Rehearsal Notes

Fauré & Duruflé Apr 3 Rehearsal


Movement 2:

At 13, need to move the tempo more

Piano is “relative”–sing out at 13 when your part demands it

Rehearsal 16 should be a “wall of sound”

At Rehearsal 16, bring out moving 8th notes; crescendo over the barline when you have a tie

Lift before the big 3rd beat pickup into Rehearsal 17–should be a “retake of energy”

In general, repeated notes need to have increasing energy

Horns, be MP at Rehearsal 18


Movement 3:

Rehearsal 19, more clarity between pitches is needed

Rallentando two bars before Rehearsal 26

At Rehearsal 26, 2nd violins need to take the lead

At 27, brass don’t tripletize your duples

Watch the accidentals throughout!


Movement 4:  

practice hard for next time!


Movement 8:

At 82, keep triplets moving forward

Between 83-84, follow Michael better on the accelerando

In general, when accompanying, “crescendi come later and diminuendi come sooner”


Movement 6:

At 71, watch the b-naturals!

Violas, sing out at 71

Horn solo, play out at 72


Movement 7:

Needs to “lilt” a little more

8/8 is conducting in 4

7/8 is conducted 3+2+2

9/8 is 4 pattern 3+2+2+2

10/8  3+3+2+2

7/8 two before 76 is conducted 2+3+2



Movement 1:

In bar 1, don’t diminuendo all the way to nothing–stay piano

In bar 6, the crescendo should start on the 4th beat–not before

Stay forte in bar 9.  

Crescendo to the downbeat of bar 19


Movement 3:

D-flat is “so important” at Rehearsal A

Rehearsal Schedule Reminder – 4/10

7:30 Sectionals
   Woodwinds and brass with me in MU14
    Violins and violas with Bill (1st choice – small theater behind MU14, 2nd choice – classroom across from that theater in the middle of the hall; depends on availability)
    Cellos and Bass with Paul across the hall from MU14
9:00 BREAK – To be determined

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