Morning everyone, thanks to all who made such a good sound last night. We are now in the second half of the rehearsal set for this term’s concerts, and things starting to sound very nice in places – but still some shakiness that we need to address in the remaining sessions. We have 5 Tuesdays left before the Holly Lodge concert, 6 before our own concert. It would be fantastic to have as many of us there at as many of those as possible please!
Sorry for the long note. Read as much or as little as you have time for.
This week, we worked on:
Dark Night – we only really started working on this the last rehearsal before half term, so this was some note learning. It came across well when you sang with the intricate piano part, but I sense that there is some uncertainty under the waves in the lower parts. The chords are the star of this piece, so perhaps some work with the practice tracks would remove any doubts. And for all parts, entries are worth looking at. Make sure you can hit the first note of each new section with total confidence.
O Nuit – big improvement from last time. I think Robert’s piano part helped a lot, but also the way you sang with heads much more up meant that we avoided the ploddery and sounded much more musical. Suggestion for you here – learn the words by heart. There are not that many and it will make your job far easier if you are only glancing at the page for note reminders.
Abendlied – not quite as assured as O Nuit. It’s a more intricate piece, so confidence that you know your notes is vital. Homeworkers, this is one to focus on this week please.
Bogoroditse Dyevo – I was very pleased with how this sounded. Much better flow, much less ploddery, and generally very assured for notes and holding at pitch. Excellent work. Now we can work on adding the bucketloads of expression and yearning that is the hallmark of Rachmaninoff’s choral music. If you have 5 minutes and a highligher pen, go through this one and mark all of your dynamics. You’ll be amazed how many there are.
In the Stillness – this was the least confident of everything we sang this week, but it needn’t be. There are just those little, super-low bits at the ends of phrases. A combination of uncertainty and low notes ends in wobbly grumbling sounds. So, if you are so inclined, this is the most important one to be practising this week. And sops – sing the rising arpeggio of ‘There’s a patience as we wait for a new morn’ to yourself, taking care to get on top of each note. Basses, the same phrase is not quite right yet. If we can overcome the doubts, then the flow will come as it has for other pieces. Which is essential. Ploddery in this is so disrespectful to the lovely words. Lightness, skipping, dancing through the notes as if you were reading a poem – that is our goal. As for O Nuit, maybe try memorising the words. That takes one piece of uncertainty out of the picture and means you can divert your brainpower to the music.
Next week is the last chance for a bit of note-focus work on Sleep and Sure on this Shining Night – so if you have time, those long, climax-building phrases in the middle of both works that we have spent time on in rehearsal are the bits to look at. Until then, have a good week.
Chris