Here are some comments for the Dvorak I would like you to put into your part. I’m pleased with the work you have done on this very short cycle. This is truly a “professional” experience (i.e four rehearsals a dress and concert).
- Bar 11, more cello sixteenth on the first beat, every uses that rhythm as anchor
- Bar 19, shorter 8th notes in low strings
- Bar 37, low strings don’t rush
- Bar 86, one ob.
- Bar 111, more fp in viola
- Bar 114, every true pp except oboe
- Bar 127, L.P. and strings only mf downbeat of reh. 5
- Bar 152, less string acc., delay cresc and don’t get as loud at mf
- Bar 158, challenge yourself to play true pp.
- Reh 7. Better ensemble between horns and strings passing off triplets
- Bar 180, subito p
- Bar 285, same as 158 (true pp)
- Bar 299, better passing off of rhythm between soloist and horns/bsn
- Bar 5-6, pass off quintuplet better between clarinet and oboe. Play even and match.
- Bar 24, true pp
- Bar 27-28, a bit softer from all, don’t cover soloist.
- Bar 57, stronger mf violin I, less volume from everyone else
- Bar 83, same as bar 57
- Bar 95, celli/bass, don’t accent the entrance of the triplet, instead move toward the principal (last) note. This could probably be softer as well.
- Bar 129, shorter, lighter, softer in acc. Strings
- Bar 149, drier pizz, viola a bit faster
- Bar 23- 26 is pretty sloppy, please practice
- Bar 172, less volume please
- Bar 315, shorter/lighter 8ths
- Bar 347, less orchestra, let violin solo and cello soar
- Bar 401-409, less woodwinds