What we accomplished in the rehearsal on—
Tuesday, November 6, 2018—
We reviewed all the Koontz movements except for 3—and the composer was there. It was intense—but we got through it all—and moved forward. There were some truly brilliant moments in terms of sound. We are getting there.
We also reviewed:
Holst—ran it and fixed a few things primarily related to rhythm—maintaining tempo—dynamics—and diction.
Britten—from the solo in the middle—to the end. We particularly tuned up the high G# for the sopranos at the top of the second to last page. That is really tricky to hear.
Handel—movements 1 and 2. We ran them—and it was a little rough as we have not done that for a while. We then tightened up several spots—and marked them for further review.
Tuesday, October 30, 2018—
Had good reviews of:
Britten—a very good review of pages 5 – top of 9, and also truly establishing the correct tempo in the following section.
Holst—a strong review of the full second half
Handel—reviews of the main musical thematic ideas in movements 1 and 2—and how to correctly articulate them.
Koontz—we reviewed—and the review went pretty well!:
Movement 6—full review of all entrances.
Movement 2 measures 50 – 61. and measures 65 – 78
Movement 4—measures 96 – 104
Movement 3—we ran it
Tuesday, October 23, 2018—
Holst—reviewed in detail and ran the first part with accompaniment
Reviewed Koontz, movements 1 and 2, running large sections.
Koontz—ran movement 3—focusing on pauses, tempo fluctuations, and articulations
Touched the opening section in Britten—the chant-like section, focusing on precise counting—and watching for cues.
Tuesday, October 16, 2018—
Britten—reviewed tricky spots and ran some sections. Lots of work still to be done on details—and sometimes both tempo and intonation! We set stuff for the masterclass—and learned a lot there that we will apply going forward.
Koontz—focused on movements 3 and 4—which went well. We ran full sections of both.
Koontz, movement 5—which went well—ran long sections.
Holst—this will need more review for details—it has been too long!
Tuesday, October 9, 2018—
Reviewed Koontz, movement 6 — both together and soloists separately—and put it together.
Reviewed all of the Britten—and ran long sections—but not all the way through
Worked some of Koontz, movement 4 together. The soloists also coached that movement separately.
Tuesday, October 2, 2018—
Rehearsed in sectionals:
Koontz, movement 5
Holst—page 12 – end, focusing particularly on the 8-part splits
Came back together and reviewed those pieces, all of which went very well!
After the break, we:
Reviewed the middle (forte) section of Britten—with a focus on the tricky bass spots—and then we reviewed the transition in Britten from the chant-like section into the forte section on the top of page 9. That went well.
We also reviewed Britten bottom of 17 – 19. That will need more work.
Reviewed Koontz, movement 6 pages 63 – 64—in anticipation of the following week’s rehearsal.
Reviewed sections of both movements 2 and 18 in Handel to see what we remembered. Movement 2 will need some review—movement 18 was more solidly remembered.
Tuesday, September 25, 2018—
Introduced together: Koontz—movement 4 together—repeated thematic ideas showing the little differences
Learned in sectionals:
Combined above together—which went pretty well!
Reviewed Britten—full, fast section (top of 9 – bottom of 15) with attention to detail—and the final section (bottom of 17 – end)
Tuesday, September 18, 2018—
Together—Reviewed a bit:
Previewed a bit:
Sectionals (Ted with all TB, me with all SA)
Came back and put it together—it went reasonably well!
After the break—worked together:
Britten—the fast tempo section we worked in sectionals last week
Tuesday, September 11, 2018—
Learned both together and in sectionals:
Holst—through top of page 10
Britten—top of page 9 – page 15
Koontz—all of movement 2—particularly focusing on pages 21 – 27
Reviewed “Hine ma tov”
Tuesday, September 4, 2018—
Sight-read movement 1
Reviewed movement 18
Movement 1—all—focusing on hearing intervals.
Movement 2 up to top of page 20
Britten—read together the bottom of 7 through the top of 9, and reviewed the first section as well
We reviewed “Carol of the Bells”.
We introduced ourselves to each other.
Tuesday, August 28, 2018—
Did a variety of warm-ups to establish proper support, intonation, vocal techniques, and overall sound.
Brought the performance calendar to everyone’s attention—including the “Masterclass” on Thursday, October 18 with the professional vocal ensemble The Thirteen, which is coming up from D.C.
Britten—the first full movement—focusing on chant-like feel, and emphasizing word accents, becoming able to continue as we added the organ. We also read the very ending—final two pages—for the expressiveness of the words “Let me never be confounded.”
Handel—The entire final movement—focusing on the lyrical quality of the primary melody and both rhythmic and melodic precision in the polyphonic play between parts.
Koontz—The final section of “Tu Rex”—which is the only a cappella movement in the work. We also introduced the very end of the piece—which uses an interesting “free timing” technique with the chant-like final phrases in each part.