Notes from February 24 rehearsal
#2
​m 16 (SA) or 18 (TB): dim on “Lord” so you can cresc out of it
​#15
Sanford is calling for “special effects”.  True pp to start.
#32
​Sanford reversed course and is back to wanting “shall” pronounced approximately ʃɛl.
#41
The sit cue at the end has changed.  Sanford now wants us to sit on the downbeat of the last measure of this movement (m 61), rather than on on m 1 of the next movement.

Notes from February 17 rehearsal
No new markings

Notes from February 10 rehearsal
#22

• m 80-82: mf (beginning with basses)

#23

• m 53: lift after “perish!”

Notes from February 3 rehearsal
#41

• m 38, AB: eighth off dotted quarter

#43

• m 125-6, A: text underlay to match other voices
• m 125: lift before final “Amen”

Notes from January 27 rehearsal
We’ve continued numbering our measures. Do so now (see above), so that you can interpret the markings below.
#22

• m 22, B: no breath
• m 36–76: tenuto on the low note “though” that starts the fugue subject (i.e., make sure it’s heard)
• m 96, STB: take the dot off (this marking is in the Dec 9 notes, too, but it’s not clear everyone got it)
• m 98–103: bring out “Be not afraid” every time you have it, less on everything else.

#23

• m 32: mood is conspiratorial, a little breathy
• m 38, S: take 8th rest out

#24

• m 19, B: dim second half of measure
• m 23, TB: dim
• m 27, A: ff

#29

• m 57: take 8th rest out of “not”

#32

• Pronounce “shall” much closer to ʃal than you would otherwise be inclined (different advice than an earlier rehearsal, when he was indicating ʃɛl)
• m 2: take 8th rest out of last note
• m 4: take 8th rest out of last note

#35

• m 29: this f is subito
• m 32: cresc, so that the next measure f is not subito
• m 39: take dot off “earth” (T can lift before “His” an unspecified amount)

Notes from January 20 rehearsal
We’ve decided to number our measures, so that we can work well with orchestra. Until everyone’s caught up, though, tonight’s notes will remain in the page.staff.measure notation.
#1

• 10.1.3, B: f
• 12.1.2, 12.2.2: solid “nə” release at end of “Zion”
• 15.2.1, A: unaccent second syllable of “cleaveth”

#2

• Reversing an earlier decision, we’ll sing this as written, with the soloists on the top lines and SA, TB on the bottom lines.
• 17.1.3–5: messa di voce (hairpins) on “Lord”

#5

• 23.2.1, S: take 8th off “not”
• 23.3.1, S: take 8th off “not”
• 23.3.4, S: take 8th off “us”

#6–9

• We’re cutting these movements

#10

• 56.2.2: “Elijah” is i-lai-dʒa
• 59.2.5–6: take quarter rest out of all 3 notes (“Let”, “him”, and “be”).

#11

• In the dotted eighth + 16th note figures, lift on the dot for clearer rhythm. Sanford specifically called out 60.2.5 T1, 60.3.2 T, 61.2.2 S.
• When you have the second syllable of “an-swer” on two notes, move the “-swer” to the second note. This affects 60.3.2 T, 61.1.1 S, 61.2.4 ST, 61.3.4 ST.

#13

• 72.3.4: take 8th out
• 73.1.3: strike the tied quarter (place the “s” of “us” there)
• 73.1.5: strike the tied quarter
• 73.2.1: take the dot off “us”
• 73.3.2: take the dot off “Baal”
• 74.1.5: take 8th out

Notes from January 13 rehearsal
#15

• 78.1.2: no breath

#16

• “consume” is kɔn-sjum; “Israel” is ɪz-re-ɛl (as already noted elsewhere).
• 82.1.2–82.2.3: Lift on the dot of “Him” (in “Him up-on”). Perhaps a glottal on “up-” as well.
• 83.2.2: “hear” is hɪə, with the ə coming at the very end. Be sure not to omit it. Similary, “our” is aʊə, with the ʊə coming at the very end.

