MUSICAL NOTES - CHAPPELL A few prefatory comments. First, as the title suggests, there are different notes for Schirmer and Chappell scores. The two editions differ slightly in substance and greatly in pagination -- hence the need. Second, for my own clarity, if no one else's, I use American notation for note lengths. Here is a handy conversion table: U.S. English whole note semibreve half note minim quarter note crotchet eighth note quaver sixteenth note semiquaver Third, I have indicated sections of the score with three numbers, corresponding to page, system, and bar. Thus, 17,1,5 is the fifth measure of the first system on page seventeen. Fourth, I use the apostrophe to indicate placing a schwa after a consonant. Thus, d' means d followed by a sort of u-umlaut sound (see earlier notes for explanation). Fifth, please mark these into your scores. We haven't much rehearsal time; I would prefer to spend our musical rehearsals on developing choral sound and on the finer points of phrasing and expression, rather than on diction and cutoff drills (or on repeating what is here). Sixth, and last, don't hesitate to ask me about unclear or troublesome musical notes, or (especially for principals) to suggest alternative approaches. ===== ACT I ===== No. 1 ----- tempo: half note = 92-96 10,1,2: quarters slightly detached, but do not break the phrase 10,1,3: phrase end on 2 10,1,4: same as 10,1,2; no hard r in warm; st of west attached to w of wind, with schwa in-between 10,1,5: wynd, not wihnd; phrase end on second quarter 10,2,1: nyoo, not noo 10,2,2: no phrase break; no breath until kind 10,2,3: lower parts, sing "uh-huh-vmay-hay" on eighths; dehn, not dun 10,2,4: kind - sing on ah, putting e at cutoff 10,3,1: keep phrase going through measure - no breaths 10,3,2: no hard r on virgin 10,3,3: phrase runs to end of choral passage; cut off precisely to allow for full breath 11,2,1: tempo: half = 84; phrase runs to end of line 11,3,2-3: d'ca (for famed Can't) 11,3,3: nt'l 11,4,1-2: d'd 12,1,1-2: molto legato 12,1,3-4: more detached 12,2,4: no rest here; don't all take a breath after say 12,3,2: rallentando to end of line 13,1,1: tempo is half = 66 13,1,3: slight ritard; emphasize m of months; somewhat petulant 13,1,4: tempo primo at forte; follow earlier instructions 14,2,4: legato; flipped r at start of is (same next bar) 14,3,2-3: legato; no "Ro-ho-ho"; z of Rose at start of is 14,3,3: rallentando to end No. 2 ----- Tempo: dotted quarter = 76-80 15,2,1: emphasize consonants; no louder than mf, and usually mp 15,2,2: leh-shzure, not lee-shzure; not leh-heh, for that matter 15,2,4: accented eighths; sharp cutoff 15,2,5: slightly rolled r on ruthlessly 15,3,3-4: use consonants for effect here and to end of page -- terrify the chorus, or that part of it that is supposed to show terror 15,4,6: chorus p-mp; lots of consonants, so the words will carry; lots of air, so the notes will 16,1,2: cutoff on second beat 16,1,4: same 16,2,2: very slight ritard to end of choral line 16,2,6: a tempo 16,4,1: start at mp, and crescendo starting at end of line 17,1,2: slight ritard leading into fermata 17,1,4: a tempo 17,2,1: mf 17,4,3: slight ritard to end of line 18,1,1: a tempo 18,2,3: recit begins mf, goes to f at "I'll sin no more!" 18,3,1: mp 18,3,3: mp to mf, back down at phrase end 18,3,6: chorus enters mp/p 18,4,2: cloyed is an eighth here, so a very sharp cutoff. d' on second eighth as the cutoff. 18,4,4: same; a bit louder at "and so" 18,5,2: slight dim and ritard to end; mysterious effect, but emphasize consonants even more No. 3 ----- tempo: dotted half = 63-66 generally: legato, but not too operetta-waltz-songish until the latter half of each verse (the A major sections). The first halves should use shorter phrases, though there should be the suggestion of eight-bar phrases (the phrases thus carrying through the rests). Draw some contrast between what you would like to do (more legato) and what you must do (more detached). 