Rehearsal Notes 2/1/2016

SIBELIUS (run-through)

(Mvt. 1)

11 bars after Rehearsal 6, the preparatory beat will be on beat 3.

Our guest conductor will beat in 1 starting 10 bars before Rehearsal 11.  He will beat in 2 starting 4 bars before Rehearsal 11.

(Wind Sectional):

(Mvt. 1)

More melody need at Rehearsal 2.  Be very attentive to every specific articulation marking.

8 bars before Rehearsal 3, “diminuendo to nothing”.

Rehearsal 4 needs to be 50% softer so violins can be heard.

At Rehearsal 5, trumpets and oboes don’t lose the quarter note on beat 2 of the second bar.

Clarinets match the articulation of the flutes 25 bars after Rehearsal 11 (when playing the same figure).

(Mvt. 2)

When you have consecutive tenuti, “don’t stop the phrase”.

Need “more tone” on the sforzandi.  The note directly preceding a sforzando should be short, but not clipped.

4 bars after Rehearsal 4, “lift” together before the sforzando.

(Mvt. 3)

At Rehearsal 5, clarinets should play “less clipped” (as if there aren’t rests).

At Rehearsal 12, horns substitute a rest for the eighth note downbeats tied to a half note.

Bring out the moving parts at Rehearsal 12.

 

RIMSKY-KORSAKOV (tutti)

(Mvt. 3)

Brass can be lighter at the beginning.

(Mvt. 5)

16 bars before rehearsal V, horns need to “line up” rhythmically with the melody line.

The ‘Presto’ needs to be “light and crisp”.

Three bars from the end, don’t sustain the downbeat eighth note into the rests.