Here are some reminders and things that still need attention:
- Good job trombones in the second repeated section. Thanks for working on the timing there.
- Brass keep it really quiet in the third repeated section. This will be especially important with the acoustics in the Forum.
- Percussion don’t rush on the final repeat. Let it be a nice maestoso tempo.
- Strings at the beginning and A and B, remember to subdivide in your head (“one and two and three and four and”) so that it doesn’t rush.
- Woodwinds 4 before A – very soft and then fade away at A.
- Flutes, bassoon, and trumpet at B – very soft little “blips” that are no louder than the string pizzicato.
- Horns at B (and similar spots like between E and G) – don’t lose time trying to find a note or to correct a missed note. Recover as quickly as you can and stay with my beat.
- Please observe the printed dynamics, and especially the ones that I added or changed – G to H in particular.
- At J and L, bring out the descending quarter note scales if you have them.
- At M, start at a true piano dynamic.
Dvorak 1st movement
- Horns maintain the tempo between m. 8 and 11. The leaps and the crescendo are causing you to get a little out of sync with me.
- 6 before B, true 16ths in the strings. Not grace notes.
- Trombones and tuba entrance after C – bigger and more majestic.
- D – make sure dotted quarter note plus eighth note rhythm is precise – not double dotted.
- 9th bar of D – woodwinds be careful of accidentals and counting.
- the bar before 7 – violins, make sure everyone ends exactly together on beat 2. There always seems to be one person who finishes after everyone else. Don’t be that person. (Same thing 3rd bar of K.)
- Trumpets hold on to the high notes before the end. It’s fine to play them louder if that will keep them more secure.
Dvorak 2nd movement
- Cellos and basses are too heavy and threatening at the beginning. Remember that the piano dynamic is for the entire section, not for each player. If 10 cellists are playing piano, then the section dynamic is going to be more like mf.
- letter A as soft as possible in the winds and horns. I’m deliberately keeping these 6 bars in a static tempo and then moving again in the 7th bar of A. Watch for it. (Same thing before F: 13 before F static, 9 before F moves.)
- The 7 bars before B was a real mess on Monday. Please look at that before Saturday and figure out how to count the rhythms in 4.
Dvorak 3rd movement
- In the second repeated section, the clarinets, bassoons, and violas need to be more together. Keep it soft and don’t drag. The cellos have a steady quarter notes here – I’m sticking with them, so please make sure that you stick with me.
- Letter A was pretty weak the 1st time on Monday, but it got better with each repeat. Let’s make sure it’s good the very first time.
- The trio section still sounds a little hesitant and uncertain.
Dvorak 4th movement
- Keep dotted quarter note eighth note rhythm precise throughout.
- Cellos need to be very soft and flexible at the beginning. Don’t force the sound.
- 8th bar of B and 8th bar of H – 2nd oboe scales need to be cleaner.
- Really observe the piano part of fp markings.
- E – very powerful and sustained 3rd and 4th horns.
- 13 after E – big and brassy
- After letter L, the ff pesante in the brass can be bigger and rounder and more powerful.
Thanks for all your hard work to pull this concert together. Remember to spread the word so we can have a large enthusiastic audience. See you at 10:00 on Saturday morning, or at 9:00 if you can help set up.