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Hi, everybody,
Thanks again for your hard work last Tuesday night, when we focused on the different dynamic levels we'll need to observe in order to perform the Rutter at its expressive best. It was clear that we had put dynamic concerns aside while we devoted ourselves to notes and rhythms, which do need to be as secure as possible before turning our attention to interpretive matters. But we can't afford that much time again to go over and over all the dynamics as we did last Tuesday, so now it'll be up to you to do the noticing and complying, or all of Tuesday's work will have been for nothing!
Our Rutter score doesn't help much: the word crescendo appears in those tiny italics! I recommend circling all dynamic markings and notations in a new color, like red, so you get in the habit of seeing and doing them. The huge shifts really are a feature of his setting, and will make the performance much more exciting: any choir can shout their way through a performance, but the memorable and satisfying performances feature carefully understood dynamic expression. (Yes, I did say exactly that, last week, but it bears repeating.) I do believe that Fecit Potentiam, where we spent the most time last week, has by far the most complex dynamic shifts.
As noted in last week's column, this week we'll make more expressive progress on the first four movements of the Rutter setting. The balance of two powerful and two gentle movements should feel good. We'll open the rehearsal with that piece.
After the break we'll work on Bach, movements #1 and #4. I feel we've spent much more time on the opening movement than on "Omnes, Omnes generationes," so if you could spend time studying that movement it would help. It's not nearly as complex as "Fecit potentiam," so I'm expecting our progress to be noticeable—and hopefully also quick, in order to spare time for the final movement which we didn't get much time on last week. The opening Gloria is difficult to pull off, as you know, so I'd love to get to the point of enjoying it!
A bit of housekeeping, answering a question from 2nd Tenor Georg Mueller. I haven't clarified this, but in the following places in the Rutter setting I'd like all of the Baritones to sing 2nd Tenor and all the tenors to sing 1st Tenor:
- p.32, m.28-29
- p.33, m.37
- p.34, m.40-41
- p.76, m.27-34
I understand that we can expect beautiful weather next Tuesday, pushing 70 degrees! That should energize us for a fine rehearsal. See you then.
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