Conservatory Audition Repertoire
What exactly does "major" violin concerto and "standard repertoire" mean?
I'm pretty sure "major" violin concerto doesn't refer to concerti in a major key....
What makes a concerto "major" and what makes a piece a part of the "standard repertoire"?
I've chosen Saint-Sanes Concerto No. 3 (first movement) as the concerto requirement, but I'm unsettled on the Sonata requirement (my teacher and I have started on the Cocnerto requirement, the Bach, and the Paganini, so those are pretty set in stone which means less headache). Since they want to hear a sonata of a contrasting style, I thought Brahms Sonata No. 1 would do the job nicely, but then Franck hit me. And then Haydn No. 1. I've heard Brahms is common to do, but what about Franck? Would Haydn No. 1 be considered "too easy" for auditions?
"Standard repertoire" and "major concerto" refer to the works of sufficient technical and musical difficulty that are studied and performed consistently. Mainly, lists of this sort will be used to determine what is acceptable for auditions for things like competitions, festivals, conservatory programs, youth orchestras, etc. Depending on the program, some works do not meet the minimum requirements (i.e., only having Bruch or Lalo which are borderline, but auditioning for Juilliard or Curtis). You can search for a previous thread where Mary Ellen Goree explains in great detail why the standard for various levels of schools is different in terms of what incoming students audition with.
I'm curious why the separation between the first and second lists. Just a distinction for 20th century concertos, or was there some other difference?
I find that the less advanced the program, the less likely that they will be able to handle the orchestral demands of most of the 20th century solo repertoire. So auditioning for the small local youth orchestra's concerto competition with Berg or Bartok 2 is going to be no end of grief for everyone involved, as it's likely that the conductor will have never led those works before, and the orchestra is unlikely to have the breadth of players to cover all the parts.
Dear Mr Gene,
Well, the first movement of Bruch isn't as challenging as the second and third movements. That's why it's hard to classify the work by difficulty sometimes.
For sonatas - I would not suggest a Haydn or Mozart sonata. You've not said which conservatoire you are applying to but many specify "Beethoven or later". Probably either of the Brahms sonatas counts, as would Dvorak's, or any of the Beethoven ones.
Mozart sonatas are fine. Beethoven No. 5 is also very much a "classical" sounding sonata and would contrast nicely against the SS3. Don't automatically assume Beethoven will be harder than Mozart. In my hands there is a good bit of Mozart that seems much harder than Beethoven No. 5. The only thing is that it's played to death.
You don't say which school you're applying to, but if it's one of the better ones, you might consider a 20th-century sonata as a contrast to your late 19th century concerto. Prokofiev is quite sufficiently difficult for anyone.
Mary Ellen, are referring to the Prokofiev unaccompanied sonata? I would assume the sonata requirement implies a sonata with piano. Is that so?
Helen, there are two Prokofiev violin-piano sonatas that are fairly standard.
I was referring to Sonata no. 2 for violin and piano, op 94bis, adapted from the Flute Sonata (and frankly an improvement), by Prokofiev. It's an extremely popular work and I think it may be performed more by violinists than by flutists. My apologies for not being clearer. In my conservatory days, "the Prokofiev sonata" meant the op 94 one.
I see, thank you Mary Ellen.
Dear Ms Mary Ellen,