Be mindful not to revert back to conducting like a pianist when switching back and forth
When conducting, be prepared to totally exaggerate the character of the affect (Elijah - fiery chariots)
Don't lean forward habitually to incite crescendi - it can be an effective technique, but not if it's the only way
Mozart
Mercedes idea -
Round elbows allow you to be flexible
You should only be concerned about music not memory, looks, etc
Mozart solos like real opera solos
Soprano - placid approach
Alto - stress text
Tenor - colors and text
Dont stop just for stopping
Dry hall rehearse soft internally beautiful, articulation
Notes on solos
Psalm
Anna light voice you may want to do a little faster, her voice moves freely
She did all on one breath... Ideal
Communion psalm
Halle
Bass
Hard role for the range
Tenor
We shouldnt hear vowel modifications
Performance practice classical
Clive brown
Aggitation characterized by constant switches of f and p. strum and drang
Alto needs dramatic mezzo
Mozart string coaching
Cello
Articulation
Scales with harmonic structure
In baroque and classical music you didn't need dynamics and articulation because they knew it.
Our modern minds think very equally. Staccatos and legato is not really equal
Articulation is musical.
There is no such thing as one note in music. Everything is in groups
There are so many types of 8th notes. You look at it as a conductor and say cant you sight read and that is the problem exactly. To play mundanely is hard and unmusical
Decoloration cellos play all ornamentation, basses play skeleton. Basses would have known that.
Una zono basses come in with the ornaments to heighten
Move the basset horns center bc of hall
Section leaders are strong leaders and makes a difference
With rise of bourgeois you see the music gets less contrapuntaly involved
When describing transposing instruments you look at whats written and describe the transposition
When you perform a piece of music you recreate history and bring it to modern life. M Fassler
Tone of brahms, darker and warmer than renaissance. Vibrato adds warmth. Many voices give warmth.
Long lines are difficult to sight read slow. You want to sight read a slow piece fast and visa versa. Sam
Brahmsian style. There are ways to make things sound slow. Slow two pattern. You dont accelerate to the peak you do opposite
Baroque short notes light
Romantic short notes long
Wagner and brahms were influential on elgar
Bruckner was main influence on mahler. There are passing tones that are implied but not written
Fugue story with cars
How does every note sound
Thetic gesture on weak beats
Mater dei. French has accent at end so french composers might put i on strong beat. Not in victoria