Rehearsal markings for Spring 2019
Notes from June 5 rehearsal
Templeton
Templeton
- m 130, B: change your rhythm and underlay to match S1AT1
Notes from June 3 rehearsal
Gabrieli
Gabrieli
- m 127-152: lighten up a little unless you have 8th-note runs, which bring out.
- p 19: this movement more legato
- p 37, S: more legato (other voices do the contrasting texture)
- m 50: take 8th rest out of last note for the “t”
- m 52: take 8th rest out of “hung”
Notes from May 27 rehearsal
Svilainis
Svilainis
- Do not breathe between the repeated one-measure “canticum novum” phrases (e.g., m 2-8). Stagger breathe as needed.
- m 1-2: unaccent the second syllable of “Lis-ten”, and make it more of a schwa.
- m 55, ATB: carry thru to the end of the measure, puttings the “s” on the downbeat of 56.
- m 67-79: stagger breathe (no breaths in obvious places like m 68 or 72-74)
Notes from May 20 rehearsal
Gabrieli
Gabrieli
- m 29-31: “Israel” pronounced “Ees-rah-el”
- m 94, T1: mf
- m 94-107: space between “fecit” | “caelum” and “et” | “terra” to hear both consonants
- m 127: mf
- m 132: f
- m 138: mf
- m 143: f
- m 149: mf
- p 4: this movement ”mp with a smile”
- p 8-10, m 36-52: Sing much less than forte (perhaps mp) unless you have the first two measures of the tune (as T does in m 36-37) or you’re an Alto in m 51-52. This marking has been given more than once before, but we’ve been too subtle about it before. Same is presumably true in the penultimate movement, p 55-56.
- p 21, m 4 & 8: unaccent downbeat (“-chen”)
- p 23, m 24: unaccent downbeat (“-ge”)
Notes from May 13 rehearsal
Antognini
Antognini
- m 26: this section conducted in 2
- m 48-49, 51-52: no breath
- m 20, ATB: breath at end of measure is for everyone, not just S
- m 78, A: no breath
- be prepared to start these pieces without Sanford giving a fresh pitch
- m 27-28, SA: no breath
- m 10, 14: ignore the f, continue mf.
Notes from May 6 rehearsal
Bach
Bach
- p 46, m 35-36, T: dim
- p 58: It’s f, but a “happy” f
- m 54, S2: Extend the half note by another 8th so that your rhythm matches B1
- m 60, S2B1: the dim marked for ATB2 also applies to you.
Notes from April 29 rehearsal
Elder
Elder
- m 34, S2: drop the “s” from “so” and sneak in so your entrance isn’t obvious.
- m 61, T: no breath (a change from earlier marking)
- Initial “H” is silent in Latin (homo, homini)
- In the Bass & Tenor ostinato, take 8th rest out of “est” every time (m 10, 12, 14, 16, etc.)
- m 57, A: change the underlay to match m 25
- m 62-63 & 70-71: no breath (same as indicated in m 30).
- On the first page, take the dynamics with a grain of salt. It shouldn’t be too bombastic.
Notes from April 27 workshop
Bach
Bach
- p 22, m 11-13: AT remain f; B dim then cresc
- p 22, m 16-17, SAT: strong on “to-”, unaccent “-be”
- p 36, m 108, S1: make the trill be four 16ths on F#, E, D, E
- m 3-4: no breath
- m 105, S2TB1: you get to cresc, too, even though it’s only marked for AB2.
- m 106: mf
- m 112: dim
- m 113: mf, cresc at “Bless”
- m 13, ATB12: take 8th rest out of “Geist” or “gib”
- m 4 & m 87, SAT: take quarter rest out, so B is exposed.
- m 26: the parts that have “front”, place the “t” exactly as written (the and of 1); B, move the “t” of “wa-ter” to be in exactly the same place (as though “wa-” were tied to an 8th and “-ter” starts after that)
- m 75, SA: separate “heart” and “to”, i.e., we should hear two t’s.
