Next Week’s Rehearsal & Concert Schedule

  • Don’t forget Wednesday’s rehearsal, Feb 19th at 7:30 WVC

  • Friday’s dress rehearsal will be at Lincoln Glen Church 7p

Please email Ginger if you have to miss.

Concert Cycle #3 with guest conductor Sebastiano De Filippi

Performance: Saturday, February 20th @ Lincoln Glen Church 3p

Dress Rehearsal: Friday, February 19th @ Lincoln Glen Church 7p

Rehearsals: 15 , 17*(Wednesday) @ West Valley College Rehearsal Hall 7:30p

 

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2/1 Rehearsal Notes

Rehearsal Notes 2/1/2016

SIBELIUS (run-through)

(Mvt. 1)

11 bars after Rehearsal 6, the preparatory beat will be on beat 3.

Our guest conductor will beat in 1 starting 10 bars before Rehearsal 11.  He will beat in 2 starting 4 bars before Rehearsal 11.

(Wind Sectional):
(Mvt. 1)

More melody need at Rehearsal 2.  Be very attentive to every specific articulation marking.

8 bars before Rehearsal 3, “diminuendo to nothing”.

Rehearsal 4 needs to be 50% softer so violins can be heard.

At Rehearsal 5, trumpets and oboes don’t lose the quarter note on beat 2 of the second bar.

Clarinets match the articulation of the flutes 25 bars after Rehearsal 11 (when playing the same figure).

(Mvt. 2)

When you have consecutive tenuti, “don’t stop the phrase”.

Need “more tone” on the sforzandi.  The note directly preceding a sforzando should be short, but not clipped.

4 bars after Rehearsal 4, “lift” together before the sforzando.

(Mvt. 3)

At Rehearsal 5, clarinets should play “less clipped” (as if there aren’t rests).

At Rehearsal 12, horns substitute a rest for the eighth note downbeats tied to a half note.

Bring out the moving parts at Rehearsal 12.

 

RIMSKY-KORSAKOV (tutti)

(Mvt. 3)

Brass can be lighter at the beginning.

(Mvt. 5)

16 bars before rehearsal V, horns need to “line up” rhythmically with the melody line.

The ‘Presto’ needs to be “light and crisp”.

Three bars from the end, don’t sustain the downbeat eighth note into the rests.

2/8 Rehearsal Order

Weekly Schedule:

Monday, February 8th 

7:30        Rossini

8:00        Rimsky-Korsakov

9:00        BREAK

9:10        Sibelius

Instrumentation for February 20th Concert (largest to smallest)

Rimsky Korsakov Capriccio Espagnol – 3.2.2.2, 4.2.3.1, timp+3, harp, strings

Rossini Overture to gazza ladra – 3.2.2.2, 4.2.3.1, timp+3, strings

Sibelius Violin Concerto – 2.2.2.2, 4.2.3.0, timp, strings

1/25 Rehearsal Notes

Rehearsal Notes 1/25/2016

 

CAPRICCIO (winds sectional)

(Mvt. 1)

Take dynamic level down one notch at the very beginning.  

At Rehearsal B, Oboes bring out chromatic line.  

Seven bars after Rehearsal B, those with a 4-measure trill, back off after the initial attack.

10-bars from the end, those with half notes, crescendo all the way to the downbeat then diminuendo.  Clarinets and 1st bassoon bring out the harmony changes.

 

(Mvt. 2)

Lift between beats 1 and 2 when beat 2 has a dotted eighth note.  

Rehearsal E1 should have a “huge legato feel.”

At Rehearsal F, no breath between the 2nd and 3rd bars.  Okay to breath between beats 1 and 2 of the 1st bar of Rehearsal F.  

 

(Mvt. 3)

Less weight on the bottom note of the triplets.  

Be sure not to bend the pitch at all on the triplets.  

Flutes can be louder six bars after Rehearsal H.  

 

(Mvt. 4)

More “bravado” at the beginning

Slight ritardando into Cadenza III.

At Rehearsal M, more energy at the beginning of the triplets.  

At Rehearsal N, horns should diminuendo slightly on each 16th note figure.  

At Rehearsal O, phrase “toward the second bar.”

At Rehearsal P, horns need to “lock in” with the melody line.  

Seven bars before the end should be marked  ‘Animato’.  

 

CAPRICCIO (Tutti)

 

(Mvt. 5)

Mordents should have only one “flip” (not played as trills).  

Four bars before Rehearsal T, bring out the hemiola feel.

Five bars after Rehearsal Y, strings should play accents “viciously”.  

10 bars before Rehearsal Z, those with 16th notes play out.  Those with accented quarters on the ‘&’ of beat 1, “sting” the accent then back off.

The ‘Presto’ should be very “secco”.  Phrase “in waves”.  

For those who don’t have metronome markings in their parts:  Movement I is quarter=126, Movement II is eighth=112 (Poco meno mosso is eighth=88), Movement III is quarter=120, Movement IV is dotted-quarter=69, and Movement V is dotted-half=66 (coda is quarter=144, presto is quarter=152).  

