Rehearsal Notes 11/7/2016


Mvt. IV

Not too heavy.

No prep beat will be given, but the first entire bar will be conducted

Watch for meno mosso at Rehearsal K

4th beat of L, more oboe and clarinet needed

11 after K, strings add an accent on beat 3

14 after K, pizz can be rounder

Really emphasize the first note of triplets at the beginning of the movement (and de-emphasize the beat that follows)

Winds change FFF to F, 10 bars from the end; more “chorale-like”

Strings, more confident entrances at O

Be forte 9 after O (horn and bassoon)

Change accent to tenuto 6 and 7 bars from the end.

Mvt. III

Violins, pizzicato at downbeat of G

Watch the key changes!

30 after H, feel in 1

Pulse stays the same 10 after Rehearsal I (but half note becomes quarter)

Need to hear the tune at Rehearsal I

Crescendo through beat 3 of penultimate bar

Mvt I

Clean lift in bar 2

Crescendo on beat 4 of bar 9

More inner string voices needed 4 bars after A; more winds here, too

8 before B, less edge in sound (violins)

9 before C will be in two

1 before C will be conducted in 4

Mvt II

The entire first bar will be conducted

Mezzo forte at bar 6

Bar 3, don’t diminuendo until 3rd beat

More ‘sting’ on accents and sforzandi at “Recit.”

Watch key change at rehearsal E


Mvt. I

Keep time!

Bigger sfz in bar 153

“Pull” at bar 164

Massive crescendo in bar 189

Oboes don’t lose time at bar 288

Watch tuning at bar 371

Bar 460/461, ‘sting’ (clarinet, bassoon and flute)

Lift at the end of bar 560 and 564

Bar 571, violins ‘go to beat 2’

Mvt. III

Be ‘counting machines!’

Breathe with Michael at the start

Huge crescendo in bar 92



*please be practicing the Liszt on your own at home!


-clarinets and bassoons, don’t rush at bars 39 and 43.

-at bar 216, the last 8th note of the bar will be in the new tempo (of the ‘Animato); the conducted upbeat (beat 4) will be in the new tempo

-2nd violins and violas bring out the melody at bar 230

-don’t get bogged down with all the 16th notes at Rehearsal H; keep tempo moving forward

-memorize the last 5 bars of the piece (to be able to watch better)


Mvt. I:

-keep the overall dynamic of “piano” at the beginning

-forte-piano at bar 23!

-“play as an ensemble” at Rehearsal A

-very “secco” at bar 198 (those with accompaniment figures)

-woodwinds, don’t slow down on 8th notes starting at Rehearsal G

-don’t rush the 8th notes on the ‘&’ of beat 3 starting at bar 240

-bring out the crescendo to a sforzando in bars 406-408

-try to bring out sforzandi at bar 526

-strings, put a small lift before the downbeats at bars 561 and 565

-1st violins “go to beat 2” at bar 571

Mvt. II

-shape the phrase at bar 27; crescendo on the downbeat of bar 30

-in bar 103, the last 8th note of the bar should be “forte”

-back off to “piano” sooner in bar 101

-20% less 1st violins at bar 145

-flutes, less vibrato at bar 145

-don’t decrescendo until after the downbeat of 152

Mvt. IV

-more “impulses” on the beats at the beginning (will help keep ensemble together)

-in bar 1, don’t be late coming off the tie

-don’t forget the rest in bar 38

-“rounder” pizzicati at bar 12

-don’t lose time at bar 119

-softer at Rehearsal B

-at bar 351, subdivide to accurately place the 32nd note

-2nd violins and violas, more “nagging” at bar 410

-really bring out sforzandi at bar 449

-last note of the movement is a “full quarter note”

-horns and bassoons, don’t tripletize at bar 437