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Resources
Tchaikovsky
For the Tchaikovsky Romeo and Juliet, there are many fine performances available. Here is one excellent example.
Barber
The Barber piece we're playing is the 3rd version of the Medea music that Barber created. There was an original ballet for small ensemble (11 players), the Medea Suite for full orchestra (25 minutes) and finally the tone poem, Medea's Dance of Vengeance (c. 13 minutes). Here are some sample recordings for comparison.
Medea's Dance of Vengeance from the world premiere of this version by the NY Philharmonic with Dimitro Mitropolous conducting.
Movements from the original ballet incorporated into Medea's Dance of Vengeance (original title of ballet: "Cave of the Heart". But Barber called his music "Medea" on all of his published scores).
MEDEA production at Macalester College. A film from a live performance of a unique production combining the play by Euripedes, choreography inspired by Martha Graham and the Barber Medea Suite for full orchestra.
Dvořák
For the Dvorak Slavonic Dance, Op. 46 No. 8, there are, again, many fine performances. Here are 2 of them: in Berlin and Cleveland.
Rehearsal Notes
September 13
Barber
Woodwinds & strings: practice mm. 20–end. Learn each individual motive, especially the rhythms.
Dvořák
Practice with a metronome
Don’t rush the quarter notes
Tchaikovsky
Pay attention to the key signatures!
Check intonation on all notes
September 6
Barber
The Barber has many tricky rhythms -- they are all relatively simple to play, but maybe a little hard to read. So, carefully go over your part with a teacher and listen to the recording with your part in front of you and it should become clear before too long.
Dvořák
Same as above—review tricky rhythms and follow along with the recording.
Tchaikovsky
For the Tchaikovsky, everyone (and I mean that literally: everyone), needs to practice their 16th-note passages slowly, and gradually increase the speed. The goal is to practice it slowly and without mistakes -- meaning all correct notes, with correct fingerings, in correct positions, where it makes for the most facile playing. Practice it every day. And gradually, week-by-week, increase the tempo. We will expect to hear these passages played without mistakes by every individual at the following metronome marks (i.e. quarter note = x) on each of the dates below. You will be called on to play these passages in rehearsal with your section, with your stand and perhaps even individually. Practicing slowly, with a relaxed physicality, which allows your brain to learn the connections between each note and phrase -- this is what will eventually give you the most freedom and expression and ensemble in performance.
Gradually increasing tempo marks for Tchaikovsky 16th-note passages. (The number on the right is the metronome mark for the quarter note.)
9/13 = 60
9/20 = 72
9/27 = 80
10/4 = 92
10/11 = 100
10/18 = 112
10/25 = 120
11/1 = 128
11/8 = 136