requires a dip in the intensified journey to climax.
Diminished chords that have chromatic dependency, for example, often fold in or taper into tonics, dominants, or any other sonorities within a scale. They have an organic pull that frequently will not be specifically notated. Same applies to the effect of Meter, and its overall framing through a composition. In 3/8 time, the last beat will be the lightest, unless the composer is bent on a syncopated effect. It would be un-musical, therefore, to hammer away at the end of the measure even within an overall, broad brush FORTE assigned portion of music.
Similarly, passing dissonances and pedaling decisions that aim to avoid blurring, will alter weight transfer over measures, precluding obedience to a fixed FORTE.
Illustrative of the aforementioned, and what can influence a dynamic landscape are revealed in Beethoven’s Fur Elise, tremolo Measures 61-78.
While the pianist must consider an overall intensification and de-intensification through this section, he will have to understand the effect of harmony, meter, and destination points on his dynamic decision-making. In this endeavor, he must “read between the lines” and create a “musically”-based mosaic of nuances.