Notes from Michael

Edited for easier reading.


VIOLIN 1; mm. 13-16: Don’t rush the 16th’s in this passage!

WINDS; m. 16: bigger crescendo before the cut-off

TUTTI; mm. 55-59: Do not be late off of the 16th note rest. Do not stop subdividing!

CL/BSN; mm. 104-105: piano!!

FL/OB/CL/VIOLIN 1; mm. 130-131: Write in forte. Really dig in here.

HN; mm. 130-131: Much more separation and punch in the syncopation

STRINGS; mm. 138-144+N-413: Please work on tuning those octave leaps.

TUTTI; mm. 164-187+mm. 198-205: Any part that has the dotted rhythm fragments*please bump up your pp to a mf. Bassoons/violas/basses will need to work a little harder to be heard.

TUTTI; down beat of F and G: The down beat is PIANO. Awkward? Yes but that’s what he wants.

WOODWINDS; F – 196 + G – 214: On the ritard* you are neither with me nor with each other. It would be great if you could be one of those things…preferably* with me. Listen/watch intently and don’t over-do the ritard.

BASSES/BSNS; mm. 198-205: These off-beats have to be solid. Bump the piano up to a mf.

VIOLIN 2; mm. 218-231: Really bring this part out (not quite ff but piu forte).

VIOLIN 2; mm. 240-252: fff!!! Give me all you have here – you are the engine that drives the intensity of this section. Without your presence* the drama falls flat! Saw away!!

CELLO/BASS; mm. 279-282: You’re still playing the accents to abruptly and too short. Please replace accents with tenuti. Think of these 4 bars as a larger* legato phrase.

TUTTI; m. 300: Marcatissimo!! Do not let the ritard effect the length of the note. Punch every 16th note!

TUTTI; mm. 325-327: Do not lose intensity here. Strings have f ’s at 325 and winds s f’s at 326. Everyone has an sf or reiteration of a ff at 327. Really hit that downbeat hard!!

TUTTI; mm. 330-339: There is no diminuendo before m. 337. Stay strong and fight your way all the way down the different registers. Then you have a fast dim. And character change at mm. 337-338.

STRINGS/HNS; mm. 321-356: Listen across the whole string section for the ensemble cresc/decresc. Horns: you can help shape this since you are mostly sustaining through these bars.

STRINGS; mm. 380-386: The intonation when this happens earlier was much better. Now* please really fine-tune the intonation here-it was not as good.

Bass(and cello); @387: -These off-beats are crucial for the ensemble. Please be solid!

Upper winds/strings; mm. 399-400: forte! Dig in again* like before. HORNS: Same as before – punch the syncopation.

BSN1/FL1/CL1; O – P: All of your dotted rhythm snippets should be bumped 1-2 dynamic levels up* especially bassoon – everything you play should be mf-f.

HN2/BSN1; Q-477: I need more from you here.

WOODWINDS; mm. 478-490: I need to hear these 16th note runs much more clearly

TUTTI; m. 505: Downbeat = piano.

FLUTE1; mm. 511-512: Put a tenuto on each 16th note.

HORN1&2; mm. 513-521: Please make this mp/mf.

UPPER WOODWINDS+HN1&2; mm. 527-529: Do not double-dot the rhythms! Subdivide. Listen to trumpets and timpani – they have an 8th note on the ‘and’ of beat 2. Place your 16th accordingly. Rehearsal S is where the double-dots happen. I should hear a difference.

TUTTI; mm. 539-542: Once again* we have double-dots vs. single dots. From m. 539 up until the 2nd beat of m. 540* it’s a double-dot. From the 2nd beat of m. 540 through the downbeat of m. 543 represents a single-dotted rhythm. Some of you are trying to cram both 32nd notes on the last 32nd of the beat rather than where it belongs* on the last 16th note of the beat.

TUTTI; mm. 543-544: Full quarter notes – hold all the way to the 32nd rest.



