Thanks for all your hard work and for staying late Tuesday night. It should be a great concert if we apply everything we know.

General reminders:
Both feet firmly on floor—grounded. Upper torso light. Listen, to left and right, front and behind you.
Use your peripheral vision. Be ready to move tempo or slow down with me, even if there is no tempo change marked. Keep mood of endings by waiting three seconds before moving. Don’t turn pages during silence at end, until “spell’ has been broken.

Sat: use Nashua South stands. We will need to set the stage between Faure and other works. Be ready to help, to make it as quick and smooth as possible.
Sun: bring own stands (and lights, if preferred)

Faure:
Balance: When orchestra only, if you have the melody, you can play a bit more, but otherwise, stay under.
Be sure you can always hear what the choir is singing.
The choir needs most of my attention, so I may not be able to give you all the cues you’re used to. Please count and come in.

Mvt 1: tutti diminuendo second half of m 19
Tutti m 33-37 mf only
Vcs: m41 warm p, then drop back in m 42 to pp
Vas: m45 warm p, then drop back to pp in m 46
Strings: m 50 & 52, 71 & 73 observe dim.
Vas: m61-62 warm, but not loud, back to pp in m 63

Mvt 2 mm1-6 are orch only; warm cresc in  mm 3-5; sudden dim in m 6
Tutti m 32 watch for rit going into m 33
Strings: mm35-53 all ppp under baritone solo. Also mm 61-77, notch every dynamic softer one level.

Mvt 3 horns & trumpets: m 44 & 48  molto dim
Vas: m 60 melodic, legato

Mvt 4  m 38  watch for second beat; I will give both 8th notes

Mvt 5:
Bassoons and strings m 18 move dim to best three of this measure; same in m 22
Tutti m 73; subdividing third beat (giving both  8th notes; hold on final one.)
M 74 is silent
Tutti M 93 watch for end of measure, place m 94

Mvt. 6:
Vas ; add dim in m 36
horns m 52 triplets are same as 6/4 in  m53. Come in ff but drop back to f in end of m 54. Keep feeling of ff , but only play f or mf  dynamic.
Tutti m 53-68 Keep feeling of ff , but only play f or mf  dynamic.
Mvt 7 harp; can you cover the organ part m1-28?

Rachmaninoff:
Mvt 1 brass & timpani : m 153 (Reh #&) make dim right away
Tutti, except Tpt 1: observe dim in mm 228,  232, 234, 236
Tutti m 337 quasi fermata on beat one; wait for beat two
Strings m 353 watch for new slower tempo

Mvt 2
Bassoon 1 and vn 2: m 31  C#--please mark it!

Mvt 3
Tutti m 366-367 subdivided ( quasi in 4) m 368 ( Reh # 38) in 4
M 394 (Reh # 39 ) in 2

Wittry
m 6 Flute 2 is only one who holds through until m 7
strings m 63 & 65  p
Flutes m 73 flute 2 holds through measure; m 74 flute 1 starts alone; joined on beat 3 by flute 2
Tutti m 122- 130 piano, unless marked otherwise
Fl 2 & bassoon 1; m 163 & 166 ; you are in octaves; watch for rubato
Tutti m 241; I will subdivide beats three and four, showing each 8th note in harp and vc pizz unison
M 242 glockenspiel is on beat 3. others dim until sounds dissipates

Smith
Tutti practice with mm at quarter = 120 for steady tempo

Clarinets mm33-35 in 3rds; try to make it sound like one instrument
Strings mm35-50 warm, with vibrato. Never harsh.  Slight change in dynamics: M 43 make mp) m 45 mf, then arrive a forte in m 47.
Vn1 & va m 54-55 check your intonation!
Fls:  m 67: do come in after beat 3.Check your pitches
Timpani/ percussion: cues: Strings and triangle enter in m 70. Tuba, trombone , tpts in m 71. Timpani in  m 72, cymbal in m 73
Timpani & triangle: sustain through m 89 ( all other parts of the orchestra  play on beat 1 & 3)

Mozart: Please especially practice the second movement; it is the most exposed.
Reminder: no repeats, except in mvt.3, where we take traditional repeats (none on di capo)