Final Rehearsal

• Fri., 10/16, 7:30—10:00 @ Vienna Presbyterian Church (dress rehearsal with instrumentalists)

Performances

• Sat., 10/17, 7:30 @ VPC (VCS performs alone first, followed by Armed Man)—call time for non-VCS choirs: 7:15
• Sun, 10/18, 4:00 @ Saint Luke (Armed Man only)—call time for all choirs: 3:15

Tickets

VCS members will follow their arrangement for tickets for the Saturday performance: each is allowed one comp but must sell five additional tickets. Non-VCS singers can speak to their respective choral directors about a limited number of comps available for the Sunday performance.

Cue Sheet

Generally: breathe at commas and periods except where noted differently below

I. The Armed Man

• At beginning, stand on cue
• Tramping sounds with fingers on cue before we start; when drums enter, it's measure one
• Separation and accent is important, along with rhythmic integrity
• At end, sit on cue
  

III. Kyrie

• stand on cue
• "Eh-Leh-Zawn": no dipthong
  
• m. 71 breathe on count 3
• at end, women only sit on cue
  

IV. Save Me from Bloody Men

• use tempos from recording as a guide

V. Sanctus

• m. 5 and throughout: 2nd beat should be an eighth note (as shown in bass part at m. 15)
• letter B and forward: separation of the eighth notes. No "double T's" in "et terra"
• letter D and forward: "ehk-sheh-lsee-ss"
• The section between G & H will be performed without repeat
  

VI. Hymn Before Action

• "wrath" and "path" pronounced in between a New Jersey "a" and an English "aw"
  
• release on down beat of 9, 13, etc.
  

VII. Charge

• at B and forward: 35, 36, 37, etc. breathe on count 4
  
• at C and forward: 59, 61, 63, 64 breathe on count 4. In 65, a quick breath between counts 3 and 4, then sustain until downbeat of m. 71
  
• 128: short "late", 129: long "-treat"
  
• at letter I, do not turn around when the screaming starts. At K, cut off into absolute silence for 30", then begin rain sounds with fingers. Once bugle call begins, sit down individually and gradually; when strings enter, rain stops gradually.
  

VIII. Angry Flames

• at beginning, soloists stand on cue; choral entrances are sung sitting
• m. 16 soprano misprint: pitch reverts to Bb on "struck"
  
• m. 24 soprano misprint: pitch for "the" should be another A
  

IX. Torches

• at beginning, all stand on cue
• clearly articulated text, but with no affect
• 11 and 13 release on the beat
  

X. Agnus Dei (Ah-news deh-ee)

• at end, all sit on cue
  

XII. Benedictus

• at beginning, stand on cue
• m. 42, 50, 62, 67: "s" exactly on 4.
• "Daw-mee-nee".
  

XIII. Better is Peace

• "Ring" should be fp and separated
• 71, 72, 73, and 75 place an eighth rest at end of each note. This happens again at 137, 138, 139, and 140
• 80, 81 breathe on count 4; also 96, 119
• 85 and 102 & 125 put in eighth rest at end of measure, s
• at K, phrase as follows, with breaths between each phrase: 2 measures, 2, 2, 2 [double bar] 1, 1, 2, 1, 1, 1, 3. The tempo will be slow and very flexible, so there will be time to breathe.

 

 

 

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