Winchester Orchestra and SVGives

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The Winchester Orchestra has joined SVGives. SVGives is an online day of giving for the Silicon Valley. Join us and show your support by making a contribution on May 3rd.

What is SVGives?

On May 3rd, The Silicon Valley Community Foundation (SVCF)  will help raise money for Silicon Valley nonprofits through a single online donation platform, providing donors with an easy way to donate to their favorite cause or charity for 24 straight hours.

To donate and help support the Winchester Orchestra:

More information on further ways your donation can go farther can be found here:


The Winchester Orchestra

Under the direction of Michael DiGiacinto, every concert is an energetic exploration in music, providing comfort and challenge for the members and listener.

The Winchester Orchestra of San Jose presents the traditional symphonic repertoire along side compelling contemporary works. Programs that feature pairings like Luciano Berio’s Folk Songs with the Nutcracker expands the musical vocabulary of both the musician and listener, while offering a entertaining experience.

This inherent curiosity has led to the orchestra to explore opportunities that enriches the cultural life of the Silicon Valley.

The orchestra is known for supporting the many talented local artists and has recently inaugurated a Young Artist Competion in collaboration with the Mission College Symphony. Soloing with an orchestra is an important milestone for a young performer.

Our musical outreach offers diversity in programming, from chamber groups in the community, to a conductor exchange, programming works by local composers.

Your contributions make this work possible for a group of your peers who are passionate musicians.

Please say ‘hi’ and let us know that you supported us on SVGives day.


Join us for Beethoven 9th Symphony on Fri, May 20!

It’s the ultimate quartet! Full orchestra, a massive choir, beautiful venue and a dream team of soloists. We are closing our season with the Peninsula Cantare and West Valley choirs at the Cathedral Basilica of St. Joseph in San Jose. Visit our website for ticket details.

Check out our performances in our gallery above.

Gershwin’s Rhapsody in Blue with soloist Benjamin Salisbury

Bernstein’s Chichester Psalms with the West Valley Chorale

For more videos, visit youtube and search “Winchester Orchestra of San Jose”


If you are musician looking for an orchestra to play with, visit our musician’s page.


Mvt. II:

Beat 2 in bar 422 is coming late.

At Rehearsal L, count!

Bring out the ‘forte-piano’ at Rehearsal O.

Don’t rush the quarter notes at bar 942.

In bar 950, cut-off with the winds (just before the downbeat).

Bar 951 should be completely in time.


Mvt. III:

2nd violins can play out at bar 43.

“Moving forward” at bar 65, with longer phrases.

Oboe and clarinet, watch the rhythm in bar 141.


Mvt. IV:

“Drop the dot” in bar 1.

In bar 55, add a slight crescendo, and play up to the fermata as if the music wasn’t going to stop.

Play softer at bar 63.

Trumpet can be more “authoritative” at bar 84.

Start moving forward at bar 156.

“Energy not volume” at Rehearsal D.

Winds can be more portato at bar 603.

Add a quarter rest at the very end of bar 610.

At bar 618, strings, don’t get “bogged down” with the eighth notes.

At bar 626, stress the downbeat, de-emphasize the 2nd beat, and the third beat starts a “new thought”.

A new phrase begins on the 3rd beat of bar 630.

At bar 632, stress the downbeat, de-emphasize the 2nd beat, and the third beat starts a “new thought”. Also, more separation needed at bar 632.

At bar 640, execute a “slow burn” crescendo.

The sforzandi at bar 655 should be played like “church bells” (i.e. “hit-fade”).

“Big crescendo” into Rehearsal O, then back off.

“Shorter tonguing” needed at Rehearsal R, and “more mysterious”.

At bar 745, the dotted-half notes become longer.

Note: the choir changes words on beat 2 of bar 762.

Think of “chuckling” at bar 763.

Really bring out the ‘fortissimo’ on beat 4 of bar 803.

Watch the intonation at bar 810.

There is no fermata on beat 4 of bar 813.



Mvt. I

Bars 28 and 30 need to be softer.

Winds, at bar 80 (and similar spots), the accented ‘&-of-2’ eighth-note shouldn’t be too short or too separated from the following downbeat.

Bar 104 needs to be more ‘dolce’.

Be aware, bar 164 starts the ‘Development’ section.

At bar 166, oboe should “sneak in”.

Bar 170, beat 2, should be a “special “moment” (as we move to D-Major).

Bar 178, beat 2, should be a “special moment” (as we resolve to g-minor).

Don’t drag at Rehearsal F.

Be aware, in bar 201 (beat 2), the harmony moves to G-Major.

Be aware, at Rehearsal G, the harmony cadences in c-minor.

There should no ritardando until marked at bar 213.

“Drive forward” at bar 216.

At bar 218, bring out the syncopations.

Between bars 218 and Rehearsal I, phrase to the slurred 16th notes.

In bar 232, 2nd violins can play out.

At bar 240, 2nd violins can play out until Rehearsal I.

Bar 258 needs to be softer.

Bar 371 needs to be softer.

2nd violins can play out starting at bar 388.

Rehearsal O needs to be softer.

1st clarinet, be careful not to clip notes starting at bar 444.

