Rehearsal Markings for Winter 2023
Notes from Feb 27 rehearsal
Kverno
Kverno
- m 32: change the final letter of the last word: the correct word is fu-tu-rus
- m 36: take a quarter rest out
- m 76: take a quarter rest out
- m 87: take a quarter rest out
Notes from Feb 20 rehearsal
Rizza, Samuelsson, Stamponi, Piazzola
Rizza, Samuelsson, Stamponi, Piazzola
- Sanford will give a pitch nearer to middle C instead of down in the bass octave (same note, octave up)
- m 2-4, T1: Don't sing. Come in on your part in m 5
- m 62-63: Sanford is going to conduct this as 6/8 + 6/8 + 2/4 to line up with the moving figures.
- m 70-71: Sanford is going to conduct this as 6/8 + 6/8
Notes from Feb 13 rehearsal
Matsushita
Matsushita
- m 54: rit, and Sanford will take a short pause before starting m 55
- m 20: take the dot off the tied 8th, so the “s” falls exactly on the and of beat 1
- m 33, B: the ff starts on the F
Notes from Feb 6 rehearsal
Antognini
Antognini
- m 65, S12TB: Sanford might decide to cut us off on the downbeat (dropping the tied 8th), so watch
- m 66, A: drop the tied 8th.
- m 57-58: cresc for all voices, not just S
- m 39, B: dim
- accompaniment parts lift between the 2-bar phrases as suggested by the slurs (e.g., ATB end of m 2, 4, 6, 8)
- m 6-7, B: no breath
Notes from Jan 28 workshop
Samuelsson
Samuelsson
- m 13: there will be a breath at the end of the measure, but ATB make sure you wait for S to move before taking it
- Note that some of the dynamics and tempo markings are only above the soprano line, so transfer them to your part when appropriate.
- The many accent marks merely line up with word stresses and would be better written with tenuto marks.
- m 8-9: no breath
- m 10: breath at end
- m 11: breath at end
- m 14: mp
- m 20-21, TB: cresc and no breath
- m 22: breath at end (8th rest)
- m 25: breath at end
- m 26-27: cresc and no breath
- m 34: breath at end (8th rest)
- m 36-37: no breath
- m 39: breath at end
- m 41: breath at end
- m 42: swell below alto line is only for altos
- As the endnote indicates, there are no collective breaths, other than at the few explicit rests. However, we may take one at the double bar m 34.
- m 15: f both times. The other refrains (m 38, 61, 84) are p on the repeat
- m 24: no breath
- m 32: take 8th rest out of “-um”
- m 98-99, B: do not attempt to sing anything on the “et” — it's a typo.
- m 73, S1: notes should be identical to m 69 (i.e., the 16th notes A, B are missing at the end)
- m 39, B: dim
Notes from Jan 23 rehearsal
Schafer
Schafer
- Note that the dynamics (but not accents and staccato marks) are below your words, rather than in their usual location above the staff. Everyone has different dynamics, so don’t be distracted by the ones for the voice above you.
- Close to the "ng" on every syllable, rather than holding the vowel.
- Make the staccato notes nasal. Think about pronouncing them “d_nk” rather than “d_ng” to get the necessary separation.
- m 12, T: the quarter note is missing a dot
- m 31, T: the half note is missing a dot
- m 43, ATB: last beat quarter rest
- m 53, A: there are staccato marks and accents missing. Sing it like m 52
- m 61, S: the G’s all have the wrong syllable, should be “dang(a)”
- m 83, STB: last beat quarter rest
- On “va vam pa vam”, close to the m’s each time.
- m 1: cresc to mp in m 2
- m 3: decresc to p in m 4
- m 5: mp
- m 6: mf
- m 8, S: the notes after the fermata are in the new tempo of m 9 (faster)
- m 11, A2: join the A1 line for the last 3 notes. Also, sing the A1 syllables for the previous 2 notes instead of “pa vam”
- m 15, A2: join the A1 line for the last 3 notes.
