Is This a Feasible Order of Pieces to Play?

Edited: November 2, 2017, 9:12 AM · Hi there,

I have been playing the violin for quite a while now and am studying the Accolay Concerto #1 in A minor. However, I started playing the piano and drums from a very young age, resulting in high musical knowledge within myself. In spite of this, I would like to know if the following is a feasible order to play certain violin pieces:

Accolay no. 1, Bach a minor, Sicilienne and Rigaudon, Allegro Brilliante, Haydn g major, Tchaikovsky Canzonetta, DeBeriot no. 9, Viotti 23.

Do certain pieces need to be moved or added? I feel as if the DeBeriot is too high on the list. Any other pieces that would be good around these piece levels would be appreciated.

Any suggestions?

Thank you!

Replies (13)

November 2, 2017, 9:19 AM · I'm not totally sure, as I don't know some of the pieces, but it's generally feasible. Sorry I can't give a definite answer.
November 2, 2017, 9:40 AM · I know people sometimes teach the Canzonetta (2nd movement) from the Tchaikovsky concerto early, but I'd suggest actually waiting to learn it when you're ready to play the whole concerto; you'll play it at a totally different level of artistry if you wait. It can be very difficult to re-learn a work that you learned at a lower level; your instincts are just all wrong for it.

The other works are all at the intermediate level. I learned them in the sequence Haydn G - Viotti 23 - DeBeriot 9 - Allegro Brillante (Ten Have) - S&R (Kreisler), if I recall correctly, with a lot of other repertoire in-between.

Edited: November 2, 2017, 10:20 AM · Ronit,

I think the better strategy is to hone your technical skills via etudes and studies e.g., Kreutzer, Sevcik, and Schradieck, and of course Bach solo works. Practicing on these studies appears not as glorious as going through concerto pieces at a warp speed, but a careful, meticulous study of these can pay a big dividend. Also you don't need to learn so many concertos in this way.

This is just one example, but my daughter learned Accolay, Bach A minor, DeBeriot 9, Vitali Chaconne, and Mozart 3 in that order while focusing on these etudes. Hope this helps.

p.s. She also briefly dabbled in Canzonetta between DeBeriot 9 and Vitali, but it was too early an attempt. Of course she could play the notes, but bringing out all the stuff between the notes is far more difficult than what it seems.

November 2, 2017, 10:13 AM · I learned Viotti 23 before DeBeriot #9.

Also, I agree with Lydia.

I do hope you're not going to try to go through these at "warp speed," and that you're simultaneously doing technical exercises.

November 2, 2017, 11:16 AM · I have not learned some of the mentioned pieces, but I almost never will. I personally use repertoire, exercises and scales to build technique (I almost never get assigned etudes, but exercises and scales, along with appropriate repertoire, make up for them).
November 2, 2017, 11:18 AM · Ronit,

Your list sounds much more reasonable that a lot of posters', who think they can jump from Accolay straight to Brahms.

November 2, 2017, 11:27 AM · I think I went from Accolay to Kabalevsky, Bach A minor, and Mozart G major (and I think I might have been working on at least two of these simultaneously). In hindsight, the Mozart really should have been Haydn–and I probably could have used a little more polish before tackling the Accolay too. While playing these I also worked on Mazas, Dont Opus 37, Kreutzer, and Flesch scales. Also Bach D minor Partita (the first two movements).

For whatever reason I missed a lot of the non-concerto literature (the Kreisler, Ten Have, Vitali stuff). I regret this now.

November 2, 2017, 12:18 PM · I think this grouping of pieces is well chosen, and the exact order should best depend on your technical and musical advancement in consultation with your teacher. You can see from the comments that there are many ways to do them.

I personally don't have a problem using concerto second movements (Tchaik Canzonetta or Wieniawki Romance) as stand-alone romantic pieces for now. Lydia is certainly right that you'll play them better once you're ready for the whole concerto, but if I followed that approach I would never play them in my entire lifetime. I think you can just as well revisit them later. But there are also piece like Vocalise, Meditation, not to mention the concertos you've listed such as Bach A Minor and Mozart 3, which both have absolutely gorgeous slow movements. You should do them for sure.

And as Katie said there is solo Bach, you don't have any of that on your list. My recommendations are the E Major Gigue first, then the D Minor Allemande, D Minor Gigue, and then D Minor Sarabande (possibly Corrente first, but you can't hide from double stops forever). In addition to studies you should do scales and if you are finishing Accolay that should be 3-octave scales and arpeggios plus chromatics -- doing them properly (in tune, super clean string changes and shifts) is more important than speed. Finally now you should started on scales in sixths and thirds. As for the latter be patient with yourself and avoid strain, especially with the thirds, let your hand relax. Phew! There's a lot to do. If you are time limited then you have to make choices. Happy practicing!

Edited: November 2, 2017, 1:42 PM · I remember my intermediate years (from about age 9 through age 13) as a kind of hellish purgatory of repertoire, in which I did a Haydn G, a huge pile of Viotti concertos (21, 22, 23, and one more whose number I have now obliterated from my head), DeBeriot 9, DeBeriot Scene de Ballet, Rode 8, a pile of Kreisler pieces, and a bunch of other things like the Allegro Brillante.

Somehow in all of that, I never learned the most common workhorse repertoire of that stage -- Thais, Csardas, Vitali Chaconne, the Kabalevsky concerto, etc. Or, for that matter, the Accolay.

My point is basically that there's a lot of intermediate repertoire to pick and choose from, and what of it you play tends to be based on your teacher's preferences and what they think you could most benefit from, possibly altered by things like ABRSM requirements or competition/audition requirements.

So I wouldn't sweat what comes next.

November 2, 2017, 4:04 PM · Nobody can play *everything*. The great thing about skipping some "important" pieces is that in ten years when you're a blithering virtuoso you can come back and just sight-read them for pleasure -- or learn them whilst teaching them to your own students!

November 2, 2017, 4:55 PM · That's true. Pieces I did not study in childhood but that I currently teach include Accolay, Kabalevsky, Czardas, P &A, and the occasional Ten Have.
Edited: November 2, 2017, 9:04 PM · I was and still am an intermediate player. As such, I have done

Bach concertos: A minor, E major, double;
The four seasons;
Mozart G major concerto;
Solo Bach: E major partita, D minor partita ( excluding the last movement);
Bruch concerto in G minor.

Somehow, I managed to avoid all the "student" concertos.


November 3, 2017, 5:57 AM · David, Accolay is nice, give it a try. I like to play it sometimes, although very easy to get trough it is always possible to do something better and I just like it. The recording of Perlman shows some of the musicality in this piece.
I hate its misstreatment for beginners only.


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