Rehearsal Q needs to be ‘piano’ immediately on the downbeat.

In general, winds should be careful not to over-shorten the dotted-16th note in the recurring dotted-16th-32nd-note pattern.

Mvt. II

In general, for the dotted-quarter followed by eighth followed by quarter pattern throughout, the eighth and quarter notes should be de-emphasized.

Celli and violas, phrase to the downbeats in bars 424, 426, and 428.

At bar 438, strings need to play “equally short” on every note.

At bar 523, violas and celli should play ‘mezzo-forte’ on beat 3.

At bar 623, “its all about the winds”.

At bar 707, the mood should be lighter and “more playful”.

At bar 764, strings can play out on entrances and then back-off.

At Rehearsal R, brass can play out.

Mvt. III

The beginning needs to be “unhurried”.

The prep into bar 25 starts the new tempo.

1st clarinet can play out at bar 83.

Mvt. IV

In bar 203, phrase to the 3rd beat.

In bar 205, the 4th beat is not a fermata.

In bar 209, “drop the dot”.

Bar 221 will be in time.

Beat 3 of bar 229 will be in tempo.

Beats 2 and 3 of bar 234 will be in tempo.

In general, “do not make notes short that are not marked short”.

Strings should play more secco at Rehearsal D.

Pick-up to bar 265 (and similar spots) is an orchestral interlude; the orchestra should “take over”.

At Rehearsal M, strings need to be “so clear”.  Phrase in 2-bar increments.

Brass, bring out the figures at bars 549/550, 557/558, 566, 573/574, and 582.



Mvt. II:

Violins and violas can be more tenuto on the dotted-quarters starting in bar 307.

Remember, the repeat at bar 491 is in!

The ‘Ritmo di tre battute’ sections (i.e. bar 707), need to be more dance-like.

More diminuendo is needed at bars 831 and 841.



Movement III:

In bar 53, first violins’ first 16th note should be a “D” rather than a “C”.

In bar 132, the quarter note on beat 3 should not have a staccato marking.

In bar 144, first violins, the tenth note in the bar should be a “D”.

Rehearsal Notes 4/4/2016




In bars 13-16, 1st violins and violas don’t rush 16th notes.

Emphasize the eighth-note syncopated entrance at the end of bar 14.

We need a “massive crescendo” leading up to the cutoff in bar 16.

At bar 24, crescendo on the long note.

In bars 63 and 67, those who have 16th notes play out.

At bar 80, don’t play accents as marcato.  Don’t separate accented eighth notes from the following down beats.  Strings, place a slight tenuto on beat 2.

At bar 80, strings add a slight lift on the downbeat.

Winds, play in 2-bar phrases at measure 88.

Clarinets, play ‘mezzo-forte’ at bar 96.

In bars 102-103, every note should be staccato.

In bars 104/105 and 108/109, phrase to the second bar.

Violins, not too romantic at bar 110.

At bar 116, strings fit 16th notes in with the winds’ 8th notes (and match their phrasing).

Violins can be more “longing” at bar 120.

At Rehearsal D, the 32nd notes need to “drive to the end of the run”.

Winds, at Rehearsal D, can be more secco.

More emphasis needed on the off-beat sforzandi at Rehearsal D.

At bar 138, be “subito dolce” on the ‘&’ of beat 1.




In bar 9, winds need to be consistent with articulation and match each other better.  Bassoons, don’t be too heavy on your entrance.  Low strings, play a bit shorter.

Horns, play ‘forte’ three bars before Rehearsal A.

At Rehearsal B, winds “keep thinking quarter notes”.

At Rehearsal C, winds don’t drag on third-beat eighth notes.

Avoid getting “sluggish” at bar 109.

Rhythm needs to be “crystal clear” at bar 143.

At bar 147, play tenuto on the downbeat.

Bar 159 needs to feel “more like a dialogue”.

There should be no ritardando leading up to bar 176.

Be sure we are feeling the “big 3” at bar 177.

In the 8 bars leading up to Rehearsal H, phrase as 2+2+4.




At bar 99, 2nd violins and violas can play out.  Pizzicato strings, don’t forget to phrase.

Be aware, Michael may take a little time at the end of bar 111 (to accommodate the horn solo).

Subdivide in your head at Rehearsal A to keep the tempo.




Play warmer at bar 92 and balance to the basses.

Keep moving forward at bar 116.

2nd violins, match 1st violins on the downbeat ‘D’ in bar 146 and the 4th-beat ‘D’ in bar 148.

Need a bigger crescendo in bar 151.

Bar 160 is a BIG arrival point for the strings.

Be sure to observe articulation markings at Rehearsal B.

Trumpets, “take charge” and “more brassy” at Rehearsal B.

Keep moving forward at Rehearsal B.

At bar 175, crescendo over the barline if you have a 4th-beat tie.

There will be a big lift at the end of bar 202, but there will be no ritardando leading up to it.

Bar 203 will be slightly slower right away.

In bar 205, Michael will conduct beat ‘4’ twice (the second ‘4’ will be the prep for the pick-up into the next bar).  Don’t sustain after arriving on the 4th beat.

No ritardando in bar 215.