1964: Nikolay Rimsky-Korsakov et alii, Principles of orchestration: with musical examples drawn from his own works, page 112 (DoverPublications.com; ISBN 0486212661)Short crescendi and diminuendi are generally produced by natural dynamic means; when prolonged, they are obtained by this method combined with other orchestral devices. … Prolonged orchestral crescendi are obtained by the gradual addition of other instruments in the following order: strings, wood-wind, brass.
1989: Hermann Scherchen, Michel D. Calvocoressi tr., and Norman Del Mar prefacer, Handbook of conducting, page 113 (Oxford University Press; ISBN 0198161824, 9780198161820)Wrong crescendi, which should be avoided, tend to appear at the end of passages ascending to the apex of melodies.
2003: Christopher Anderson, Max Reger and Karl Straube: perspectives on an organ performing tradition, page 94 (Ashgate Publishing; ISBN 0754630757, 9780754630753)Furthermore, organ builders were at liberty to construct their register crescendi so that stops entered either one at a time or in groups of two or more. … Of course, a sensitive organist would not rely wholly or even predominantly upon a register crescendo to effect stop changes, particularly when those changes had more to do with simple manipulation of tone color than with progressive crescendi.
