Dear alti, Here are the notes from Feb 5:
-mvmt 2, p. 13: Staccato! Separate the notes. Put an accent on the last note of each phrase (i.e. "tur" and "ta").
-mvmt 4, pp. 14, 16 and 18: Listen to each-other and the basses here so we stay in tune with each-other. Keep the vowel forward and bright at the end of every phrase. Flip all the 'rs' , e.g. in flore, ribus and serena.
-mvmt 5. Separated and staccato. Watch the changes in dynamics. Last time is less staccato.
-mvmt 7. Alto 1 sing Sop 2 when the soprano line divides into two parts. When it's only one part, go back to singing the alto part.
-mvmt 9: "SVATZ" -mvmt 18, p. 50: contrast between the f section and the p section two bars later.
-mvmt 20, pp. 52 and 53: make a big contrast between the f andp in the same bar. Page 60, DON'T SING until bar 3.
From Feb 19:
-Matthew kindly sent around an excellent pronunciation guide for Carmina Burana. Please read it and take note of the Middle High German and medieval, non-Ecclesiastical Latin and mark these sounds into your score! The translation is also helpful.
-we are all singing 'Comedy Tonight' for the gala, and Jason would love this to be from memory. In many sections we only sing certain words:
at bar 351: Men only sing 'Something that's gaudy' Altos: 'something that's bawdy' Sops: 'something for everybawdy ALL: "comedy tonight'
at bar 359: Men: 'nothing that's grim' Altos: 'Nothing that's Greek' Sops: 'She plays...' ALL: "Stunning surprises..."
at bar 375: Men: 'Pantaloons and tunis' Altos: 'Courtesans and eunichs Sops: 'Funerals and chases' Men: 'Baritones and basses' Altos: "Panderers' Sops: 'Philanderers' Men: 'Cupidity' Altos: 'Timidity' Sops: 'Mistakes' Men: 'Fakes' Altos: 'Rhymes' Sops: 'Mimes'
big rall at 'Tumblers, grumblers...'
And here is this week's Carmina Burana clip:
See you next week! Jennifer