Page 74 - Mar_Apr23

STUDENT TIMES
S TUDE NT TIME S

Detailed Score Study allow some time to make eye contact with each section
that needs to be cued so that everyone can come in
Cues together on the downbeat of the next measure.
As seen in the excerpts on the following pages, the
color pink marks cues. Figure 1 on page 73 is taken Articulation and Phrasing
from the Introït et Kyrie, right at the beginning of re- The next excerpt (Figure 3 on page 74) is taken
hearsal letter J. The markings here indicate to cue from rehearsal F of the Introït et Kyrie and, as previ-
the Basses on beat 4 of the previous measure and ously mentioned, each color gives a different instruc-
then to cue the Sopranos, Altos and Tenors on beat tion. Green shows a breath for the choir, light blue
1 of that measure (rehearsal J). Although this occurs shows decrescendos and piano dynamics, orange is
twice here, it is not the only time in the movement, or for mezzo-forte (or a dynamic shift to mezzo-forte),
the full masterwork, where this happens. and red shows crescendos and fortes. Aside from the

Figure 2 on page 73 comes from measures 3-6 of colors on the page, other notes are included to aid the
the Sanctus, but the excerpt could have been pulled conductor during rehearsal, such as Latin text trans-
from anywhere within the movement because this lation, solfege and sounding pitch for transposing in-
pattern repeats throughout. The voices cued here at struments, and gesture reminders for which beat to
the same time are the Tenors and Basses, Violin I cue a specific section. This oscillation between forte
and Cellos. The number 3 written in pink is a re- and piano acts as the climax of the development be-
minder to cue said voices on beat 3 of the measure fore the cadence into the recapitulation, where “Kyrie
before their entrances. The larger patches of pink eleison” is sung for the first time—“Lord have mercy.”
not only make the small cue numbers more readily A requiem is a remembrance for the souls of the dead,
visible, but also help to quickly identify which instru- as well as a plea for their eternal rest. Throughout the
ments to cue with eye contact. The color pink alerts Kyrie, the text asks for “eternal rest” and “perpetual
the conductor of cues that need to be shown, and on light,” but it is not until this point that it additionally
different sides of the stage, no less. These markings begs for mercy for the departed.

Expression
Figure 4 on page 75, is taken
Choral Conducting at Eastman! from the Libera Me following
the time signature change right
Choral Masterworks: Mendelssohn’s Elijah after rehearsal D. This move-
Faculty: William Weinert, Deanna Joseph, Daniel Bara ment deals with the dread that
Participants conduct Voices, the professional choir in residence,
and lead the Summer Sing!, an Eastman community tradition. comes with the final day of
Eastman judgment, and it is here that the
The Complete Conductor: The World of the Bach Motets
Faculty: William Weinert well-known words “Dies Irae”
Participants conduct Voices, the professional choir in residence.
Daily sessions in conducting, singing, musicianship, vocal pedagogy, are powerfully spoken. The dy-
Dalcroze-inspired movement, and repertory selection. namics, tempo, time signature

Other Programs: change, and text all compound
Institutes in Alexander Technique and MusiKinesis to create a mighty climax. As
Online courses in lyric diction, vocal repertoire, and vocal pedagogy
this section settles, the recurring
theme of asking for mercy and
PLEASE VISIT: summer.esm.rochester.edu peace once again appears.
summer@esm.rochester.edu | (585) 274-1074 | Toll-free: 1-844-820-3766
Beneath the text, the orches-
EA S TMAN SCHOOL OF MUSIC • UNIVERSITY OF ROCHES TER tra reinforces the chorus through
the use of static movement in

72 CHORAL JOURNAL March/April 2023 Volume 63 Number 7