Friday, June 07, 2019
Rehearsal Notes 5th June
My Guardian Angel
Careful not to drop pitch between bar 8 and 9, think upwards for the octave drop.
When the tune comes in give it direction - think about the words, should have motion.
Crisp vowels! No scooping in Alleluia.
The key element in this pieces is the percussion of the consonants - make sure words are finished properly.
Phrasing really important - not all notes should have the same stress. In particular at bar 33 where Sops and Altos have a different entry to tenors and basses - should be the men that come out of the texture.
Ave Regina
Watch! In the repeat the dynamics and tempo is unlikely to be the same!
Tenors - slightly less sound at valle last bar of page 5, to ensure balance with altos.
- can come out of texture, page 7 in your run.
- careful tuning page 4 into page 5 - one to look at!
Men - lighter generally otherwise it will feel very heavy.
Dreams
Bass entry - piano!
The last hum should be quiet - too resonant at the moment.
Consonants and words in general really important. Accent 'h' in hurled - although not too violent!
Last chord - those on C should think up to keep the tuning. Sopranos to count themselves off.
Subway Piranahs
Keep tempo - quick!
Dynamics really important. Note weird elements like cres to pp.
Bar 25 - basses listen to alto D for your entry note.
Double check tricky intervals - best to memorise!
Non Nobis Domine
Altos - when you are singing the rhythmic sections (matching basses and tenors) blend back into accompaniment.
Shape in male parts bar 41 - cres, decres rather than long held note.
Men should be strong at 56 to keep power and movement going. Also men to be powerful at 85.
Keep tempo in section 59 to 80 we are hanging onto long notes - should be metronomic.
Im Wald
Need to watch!! Tempo will be flexible! Therefore really practice words at home so you're not looking down.
More dance like at poco piu presto. (Listen to second movement Mendellson's second symphony for inspiration!)
Crescesdo page 2 into 3.
The feeling on the last page should be as if we are improvising on the spot. Soprano entries like a cadenza. Can all be overemphasised and fun!
Abendfier
Second verse - phrasing is different, and verse should have a different colour to it eg schemerz - dark, crescendo into this.
Specifically note bar 19, in verse 1 there is a break between beset and zu, but not between gebetes weiBsem in verse 2.
Don't forget the rest in bar 34 in verse 2.
Sops bar 27, look at intervals.
Through the House
Too nervous! Don't be scared of the high notes - use cresendos to get up to them.
Piano sections too soft at the moment, making it sound like we're frightenened! Generally the piece is charicatured - not subtle!
Should have a swell to it, like an accordion.
Envoi
Need to be metronomic.
Be careful not to get ahead of the beat.
Don't worry about wrong consonants - rhythm takes precedence - just keep going even if words aren't right!
Daniel
Watch at the end - Derrick will beat in 4.
E sharps must be brighter in chord at bar 59.
Top of page 8 - more diminuendos in ladies parts.
Hums - more present, especially kick when rhythms and notes change in bar 42.
Dream Angus
Don't crash in at the end! Dynamic is mp.
Men still too heavy coming in at their first entry - should be very soft.
Bar 30 - tenors and altos keep right through.
Basses - check notes last 5 bars, going down to F, not Eb.
Lower parts - careful not to be too loud if you have the tune.
# posted by rudsambass @ 7:55 pm 
