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


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


Anna light voice you may want to do a little faster,  her voice moves freely
She did all on one breath... Ideal

Communion psalm


Hard role for the range

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



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