A lot of emphasis on the need for Legato singing with long vowels and an open mouth shape evidences the fact that we now pretty well know the notes. The change from a low C to a G on the first page of the Rutter work is still a challenge as the choir as a whole is singing a dischord. The choir has no assistance from the orchestra but tenors do at least have the timpani on a very low G. However, I think we’ll have to memorise the interval by silently thinking of the arpeggio  low C – G – C and back to G. After that I’m sure we’ll manage the rhythm.

We began and ended the rehearsal with FAURÉ:


No new markings but many members (not tenors of course) forgot the freer time taken over “inferni” in bar 83 and the quite long pauses before “Amen” in bar 90 and again in bar 92.


This went well.


Requiem Aeternam

Bar 45: no breath before Domine.

Bar 50: take care to mark the vowel change on the second quaver, not the minim after it.

Bar 76: similar point, the “on” of eleison falling on 2 notes.

Out of the Deep

Bar 15: a reminder that “hear” is sung as “heer” with no change of mouth shape.

Bar 17: the humming should be sounded “Nng” to create some resonance although piano.

Agnus Dei

Bar 14 : first note is still an “eh” sound (changing on the minim following).

Bar 37: Up arrow on the B flat (narrow the interval).


Last rehearsal in St Peter’s Hall next week!