TUTTI; mm. 9-45: Stay pianissimo up until the marked cresc. Then start the cresc. at pp. You’ve done it before and it’s thrilling when you contain the energy those first 35ish bars! Play every note of this super secco and detached. Low winds/strings: you tend to get a little too heavy here – try and match your upper register colleagues!

FLUTES/BSNS; mm. 41-54: Really bring out the 3rd beat notes you have – more punch (bassoons: this starts at m45 for you). You are in opposition to the trumpet downbeats.

TUTTI; A: Don’t let your excitement at our final arrival get in the way of your articulation. At this much louder dynamic* you will have to work twice as hard to keep it secco and detached.

STRINGS; mm. 210-212+216-218+222-224: You’re still not 100% in time in your transition from pizz. to arco. Also* your articulation is not clear.

VIOLINS/VIOLAS; m. 251: You will need to lift at the end of the bar to get a clean attack on the downbeat of 252. This has been messy.

VLNS/VIOLA/BASS; mm. 322: Start these 3rd beat hits at mf.

TUTTI; mm. 388b-389: Starting dynamic of cresc = mf. Rapid cresc.!

TUTTI; mm. 396-404+CODA-m. 934: Stay pp until the cresc.

TUTTI; m. 491: Everyone except viola/cello/clarinets: fp. viola/cello/cl stay f.

VIOLINS/VIOLA/CELLO; mm. 523-530: All of the slurred lines need to be brought out. M. 523- viola/cello=f; m. 525-violin1=f; m. 527-cello=mf; m. 529-violin2=mf; m. 530-violin1= mp.

TUTTI; mm. 531-941: Everything I said for mm. 1-412 applies in the return of the A section.

STRINGS; m. 944: Back off quickly! Fpp!



CL/BSN; mm. 1-3: Please listen to a recording of this opening and play along. Listen to each other so your 8th’s are precisely placed within the dynamic context of the player that entered before you.

WOODWINDS (mm.2530) & UPPER STRINGS(mm.6571);     Please cresc over the bar line. It should be a nice* warm cresc that pulls the ensemble to each downbeat.

TUTTI; mm. 41-42: Remember* there is a wonderful pivot to B-flat on beat 3 of m. 41 that I would like to ease into and which makes the ritard at m. 42 make much more sense. Please don’t blow through it. Same thing at m. 81 except that time it pivots to E-flat.

VIOLIN 2; mm. 43-54: bring out this pizz much more. You are in opposition to 3 horns and cello.

VIOLIN 1; General note: You have many moments of flowing 16ths. Make sure that the peaks of your crescendi are always sweet and never harsh. Also* the ends of each phrase should always be soft* sweet* and beautiful. Don’t throw away any of those endings!

VIOLIN1; mm. 73-81: Please play all of the 8th notes that are on the ‘and’ of beat 2 short. So the syncopation should be: long___short*short*short* rest long____short*short*short.

CL/BSN/HN; mm. 83-98: Please listen to each other. I need you to play as a balanced unit.

HORN 4; m. 85: Watch your intonation on this line. You’re also a little on the loud side.

VLN2/VLA/CELLO/BASS; mm. 99-120: I cannot stress enough how important you are in this section. You have to be steady and audible!

WOODWINDS; m. 114: Your rhythm on beats 3 & 4 is still clunky sounding. Please work on finessing that line a bit more. Go to the quarter note on beat 4 then dim. to the downbeat of the next bar.

TUTTI; m. 120: Beats 3 & 4. Molto* molto crescendo led by HORN 4.

TUTTI minus brass and vln1; m. 122: Your quarter note on beat 3 should not have a staccato on it. Everyone should have a regular quarter and it should be longer than the quarters/8th’s on the beats in the preceding bar and a half. Same thing at m.132.

TUTTI; m. 125 & 137: The recovery at m. 125 after the first interruption* should be about a mp/mf. The recovery at m. 137 should be much softer and a little more “cautious” sounding (but still with a warm/rich tone).

TUTTI; m. 136: I am subdividing beat 4 and those last 3 8th notes of the bar will be slower so violins and flute* watch closely.

