Clarification of releases, and sit and stand directions

April 13, 2019

Hi everybody,

 

There are two main messages in this week's column: clarification of our releases in #12, "Et resurrexit", and directions for standing and sitting throughout the work.

 

Et resurrexit

To begin with, all phrase endings are quarter notes, and must be given full length, with the release precisely on the rest to follow. Notice how often those releases are on an "s". We've got to have those together -- and I'm hearing them thrown in all over the place. Please take care to place them exactly as shown. Hey! If you look up, you'll notice I'm showing that. [However, if your section is the one to introduce a new phrase, as tenors do in meas. 11, give the last note of your preceding phrase half value. That means their third beat in meas.10 should convert to an eighth note with eighth rest. Look through the movement to see where this might affect your section. Hint: sopranos, you'll do that within measure 41.]

 

Now, things become even more vigorous into meas. 81, and here's where there are changes for everyone. MARK THEM!

                  Meas. 86   Beat two becomes an eighth, with eighth rest

                  Meas. 90   Ditto

                  Meas. 94   Cross out the dot, write in a quarter rest for beat 3

                  Meas. 98   Change beat one to an eighth with eighth rest

      BUT! full length for 2nd beat in 99, 2nd beat in 100, 2nd beat in 101

                  Meas. 102  Beat 2 becomes an eighth with eighth rest

                  Meas. 110 & 111  Full value, with clear "n" release

So why all this fuss in those measures? If you'll look at the accompaniment, you'll see that when we're releasing early, the air is now cleared to feature cool little licks from the first violins. Those propel the energy forward, and we don't want to cover them. (And surprise! That text proclaims belief in LIFE in the world to come! No wonder the excitement!) Those flourishes aren't used in the earlier parts of the movement, where the text is quite different.

 

Dynamics for all: true Piano as marked from pickup to 88, allowing basses to

really be heard on their Forte entrance on downbeat of 102. Go for it, bass heroes!

 

 

STANDNG AND SITTING

Before we begin, STAND when the orchestra stands, as the soloists and I enter.

REMAIN STANDING as they sit.

 

SIT on my cue, at the conclusion of #2, Gloria

 

STAND at my cue for Gratias, at the conclusion of #3

 

REMAIN STANDING through duet, #5

 

SIT at conclusion of your double chorus, #6

 

STAND at downbeat of meas. 159 of trio #7 (Strong orchestral Forte)

 

SIT at conclusion of Credo, #9

 

STAND at my cue at conclusion of #10

 

SIT at conclusion of Et resurrect, #12

 

SIT following #16, which contains the first Hosanna chorus.

 

STAND exactly on beat 2 of meas. 102 of #17,  as the solo quartet concludes its portion of the Benedictus. Have your music ready to sing the second Hosanna, five bars later.

 

You'll then remain standing through the end of the mass.

 

You're going to love working with the orchestra! Please be absolutely silent when not singing, no devices at all please, and watch me during choruses: your ears will deceive you, and it would be good for us all to stay together. Also remember, this is your one chance to follow the soloists in your score. You'll be amazed.

 

See you on Tuesday,

 

Solveig

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