A few of my friends and colleagues were playing a concert in a local orchestra and shared with me these notes from a Spanish conductor who is getting a lot of new work in this area. I would like to add that this is uncommon and I have never seen anything like this in my 28 years of professional orchestra playing. The below email that was sent to all the participating musicians was forwarded by a Miami contractor. Enjoy reading his comments below and imagine how it would be to work with him and bare in mind that Florida musicians are payed extremely poorly for their hard work.
Hi Everyone,
As predicted , here are some notes..
PLEASE, take a moment when you can before friday’s performance and go over them..
Thank you very much
Alfredo
Begin forwarded message:
From: “J. Ramon Tebar”
Date: January 25, 2012 2:18:59 PM EST
Subject: Notes for Strings
Dear colleagues,
congratulations on the performances we have done so far and for the great reviews we have received!!
The orchestra is really sounding great, and I know everyday will sound better and better.
Nonetheless, here I send you some notes that I think it will help to improve what we have done so far. Now that we have done the opening for the people who can afford the more expensive tickets, I thinks it’s fair that we improve also for the ones that are going to pay for the next four performances. (And so you know, very important artists are planning to come).
Before going through all the notes, there are some general things:
The orchestra is heavy, your reaction is always a bit too late and that makes everything get slower. We need to listen as much as possible, and if you find any problem to listen to the singers means we are playing too loud.
This music should flow with easiness, I still feel you are too attach to the score and you should be able to look at me more often so I don’t feel lonely when looking at you. You have to think that this work is a continuos and constant rubato (written by Puccini with his hundreds of Rit, rall, allarg, string, accel and a tempi) not making a measured rallentandi and playing the a tempo so that everything becomes NATURALLY. (Exceptions: the singers will challenge us everyday with their improvised “musicality”, be alert!!).
The notes are divided: Tutti (general notes of a passage), and specific (for each orchestral section: Percussion, WW, Brass, Strings).
ACT I
-Tutti, 7 before 2: don’t forget the crescendo mark and “con calore” (warm).
-Tutti, 3 before 2: it’s a tempo, you slow down too much (direction to the 2nd beat). Poco rit. is just 4 before 2. And please strings, careful with the intonation.
-Tutti, Allegro after 5: this section should be treated surgically. You don’t have instrument at this point but scalpels.
-Tutti, 7 after 6: in this last note you just cut your patient’s skin, that’s the sound we should have, an “Ahhh” shout like the singers.
-Tutti, reh 8: soft, especially English Horn, Bassoon, Horn and Timp you have from pp to ppp.
-Tutti, 9 after 9, breath with me and the singer.
-Tutti, 6 after 12: breath with me and the singer. Vc and Doublebass don’t rush for the pizz, I am giving it to you for free.
-Tutti, 3 before 16, listen to Oboe. Melody is no more with Vl. I. For oboe, make an effort to be “sensibile” heard.
-Tutti, reh 18: please, the articulation is with strokes and martellato, really incisive. Be careful not to rush, and 12 after 18 the tempo should be steady.
-Tutti, 11 before 20, don’t fight in this section rallentando. No rush from the beggining of it. Listen to the tempo Vc are giving you in the previous pizzicatti and then the rallentando should come easy and naturally.
-Tutti, 1 before 24 and 1 before 29: I subdivide the whole bar, not evenly, it will depend on the soprano’s rubato, but make sure you cut with me.
-Tutti, section starting in reh 24, just in case someone of you didn’t notice…I subdivide carefully the following bars: 12 after 24, 1 before 25, 12 after 25 (Vl. I please sing here); 4 before 26; 5-6 after 27; 1 before 28 (Vl. II be careful not rushing in 28); 12 after 29
-Tutti, more subdivisions that I had to explained more than once and still wasn’t clear. 2nd beat of 5 and 3 before 24; 5 and 3 before 29.
-Tutti, reh 30. General legato for who doubbles melody.
-Tutti, Andantino sostenuto after 32, for those who play 8th sincopated notes as accompaniment, lighter. Don’t touch the floor with the sound. Make sure you are together in the rallentandi.
-Tutti, 4 before 38: the rallentando is given by the two singers “O strano! / O strano!”. The underlined syllabs being the upbeat and downbeat of 3 before 38.
-Tutti, 1 before 41; cut with the last pizzicatto of Vc.
