May 1st Rehearsal Notes

Schedule Reminder

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

Durufle

#2:

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

 

#3:

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

 

#8:

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

 

Faure

#6:

Piu Mosso after rehearsal D is in 2

More “bite” on beat 2 starting at Rehearsal F

 

#4:

Last bar, Lou will subdivide on ritardando

 

#3:

No swell in the last bar

Brass, enter ‘piano’

Note: Lou’s tempo is closer to 70 BPM

 

#5:

Slight diminuendo into two bars before Rehearsal E

Tempo primo (last 8 bars), be right in the new tempo immediately

 

#7:

More dynamic contrast 3 bars before Rehearsal C

Last bar, Lou will signal choir to close to “mm” then cuts Orchestra off

 

#2:

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

Apr 24 Rehearsal Notes

DURUFLE

Mvt 1:

Don’t lose the 8th note pulse in the 9/8 bars.

Rehearsal 9 should be ‘piano’.

‘Attaca’ into movement 2.  

 

Mvt 2:

Flutes, play out at Rehearsal 12.

Keep it ‘piano’ at Rehearsal 13.

 

Mvt 3:

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

 

Mvt 8:

Watch the key change at Rehearsal 87

Brass, ‘hit-fade’ at Rehearsal 90

 

Mvt 6:

At 67, violins bring out the inner voices

Clarinets, “just a murmur” at 66

 

Mvt 7:

In the 3rd bar after 76, add a breath at the end of the bar

Violins, no vibrato at 78

 

FAURE

Mvt 3:

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

 

Mvt 5:

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