All posts by winchestersj

We are a community orchestra serving the California Bay Area. Visit our webpage at http://winchesterorchestra.com to find season and ticket information. Contact winchester@pacbell.net, if you are looking for an orchestra to to join.

Rehearsal Notes

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

7:30 Sectionals
   Woodwinds and brass with me in MU14
    Violins and violas with Bill (1st choice – small theater behind MU14, 2nd choice – classroom across from that theater in the middle of the hall; depends on availability)
    Cellos and Bass with Paul across the hall from MU14
9:00 BREAK – To be determined

Rehearsal Schedule

Dear Winchester Orchestra,
Looking forward to digging in to these two beautiful works tonight. I have tried my best to come up with a rehearsal plan that makes sure people are not sitting around too long with movements that they’re not playing – it’s a rather difficult task because there are many combinations within the orchestra for different movements of the 2 requiems. Anyway, here’s the plan:
7:30
Durufle mvmts 1-4; 8
Faure 6, 1, 3
9:00 Break (trumpets and trombones released)
9:10 
Durufle 6-7
Faure 4
Durufle 9
Faure 5 & 7

Rehearsal Notes and Updates

The members website has been updated with notes for the previous rehearsals and listening links. Please update your roster info, if you haven’t already done that. We can use more strings for the next set, especially in the lower range, invite your friends to play with us. Thanks, Dawn

Rehearsal Notes 3/13

COPLAND

Movement 4:

“Major” ritardando at Rehearsal 90

Only accent what is accented

Big crescendo into Rehearsal 74

No caesura at Rehearsal 75

Don’t rush!

Violins, stay forte at Rehearsal 78

Lighter at Rehearsal 81

4 bars after Rehearsal 85, “big crescendo”

“In tempo” at 8 bars before Rehearsal 90

Need to “clear” for the downbeat at Rehearsal 75

Violins and violas, don’t be afraid of the downbeat at Rehearsal 79

 

Movement 3:

Warmer, less “edge”

Rehearsal 68 should be more tender

Trombones with mute at Rehearsal 68

 

Movement 1:

Warmer at Rehearsal 5

Lighter at Rehearsal 11

Huge creacendo to downbeat of Rehearsal 29

Horns, take charge at Rehearsal 34

Brass, don’t lag behind at Rehearsal 34

 

WEBER

Movement II:

Conducted in 6

Feel it in 2 at bar 29, but don’t rush (still conducted in 6)

Warmer at bar 39

Winds, “smoother” at bar 42

Subito PP at bar 58

Rehearsal Notes 1/30

Remember Rehearsal is at West Valley College at 7:00p

MOZART

‘Pianos’ can be much softer

Cut back on volume even more when the soloist is playing

Let the descending 16th notes make a natural diminuendo at bar 23

Make a full lift before bar 160

 

SYMPHONY

Mvt 3:

Don’t rush at Rehearsal N.

Make the ends of phrases prettier.  

1st Violins, don’t rush the 16th notes at bar 73

6 bars before Rehearsal H, those with 8th notes can be lighter

Bassoons and clarinets, we need a true ‘FF’ at bar 143

‘Molto pesante’ at Rehearsal O

 

Mvt 4:

Brass, don’t overplay at Rehearsal C

Subito piano at bar 504

Chords need to be crisp at bar 504

Not too abrasive at bar 526

More “powerful” on the downbeat at bar 538

At bar 472, a forte is fine–don’t need to push a ‘FF’

At Rehearsal R, longer phrases are needed

Don’t drag at Rehearsal D

Needs to be a “dialogue” at Rehearsal E

 

Mvt 1:

Ensemble needs to be better at Rehearsal A

More melody needed at Rehearsal L

Keep the tempo steady at bar 515

The crescendo 4 bars from the end only goes up to ‘PP’

Don’t lose energy 5 bars after Rehearsal Z

‘Molto piu tranquillo’ can still be more tranquil

More 2nd violins and violas at bar 392

Brass can be “warmer” at Rehearsal U

At bar 301, more bassoon, trombones, and horns needed

Must be together on the downbeat of bar 38