Rehearsal Notes 1/25/2016

 

CAPRICCIO (winds sectional)

(Mvt. 1)

Take dynamic level down one notch at the very beginning.  

At Rehearsal B, Oboes bring out chromatic line.  

Seven bars after Rehearsal B, those with a 4-measure trill, back off after the initial attack.

10-bars from the end, those with half notes, crescendo all the way to the downbeat then diminuendo.  Clarinets and 1st bassoon bring out the harmony changes.

 

(Mvt. 2)

Lift between beats 1 and 2 when beat 2 has a dotted eighth note.  

Rehearsal E1 should have a “huge legato feel.”

At Rehearsal F, no breath between the 2nd and 3rd bars.  Okay to breath between beats 1 and 2 of the 1st bar of Rehearsal F.  

 

(Mvt. 3)

Less weight on the bottom note of the triplets.  

Be sure not to bend the pitch at all on the triplets.  

Flutes can be louder six bars after Rehearsal H.  

 

(Mvt. 4)

More “bravado” at the beginning

Slight ritardando into Cadenza III.

At Rehearsal M, more energy at the beginning of the triplets.  

At Rehearsal N, horns should diminuendo slightly on each 16th note figure.  

At Rehearsal O, phrase “toward the second bar.”

At Rehearsal P, horns need to “lock in” with the melody line.  

Seven bars before the end should be marked  ‘Animato’.  

 

CAPRICCIO (Tutti)

 

(Mvt. 5)

Mordents should have only one “flip” (not played as trills).  

Four bars before Rehearsal T, bring out the hemiola feel.

Five bars after Rehearsal Y, strings should play accents “viciously”.  

10 bars before Rehearsal Z, those with 16th notes play out.  Those with accented quarters on the ‘&’ of beat 1, “sting” the accent then back off.

The ‘Presto’ should be very “secco”.  Phrase “in waves”.  

For those who don’t have metronome markings in their parts:  Movement I is quarter=126, Movement II is eighth=112 (Poco meno mosso is eighth=88), Movement III is quarter=120, Movement IV is dotted-quarter=69, and Movement V is dotted-half=66 (coda is quarter=144, presto is quarter=152).  

 

ROSSINI (wind sectional)

In bar 10 (oboe/clarinet/piccolo), bar 11 (flute), bar 12 (horn), and bar 22 (bassoon), don’t be early playing the 16th notes on the ‘&’ of beat 1.  Be careful not to drag on the triplets.   

At bar 100 (13 measures after ‘a tempo’), clarinet/bassoon/horn be careful not to drag–stay with the melody line.   

Three bars after Rehearsal C, those with the dotted-eighth followed by 16th note pattern, be careful not to tripletize this figure.  Also, keep moving forward here.  

At Rehearsal D, clarinet (and later flute) be right in time on the third-beat triplet (line up with oboe’s third-beat quarter note).  Horns/bassoons play on the front half of the beat so as not to be late in bar three of Rehearsal D.  

Seven bars before Rehearsal E (and the like), piccolo/clarinet/bassoon, be aware this passage slows down in part because of waiting too long at the eighth rest.  Lighten up, don’t get bogged down trying to emphasize each note, and keep the triplets moving forward.  

At Rehearsal E, horns should play on the front half of the beat on the repeated quarter notes on beats 2 and 3, so as not to drag.