Rudsamblog

Just a brief note to let people know what we worked on tonight. It was a productive rehearsal!

Movements of the Mass:
Sanctus
Hosanna
Benedictus
Agnus Dei.

Soneta de la noche

El Grillo

Contraponto Bestiale

Hanacpachap Cussicuinin

Se Equivoco la Paloma - particularly be careful with accents and staccato notes - not always the same! Sing what is written.

Rudsambee rehearsal notes, 25.4.18 Guerrero mass: Agnus Dei – Think about the meaning of the words. Shape the phrases and put the stress where it should be. Decrescendo at ends of phrases. Moving parts should be exciting and ping out of the texture. Each new entry should be prominent. Look at where the theme is, and if it is not in your part then be quieter, so that the theme (e.g. 2nd sopranos bar 5) projects through the texture. 1st sopranos should be quieter generally. Vowel sounds are important. If in doubt, sing open ‘ah’, especially on melismas. Benedictus – COUNT, and feel the internal pulse. Whenever there is a comma, cut the end of the note short. ‘Venit’ each time should be a crotchet and crotchet rest. Float the sound; think counter-tenor and swanee whistle Don’t ‘land’ on the final note of the phrase – the last note should be weakest. n.b. Derrick does not want to repeat any of the above information ever again! Hosanna – All sections, start together. Think of the meaning of the words – a bit of punch is okay here; it should contrast with the Benedictus. Emphasise offbeat entries (e.g. basses first entry) Be rapturous! Don’t lose enthusiasm. Sanctus – Make the vowel sound very plain (‘ah’). Keep vowel of ‘Do-‘ open. Bar 316, altos can take the low D up the octave if preferred. Bar 312, sopranos ‘ctus’ should be on the F. Bar 316, tenors, it’s B-flat. Bar 311, basses, it’s B-flat, not A. Bar 319, connect the ‘A’ octaves. Bar 320, crotchet and crotchet rest. All, be ready to go quickly to Hosanna (and back again after the Benedictus). Credo – Words: ‘visibilium’ louder, ‘et invisibilium’ quieter, ‘et in unum Dominum’ medium. ‘Et incarnatus est’ is the most important part of the text so bring out its gravity. Don’t give up on long notes. Think about line. Elide and don’t get stodgy. Ignore any interpretative markings (eg ‘rit’) and follow Derrick. This Mass needs much more work, and individual practice! John has sent a midi-file (oh no I haven't - see my e-mail) and it can be found online as well. El Grillo Everyone please look at the geography of the piece and make sure you have written it in. It is as follows, and Derrick does not want to say this ever again: Bars 1-16. Repeat. Bars 17-28. Repeat. Bars 29-37. Repeat. Then back to beginning. ‘Fine’ is bar 21. (N.b. bar 23 is in 3.) We all need to watch – there may be pauses (eg b 17) and accelerandi (b 15-16). Hanacpachap – pronunciation is as written. Rehearsal next week is at Priestfield.            (notes by April)

ANIMAL SONG
Keep it very light and preferably with the Bar as the beat.
Give the fa'la'las more energy , emphasising the first beat.
The middle section from C is in 4/4 time and the Basses should try to make the line a tune.
On the second page pause before the 3/2 section.
OWLS an CATS should keep to the beat.
Moving into page 2 theBasses should quieten.
All should mark the penultimate final bar to return to bar 12.

GRILLO
All at Bar 6;; don't be so loud that you can't crescendo.
Beware of the 3/2 Bar on Page 2!! There is no pause at Bar 20.
Last 3 Bars::: TENORS should make them EXCITING.

AVE MARIA Villa-Lobos
Keep the whole thing lively and with ENERGY (again), esp around Bar 7 , where probably due to the harmony it becomes all turgid and thick. Sing as 2 beats in a bar instead of 4.
Bar 8 Remember SOPS and ALTOS its 4 Beats.
Bars 13/14 all should stagger breathing if needed.
The PIU MOSSO section starts Piano.
Bar 26 The tricky one:take your time on this, don't rush through it. And SOPS be BRAVE on your high G!

MASS
Altos can miss out their Low B (Cant find where this is I'm afraid) In Kyrie I think.

KYRIE
PARTS should not compete. The consonants on Kyrie and Christe should be heard. For better balance overall the SOPS should be quieter.
Treat your lines as ARCS.. Look at upper parts at Bar 31: when the line goes up then crescendo, and when it descends the diminuendo.. Pick out the exciting BITS in your line.
Bar 29 BASSES make more of your line

GLORIA
Bar 3 Upper parts make room for the Basses!
Bar 66 Tenors:dont slow down. Bars 56/55 Make the words GLORIFICAMUS very Grand and open out the sound.
Bar 91 There is a tempo change and slow down.
Bars 111/112 A BIG Sound here and make the crochets EXCITING, esp if not on the beat.

Geographical Fugue
WE finished with this but no notes to report.

FOOTNOTE
By the way the Council of Trent was held between 1545 and 1563 and was the Catholic Church's response to the spread of Protestantism in Europe.
Notes by Douglas