19,4,5: cut off "point" and "print" at start of beat 2 20,2,1-2: "to point" and "in print" accented and detached 20,2,3-5: slight rallentando; slight crescendo; effect of (modified) rapture 20,4,1: even more lyrical; take advantage of the aspirated wh 20,4,1-6: greater freedom in line, swelling in dynamics; the effect should be giving way to emotion . . . until . . . 21,1,1: this portion in each verse should steadily become less lyrical, less legato 21,2,4: detached No. 4 ----- tempo: quarter = 104-108 generally: make the parentheses distinct from the mail text. Legato throughout, but not to the detriment of text. Bring out the words designed to affect the other person -- weep, wail, gallant, loves, wretched, et al. 22,2,2: slight accent on sight; anticipate the s of sight a bit 22,3,1: emphasize w words a little 22,3,2: slight accent on wretched 22,3,3: separate the quarter notes, but not staccato or marcato 22,4,2: bring out gallant a little 23,2,2: separate the notes in this measure, but not staccato or marcato. Cut off on fourth beat. 23,2,3 et seq.: poor -- rhyme with boor, not spore; increase emphasis on poor in each successive verse 23,3,4: crescendo through whole note 23,3,5: subito mp/mf; detached 23,4,1: half note cuts off on four 23,4,2: aspirate wh; legato phrase 23,4,3: last two quarters almost staccato 24,2,1: s of sight should be anticipated, and word accented a little 24,2,3: aspirate fs (fan, flame), and anticipate 24,3,3: a bit bolder; a full mf, dropping back for parenthesis 25,1,1-2: same 25,4,2: no diphthong on ought Nos. 5-6 -------- tempo for chorus: half = 104 generally: this should be count-sung (see general notes). Lots of energy. Make certain that the eighth notes are precise and distinct, with separate attacks on each (Cuh-huhms young Rih-hih-chard, etc.). 26,2,6: accent both half notes 26,3,1-2: separate attacks on eighth notes; despite the markings, do not slur 26,3,2: cutoff on upbeat 26,3,5: phrase ends on he; cut off to allow for fully aspirated h on his 26,4,1: rious cuts off on upbeat 26,4,3: phrase carries through whole note; stagger breathing to avoid premature phrase break 26,4,5: phrase ends here; cutoff on upbeat 27,1,1: lots of t; cutoff just before upbeat; give half-note full value 27,1,2: same 27,1,4: sopranos -- bow-how, staccato 27,1,5: start note mf, crescendo through whole note 27,2,2: keep dotted rhythms crisp (count-singing helps); ehth, not ihth 27,2,3 et seq.: ah-hahl, to-hoh-, fru-huhm, etc. through re-teuh-heuh-nehth 27,3,3-4: half notes accented, but don't break up the legato line Dick's song: tempo is half = 96 (a bit flexible) generally: play with the words. We will do the traditional slowing down in verse 3 at "I'll wager in their joy," etc., coming to a full stop for business, and resuming a tempo at "(Which is what . . ."" More parlando than legato; consecutive eighths should get a little aspirate (as in verse 1, "ah-hahnd off Cape Finistere") -- not too much, but a separate attack, rather than a legato blurring. CHORUS -- do not try to imitate Dick's accent. 29,2,2: substitute a quarter note for the consecutive eighths on the first syllable for verse 2 (that is, sing the first syllable just like the first syllable in 28,3,3, verse 2) 29,3,1: in verse 2, note that the syllables are arranged differently for the chorus (and chorus, do not sing what Richard has for that verse) 29,4,1: verse 1, sing whih-hih 29-4-2: verse 1, put a little d with the th in "lysed the" -- do not insert a schwa (no time); verse 2, sing oh-hoh No. 7 ----- tempo: dotted quarter = 138 generally: allow a pause for business at the usual spots in verses 2 and 3. 