Rudsamblog

La la la.....
Keep the speed up, remember quiet and bouncy

5 Hebrew Love Songs (Whitacre):

II Kala:
ALTOS watch the phrase in bar 56, make sure you're sure (seemed fine when we went over it)

In the transition between movements II and III, i.e. going into Larov, Ollie will beat 1, 2, 3 and the SOPS come in on the 3, i.e. he's beating quavers.

III Larov:
More f in bars 6,7. In particular, ALL VOICES should attack their U in U-vey-ney in bar 6 by means of a bouncy emphasis.
Some pronunciation:
_ch_ = dry & throaty, a favorite in dutch and arabic
ch = hard
the e in she and bey is like the e in red

V Rakut
Right at the end, Ollie will bring the SOPS off their final note.

Kanarbik (Tormis):
BASSES watch Ollie (*!!!*), he will give us our cues for starting and coming off the two phrases Kurb lila..... and Pai ke se....
EVERYBODY ELSE remember that at the end of page 1 Ollie first brings the basses off their Pai ke se....., then everyone else off their long held notes.
Page 2: *COUNT* *TRIPLETS*! Don't drag!

On Hillus suvi / Autumn Landscape (Tormis):
Slightly louder */mf/* in bar 9 than we have been doing, so that there's something to decrescendo into in the next bar.
More f on the Ja seda suve entry bar 14, i.e. a more weighty poco pesante.
Remember dynamics in bars 15 - 18, which are:
Ja seda suve - f
ei tule enam - dim. (softer)
ei tule enam - growing again, though not back to f
sede suve - dim. to p

ALTOS - nice melody bars 10-13 - give it the love it deserves

Morgenstern (Pärt):
Good. Remember what you look like, standing there singing in front of people.
HENCE
Look up, especially right at the beginning.
Ollie will give us all our notes for the opening chord I believe

Envoi (Bettinis):
Remember the all important Crescendo start of page 2, bar 11. If it doesn't happen, it's not so much like the soufflé not rising as it is as if we forgot to turn the oven on in the first place.
Staying synchronised is everything in this piece.
HENCE
LOOK AT OLLIE

En une seule fleur (Lauridsen)_:
Attack the En in Enchantée whenever you sing it, in a timely fashion (i.e. on the first beat of the bar). The whole idea is that this clear articulation and timing will mean things don't fall part so much, especially on page 2 when the ALTOS are offset by one beat.
Remember there are quite a few speed changes throughout this piece, so keep your eyes on the traffic warden or he'll write you a ticket.

The choice of potential encore was briefly discussed but I think Ollie settled on the Crow and the Frog, wanting to get it out of the way so we have it under our belt.

# posted by rudsambass @ 3:33 pm