#19A

• 92.4.2: take 8th rest out of “-lief”
• 92.4.3: lift at comma
• 92.4.4: glottal on “O”
• 94.2.2: take 8th rest out of “sin”
• 94.2.3, SAT: lift at comma; B: take dot off “Help”
• 94.2.4: glottal on “O”
• 96.4.1–3: lift on the dot of “God”

#20

• 98.1.5, B: take 8th off (correction to Dec 9 marking)
• 98.2.4: take 8th off “land”
• p 99–101, 106–107: In “rush a-long”, glottal on “a-”.
• p 102–104: In “But the Lord”, be sure “Lord” gets more stress than “But”

#22

• “saith” is sɛθ (with one exception noted below)
• “near” is nɪə, with the ə coming at the very end. Be sure not to omit it.
• first syllable of “be-side” is bɪ, not bi.
• 120.2.1: reduce the dynamic here so we can cresc to end.
• 121.3.7: change “saith” half note to “say-eth” on two quarter notes. Be sure not to stress “-eth”

#23

• 125.4.4: after this measure, go directly to #24, thus deleting p 126 and top of 127.

#24

• 131.2.3: rit

#28

• Women divide HML
• No breath in first measure.

#29

• Women divide SA, the peculiar staff marking notwithstanding
• “Israel” is ɪz-re-ɛl (as already noted elsewhere).
• 141.2.2, S: take 8th off
• 141.3.2, ST: take 8th off
• 142.1.1, T: cresc
• 142.1.2–3, A: no breath
• 142.2.1: this is a subito p
• 142.3.1–145.1.2: flip the “r” in “grief”
• 146.3.1: separate “sleeps” from “not” (do this elsewhere, too, but this is the most conspicuous one)
• 147.1.3: separate “-bers” from “not”
• 147.1.4: take 8th out of “not”

Notes from January 6 rehearsal
#32

• Pronounce “shall” much closer to ʃɛl (“shell”) than you would otherwise be inclined
• Pronounce the second syllable of “endure” djʊə (to rhyme with “pure” not “poor”)
• 151.1.2: contrary to last rehearsal’s note, Sanford is not specifying eighth off “end”. He might do one 2 measures later but hasn’t said so for sure.
• 152.3.1–2: dim

#34

• Pronounce first syllable of “behold” bɪ, not bi.
• 155.1.2, TB: start mp and dim
• 155.3.3: turn page early to avoid big sound in the gap
• p 155–156: last vowel in “upheaved” and “shaken” is ɛ, not ə
• 157.1.2, TB: dim
• p 158–160: “fire” is faɪə, with the a held until the last moment (but be sure the ɪə is still there).
• 159.1.3, SA: take off the tied quarter
• p 160–163: make the vowel of “and” almost ɛ (as was done with “shall” above); second syllable of “onward” is wəd.
• 162.1.7, A: the pp goes for you, too
• 162.2.6–7 & 162.3.2–3, SAB: cresc/decresc (“hairpins”). T do the same 2 bars later on your “onward came the”
• 163.2.4: take quarter rest out.

#35

• Sanford is planning to do this with an assigned solo octet (2 on a part) and everyone else sing the chorus.
• p 165: “Sabaoth” is sabaot
• 166.1.4, T: double the A part for just this measure
• 166.2.3: take 8th out of “Lord”

#36

• 169.1.1: “Israel” is ɪz-re-ɛl.
• 169.2.1, SA: divide HML

#38

• 175.1.1: Replace first two beats with a half note. Pronounce “Sinai” as si-naɪ, with si going on that half note, and naɪ on beat 3.
• p 176–177: roll or flip the “r” of “fiery”
• 179.3.3: dim

#41

• 183.1.4, TB: take quarter rest out of “one”
• 184.1.2, T: “the” not “he”
• 185.2.1, A: change your rhythm on beat 3 to match S
• 185.2.3: unaccent “-vant”
• 185.3.4: dim
• p 186: lower the dynamic to around mp-mf, make it lyrical
• 187.2.2–187.3.2: unaccent the unstressed final syllables of “wisdom”, “-standing”, “counsel”, “knowledge”

