Symphony Orchestra Page
Reference Recordings
Cesar Franck:Le Chasseur Maudit
Philip Glass: "HEROES" Symphony. mvt. 6, V2 Schneider
Supplemental: David Bowie, V2 Schneider (from the 1977 album "HEROES"). The whole album is here.
Lili Boulanger:D'un soir triste
Messages
February 28
Dear Symphony students,
Here are some links and resources apropos of our composers and music for this cycle.
Listen to the music (see above).
Read about The Accursed Huntsman*
Find out more about David Bowie and "HEROES"
Use these ideas to inspire and excite you to practice your music very carefully and methodically.
See you Saturday!
Mark
(aside -- here is information on the Fontainebleau Conservatory program founded by Lili's sister, Nadia)
*The Accursed Huntsman is an ancient legend that was retold many times in different forms. Franck's tone poem is based on one poetic retelling that is quite artistic. See here.
Rehearsal Notes
March 26, 2026
BOULANGER
Tempo
beat=54 (with flexibility in both directions)
FRANCK
Tempos (goals for the fast sections)
m. 93 beat = 104-112
m. 336 beat = 138-144
Violin 1
Look very closely at m.107, 111, 170, 174, 214, 216
All of these high passages are exposed and need to be correct and in tune. The intervals can be tricky -- you need to know them by practicing them slowly. You can't expect yourself to read them accurately.
All strings
in measure 140-245, there are measures with fast passagework. These need to be taken slowly, write in fingerings. Most of the passages sort themselves out well, once you have a plan for organizing the fingers.
However, some are quite tricky, such as m. 187-189 violin 1 & 2; m. 213 - 232 viola & violin 2
Cellos and Basses
m. 203 - 242 for accuracy and intonation.
Then, of course, there's the 2nd half of the piece, which we will work on next week. m. 336 - end!
Woodwinds
In general, in forte/fortissimo, when there is a group of 16th notes, they lead to the final note which should be the loudest and sound like a landing place. Very often there's a printed crescendo, but even when there isn't, it should sound that way.
Same idea with trills -- trills should be kind of noisy, and the final grace notes to the final note should be louder and sound like a flourish.
The 2nd half of the piece, from 336-end has many quick passages that you want to have nearly memorized. They go by too fast to be read. Starting by practicing them slowly.
Clarinets and Bassoons
m. 217-220 and 233-237 are very exposed. Get these learned by starting slowly and gradually increasing the tempo.
Brass
Have a close look at the 2nd half of this piece, from 336 to the end. This part needs quick, clear, clean, rhythmic articulation. More than just volume, this kind of incisive playing is what's called for. Practice getting the notes to speak with clear tone right from the start.
GLASS
Tempo
quarter=132
Violins
#24 -28 memorize these measures. 2nd violin line is very important!
Violins and Violas
#44 - end
find a fingering that works for you, memorize these arpeggiated figures and practice them daily, starting very slowly (quarter = 60) and gradually increase the tempo.
Cellos and Basses
#40 - end
focus on getting, first the lower note of each octave in tune, then test the upper note so that it's a true octave. It's important to know what the lower note needs to sound like, in order to match the upper note to it. Take some time feel out what the distances are, without tension in your hand or arm.
Start very slowly, even without a tempo at all, just getting the sound of the correct pitches. Then add a slow tempo and when that starts to sound ok, gradually increase the tempo.
Brass
light but clear, crisp, accurate attacks at the beginning of all notes.
If you have a metronome that subdivides the beat, that would be a fantastic way to practice this piece.
Flutes, Oboes, Clarinets
#36 - end
start slowly to get the finger combinations in synch. memorize these arpeggiated figures and practice them daily, starting very slowly (quarter = 60) and gradually increase the tempo.