Februrary 20, 2022

Be sure your part is marked 4/8 at the beginning. In four!
M. 18 twice as fast as the previous section
OF COURSE you know already, exaggerate the softer side of the dynamic always to let the flute dominate
M. 198 Carl ends his big upward run on beat 2
M. 336 the accelerando is pretty immediate, watch
Please run through this piece enough times during your practice to be rock solid rhythmically

M. 1 the grace notes are before the downbeat
M. 31 light, move it forward
M. 60 make this p and listen to the melody in the low woodwinds, etc. Bring it up slightly to mp in M. 62 if you can do it without covering that melody
M. 68 make this figure sparkle, be light and fresh

Discussion was had regarding tempo. At 126-132 the piece is not really fast, but rock-steady time is needed to make the interplay of the rhythmic figures really work. Advice: play with your metronome, as we know from long experience! That will make this piece pop (dare I say Sparkle?).
@letter F avoid unconsciously (or consciously, I guess) letting each figure end with an accented eighth note. Press into the beginning of each little statement, then let it flow lightly to the release.
@ letters J and L apply the same thought to the legato motives here, press into the beginning and allow the release to be unaccented
@ letter N if two notes of the same pitch are connected give the second one a super-legato articulation, let the audience hear that there are two notes there
Letter Q is marked sempre molto marcato. We need to find out at our next rehearsal how much marcato is desired.
Letter C: relaxed, not rushed. Play like a human metronome, no deviation in tempo. But with feeling!
Generally throughout press into the little rhythmic figures then release lightly, no accents
Letter J: give the final note of each phrase its full value
Letter Q: big articulation here, marcato.

M. 1 pp, stagger carefully, be unnoticed
M. 16 more definition to the two sixteenth notes
M. 18 less, pp
M. 39 less on the trill
M. 43 more crescendo
M. 1 pp, stagger breathing of course
M. 33 Lots of 2nd and 3rd here, bring up the dynamic when the chord splits out
M. 37, 39 Make your entrance on the trill with a declarative start then back off a whole dynamic at least. Trills are never the main idea
Mvt. II
M. 1 begins with temple block
M. 25 decrescendo
M. 48 decrescendo
M. 82 drop dynamic to p
M. 115 pickup to this measure back at tempo primo big time, immediate
M. 121 last note add a tiny bit of length
M. 1 begin with a light, dancing staccato, carry it on throughout
M. 25 decrescendo
M. 48 decrescendo
M. 80 be very deliberate about dividing the triplet in thirds, it is a big departure from all the rest of the rhythmic ideas
M. 89 decrescendo
M. 101 crescendo up out of the measure in a big way
M. 111 could be subdivided, watch
M. 114 hold the note, watch carefully for the director to reset the tempo and then we move
M. 121 big ritardando
Mvt. III
M. 1-35 mf with no change at all, maintain that dynamic.
Mvt. IV
M. 5 decrescendo
M. 4 break for breath before the two sixteenths
M. 8 breath after the first note
M. 92-93 conductor will hold, then give a beat for the last two eighths in m. 92 and a beat for the first three eighth notes of 93. That will give us the exact timing to jump in on the final two eighths of 93 and be off and running.
Mvt. VI
M. 1 at a good p

The orchestration of this arrangement is being fine-tuned for balance as we speak here. It is crucial to the effect of this beautiful piece. Please be ready to make even tiny changes to help with the creation of this sound, your input is critical! Each player is a brush stroke on this canvas.
This piece makes me wish I had taken lessons in pearl diving. Practice long, long phrases, it will add so much to the continuous flow.
To enhance your phrasing please consider practicing with your metronome, it will help you be authentic.
Be sure you are making a beautiful fade out-fade back in for those spots where staggered breathing is inevitable.
Another suggestion, more of a reminder because we all know: spend some time practicing with your tuner as you play this piece, higher tones, throat tones, etc. That will make a wonderful difference in intonation for us all.
M. 63 or just after watch for possible subdivision from the podium.

Concert Order:

Intermission