More space between slurs in bar 93.
Clarinets can play mezzo-forte in bar 96.
2nd flute and clarinet can play mezzo-forte in bar 98.
Watch the intonation in bar 114 on the moving 16th notes.
In bar 116, strings watch the tuning on the second E-natural of the measure.
In bar 148, make the second 8th note of the slurs softer.
In bar 149, the ‘fortissimo’ means “sting”.
Play full quarter-notes on the downbeats of bars 543, 544, and 545.
Winds, keep tuners on your stands.
In general, keep everything clear and clean and rhythmically tight.
Rehearsals B and O need a more legato feel.
In bar 127, “punch” each quarter-note.
The 3rd-beat pizzicatti bars leading up to Rehearsal ‘I’ need to be more precise.
Don’t drop too much dynamically at bar 388B.
In bar 944, strings should drop all the way down to piano.
Overall, focus on beauty of tone.
Horns, be “laser-focused” on your entrances.
Precision is key–everyone should subdivide in their heads.
The opening of the movement should reflect “static beauty”. The “B section” (at bar 25) should be “urgently beautiful”, but not frantic.
Be sure to crescendo “over the bar” into measure 25.
At the end of bar 147, diminuendo gradually (not suddenly). On beat 1 of this bar, winds crescendo from P all the way to FF.
Lower strings, be sure to subdivide at bar 147.
Michael will give two prep beats to start the movement.
In bar 16, upper winds don’t come in early!
At bar 24, there will be a subito meno mosso.
In bar 29, beats 2 and 3 will be dictated.
The quarter-notes in bar 91 will be dictated.
Tempo at bar 92 will be half=70.
Add “poco accelerando” in bar 156, and half=80 at Rehearsal B.
In bar 202, stay forte until the very end of the bar.
In bar 203, think “mood change”.
In bar 610, add a quarter-rest at the end of the bar.
In bar 916, “drop the dot” on beat 3.
Really play out on the sextuplets starting in bar 936.
No ritardando into the last bar of the movement.