Dear Singers,
Thanks to all of you for a wonderful and memorable concert on Sunday! I assure you that this was a highlight for me, as well as a showcase for your fine talent as singers. There have been excellent reviews from members of the audience, as we always hope there will be.
A few “housekeeping” items are important here:
Best,
When I have sung my songs to you I’ll sing no more, T’would be a sacrilege to sing at another door. We’ve worked so hard to hold our dreams just you and I. I could not share them all again I’d rather die with just the thought that I had loved so well so true. That I could never sing again, that I could never never sing again except to you!
Larry
Thanks to all of you for a wonderful and memorable concert on Sunday! I assure you that this was a highlight for me, as well as a showcase for your fine talent as singers. There have been excellent reviews from members of the audience, as we always hope there will be.
A few “housekeeping” items are important here:
- The LCS has been invited to provide a brief musical beginning to an exhibit opening at the Polk Museum of Art, Friday, April 8, 6:00 p.m. We’ll strive to create a small ensemble from the larger membership [c. 15 – 20?] to sing 2 short pieces. We’ll discuss at rehearsal, but I might do recruiting/selecting, in order to create a workable balance of voice parts.
- Your Beethoven rehearsals are subject to the ISO calendar, as well as providing some additional time for the choruses to meet together. These sessions are all on Mondays or Tuesdays, but please consult the website information for particulars.
- As you know, the scope of last Monday’s rehearsal was completely different from our first combined session, in which an overview was attempted. On Monday, we were able to slow down and devote time to individual passages, both notes and text. I believe that this was important: we needed to demystify the piece, to find out that those scary passages and words really are manageable. And further, only with a little familiarity with the score can we make some informed decisions about your assignment to specific vocal lines. [Sopranos: Some of you will be altos at times. Altos: You’ll occasionally be tenors. Etc…..] We’ll give you some of those reassignments in advance anyway. It’s important that your voices are used wisely.
- Some of your Beethoven scores are already marked with measure numbers and rehearsal letters. If they are not, you need to have them clearly indicated. Also, there are several performance marks that Mark Thielen has already given us. These will be provided separately from this note on the website, so please take time to mark your scores accordingly. (Should be posted within the next day.)
- On Monday, we got halfway through. Next rehearsal will be the rest! [But please don’t forget what we’ve accomplished.]
Best,
When I have sung my songs to you I’ll sing no more, T’would be a sacrilege to sing at another door. We’ve worked so hard to hold our dreams just you and I. I could not share them all again I’d rather die with just the thought that I had loved so well so true. That I could never sing again, that I could never never sing again except to you!
Larry
| lcs_16_beethoven_score_markings.docx |
| lcs_16_beethoven_score_markings.pdf |
Beethoven Markings (In Case You Can't Open attached files)
Beethoven, Symphony No. 9
Choral Markings to Enter into Score
Page Measure #s Rehearsal Letter Other markings
(by system, in descending order) (if on this page) (if provided)
(to bottom of page)
3 216/222/227/232 In 4
4 237/242/247/257 In 2
5 257/261 D, m257
6 265/270 Solos!!
7 275/280
8 284/289 E, m285 Chorus enters forte, letter E
9 294/298 F, m297 Solos!
10 302/306
11 309.312 G, m313 Chorus enters, m313
12 313/318
13 321/326 Mark ¼ rests between ½ notes; mm29-30 in 4 with rit.
14 331/340/347/354/361/368 H, m359 In 2
15 375/381/387/393 I, m391 Solo!
16 399/405/411 TB enter, m411 (add A2)
17 416/421
18 426/432/439/446/453 K, m431
19 459/465/471/477/483/488
20 493/499/505/511/517/525/534 L, m493 Slight slowing, m529
21 543/549 M, m543 Chorus enters. Some S sing A
22 555/561 m.566, insert ⅛-rest between notes
23 567/573
24 578/583 m582, insert ⅛-rest between notes
25 589/595 Slow, in 3, at m595; ¼ rests between staccato halfs.
26 604/608 ¼ rests after “Kuss,” m. 609
27 612/620 N, m612 ¼ rests on staccato “wohnen,” m619, & m23, after “zelt”
28 624/628 m632, hairpin dynamics; ¼ rests on staccatos
29 635/643 m635, ¼ rests on staccatos; mark abrupt dynamics!
