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Critics may complain when a song simply fades out, probably seeing this as a lazy approach to the "dunno how to stop this thing" problem. There can be good uses of fade ins and outs, but a default assumption may be that the practice is lazy. This assumption is a recent view; until very recently music was difficult to fade out, and required such tricks as used by Gustav Holst in "Neptune" wherein a choir was placed offstage and the door connecting the choir to the stage slowly closed. There's a certain minimum volume for viable sound production on lots of instruments, so if you want less than that you needed a door to close or maybe blankets to throw over the pipe organ, or good luck? These days, since the introduction of electrical amplification and recording systems, the fade out is as simple as pulling a slider or turning a knob, or the equivalent in software.
Holst's second recording of "The Planets" was made in 1926 using the "new electrical process", and another notable point is that the tempo runs faster to perhaps fit the whole work onto one record. The constraints of economics and the medium, while not the message here, can shape the song.