- m 42: ff (there’s been a steady cresc since m 31)
Notes from Jan 16 rehearsal
Rizza
Rizza
- m 1-4, TB: no (collective) breath
- m 5-6: lift after “Maria”, no breath after “Ave”, lift at end of 6. Those rules apply every time this pattern appears: m 7-8, 9-10, 11-12 (except the lift is at end of 13), 44-45, 46-47, 48-49, 50-51 (except for the final lift, obviously).
- m 14-16, TB: no (collective) breath
- m 22: lift before “et”, which will add time (watch)
- m 23: lift at end
- m 24-25: no breath
- m 25: lift at end
- m 26-27: no breath
- m 27: lift at end
- m 28, TB: change word to “tu-i”
- m 29-30: no breath
- m 33-34: SA lift at bar line, TB no breath
- m 35: lift at end
- m 37-38: no breath
- m 38: lift at end
- m 39-40: no breath
- m 40-41: T lift, SAB no breath
- m 41: lift at end
- m 42: p
- m 42-43 no breath
- m 43: lift at double bar
- m 44-51: (see earlier notes about mm 5-12)
- m 52: S drop the “-cum” (so you can breathe), A1 sing that note (E) instead, as a half note
- m 52, ATB: lift after “-cum”
- m 52: lift at end
- m 53-56, TB: no breath
- m 9, S: change the rhythm to dotted quarter followed by two 16th notes
- m 13, S: see m 9
- m 23: fermata on beat 1
- m 25: first time, mf; second time pp
- m 31: second time, cresc
- m 34, ST: change rhythm of last 3 notes to be 8th note followed by two 32nd notes.
- m 36, ST: change rhythm as in m 34, but apply the change to both halves of the measure (“mi” and “sin” are the 8ths)
- m 40: fermata on beat 1
- m 30: women divide SSA
- m 68, S2AT: lift at comma
Notes from Jan 9 rehearsal
Grímsdóttir
Grímsdóttir
- m 1: mf
- m 3: p (echo). We’ll probably start each verse similarly, but Sanford hasn’t given specific markings yet
- m 15 & 38: sing p on the repeat (perhaps also 61 but he hasn’t said yet)
- m 84: sing p on the repeat, but start a cresc in m 88.
- m 93: the rit will start here
- Women divide SSA as written; men divide HML thru m 32
- m 1-8: Women divide HML
- m 91-107: Women divide HML
- m 94, 96, 99, 100: the breaths are all 8th rests
- m 113, 115, 117: lift (as the slurs would indicate)
- m 72-73: There should be no text here. Everyone sing “mm”
- m 75-76: A2 sing with T1 on the upper tenor part
- m 27, SA: The second syllable of “I-sai-ah” is “eye” (IPA: ai)
- m 28, SA: take 8th rest out for the comma. Next collective breath is in m 33.
- m 38-43: take 8th rest out for each comma.
Notes from Jan 2 rehearsal
Busto
Busto
- m 26-27: no breath
- m 43: T2 sing the upper bass G; B sing the lower 2 bass notes.
- m 9-11, 13-15, etc: on the accompaniment parts, sing “va vam” rather than “vam vam”
- m 27, 30: “gracia” is more commonly spelled “gratia” (and pronounced gratsia, of course)
Notes from Dec 5 & 12 rehearsals
Antognini
Antognini
- Women divide HML.
- m 10-16: women divide HML (m 17 to end it’s SA as written)
- m 24, B: there’s a slur missing on notes 4 & 5 (“pot-”)
- Men divide TBB as written, except for a few changes listed below
- m 19 & 23, T: delete the G (it’s in the bass)
- m 20 & 24: All T sing the upper notes, B1 sing the lower T notes, B2 sing the B notes
- m 31 & 71: T2 join B1 on the D.
- Follow the suggestion from the front page of singing the last two 8ths of each measure as “din-tak” rather than “na na”. For measures in which the last 2 beats are 8th note + 8th rest (e.g., m 9 for ATB), just sing “din”.
- Turn every dotted quarter into quarter + 8th rest (mm 4, 8, 12, etc).
- m 21-end: Women divide HML on the top 3 notes. T sing the bottom note when there are 4 notes (m 20-24, m 36+pickup to end). In m 20-24, these are exactly the tiny notes in the T staff.
- m 38-39, B: B1 sing the notes on the T staff, B2 sing the notes on the B staff.