• Solveig Holmquist

You know the music, now a road map

That was fun last Tuesday, the first chance we had to be together and to enjoy Bach's brilliant writing! I was very proud of your work: it was very clear that you know your music. That's the first essential, of course. All the stylistic touches were in place, making it all just fun from here on in.

What you need now is a road map, since because I took the various parts out of order, and there's a lot of music that doesn't involve you, you're a bit in the dark at this point about how the whole thing fits together. I'm going to talk you through the work, because some of it can be confusing.

One thing that will complicate things is the number of movements that have the phrase "da capo" at what looks like the end. That literally means "the head": we go back to the beginning of that piece and perform until we see the fermata, which will be the actual ending. It will be important to know this as I tell you what to do next. You'll only have two da capo choruses, but six solos or duets use that form as well. That's important to know, too, if you're to sing right after one of those movements. Here goes:

#1 At the da capo at m. 201, turn back to beginning. the fermata is on m.137. You will sit at my cue.

#4 Olga's aria has a da capo, and she repeats through m. 72. I have indicated that you are to stand at m. 73 THE SECOND TIME! The fermata is on m.88, AND that instrumental ending gives you time to prepare for your chorale, #5. Sit on my cue.


#8 Stand at m.67 THE SECOND TIME AROUND! The fermata is at m.80.

#9 Sing this chorale.

That concludes Cantata #1; accept the applause, then be seated.

#10 Remain seated through the Sinfonia. Stand at my cue.

#11 Les has a recitative, which concludes on page 42.

#12 Sing your chorale! Sit at my cue.

#17 This chorale is prepared by Les' Recitative on p.52. Sit at my cue.

#19 Olga has a da capo aria. You will stand at m. 97 THE SECOND TIME.

The fermata is at m. 112.

#20 Les' Recitative leads straight into your angel chorus, #21. Remain standing when it's finished, through Les' Recit #22.

#23 Conclude Cantata 2 with this chorale, accept the applause, and sit.

#24 Open Cantata 3 with this super chorus. [Put a clip on that page, because you'll return to this chorus to conclude Cantata #3!] Stay standing.

#25 This short recit leads straight into

#26, which leads straight into #27, Brett's short recit. And there's

#27, another chorale. Sit at my cue. (see how easy all this is?)

#29 This fabulous duet between Nicole and Brett is a da capo piece, but you won't be needed for quite a while so just enjoy.

#31 Stand at my cue at the conclusion of the duet between Olga, mezzo, and Caius on violin. You'll be mesmerized, but do watch for my cue!

#32 Her short recit. on p. 104 precedes your chorale.

#34 Sing this chorale, and remain standing.

#35 On the next page, Les' recit. leads to

#36 Your chorale;

Immediately turn back to p.74 (see why the paper clip?) and repeat the opening chorus, #24, which is the actual conclusion of Cantata #3

[Chorus I ab initio repetatur et claudatur]

Accept applause, then sit.

#36 We begin Cantata #4. At the conclusion, sit at my cue.

#41 Les' aria is a da capo one. Stand at m. 34 THE SECOND TIME AROUND. The fermata is somehow on both m. 45 and 46.

#42 Turn to p.142 and finish the concert to uproarious applause!

If each of you will take the time to read and go from place to place, marking cues for yourself, through all of this before next Tuesday night, I promise you'll feel quite confident about finding your way. It's just the da capo movements that are tricky.

Can't wait until then!


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