30,5,2: accent "passion"; a little hamminess -- extra diction, etc. -- welcome 31,1,1-2: "I've though so again and again" almost thrown away, as an aside 31,2,3: verse 3, "to" should be an eighth note, rather than a quarter 31,3,2-3: verse 3, try two different approaches, and we'll see which works better. (1) Start the phrase mp; sustain "shy" over a crescendo, with cutoff on downbeat of next measure. (2) Begin phrase mf/f, with a diminuendo on "shy," sustained until next measure, with a slight relaxing of tempo (to be picked up on re-entry). 31,4,3: her and in the duet passage, sing "your" as one syllable (no extra h to set off the eighth note) No. 8 ----- tempo: quarter = 108 generally: take care that the dotted rhythm doesn't slide into triplets. In doing so, however, pray don't make this marcato. A gentle legato, with consonants slightly anticipating the beat, should do the job. Also use the punctuation to set the phrasing. Contrary to some earlier instructions, carry vowels through tied noted without adding aspirates. 33,2,3 - 33,3,1: keep as one phrase; do not overemphasize the initial f 33,3,3: no phrase break after shelter (not until arms in 33,4,1) 33,4,2: slight rallentando 33,4,3: a tempo at downbeat 34,1,1: lyooring 34,1,5: dyooring 34,2,3: a tempo at Rose's entry 34,4,2: aye pronounced a, not i 35,2,2: slight ritard and diminuendo (duet passage should be a comfy mf or a little under) 35,3,1: a tempo; back to just under mf 36,1,3 et seq.: poco a poco dim. e rit. 36,2,1: rather slow; notes will be dictated No. 9 ----- tempo: half = 100 37,1,3: syoot 37,1,4: slight breaks at commas 37,2,2-4: teh-hel, dah-hahth (a little darker than a plain ah), may-hay-dehn 37,3,2: detached quarters; give a sense of eager anticipation with slight staccato; follow dynamics in piano part 37,4,2 et seq.: light attackes, a bit of bounce in the voice -- but don't bounce off center in pitch; observe punctuation in vocal phrasing; be sure to give proper attention to the grace note No. 10 ------ tempo: quarter = 132 Generally: individual verses should be crisp, reflecting the underlying orchestration (though the last two measures of each should be more legato). The trio portions should generally be more legato, though the repeated eighths and dotted passages need to be clear. Much opportunity for verbal acting, with Dick as basically innocent, until Rose's verse, of what is going on, Robin as rather calculating, and Rose showing that that she's a little less sweet than she gives out. 38,1,2: phrase ends at guide; if necessary, take catch-breath, but try to keep sense of line 39,1,1: wind rhymes with blind 39,1,3: slight d' at find 39,3,2: this measure legato 39,3,5: same 39,4,3-4: legato, with slight crescendo to end of phrase 40,2,2: legato; give a sense of deprecating -- almost sneering at -- Richard's statement, perhaps by sliding a little from pitch to pitch. Martyn Green does this especially well on the 1950s recording. 40,2,5: same; bring out "merely" with lots of m (anticipated slightly) and slight accent on vowel 40,4,5: staccato on left and right, with accents 41,1,2: legato 41,1,5: detached, with lost of closing consonants; almost staccato 41,2,1: agayn, not agehn 41,2,3-4: detached, with accents; closing consonants with each note, not carried over to next 42,1,3: detached 42,2,2 - 42,3,2: underneath Rose's long legato line, precise and detached, with lots of closing consonants 43,1,3-4: crescendo, then diminuendo 43,2,1-2: same 43,3,3: forte to end; accented; detached No. 11 ------ tempo: dotted quarter = 58 (changes frequently) Generally: David will obviously have a great deal to say about this number, and most of what I have to say will better be done through coaching. My main musical points are: (1) The transition from the more melodramatic madness of the recit to the song proper starts at "No crime," though there are hints of the more Ophelia-like in, say, "Comfort me not!" (2) In "To a garden full of posies," avoid at all costs