Rehearsal with orchestra

String problemsWoodwind observationsBrass observationsBalance in the windsWind–intonationPercussion observationsCoordination-observations between the whole orchestraCoordination observations between the orchestra and the stageIntonation–rehearsal for the whole orchestraPlanning of rehearsal time
 

String problems

Same attack of the bow:
The conductor should be aware of the same position of the bow by every player.

Examples:  

Tchaikovsky: String - Serenade 1th movement


Beethoven: Overture Coriolan (beginning)


Bartok: Divertimento  1st  movement Figure 125


G.Verdi: Aida  1st act: “Ritorna vincitor”


Schubert: Symphony no.6


Lalo: Symphonie Espagnole - beginning


Mozart: Cassation KA 63


 

Same articulation:
the conductor should be aware about the same articulation of the bow by every player.

Example:

Mendelssohn:  Ruy Blas Overture  Figure “C” (articulation of the violins with the cellis and double-basses, articulation of the second violins and the violas)


Mozart:  Divertimento KV334 -  beginning 1st movement (articulation of the second violins, violas and celli/double-basses; then the same articulation in the violins; then same articulation in second violins and viola)


Glinka: Ruslan and Ludmilla


Rachmaninov: Symphony no.2 (4th movement) (the example shows just the string – section)


Schumann: 2nd Symphony (2nd  movement from bar 52)


Sibelius: Romance for Strings


Schubert: Symphony no.9 (3rd  movement)


Ravel: Valses Nobles et Sentimentales (3rd movement)


Prokofiev: 5th symphony:
The first violins should play this section with little bow in ordert to be together with the pizzicati of  the lower string section


Intonation in the cello and double-bass section:
the conductor should be aware about the general intonation in the double-bass section, if the double-bass is in tune, it’s much easier for the cellos to put their intonation on.

Examples:

Beethoven:  7th Symphony – 2nd movement


Verdi: Aida  Judgment – scene 4th act (just basses)


Puccini: Madama Butterfly: 2nd act, 2nd part Pinkerton, Sharpless Figure 16


Tschaikovsky: Francesco da Rimini (bar 497 -500)


Brahms: 4th Symphony 4th movement bar-number 201


Schubert: Symphony no.9 3rd movement
This is a typical example to show how important the intonation in the bass-lines is, they build the harmonic fundament of the orchestra


Verdi Otello: 4th act: The conductor should be aware of  the intonation in the double-basses



Intonation in the first violin  section:
the conductor should be aware about the general intonation in the first violin  section

Example:

Verdi: La Traviata  - Preludio:


Dvorak: Serenade: Valse


Verdi: Aida  Preludio  2nd violin:

1st violins divisi:


R. Strauss: Dances of the seven veils (Salome)


Schumann: Symphony no.2 - Scherzo
This is a very uncomfortable section to play and it has to be rehearsed carefully


Intonation in the second violin-section and the viola

 

Verdi Otello: 4th act: The conductor should be aware of  the intonation in the second violin and viola

 


Typical corners of ensemble in the String Section

Examples:

Mozart: Don Giovanni: bar 56:  the violins should cut the “a” in order to put perfectly in time on the g#


Schumann 4th Symphony:  Introduction 4th movement: the strings should have the semi-quavers already  mentally prepared before they start to play


Verdi: “A Masked Ball” End of Ulricas aria first violin, second violin, viola: the mentioned section shouldn’t play the slurred quaver in order to be together and in time on the following note.


Verdi: Rigoletto: same rhythm in the semi-quaver, it happens that you will hear different lengths of the semi-quaver


Prokofiev: “Symphony Classique”: 1st  movement:  the tempo should be strongly respected, otherwise the tendency is to rush.


Prokofiev: 7th Symphony 4th movement beginning (the strings must have the same articulation, same place of bow with the same pressure on the string)


Chausson:  Symphonic poem “Viviane” – beginning
The strings should play with the same kind of vibrato, I recommend a fast vibrato with a soft pressure of the bow


R. Strauss “Till Eulenspiegel”
- this beginning needs a very warm sound, the conductor should ask for a fast, but slightly wider vibrato


Liszt: Symphonic poem no.1 „Ce qu’on l’entend sur la montagne“ , 8 after „A“
- The violins should have the same kind of bow-playing, the violas, celli and basses should have a good articulation in the left hand.


Mendelssohn: „Athalia“ – Overture
- The accompaniment should be with little bow, and very soft, otherwise the first violins have to press the sound


Sibelius: 1st Symphony, 2nd movement, letter „O“
- The strings have to play this section with little bow without rushing.


Liszt: Les Préludes , letter „B“
- The violins and violas should have the same kind of bow-playing, the celli and basses should have the same articulation.


Wagner: Rienzi – Overture
- The violins and violas should have the same kind of bow-playing, the celli and basses should have the same articulation, tremoli not too loud


Ear  concentraded on a bass line
Mendelssohn: 4th symphony (Italian)  2nd movement


Same articulation
Mendelssohn: 4th symphony (Italian)  1st movement
- The conductor’s ear should be concentraded on the same articulation between the strings