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.