heavily emotional sorrow. The impression should be more of deadened emotion, so that the little bits of feeling that come out will be more powerful (just as the perfectly still person on stage draws all the focus). I have seen this staged quite effectively with Margaret sitting for both verses, rocking gently as she sings, almost absently plucking the petals from a flower (and noticing that she has done so at the last line, with a catch in the voice accompanying this). This, at any rate, is the general idea. 44,2,2: tempo is dotted quarter = 69 44,3,5: very slight ritard to vocal entry 45,2,4-5: ritard 45,3,1: a tempo; slight accelerando for next six measures 45,4,2: ritard to previous tempo 45,5,1: tempo is quarter = 108 45,5,5: ritard 46,1,3: a tempo (108) 46,2,3: tempo is quarter = 54 46,3,1-2: ritard even further; separate words, but keep phrase going; linger a bit on "t's" of "that's" 46,3,8: tempo is dotted quarter = 54 47,1,3-4: slightly separated (observe commas in second verse) 47,2,3-5: on repeating the earlier phrase, drop the dynamic, slow down very slightly, and bring out the words more 47,2,5 - 3,3: more legato, but not overly romantic. Schmaltz strictly forbidden. 47,3,3: slight stress on "doubting," and slightly more on "breaking" 47,4,2: in verse 2, slight break at comma; lower dynamic here, slow a little for final phrase No. 12 ------ tempo: dotted quarter = 116 48,3,3-4: no sharp breaks in the eighth-note phrases (no cuh-huhm, for example), but make the separate notes distinct. We may have some of the chorus separate these notes sharply, depending on how the rehearsal goes. 48,3,4: do not end phrase at "entry"; phrase doesn't end until "beating." 48,4,2: altos should accent second note a little; "-ing" should be sung as eighth note with eighth rest, to allow proper preparation of next note. S2s should omit the final quarter note to prepare adequately for the high G of the next measure. 48,4,3: give effect to comma at end of measure 48,4,4: do not end phrase at "-tion"; phrase runs to "greeting" at end of 49,1,1 49,1,2: do not swoop up or down. We may have some women make a glottal attack on the D; for the time being, sing this measure and the next as one legato phrase 49,1,4: practice this slowly with separate attacks until the notes are absolutely accurate, only then making the phrase legato. This phrase ends at "we!" in 49,2,2; take a catch-breath if necessary, but try not to take it between "greeting" and "offer." 49,2,2: practice this passage with count-singing (a-one-and-a-two-and-a-tee-and-a-four-and-a, etc.) slowly until the notes are accurate and the timing precise. Do not add words until then. At this tempo, flip rs -- no time to roll them. 49,3,2 et seq.: get off the fs and fls quickly 49,4,1: second flee -- sing as eighth with eighth rest. Accent first flee -- throw away the second. 49,4,2: nehss, not nihss 50,1,1: In Elysian, eh, not uh (or ih) 50,2,1: slight crescendo through phrase 50,2,2: legato to end of section 50,3,1: cut off "moment" at start of fourth beat 50,4,1: women should follow instructions in 49,2,2 50,5,1: accent "most" 51,1,1: slight emphasis on each occupation 51,2,2: legato phrase starts at end of measure through "me!" at 51,3,2. Preceding part of bar definitely non legato, with slight crescendo. 51,3,1: linger a little on "lover" -- even more legato. Give the sense of swooping -- but don't do it! 51,4,1-2: again, very legato, almost melting 51,4,3 et seq.: carry old instructions forward. We will do this with count-singing when together, so you should practice it this way by yourselves. 