Notes from April 22 rehearsal
Elder
Elder
- There are many tempo changes marked only above the S line. Others might want to copy them to their parts.
- m 9, SA: take 8th out for the breath
- m 19-36: separate “und der”
- m 45: collective breath at comma, watch conductor
- m 1-8: the mood is “grand”
- p 10, m 49-50: lift on the tied quarter note
- p 11, m 64-71, S12: swap parts for better coverage of the piano high G’s
- p 40: the trio movement will be sung by small group
Notes from April 15 rehearsal
Bach
Bach
- p 32, m 90, S12: Bring out the fugue subject (now in thirds) on “Ihr aber...”
- Men stay on your normal line, don’t try to do HML.
- This is not HML—divide within your own staff normally as needed.
- m 67: take 8th rest out of “grass”
Notes from April 8 rehearsal
Dole
Dole
- m 1-2, S: cut off the tied 8ths on “think” and “live”
- p 25, m 7: tenuto on “wie” and “lang”
- p 6, m 20: start this movement “full” (not naming it as f; in fact, all of Bach’s forte markings are not to be taken overly literally, just as a contrast to the piano markings).
- p 8, m 36: slightly detached ¼ notes; also this section is marked forte, but only sing that loud if you have the two-measure fugue subject (m 36 T, m 38 A, m 40 S1, m 43 S2, m 46 B, m 48 T); otherwise, back off a little so that the fugue entrances can be heard.
- p 16, m 99, SAB: back off a little to hear the interesting T line.
- p 23, m 25: this section is p and more legato.
- p 24, m 35-36: dim
- p 24, m 38, S12: take 8th out of “Macht”
- p 24, m 39, ATB: take 8th out of “Macht”
- p 25, m 41: take 8th out of “acht”
- p 25, m 44: take 8th out of “acht”; f on “Erd”
- p 25, m 45: take 8th out of “-tan” (but it’s full value in m 47)
- p 26, m 57, B: the final 8th note is D natural, not D#.
- p 26, m 60-61, S2T: underlay change: make the final ¼ of m 60 “-men,” (and take an 8th out for the comma); m 61 is “ob” on the dotted quarter, “sie” on the 8th.
- p 53, m 1: mf
- p 54, m 11, B: re-slur it so that “von” is 2 quarters and “den” is 2 quarters.
- p 55, m 18: this section is less loud, except for when you have the 2-measure fugue subject (as T does here; this is just like the 2nd movement).
- p 57, m 38: rit
- p 57, m 39, S1: take quarter rest out of the first half note.
- p 58-59: Lift at all commas (notably in mm 1, 5, 7, 17)
- p 58, m 1: f
- p 59, m 10-11: no breath.
- p 59, m 13: mp, dark.
Notes from April 1 rehearsal
Dole
Dole
- All divide HML
- m 20: take 8th rest out of “skies”.
- m 22: lift between the half notes (unspecified duration)
- m 40: take 8th rest out of “bloom”.
- m 44, SATB2: take 8th rest out of “hours”.
- m 55, SB: place the “t” of “heart” on the second 16th of beat 3
- m 75, S1: take 8th rest out of “past”.
- m 76: take 8th rest out of “fast”.
- m 91: take 8th rest out of “sight”.
- m 92: take 8th rest out of “gold”.
- m 93: take 8th rest out of “-hold”.
- m 110-111, S2ATB: Change beat 3 of m 110 and beat 1 of m 111 to (quarter) rests.
- m 116: Sanford will beat each note.
- m 31: take quarter rest (the dot) out of “-jus”.
- m 27, B: low basses sing the C down an octave.
- If you're new to Musica Russica scores, here is a transliteration guide.
- All divide HML
- Vai, Sue, and Rachel will sing the solo on the last page
- p 20, m 14, S2: first syllable is “-macht”, not “frei”
Notes from March 25 rehearsal
Svilainis
Svilainis
- Divide within your part as needed, not HML
- m 44, SAT: take ¼ rest out.
