*please write in bar #s if you haven’t done so already*
Be careful not to drag on the main theme.
Don’t overplay at bar 37. Violins hang back.
At bar 45, a full quarter note is needed at the end of the main motif.
More viola, cello, clarinet, and bassoon at bar 57.
At bar 65, violins “crescendo down”.
Tenuto at bar 87.
At bar 240, add a little more “space” before each sforzando. Listen to how all the parts fit together rhythmically.
Don’t “hit-fade” at four-bars before Rehearsal I.
At Rehearsal I, “heavier” and a little “held back,” then recover tempo at bar 287.
Overall, time must stay steady.
More “attitude” on the grace notes at the beginning.
At bar 37, strings a little more tenuto on the eighth notes.
At bar 63, violins less “edge” to the sound on the F#.
At bar 73, more bassoon.
Add “forte” to the end of bar 103.
At bar 114, be “clawing” at every note.
At bar 151, more tenuto.
Move the “piano” in bar 153 to 154.
2nd violins and violas match A-flats at bar 31.
Note: Rehearsal B is at bar 127.
Don’t drag at Rehearsal B.
More viola at bar 33. Make sure the triplet on beat 1 of bar 33 does not become an eighth followed by two 16ths.
At bar 39, bassoon and clarinet be careful not to drag.
At bar 45, trumpets be a little more separated.
More brass at bar 77. Make sure the brass 16th notes fit rhythmically with the 16th notes in the strings.
A little more separation on beat 3 and beat 4 quarter notes at bar 77.