 

ROSSINI (wind sectional)

In bar 10 (oboe/clarinet/piccolo), bar 11 (flute), bar 12 (horn), and bar 22 (bassoon), don’t be early playing the 16th notes on the ‘&’ of beat 1.  Be careful not to drag on the triplets.   

At bar 100 (13 measures after ‘a tempo’), clarinet/bassoon/horn be careful not to drag–stay with the melody line.   

Three bars after Rehearsal C, those with the dotted-eighth followed by 16th note pattern, be careful not to tripletize this figure.  Also, keep moving forward here.  

At Rehearsal D, clarinet (and later flute) be right in time on the third-beat triplet (line up with oboe’s third-beat quarter note).  Horns/bassoons play on the front half of the beat so as not to be late in bar three of Rehearsal D.  

Seven bars before Rehearsal E (and the like), piccolo/clarinet/bassoon, be aware this passage slows down in part because of waiting too long at the eighth rest.  Lighten up, don’t get bogged down trying to emphasize each note, and keep the triplets moving forward.  

At Rehearsal E, horns should play on the front half of the beat on the repeated quarter notes on beats 2 and 3, so as not to drag.  

2/1 Rehearsal Order

Monday, February 1st 

7:30        Run Sibelius

8:00        Sectionals

9:10        BREAK

9:20        Rimsky-Korsakov

9:45        Rossini

Instrumentation for February 20th Concert (largest to smallest)

Rimsky Korsakov Capriccio Espagnol – 3.2.2.2, 4.2.3.1, timp+3, harp, strings

Rossini Overture to gazza ladra – 3.2.2.2, 4.2.3.1, timp+3, strings

Sibelius Violin Concerto – 2.2.2.2, 4.2.3.0, timp, strings

1/25 Rehearsal Order

 

7:30 Run Rimsky-Korsakov and Rossini

8:00 Sectionals (Focus primarily on R-K and Rossini. Sibelius sectionals will be on 2/1 rehearsal)

9:20 BREAK

9:30 Sibelius

 

Instrumentation for February 20th Concert (largest to smallest)

Rimsky Korsakov Capriccio Espagnol – 3.2.2.2, 4.2.3.1, timp+3, harp, strings

Rossini Overture to gazza ladra – 3.2.2.2, 4.2.3.1, timp+3, strings

Sibelius Violin Concerto – 2.2.2.2, 4.2.3.0, timp, strings

1/18 Rehearsal Notes

“Imagine what we could accomplish if we weren’t scared.”

CAPRICCIO ESPAGNOL

movement I:

Four bars before Rehearsal A, be careful not to drag–feel it in 1.  

Those who have a quarter note followed by two eighths at the beginning, play tenuto on the quarter and staccato on the eighths.  

Be softer at Rehearsal A.  

Seven bars after Rehearsal C, violins “dig in” to the open E’s.  

Try not to “land hard” on the final note of the movement.  

movement II:

Twenty nine bars after Rehearsal E, mark as ‘Rehearsal E1’.  

Rehearsal E1 should be more ‘chorale-like’.  

Four bars before Rehearsal G should be a ‘subito piano’ (except bassoon).  

Sixteen bars before Rehearsal F (4 bars before ‘Tempo I’), violins shouldn’t play so aggressively that the sound lacks warmth.   

Hold the tempo steady at Rehearsal G.

movement III:

“Throw the triplet away…strum it.”

Horns play lighter at Rehearsal K.  

movement IV:

Rehearsal M should sound like “one instrument”.  More “sting” on the accents on beat 5.  More “bravado”.  

 

GAZZA LADRA

The downbeat of bar 4 (and similar spots) should be heavy, non-staccato, but with slight space before beat 2.  Beats 3 and 4 should be fairly short.   

Bars 11 & 12 (and similar spots) need to be softer and lighter.   

Two bars after Rehearsal A (and similar spots), back off dynamically on beat four to achieve a more effective crescendo.  

Six bars after Rehearsal B, dig into the accents on beats 2 and 4 equally.  

Twelve bars after Rehearsal B will be immediately faster (no accelerando) and conducted in 2.  

At Rehearsal Bb, violas play on the downbeat and not again until ‘a tempo’.  

Six bars before rehearsal C, back off a little dynamically to afford a longer crescendo.  

At rehearsal D, oboe/bassoon/clarinet/horn should feel like one instrument.  

More 3rd horn at Rehearsal E.  

In general, don’t get bogged down with the fast-moving notes and lose time and stylistic feel.   

 

SIBELIUS CONCERTO

movement I:

Six bars after Rehearsal 3 (‘Largamente’) will continue to be conducted in 6.  

Eleven bars before Rehearsal 4 will be conducted in 6.  Eight bars before Rehearsal 4 will be in 2.  Rehearsal 4 will also be in 2.  

Five bars after Rehearsal 4, violins emphasize beats 2 and 4.  

Don’t slow down at Rehearsal 5.

Rehearsal 6 will be conducted in 4.  

Rehearsal 9 can be bigger (soloist is tacet).  

movement II:

Rehearsal 1 will move ahead.

Two bars before Rehearsal 2, drop down dynamically on beat 3.  

There will be a slight hesitation before the downbeat at Rehearsal 2.  

At Rehearsal 3, back off dynamically so as not to cover the soloist.