OB1/CL1; mm. 141-142: I know the 8th’s are marked staccato but please play them as full 8th notes.

TUTTI; mm. 149-150: Violin 1 should be at mf on the downbeat. Everyone else – do not start to cresc until the 4th beat of 149 so the 1sts are not covered. M. 150 – do not clip the last 8th note of the bar. Put a tenuto on it and make it pretty!

TUTTI; C: These 1st 2 beats are in time so be ready for beat 3 precisely where it should be. Keep subdividing – don’t let the mind wander!

CL/BSN/VLN1; pickup to 152-153: Big cresc/tug on the tied notes over the barlines and over beat 3.

TUTTI; mm. 155-END: There is no ritard happening here!! The only thing that happens is I will be subdividing/dictating the three 8th notes on beat 3 of the final bar. Beat 4 does not have a fermata on it so it’ll be in time! Ob1/Fl1 – please listen carefully for tuning! TPTS – listen for tuning; also TPT 2/BSN2 you are the root of the chord/bass of the ensemble and we need a strong/warm foundation to build this sound on.


CELLO/BASS; ALL RECIT mm. 8-75: Please work on this! The intonation is not consistently good.

TUTTI; mm. 30-27: Winds – as soft as possible. Violin 1 = mp

TPTS; m. 84-85: Punch all of these notes.

CELLO/BASS; m. 92: Remember to start at a whisper* non vibrato. Once we get to m. 116* you can reintroduce vibrato.

TPTS; B: Take the lead here! Soar!

VIOLIN1; mm. 189-198: Huge accents on the 1st 16th note of each grouping of 2.

STRINGS; mm. 221-223: Watch* watch* watch! It doesn’t drag but it also doesn’t go as fast as you think (roughly quarter = 108; not the quarter = 160 of the Presto)

FL/BSN/CELLO; mm. 276-280: Fl/Bsn is dovetailing the cello section so listen to each other and lock in* especially mm. 279-280 when you are trading beats. -VLNS vs Lower strings; E-295: Same as the note above*except the beat-trading lasts longer* from mm. 287-295.

WINDS; m. 331 Turkish March: Keep it light and playful. The picc should be the dominant sound – balance up. And it’s pianissimo!! Think of it as a marching band in the distance that is very gradually getting nearer. But that doesn’t start happening until m. 383 where there’s a poco cresc. Before that he repeats sempre pp about a half dozen times! I think he means it!

TUTTI; K – 516: These 8th’s need to be as clean and articulated as the quarter notes of the scherzo! M. 481 always loses intensity because instruments drop out and those that are playing are descending. FL/VLNS/VLAS: Please write in a cresc that starts at m. 481 and ends on the downbeat of 485 to counteract that dip! REHEARSAL L: Do not let the added 16th notes throw you off* vlns/vlas/flutes/ob1! It sounds like we hit a bump there and then recover 1-2 bars later.

OB/BSN; mm. 529-536: Play m. 529 at roughly a mf so that the pp at m. 535 is much more striking! Then* OBOE and HORN: molto cresc at 541

WOODWINDS/VIOLA/CELLO; mm. 627-642: Please add lifts in the following places: btwn beats 2 and 3 of m. 628* 637* and 638.

TUTTI; mm. 758: Add a ritard. Watch!! Especially woodwinds – you have the moving parts!

STRINGS/WOODWINDS; mm. 763-769: I’m giving 2 preps! Please watch. These 8ths should be secco and even!

TUTTI; mm. 803-805+824-827: The fortissimo on the 4th quarter has to be huge!! Winds/Perc it’s up to you to make the most of that – it’s a big punch in response to the choir – can’t miss it! WINDS: The massive cresc from piano to fortissimo in bars 805-806 is also in your hands (brass in particular – Mahler swell!). Same exact idea for when this all happens again in m. 824-827

TPTS/HNS; mm. 920-END: Bring us home! You’re leading this sound. Let it rip!



Mvt. I:

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.


Mvt. II:

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.


Mvt. III:

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.


Mvt. IV:

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.

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