SWAN LAKE

#2:

Observe the ritardando getting into bar 15

In bar 36, flutes and clarinets watch the timing

In the 2nd bar of Rehearsal 1, cut-off “with intention”

Strings, at Rehearsal 3, there should be an “impulse” on every note

At Rehearsal 7, 1st violins can play MP, everyone else P

At Rehearsal 14, don’t overplay

 

SYMPHONY

Mvt. I:

Strings, we need a lift between each chord at Rehearsal C

Bar 152 is going to move forward

Hold the ‘FF’ all the way through bars 152/153

Rehearsal K needs to be “playful”

Horns, better rhythmic precision needed at Rehearsal M

Brass, don’t rush at 5 bars after Rehearsal O

Bar 385 should not get progressively slower

In bar 427, should be “tranquil” and “all about beauty”

Release together on the last note of the movement

No ritardando in bar 523

 

Mvt. II:

In bar 43, Michael will dictate the last 8th note of the bar as essentially a fifth conducted beat in the bar

Strings, don’t play aggressively at all in the last 4 bars of the movement

 

Mvt. IV:

Winds, tenuto on downbeats at bar 140; more from 2nd voices needed

Horns, be “bell-like” at Rehearsal H

In bar 174, energy should go to the top of the ascending scale

In bar 236, brass needs to feel the tug-of-war between those on downbeats and those on offbeats

 

MVT III:

Horns, be more graceful at the beginning

Don’t rush the syncopation at bar 68

Clarinet entrance at bar 74 can be MF

Diminuendo to the 2nd note of hemiola at bar 89

At Rehearsal F, woodwinds should emphasize the note groupings

 

MOZART

Should be light and buoyant  

At bar 16, the grace note should be on the beat

In bar 42, don’t be too heavy

Play softer at bar 80

Horns, play less on beat 2 of bar 101

In general, be less aggressive at cadences

There will be a slight lift into bar 160