53,1,3-4: crescendo and diminuendo (only up to mp+) 53,2,1: back to p; do not anticipate the subito f in the next bar 53,2,2: forte passage non legato 53,2,3: the sustained e should be a little darkened -- mouth more vertical than horizontal, with a vowel sound tending toward ih rather than the often overly bright ee No. 13 ------ tempo: dotted quarter = 69 Generally: Despard should begin as more or less a stock melodrama villain, though we get a hint of his real views at "I once was a nice-looking youth," and rather more by the last verse. The chorus needs great precision in its short interjections, with no carrying over of the closing consonant from one word to the next, and definitely without overstaying the eighth notes. The choral passages should be as crisp as possible. 54,2,4: "Oh, yes" should not be exclaimed -- this is, after all, pretty obvious 55,1,4: chorus should accent "my" 56,1,2-4: Despard should sound a bit wistful -- less marcato than usual, more legato. Go back to firmer tone with "But like stone . . ." 56,2,3: roll r a bit with "rushed" -- lots of consonants, including the sh 57,1,2 et seq.: Despard should be more legato until "Or you'll be as ugly as I'm." Note that in this verse Despard's final notes are dotted quarters, rather than eighths, until "time" at 57,3,4; until then, the chorus should not wait for Despard to cut off before it sings. 57,2,3: note that the usual dotted rhythm is changed in the latter half of the bar 57,3,1: same 57,3,3: same (reverts after) 58,1,3: back to harsher, more marcato singing; accent "ugly" 58,1,4: separate each no 58,1,4 et seq.: Despard should be more legato here -- almost delicate. Observe the comma at 58,2,2 -- "if you please" should be almost an aside 58,2,3: d' at end of proceed No. 14 ------ tempo: dotted quarter = 138-144 Generally: Of necessity, this is rather clipped, but make certain that the words are not so clipped that we can no longer understand them (a problem I had as Despard). 59,3,2: Despard should just touch the second r in bridegroom to ensure that we can hear the oo -- almost bridegoom. Be sure to get the d, even putting a little schwa after it so we can get the g. 60,1,2: Richard -- similarly, just touch the ll in I'll. Despard -- slight accent on lash; start the sh a little early for emphasis. 60,1,5: dyootee, not dootee (throughout) 60,2,1: must'be (very, very short neutral vowel after st) 61,1,1: cutoff task on downbeat 61,1,2 et seq.: if possible, a bit of crescendo through the fiddle-de-dees. We may abridge the final note, depending on the blocking. No. 15 ------ starting tempo: dotted quarter = 96 62,3,4-8: slight ritard to about 80 62,4,1: new tempo is 88 62,4,4: seh-vehn-teen, not seh-vuhn-teen 62,4,5: phra-zehs, not -zuhs (same for phrases, 63,4,1) 62,5,1: cut closing eighth a little short to end phrase 62,5,3: we should hear the comma, but not to the point of breaking the line 63,1,3-4: elide eighths -- do not add aspirates on the second of tied eighths 63,2,3: mai-dehns, not -duhns (notice the trend?) 63,2,5 et seq.: phrase ends at day; be sure to prepare it with adequate breath (cutting "her" short if need be); dynamics should rise and fall with the line 63,3,1-2: don't put in separate s sounds with brides and some; one will do for the two of them 63,3,3: a little extra d in day, given the falling dynamic 63,3,3 et seq.: men should be vigorous, accenting firmly -- not choppy, but non legato 63,3,4: make sure to bring out the F# 63,4,1: first phrase ends here; hit the d hard, and strong aspirate on the h 64,1,2-4: slight ritard with the crescendo -- almost a tempo at the choral entry 64,1,5: first phrase ends at end of 64,2,2, so no real break at the end of 64,1 64,2,3: pull back dynamic to mf, then swell through bar 3, dim through bar 4, swell through bar 5, dim through bar 6 64,2,4: altos and tenors should bring out the eighth notes 64,3,1: crescendo to f through first 4 bars of this line 65,1,1: tempo is quarter = 116-120 65,1,5: dynamic is a little under mf; the phrase runs through spring 65,2,4: cut spring short for a breath (down to a quarter, if need be) 65,3,4: cut love a little