Fauré & Duruflé Apr 3 Rehearsal

Durufle:

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

Faure:

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