-Tutti, but specially strings, reh 41: is the tenor who conducts with his voice. Fast reaction to follow in the pp his line, consonants. Very sensitive.
-Tutti, reh 44: very important the absolute control of all dynamics, crescendi, diminuendi, piano subito, etc…
-Tutti, reh 46: WW important all your phrases, rest of the orchestra accompany your colleagues.
-Tutti, section after reh 52: follow the melody of the singers. Remember our sound should be like being in a house mid-light (penumbra). That way it will be easier to listen to the singers and follow them. And follow me since there will be a lot of rubato.
-Tutti, especially Strings, 4 after 56: this crescendo is so important. We need to start already during the second half of the value of the first G. Then, please, make sure we keep the pp of the 3rd and 4th bar of this Andante Sostenuto (accompaniment pppp), and then last cresc. “cantando” (singing) to finish.
-Tutti, the last chords of Act I, a real fat and heavy piano. It’s the end of the Act. And always look at the curtain and Scott to cutt off,…
-Vl. I, II and Vc, reh 1: what happens with the intonation of the very first note? It’s as important as the others.
-Vl. I and Flute, reh. 3: please, be in contact, you are doing the same melody. Vl. I, first bar is never correctly in intonation.
-Vlas and Vc, 2 before 4: intonation and with me.
-Strings, 13 after 6: more crescendo and subito piano next bar. The tempo shouldn’t notice it.
-Vl. I, 10 after 7: intonation, and follow horn.
-Vla, 11 after 9: I am subdividing the 1st and 2nd beat where you can hear pizz. of Violins and basses. Just place your C in the 2nd part of the 2nd beat.
-Vl. II and Vla, reh 10: pizzicatti are too present, it should be in the character of the sincopation accompaniment of your colleague of music stand.
-Vc and Doublebass, reh 12: make sure you are together the first pizzicatti.
-Strings, 4 before 13: don’t slow down the 3rd beat, listen to the singer, we are doubling all the time.
-Vla, 6 after 14: pianissimo but espressivo.
-Vl. I and II, 10 and 8 before 19: intonation and rythm.
-Vc, 17 after 19, pizz with me (all of you).
-Vl. I, 17 after 21: I know is pp, you should fine the colour for this passagge but singing at the same time. I can feel your fear when entering this melody.
-Vl. I and II: reh. 39, sing, sing, sing.
-Vl. I, 3 after 42 (aria): triplets not to slow, follow rubato of the tenor.
-Vc, bar 24 of the insert: tenor breaths between in the middle of the 2nd beat.
-Vl. I and II, bar 35 of the insert: Sostenuto, with me and the tenor, you are always too fast.
-Vl. II and Vla, 4 before 47: arpeggio in piano, no cresc, and listen to the soprano, she is singing 8th notes.
-Vla, 17 before 51: you should be more audible.
Cl, Vl. II and Vla, 2 before 56: I subdivide every beat. She breathes in the upbeat to reh.56. Look at me during the 5 empty bars you have in the middle in case something happens with the soprano’s rubato. (I love danger).
ACT II
In this Act, especifically with the chorus we should be more flexible than they are. Remember we have the advantage of not running from left to right and wearing wigs while playing!!
-Tutti, reminder: fortissimo, a lot of energy the introductory 4 bars, and then subito dynamics down to help the chorus from the downbeat of the 5th bar.
-Tutti, reminder: 11 before 2, with me and chorus for the piano in order to be together on this ritenuto and posterior accelerando.
-Tutti, 7 before 31: remember the sound you gave me at the end of the Dress reh when we worked in this passagge (ppppp), extremely difficult but extremely concentrated. Remember that the chorus is singing in pppp “Zitti, non disturbiamoli, rispettiamo l’amore”. (don’t disturb them, respect their love). We shouldn’t disturb with our sound as well. Very intimate scene.
-Tutti, 18 to 11 before 41: what is really important here are the diminuendo, relax the sound after the accentuated notes. Phrase archwise.
-Tutti, from 44 to the end of Act II, you did I magnificent job playing alone. I won’t disturb you with my arms during all this end. Just be careful with the upbeat of four measures before the end, not too heavy, you are doubling the singers, and you take too much time to resolve into the E Major chord, I will try not to forget to give a sign for each of the three last chords, and again, look Scott and the curtain before running to the bar…
-Vc. and Doublebass, thank you for the last pizz before reh 13.