short for phrasing 65,4,1: quarters a little detached 65,4,2: quarters a little detached (not marcato) 65,4,3-4: phrase should peak at downbeat of 4 (same with next quartet phrase) 66,1,2-3: Richard should bring out phrases in eighths 66,2,2: tenors should not change their dynamic (mf) here (wait until the next verse) 67,1,1-2: drop dynamic for second "far away"; crescendo through "fa la la," dropping back a bit for the balance 67,1,3: mf; notes distinct, but not marcato 67,1,5: T2 -- bring out the C (also at 67,2,2) (we may move a B1 or two up for these four bars) 67,2,3 et seq.: A & T should bring out the running eighths; aspirate the second eighth of each phrase for clarity. Think of the eighths as a solo and the quarters as accompaniment. 68,1,2: B should accent the low A, and T should accent the B 68,1,3: T -- eighths a little detached 68,1,5: mind the rest 68,2,1: I will move two B1s to T2 for the fourth beat (the two eighths). Let us say Pascoe and Scott, barring piteous pleas. Head back to the B1 line at the start of 68,2,2. 68,2,1-2: non rit. 68,2,4 et seq.: where appropriate, copy the musical notes from the earlier verse. Hannah -- molto legato, until it starts interfering inordinately with diction 68,3,5 - 69,1,3: phrase builds to end; cut "sleep" a little short for breathing 69,1,3 et seq.: very slight ritard to end of solo (a tempo with soprano entrance); also very slight diminuendo 70,1,2-3: "Winter, rest" is p; lots of consonants 71,1,1: bring out commas 72,1,4: ritard; I'll dictate the notes and cutoffs (after each half) 72,2,1: tempo is quarter = 100 No. 15 (part II) ---------------- 73,3,1: tempo is half note = 112; this will be a bit flexible, particularly to allow for extended rests here and there. The recit will, however, largely be in tempo. 73,3,3-4: roll rs in bride and bridegroom (first r only in latter) 73,4,5: strong accents on both halfnotes of elder 73,4,5: tempo is half note = 96 73,5,7: tempo is half note = 104-108; Despard should wait for cue to enter 74,2,1-2: cut "as" short; extra emphasis on "Sir Ruthven Murgatroyd" 75,1,2-4: s of "base" should be put at the end of base, not carried forward to the start of "one"; slight separation between base and one 75,2,1: tempo is quarter = 88 75,2,5: bring out commas; perhaps drop the dynamic slightly on "I regret" 75,3,1-2: drop dynamic for "I am that baronet" -- definite show of reluctance to admit this 75,3,3: note p dynamic 76,1,4-5: roll r on "recklessly"; otherwise make clear the assumption of the bad baronetcy. Martyn Green did this nicely in the 1950s recording, in part by accenting "deny." 76,1,6 -- 76,2,1: forte 76,2,1: tempo is dotted quarter = 126-132. Chorus should try for a more sung vocal technique -- high palate, more notes between the (clearly brought out) consonants. This would apply until about 79,1,2. 76,3,1: flip r in "taradiddles" -- almost "tadadiddles." (If you can't flip the r easily, then sing tadadiddles, but without emphasizing the first d.) 76,3,2: t of "Bart" comes at end of the eighth, not at the start of the next eighth. Keep it short to allow a distinct gap between the chorus and Robin. 77,1,1: no hard r in "very"; as before, flip the r, or sing "veddy." 77,1,2: "part" should be sung as an eighth with an eighth rest 77,4,1: final s of "sententious" should be very short and on the downbeat of 77,4,2. 77,4,2 et seq.: chorus is accompaniment -- keep it down. Lots of consonants. Take breaths when you must here and in the forte passage upcoming. Try not to take them at phrase endings, except when there's a rest -- staggered breathing will be much more effective. If you take a breath mid-phrase, don't try to catch up with the missed words -- just jump back in on time. 79,1,3: women -- d of "Bad" should go just before the downbeat of 79,1,4, joined to the B of "Bart" with a short schwa (neutral vowel) -- thus, bad-uh-baaht. The B of "Bart" must be exactly on the downbeat. 