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Rehearsal Notes 12/5/2016

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Please number your bars.

Tchaikovsky #5

Mvt. I:

Stringendo in bar 131 is ‘subito tempo primo’

Downbeat of bar 152 will be the prep into the new tempo

Be softer at Rehearsal H

Keep rhythmic integrity at Rehearsal N

Strings, back off at bar 277

Violins, less rhythmic at bar 427

Be sure to observe the ‘FF’ down to ‘P’ at Rehearsal Y

Play ‘MF’ at Rehearsal B

A little less strings at Rehearsal C, but play out 3 bars after Rehearsal C

Brass, be very crisp at Rehearsal D

Trombones, crescendo in 2nd bar after Rehearsal D (to the next downbeat)

Mvt III

Be sure to diminuendo at the ends of phrases throughout

1st violins, don’t accent Beats 1 and 3 at bar 73

Clarinets “go to the slurred notes” at bar 113

At Rehearsal I, clarinets and bassoons play lighter

Solo oboe/bassoon, play ‘MP’ at bar 161

More 2nd violin at Rehearsal K

At bar 197, diminuendo from beat 1 to beat 2

Clarinets and bassoons, a true ‘FF’ is needed at bar 231

No ritardando into Rehearsal P

Play softer at Rehearsal P

Slight ritardando at the end of the movement (in the penultimate bar)

Movement IV

In bar 1, basses, violas, clarinets, and bassoons should ‘lift’ with the melody

Downbeat of bar 6 should be ‘pianissimo’

Downbeat of bar 14 should be ‘piano’

Softer tonguing needed at bar 20

Play dolcissimo at Rehearsal B

At bar 57, beat 4 will be a prep into the new tempo

Strings, more crescendo needed into Rehearsal H

Keep tempo steady at Rehearsal O

Ease tempo slightly at ‘tempo primo’ in bar 312

Instant mood change needed at Rehearsal R

At Rehearsal U, leave some space between syncopated notes

At bar 469, 8th note will be dictated by Michael

 

SWAN LAKE

#7:

Poco rit in the bar before ‘molto piu mosso’

‘Molto piu mosso’ is not ‘subito’ (we will ease into it)

#8:

Slight lift before the downbeat at Rehearsal 4

Rehearsal 12 is ‘subito piu mosso’

Rehearsal Notes 11/7/2016

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LISZT

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

BEETHOVEN

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

REHEARSAL NOTES

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REHEARSAL NOTES FROM 10/31/2016

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

Mendelssohn

-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)

Beethoven

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