What we accomplished in the rehearsal on—
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.