- m 92-93, SA: dim, then cresc m 94 to end
- m 32, S2AT: sing as “splen-dent”
- m 59, T: first syllable of “re-flects” is short “i” (as in “riff”)
- In first movement, men divide HML; in last movement, all divide HML
- m 49, STB: take 8th rest out at comma
- m 51, AB: take 8th rest out at comma
- m 59, AT: take 8th rest out of “-sicht”
- m 64, ATB: dim starting middle of measure
- m 65, SAB: take 8th rest out of “-sicht” or “nicht”
- m 72, ST: take 8th rest out of “-sicht”
- m 75, ATB: m.v. = mezza voce, implying a color change (darker tone)
- m 126: Animato starts 2 quarter notes (“und der”) sooner than indicated.
- p 27, m 64: p
- p 28, m 70, S1: last two 16th notes are D, C, not vice versa
- p 28, m 72, A: ignore the mordent
- p 28, m 72, B: last two 16th notes are A, G, not vice versa
- p 32, m 87, S2: C#, not C natural.
- p 36, m 110, SAT: shorten each of the quarter notes
- p 37: For this chorale, women divide H on top line, ML on the second line.
- p 38, m 6: take 8th rest out of “Lust”
- p 39, m 12: take 8th rest out of “-wusst”
- p 39, m 14, SB: take 8th rest out of “Tod”
- p 39, m 14, A: change underlay for final three 8ths to “Kreuz, Schmach, und”
- p 39, m 15-16, B: Sing “Soll” on the first 4 notes, shifting the remaining words to the right: the last three 8ths in m 15 are “mich, ob ich”, and in the next measure the first two 8ths are “viel”, the next two are “muss”, and the last 3 notes are “lei-”
- p 40, m 17, S: take 8th rest out of “-den”
Notes from March 18 rehearsal
Bach
Bach
- All SSATB movements will be divided HML for the women
- p 4, m 1: mp; lift at the comma
- p 5, m 5 & 7: lift at each comma
- p 5, m 8-9: no breath
- p 5, m 13: lift at comma
- p 6, m 17: p at “Nichts”
- p 12, m 72: this section is detache / staccato, especially the quarter notes.
- p 13, m 78, B: move the “-sto” to beat 4 to match the 3 voices above
- p 13, m 82, B: move the “-sto” to beat 6
- p 14, m 83, S1T: the syllable on beat 2 should be “-sto”
- p 14, m 89, T: there should be no new syllable here (it’s in the next measure); ignore the mordent (for now anyway)
- p 16, m 96-97: lift on the tied quarter note
- p 17, m 1: p
- p 17, m 3-4: cresc
- p 17, m 4-5: no breath
- p 17, m 5: mf
- p 17, m 7: f
- p 18, m 13-14: staccato all 8th notes (except the tied one for T at the start)
- p 18, m 14: take 8th rest out of “blitzt”
- p 18, m 17: p at “Je-”
- Women divide HML. Further subdivisions will be assigned later.
- All divide HML (but there may be some tweaking)
Jesu Meine Freude index
Markings for Bach give page numbers in the Peters edition. If you have a different edition, you can look up the page number below and figure out which movement we’re in. There are seemingly 11 movements, but the first 8 are in pairs if you look at how the measures are numbered (they each make up a single stanza of the hymn).
Markings for Bach give page numbers in the Peters edition. If you have a different edition, you can look up the page number below and figure out which movement we’re in. There are seemingly 11 movements, but the first 8 are in pairs if you look at how the measures are numbered (they each make up a single stanza of the hymn).
- pp 4-16: Jesu, meine Freude / Es ist nun nichts Verdammliches
- pp 17-20: Unter deinem Schirmen / Denn das Gesetz
- pp 21-36: Trotz dem alten Drachen / Ihr aber seid nicht fleischlich
- pp 37-43: Weg mit allen Schätzen / So aber Christus in euch ist
- pp 44-52: Gute Nacht, o Wesen
- pp 53-57: So nun der Geist
- pp 58-59: Weicht, ihr Trauergeister
