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.
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.
“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.