-Strings, reh 23: sing when you have the theme. First Vc, then Vla and answer by violins.
-Strings, 6 before 28: the staccatto should be together (listen to your colleagues Vl. I), and then 4 before 28, with me.
-Vc, reh 32: naturally you accent the top note of the arpeggio, however is the opposite intention what we want, will give us a major sense of the rhythm.
-Vl. I and II, reh 33: very difficult passagge for intonation, this passagge is delicate, and 6 after 33 you have to be even more careful while singing without shyness.
ACT III
-Tutti, 17 after 2: this whole act is, even more than the previous ones, everything about listening. All this hidden and evocated waltzes are just for you to enjoy and to accompany with much effort. Everything is like water.
-Tutti, reh 16: is slow but shold sound easy, flowing, is a memory of the waltz from Act I, still a little sense of far away dance (but still a dance).
-Tutti, 2 before 17: I beat in 3!
-Tutti, 3 before 22, I take time for the wishtle of 3 half notes of Flutes. Pay attention in being with me in 22.
-Tutti, 5 after 25, Lisette needs a deep breathe, so we need to take time. Please strings, deep breathe for you also before the last 8th note.
-Tutti, section starting in 27, we need to be very rigorous with dynamics.
-Tutti, reh 31. I am subdividing the hemiola (which you remember from the Act I, is a 6/4 bar). I will help by giving you 3 quarter notes 1 before 31. The 5th and 6th bar, and 9th and 10th of 31 are another hemiolas.
-Tutti, Reh 37: everyone pay attention. we need a strong downbeat, otherwise half of the orchestra won’t play.
-Tutti, 5 after 42: this is one of the most dangerous spots since the soprano is very free here.
The 3/4 is in 3, but 1 and 2 there is no new music, so I will give a strong 3rd beat for Ob and Cl.
Follows a 2/4 where the soprano take a deep breath before the 2nd beat chord for WW again.
Then it comes the next bar with the tremolo of Vc, Doublebasses and Timpano.
And 1 bar before 43 I beat like a 3/4 bar ( downbeat and the second beat subdivided into two big 8th notes, the first one for the Harp, the second one for WW).
If you can play that, you are a virtuoso orchestra with no doubt!!!
-Tutti, 4 before 51: not always the same, but the soprano has mostly sung really slow and breathing the 2nd beat, so I have been obligued to subdivided to follow, just listen.
-Tutti, reh 52: please, help your colleagues first two bars FLUTE (low register for her, we understand you), then HARP with harmonics (we will be with you in soul), BELL (you are alone, so take care of yourself, hahaha…).
-Tutti, 3 last bars of the opera: after the Bell, soprano sings an “AHHHH”, and like in other opera theater in the world you should be with me on the upbeat. If were are together there, then we have just to make a big deal of the crescendo in the last chord (don’t play diminuendo too soon). IS THE LAST NOTES OF THE OPERA, grab the applause from the public at this point, and look as always the curtain, not Scott this time just in case he is crying like I will (I will try not to this time…).
-Fl, Ob, Vl.I and Vla, upbeat before reh 16: it is clear that I subdivide, this we know, what is not clear is what you play after the 2nd subdivision. I am subdividing two 8th notes, so the 16th note after the second subdivision is longer, and a lot of you play it too tight. (just feel the pulse of the four 16th notes)
-Strings, 11 after 26, we wait a bit tha Prunier ends his hign note, and then the forte chords with decision (deciso). And please, listen carefully the upbeat to 27, “e il maggiorDOmo”. Piano, but with no hesitatioin.
-Doublebasses, 2 before 35: this forte GROTESQUE (exagerate!)
-Vla and Vc, before 38: there is a long note from the Horn (4 bars), I don’t beat all of them, just be careful when I give you the entrance of the andante lento.
-Vla and Vc, reh 48: big crescendo.
-Doublebasses, reh 51, very important pizzicato, you will be left alone with the soprano. Do your best!! (I will support you morally).
Thank you very much, and continue to have so much fan.
Ramon
–
RAMON TEBAR
Florida Grand Opera
Music Director
Palm Beach Symphony
Music Director
Santo Domingo Music Festival
Associate Conductor
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