In bars 13 and 47, violins/violas/basses mark “forte”.
In bars 15 and 49, 1st violins and violas mark “fortissimo”.
In bars 16 and 50, winds move the “fortissimo” slightly earlier to the end of the crescendo (not the last note of the bar).
In bar 15, bassoons play “forte” on the low ‘D’. 3rd/4th horns play out on your entrance.
In bars 80-83, woodwinds add a long legato marking over the four bars. (Same applies to bars 275-278).
There should be a “big lift” just before Rehearsal K.
Bar 301 should be fortissimo, bar 302 should diminuendo, bar 303 should be mezzo-forte, and bar 304 should have a crescendo on beat 2. Repeat the same sequence starting in bar 305.
Winds, “fortissimo-piano” in bar 311; then crescendo in bar 312.
At Rehearsal C, winds don’t get “bogged down”.
At bar 159, crescendo through each bar to the next downbeat (within the context of the larger crescendo).
At bar 243, horns need to be less “muddy” and be right in time on the downbeats. (Same at bar 773).
At bar 42, Michael will not dictate each 16th note on beat 3 (1st violins). Instead, he will conduct ritardando eighth-notes.
In general, 1st violins, every phrase should end “soft and beautiful”.
There will be a little added time getting into bar 112 to accommodate the horn solo.
At bar 117, winds okay to breathe, but don’t cut the long note short.
Violas, celli, 2nd violins, and basses, play tenuto starting in bar 127.
We will be ‘in tempo’ right on the downbeat at Rehearsal B.
Winds, “almost forget” the staccati in bar 145.
Winds, play tenuto on the quarter-notes in bar 147.
Don’t make the eighth-note leading into Rehearsal C too short.