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.