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
 

Balance in the winds

Schubert: Symphony no.8 – 1st movement last 13 bars - the brass should not do the crescendo as much as the woodwinds.


Vaughan-Williams: 8th Symphony  - Scherzo
- the brass should adapt their dynamic to the woodwinds


Verdi: Nabucco  Overture - Andantino:
- the clarinet should be slightly louder than the oboe, because the clarinet plays in the lower octave.


Mozart:  Posthornserenade – Adagio maestoso:
- the woodwinds and the horns should be very  “piano” during the long notes, in order to hear the motifs in the strings


Wagner: Tristan und Isolde
- from bar 74: the conductor should let the bass-line play louder  (double-basses, tuba, bass-clarinet, 3rd bassoon, especially the tuba)
- bar 73: same articulation in the woodwinds and horns


Debussy: “La mer”  1st movement figure 14
- the horns and the bassoons have to play the same articulation
- balance of the dynamic in brass and woodwinds 1 bar after figure 14


J. Brahms: 3rd symphony, 1st movement
Bar 49-53 : The conductor should be attentive on the balance in this section  (motiv between the flute, the oboe and the bassoons, as well the motiv between the oboes, the bassoons and the 3rd horn


L.v.Beethoven:  Pastorale-symphony, 1st movement
From bar 83 : The conductor should be attentive on the balance  in the entrance of the 1st clarinet, the 1st bassoon, the imitation of the motiv in the flute, as well the entrances of the horns and oboes.


M. Ravel: Valses nobles et sentimentales: figure 65
The conductor should be attentive on the balance between horns, 1st clarinet , flutes and oboes


C. Debussy: Prélude à l’après-midi d’un faune, figure 1
The conductor should be attentive to the balance between the flute; the horns and the oboe (horns not to loud)


R. Schumann: 4th symphony, 4th movement
The conductor should be attentive on the balance  between the woodwinds and the 3rd and 4th horn, as well on the balance  between the 1st and 2nd horn and the trombones


Wagner: Die Meistersinger von Nürnberg – Overture
- The conductor should be aware of  the balance, the horns should play soft