79,1,4: women -- t of "Bart" should be on beat 2 (the start of the fourth eighth note). All -- from "When" to the upbeat of 79,2,2 is piano (as marked in the accompaniment). 79,2,2: as in the accompaniment, forte at the last note (A for women, He'll for men). The comments from 79,1,3-4 apply. 79,2,4: "On" should be piano, molto crescendo to f at "play" (79,3,3). 80,1,1: tempo is quarter = 104 80,2,1: tempo is half = 88. This passage (up to the allegretto maestoso) will be essentially in strict time. (At least one recording, and some performances, take the choral passage at about half speed. We won't.) 80,3,4: tempo is quarter = 80. Generally, Dick should follow the dynamics marked in the accompaniment, at least until 81,2,3. Watch the phrasing. This shouldn't be strictly marcato, but we do need a firm sense of the beat. 81,1,4: more legato through "great" 81,2,3: mp, resolutely 81,3,2: f 81,3,3: practice just the rhythms using count-singing. This passage often degenerates into triplets. We will not let it. 81,3,4: t of "heart" on downbeat of 81,4,1 81,4,2: quarter-note of "impart" should be sung as an eighth note with an eighth rest. The t falls on the start of the eighth rest. 81,4,2-3: "immediately" has only four syllables (ih-mee-dyah-tlee) 81,4,4: 'd on third beat 82,1,3: tempo is quarter = 76-80 82,1,3: insert a slight pause between "farewell" and the start of the next measure. Generally, this passage should show some measure of regret on Rose's part -- but not too much; after all, she now has a virtuous chap to marry, as her book of etiquette doubtless demands. Some extra emphasis at 82,3,1-2 -- more consonants will bring this out. 82,4,4: tenderly, a bit regretfully; slight rall. 83,1,1: tempo is half = 100. Carry over notes from past appearances. 83,3,1-3: non legato 83,4,1-4: if possible, crescendo through the phrase (particularly the last two bars) 83,4,5 - 84,1,1: hold back a little on the emotion; save it for the next phrase 84,1,1: quarter rest will be slightly extended 84,1,1 - 84,2,2: in old tempo (not greatly slowed, as in some recordings). Phrase ends are "joy," "warm'd," and the end of the line. 84,1,3: nyoo-lee 84,3,1: take lower notes. Legato, expressivo for "How I adore you!" 85,1,3 - 2,3: slight annoyance, esp. at "through thy design" 85,3,2-3: slightly detached 85,4,2: this bar will be conducted as a downbeat in the old tempo plus a three-four bar in the new tempo. This is how it comes out in the D'Oyly Carte recordings. The cutoff will thus be on beat three of the three-four bar. 85,4,3: tempo is dotted quarter = 144-152. Generally, think of this passage as having three two-bar phrases and one five-bar phrase, with each phrase having its own shape. Thus, for instance, the downbeat of 86,1,2 should be firmer than that of 86,1,3. 86,2,2 - 4,1: poco a poco crescendo. There should be a sense of building through the phrase. 86,3,3: do not separate the three dotted quarters 87,2,1 - 3,3: same as 86,2,2 - 4,1 87,2,1: Despard -- watch the eighth rest, which Margaret doesn't have. Or, if you prefer, Margaret -- sing the full quarter on descent, rather than follow Despard's eighth and eighth rest. 87,3,2: same as 86,3,3 88,1,3 - 3,2: same as 86,2,2 - 4,1 88,3,1: observe the rests 89,3,1: accent "curse" 89,3,2: crescendo through phrase 90,1,3: lots of tenor on the eighth note passages here and the next two measures. 90,1,3 - 2,3: steady crescendo through phrase. Pull back a little at the start, so you have somewhere to go. 90,2,3: some S1s will sing the top Bbs. We'll sort that out when we sing it together. 90,2,4: forte 91,1,1: start the new phrase a little over mf, and crescendo through to the end. 91,2,1: cut the dotted half short; the s should fall on the second beat, giving you time for a catch-breath. 91,2,2: d' on beat three |