7:30pm Mozart Sinfonia concertante
8:10pm Carmen – full orchestra
9:00pm Carmen – full orchestra
9:30pm Carmen – pit orchestra
Welcome back to Winchester’s 2017-18 Season!
7:30 – 8:45 Full orchestra for the Carmen Suite
8:45 – 9 Break
9-10 – Opera Orchestra for numbers not included in the suite
1) Please fill out the roster form and indicate your availability for the Season
2) Please register for the class
3) Please consider making a donation to the orchestra. Another way to benefit the orchestra is to apply for your company’s donation or volunteer hour matching a grant.
We have hard copies of Carmen for your use, provided by Bay Shore Lyric Opera. The parts for the Mozart Concertante are coming on line as they get prepared.
Rehearsals: May 8 7:30pm @ West Valley College Rehearsal Hall
Performance: Friday, May 12 7:30pm @ St. Joseph’s in San José
Dress rehearsal: Thursday, May 11 7:00pm @ St. Joseph’s in San José
8th notes need to be “constant” at the beginning of the movement
At Rehearsal 11, woodwinds can play out (particularly bassoons).
One bar before Rehearsal 16, more articulation from horns needed
More definitive pitches at Rehearsal 33
Violas take the lead 3 bars before Rehearsal 34
Don’t drag on the duples at Rehearsal 26
Violins, more aggressive two bars before Rehearsal 28
The 3rd bar of Rehearsal 29 is a 4/4 bar–watch closely!
Rehearsal 32 will be slower than “Tempo animato”
Play organ cues at Rehearsal 37
Rehearsal 90-91, brass ‘hit-fade’
Strings, big accent every change in tremolo at Rehearsal 88
“Punchier” at Rehearsal 88, horns
C# is so important three bars after Rehearsal 92
Watch the tuning in the bass line six bars after Rehearsal 92
Two bars after 93 will be in three–then per macrobeat thereafter
Piu Mosso after rehearsal D is in 2
More “bite” on beat 2 starting at Rehearsal F
Last bar, Lou will subdivide on ritardando
No swell in the last bar
Brass, enter ‘piano’
Note: Lou’s tempo is closer to 70 BPM
Slight diminuendo into two bars before Rehearsal E
Tempo primo (last 8 bars), be right in the new tempo immediately
More dynamic contrast 3 bars before Rehearsal C
Last bar, Lou will signal choir to close to “mm” then cuts Orchestra off
Lou will start on beat 3 in bar 1
Hit-fade on accent in bar 6
Don’t anticipate the downbeat two bars before Rehearsal B
Watch articulations 8 bars before Rehearsal H through the end of Rehearsal H
Watch accents 2 bars after Rehearsal J
A little more sound at the beginning of the movement
Don’t lose the 8th note pulse in the 9/8 bars.
Rehearsal 9 should be ‘piano’.
‘Attaca’ into movement 2.
Flutes, play out at Rehearsal 12.
Keep it ‘piano’ at Rehearsal 13.
Celli, take out the slur at Rehearsal 30
Follow the shape of the line at 26, but keep the underlying pulse
Brass, be more precise at 27
Rehearsal 28 should be a ‘big arrival point’.
Flutes, be fortissimo at 32
Watch the key change at Rehearsal 87
Brass, ‘hit-fade’ at Rehearsal 90
At 67, violins bring out the inner voices
Clarinets, “just a murmur” at 66
In the 3rd bar after 76, add a breath at the end of the bar
Violins, no vibrato at 78
At the brass entrance, change the dynamic to ‘MF’
Violins, “float” to the end (last 8 bars)
Violas, please devote some extra practice time to the section at Rehearsal B
Violins, bring out the bottom octave 3 bars after Rehearsal C
6 bars after Rehearsal C, 1st violins double the violas
“Gentle syncopation” 5 bars before E
The ‘FF’ at G stays through to the fermata
The bar before the Largo won’t be conducted
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