30 651/653 m651,suddenly soft! Mm653,654, ¼ rests after “muss”
31 656/660 marcato. S2 on A; m660, ¼ rest after 2nd note in A
32 664/668 m664, A2 sing T; T2 sing B; end of m668, ¼ rest in A & T
33 672/676 O, m673 m671, A2 sing T for 4 meas.; m676, ¼ rest after 2nd note in B
34 680/684 S2 sing A; m684, ¼ rest in S after 2nd note
35 683/692 P, m695 S2 continue A; m692, ¼ rest in S after 1st note
36 696/700 m698, ¼ rest in A after 2nd note
37 704/708 Q, m711 m706, S2 may sing S till m716
38 712/716 m714, ¼ rest in A & T after 2nd note; m719, A & B circle rhythm
39 720/724 Sopranos trade off during high notes; S2 on A; A2 on T
40 728/732 R, m732 m732 slightly slower; m736, A2 on T for 4 meas.
41 738/744 Cresc. thru page; m747, lift after 1st note
42 751/758 m755, ¼ rest after 1st note; m759, ¼ rest after 2nd note
43 765/770 Solos!
44 775/780
45 785/790
46 795 S, m795 Chorus enters, piano, but with rapid cresc.
47 799 Chorus part goes to top at page turn!
48 804/809 Sudden change to 4 beats (slow) at m812
49 813/818 m816, sudden change to fast in 2-beats per
50 824/829 Syncopated entrance, m829; m833 slower
51 834 In 4
52 838/841 Solos
53 845/853 Fast, in 2
54 860/866 S2 sing A
55 871/876 Sopranos trade off during high notes
56 882/888 T, m889 m889, lift after 1st note
57 894/900 S2 on A
58 906/912 “
59 918/921 In 6; suddenly fast in 2 at m920
Beethoven, Symphony No. 9
Choral Markings to Enter into Score
Page Measure #s Rehearsal Letter Other markings
(by system, in descending order) (if on this page) (if provided)
(to bottom of page)
3 216/222/227/232 In 4
4 237/242/247/257 In 2
5 257/261 D, m257
6 265/270 Solos!!
7 275/280
8 284/289 E, m285 Chorus enters forte, letter E
9 294/298 F, m297 Solos!
10 302/306
11 309.312 G, m313 Chorus enters, m313
12 313/318
13 321/326 Mark ¼ rests between ½ notes; mm29-30 in 4 with rit.
14 331/340/347/354/361/368 H, m359 In 2
15 375/381/387/393 I, m391 Solo!
16 399/405/411 TB enter, m411 (add A2)
17 416/421
18 426/432/439/446/453 K, m431
19 459/465/471/477/483/488
20 493/499/505/511/517/525/534 L, m493 Slight slowing, m529
21 543/549 M, m543 Chorus enters. Some S sing A
22 555/561 m.566, insert ⅛-rest between notes
23 567/573
24 578/583 m582, insert ⅛-rest between notes
25 589/595 Slow, in 3, at m595; ¼ rests between staccato halfs.
26 604/608 ¼ rests after “Kuss,” m. 609
27 612/620 N, m612 ¼ rests on staccato “wohnen,” m619, & m23, after “zelt”
28 624/628 m632, hairpin dynamics; ¼ rests on staccatos
29 635/643 m635, ¼ rests on staccatos; mark abrupt dynamics!
30 651/653 m651,suddenly soft! Mm653,654, ¼ rests after “muss”
31 656/660 marcato. S2 on A; m660, ¼ rest after 2nd note in A
32 664/668 m664, A2 sing T; T2 sing B; end of m668, ¼ rest in A & T
33 672/676 O, m673 m671, A2 sing T for 4 meas.; m676, ¼ rest after 2nd note in B
34 680/684 S2 sing A; m684, ¼ rest in S after 2nd note
35 683/692 P, m695 S2 continue A; m692, ¼ rest in S after 1st note
36 696/700 m698, ¼ rest in A after 2nd note
37 704/708 Q, m711 m706, S2 may sing S till m716
38 712/716 m714, ¼ rest in A & T after 2nd note; m719, A & B circle rhythm
39 720/724 Sopranos trade off during high notes; S2 on A; A2 on T
40 728/732 R, m732 m732 slightly slower; m736, A2 on T for 4 meas.
41 738/744 Cresc. thru page; m747, lift after 1st note
42 751/758 m755, ¼ rest after 1st note; m759, ¼ rest after 2nd note
43 765/770 Solos!
44 775/780
45 785/790
46 795 S, m795 Chorus enters, piano, but with rapid cresc.
47 799 Chorus part goes to top at page turn!
48 804/809 Sudden change to 4 beats (slow) at m812
49 813/818 m816, sudden change to fast in 2-beats per
50 824/829 Syncopated entrance, m829; m833 slower
51 834 In 4
52 838/841 Solos
53 845/853 Fast, in 2
54 860/866 S2 sing A
55 871/876 Sopranos trade off during high notes
56 882/888 T, m889 m889, lift after 1st note
57 894/900 S2 on A
58 906/912 “
59 918/921 In 6; suddenly fast in 2 at m920
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