Fauré & Duruflé Apr 3 Rehearsal
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
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!
practice hard for next time!
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”
At 71, watch the b-naturals!
Violas, sing out at 71
Horn solo, play out at 72
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
7/8 two before 76 is conducted 2+3+2
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
D-flat is “so important” at Rehearsal A