Violin concertos such as Prokofiev? (in terms of difficulty)
Hi! I am searching for a concert that is the same/simmilar difficulty as Prokofiev 1st. Do you guys have some recommendations? I would appreciate it a lot. Thanks in advance!!
Dvorak Concerto in A minor, one of my favorites.
It's comparable in difficulty to the mainstream concerto repertoire, pretty much -- if you can play it, you can probably play anything that's not Tchaikovsky, Sibelius, or Brahms, in all likelihood. Every concerto has its own difficulties; Prokofiev 1 has lots of fast chromatic passages and the like but little in the way of double-stops. If you have a double-stop weakness you may find other works that have more double-stop passages to be significantly more challenging.
I always had more problems with Prokofiev than with Sibelius, I sometimes lost the path trough the piece.
To: Zeynep Yilmaz ~
I see advanced students playing Vieuxtemps 4 -- none of them plays Prokofiev beforehand. Perhaps that is an issue of musical maturity but that's what I've seen. I've played neither; I don't have the chops.
Prokofiev 1 isn't taught as much, in general. You'll find plenty of pros who have never learned it and therefore don't teach it to their students.
A pity, as it's such a wonderful, special piece. Most certainly not a "student" concerto (though neither are the aforementioned Vieuxtemps works.) May all of you who learned it be able to fully appreciate its depth.
I suspect that a lot of pros stop learning the concerto repertoire once they're out of school / training. Orchestra players tend to have plenty to practice without adding more difficult music that they won't use professionally, and everyone else has plenty of other professional activities keeping them busy and making practice time scarce. And if they ended their training more at the level of a concerto like Mendelssohn rather than, say, being comfortable with Brahms, they may not be able to easily tackle the more difficult concertos without the help of a coach. It makes more sense to spend spare time on works that can be used for recitals; it's not about the "level" but about the practical application.
To Paul Deck ~
"(Even if it takes longer due to a busy schedule, why not keep advancing one's knowledge of the repertoire?"
I also think that most people's student years place a possibly-excessive emphasis on learning concertos, which can lead to the assumption that concertos are the be-all and end-all of violin repertoire.
If you were an orchestral music director considering the hire of a soloist, wouldn't you first ask what he or she already knows?
Well, as an adult amateur, I agree with Adalberto. My teacher and I have mapped out a ten-year plan that would take me through THREE major concertos, assuming I practice 3 hours a day. Let's see how it goes : )
Major concertos after 10 years is ambicious. Good luck!
Paul, solists get booked, I dont know a single one hired.
Marc, since I didn't say which three, it does sound ambitious : )
David: Mozart, Brahms and Paganini? :D
As far as I know, most music directors plan what repertoire they want on the season. Soloists get asked to play specific things. Knowing frequently-programmed concertos is useful (although certainly a lot of students get taught things that are no longer popular in the concert hall, the Lalo Symphonie Espagnol being the most prominent example of that).
I think the Lalo is still played. It was considered "back then" an ingenious masterpiece, and inspired many great composers and performer's-though of course the "modern" concert scene doesn't think much of almost anything that doesn't come from the usual, great composers nowadays. During last decade, the "Spanish Symphony" was part of the Concerts at the Park of the NY Phil at least twice (I think once performed by Repin? Feel free to correct me.) That it's used as a frequent technical stepping stone for students doesn't mean it's a student work or unworthy of the stage-again, "too bad" for its current status.
Prokofiev 2 certainly is. In about the last two decades, Prokofiev 1 has become more common, but that means that a lot of the current generation of violin teachers still don't know it.
Laurie reported to us that Josh Bell played the Lalo in San Francisco recently. I don't know whether that was a subscription concert.
Another "forgotten" Concerto that is deemed a "student work", besides the Lalo and aforementioned Vieuxtemps Concerti, is the Saint-Saens 3rd. The Intro & Rondo is so much more popular and more frequently programmed (indeed, have heard more of the Lalo as well). Sad state of the Concert Scene-and no offense intended, as I still attend concerts, and especially, violin performances.
The local symphony here in Indiana, the Indianapolis Symphony, is doing a number of lesser performed works for the new season. Bell is doing Scottish Fantasy, Hadelich is doing Britten, and Benjamin Beilman is doing Saint-Saens 3. I suppose the Brahms double also counts, but it's for violin and cello. I like many of of the less popular works quite a bit. Vieuxtemps 5, Wieniawski 2, Lalo, and Dvorak are some of my top favorites. The Op. 20 concerto in F by Lalo is also great. I think it's better than the Symphonie Espangole.
I want to hear someone do Spohr No. 2 because I worked on that for a while. Tenths ... argh.
To Adallberto Valle-Rivera ~
For Mary Ellen Goree ~
Dear Ms. Matesky,
Dear Ms. Matesky,
To ~ Sung Han ...
A good discussion! I'll just comment for now on one or two aspects of it:
To ~ Raphael Klayman, esteemed Violin Colleague ...
Thanks, Elizabeth! And for the most direct convenience, you are - and anyone else is - welcome to contact me at my personal email: email@example.com
To Raphael ~
Thanks, Elizabeth. If there is any doubt as to the Glazunov being a masterpiece, it certainly is a MONSTER-piece!
Ms. Matesky, I'm curious about something.