#43

• p 193–198: last syllable of “Creator” is tə.
• 197.3.2, S: change last note from “with” to “thy”
• 198.2.2, S: change last note from “with” to “thy”

Notes from December 9 rehearsal
#19A

• 92.4.2: eighth off “-lief”
• 94.2.2: eighth off “sin”
• 97.1.1, S: tied quarter off
• 97.1.2, SAT: eighth off “-cies”
• 97.1.4: eighth off last note
• 97.2.1: eighth off

#20

• 98.1.5, B: eighth off [ed: was quarter originally, corrected to 8th on Jan 13]
• 98.2.6: eighth off “land”
• 106.2.1, A: underlay for last beat should be “be to”

#22

• 114.1.1: only mf, not f
• 120.3.3: take quarter rest out of “-fraid” (for A this is the tied quarter)
• 121.2.2, A: take off tied quarter

#23

• 124.1.2, S: eighth off last note (get out of the way of soloist)

#24

• 131.1.2, B: quarter off

#29

• 142.2.4: eighth off “sleeps”
• 144.3.4, SA: eighth off first half note
• 145.3.4: eighth off “not”
• 146.2.3, T: second quarter should be D not F# (matches 145.3.3)

#32

• [This marking retracted: 151.1.2: eighth off “end”]
• 151.1.6: eighth off “end”
• 152.1.5, S: p like everyone else
• 152.1.5, A: last note should be tied to next measure

#34

• 160.3.2, A: the invisible first note is a half note E

Notes from December 2 rehearsal​
#1

• 8.2.1: take 8th rest out of “Lord”
• 8.2.3: take 8th rest out of “us”
• 10.3.1, B: the last note is low A, not C (as in orchestra)
• p 13 + pickup: notice who has melody (tenor, then alto 2 bars later, then soprano 2 bars later) and let them come thru.
• 13.3.1, S: sf on first note
• 14.1.2–14.2.3: cleanly articulate the dotted 8th + 16th rhythm, which probably requires lifting on the dot for clarity.
• 14.2.3: cresc the last half of bar
• 14.3.1: take 8th out of “-ver”
• 14.3.3: take 8th out of “gone”; start the dim on “and”

#2

• ​“prayer” = preə

#5

• “wrath” = raθ; “pursue” = pəsju; “destroy” = dɪstroɪ
• 28.1.6-7: no breath
• 28.2.3: sf on “fourth”
• 31.3.1: there should be “s” at the end of “-sand”. Also, the f is for everyone, not just AT.

#11

• “Baal” = bel; “answer” = ansə; “God” = gɔd
• 60.1.5–62.1.1: take 8th rest out of every half-note “us”
• p 62–67: flip the “r” of “hear”. (This is different from most other terminal “r”s, which are reduced to schwa.)
• 62.2.6, AB: this should be a dotted half note
• 62.3.2, AB: take quarter rest out
• 62.3.6, ST: take quarter rest out
• 63.1.4, AB: take quarter rest out
• 63.2.1, ST: take quarter rest out
• 64.2.2: take quarter rest out
• 64.2.6: take quarter rest out
• 65.3.2, AB: take quarter rest out
• 65.3.3: mf
• 65.3.6, ST: take quarter rest out
• 66.1.4, AB: take quarter rest out
• 66.3.3: take quarter rest out
• 67.1.1, ATB: (no change, this is full value)
• 67.1.5, ATB: take quarter rest out
• 67.2.2, B: take quarter rest out
• 67.2.4, T: take quarter rest out
• 67.2.6, SA: take quarter rest out
• 67.3.6 subito

#13

• 74.2.2: take 8th rest (the dot) off first note

#15

• “cast” = cast; “burden” = “bədən”
• 78.1.1: dim, not cresc