Which Concerto would you choose for the San Diego Symphony audition? Any 18th, 19th, or 20th century major concerto is permissible.
I got an email this morning from my youth orchestra's director. He informed me that the San Diego Symphony is holding auditions for sectional violin seat or seats in January.
Here's the repertoire list:
Audition Repertoire List Section Violin January 8-9, 2012
Copley Symphony Hall
SOLO repertoire1. Beethoven Symphony No. 9 (mvt. II: beginning to msr 150, mvt. III: msr 99-115)
All candidates will be asked the following, in the final round only, unaccompanied: • Standard 18th, 19th, or 20th century Violin Concerto: 1st Movement
ORCHESTRAL repertoire (all from 1st Violin parts)
2. Brahms Symphony No. 4 (mvt. I: msr 392-end, mvt. II: msr 88-102, mvt IV: msr 33-81
3. Mahler Symphony No. 9 (mvt. III: msr 320-349, 561-587; mvt. IV: beginning-msr 35)
4. Mozart Symphony No. 39 (mvt. I: beginning-msr 142, mvt. IV: beginning-msr 104)
5. Schumann Symphony No. 2 (Scherzo: beginning-msr 54)
6. Shostakovich Symphony No. 5 (mvt. I: beginning-msr 32, mvt. II: 4 msrs after reh 70 - end, mvt. IV: 2 msrs before reh 113 to reh 115.
7. Strauss Don Juan (first page)
Score! :) Yeah, I'm psyched to get ready. I'm debating which concerto to do... Hmmmmm...
When I googled my new bow's maker, I found this:
Süss, Johann Christian
According to Lütgendorff, Christian Süss worked as a maker of very simple bows in Mühlhausen, near Adorf, until he learned his craft "properly" from Chr. Friedrich Knopf. It was in 1852 that he was first mentioned as being a citizen and bow maker in Markneukirchen. The first bows of his that we have seen come from the time around 1870.
These bows have been stamped TOURTE and follow the same line of thought as the bows he later made that are stamped SUESS. Quite a few bows showing the same hand that are stamped W. H. HAMMIG LEIPZIG serve to round out the picture of his later working period. It is possible that an earlier connection to the Weichold workshop existed but it would be difficult to prove.
The first bow pictured here was made around 1870 and is stamped TOURTE, which simply indicates the model used. The head sits upright on the stick and comes forward a bit, in the style of a late F. X. Tourte, although the face plate surface has more of a curve towards the tip.
The sticks are usually octagonal, as one can see here, and the edges are clearly rounded. This stick, made of finely grained, dark pernambuco has been evenly cambered to the middle and is well proportioned. The combination of well balanced work on the stick and first class material have resulted in his bows having superior playing qualities.
The frog is striking, both in its clear proportions and precise working details. The typical characteristics of his work especially include the cleanly cut "U"-formed throat and the angled back surface of the frog as well as the one piece heel plate with lightly curved sides. The liner is usually secured with pins.
The button, which is generally somewhat narrower than the handle, has, with a few exceptions from Süss's later working period, a small "U"-formed collar cut. The screw has a coarse thread and is conically pointed at its tip
This second violin bow, which is stamped SUESS, was made in his late working period. In almost all its details it shows the same characteristics we have seen on the last bow. The head still sits upright on the stick, whereas the throat has been worked with a bit more of a curve to it. It is possible to see some file marks on the strikingly cut chamfers, but this has had no effect on the overall vividness of the head.
The beautifully planed octagonal stick has been made of lightly colored yellowish-brown pernambuco. One can often see this choice of wood in the bows made in his late working period.
The frog stands out through its harmonious proportions and its softened, yet still striking execution. The three-part button is once again narrower than the handle and has a short double collar cut.
The cello bow pictured here, again stamped TOURTE, follows the same pattern both stylistically and technically as the violin bows last described. The only real difference is in the more heavily rounded line of the peak of the head, which deviates somewhat from the Tourte model. The frog and button share the same characteristics of the violin bows.
The nickel mounted violin bow pictured here carries the brand SUSSE. The obviously rounded throat and other small details would indicate a probable collaboration with Süss's grandson, August Nürnberger-Süss.
He assisted his grandfather in the last five years of his grandfather's life; according to witnesses of the time, Süss's vision was in the process of failing in his old age.
Carl Süss (1860-1898), the son of Christian Süss, was also a bow maker; he emigrated early in his life to Montevideo, Uruguay, where he died in 1898.
Well, I graduated over a year ago with a Master's degree in Violin Performance. It's taken this long for me to love my instrument again. Honestly, the rigors of school do not agree with my performance modality at all. I've barely practiced except to warm up and teach. I've even taken a quasi hiatus from most things musical, including this wonderful forum on V.com. But I'm back now, and I'm looking forward to getting back to work for me.
First, I've moved to California. I've got a new bow, valued at $4,000. The most expensive and by far the nicest bow I've ever owned. My goal is to be a private teacher, youth orchestra coach, and a major symphony player. 2 down, 1 to go. I've already built a successful studio of approximately 25 students, and I'm a coach for the Community Youth Orchestra of Southern California, thanks to its director and V.com member, Gene Wie.
My audition confidence is nil, so preparing for a major audition is going to take a lot of work. I've emailed the Los Angeles Philharmonic, requesting audition information for inquiring violinists, despite the fact that there are no seats currently available. Not surprising, given the magnitude of the orchestra, but I'd still like to prepare for the day that there are. I've emailed the Orange County Symphony over 20 times with no response, and I also sent an email to the Pacific Symphony the other day. I heard back from the LA Phil, saying that my request had been heard, was being transferred to the appropriate department, and I should hear from someone shortly. That was a couple days ago, but I'm not worried.
I ordered the first book of common orchestra audition excerpts, and I'll learn them all, then get the 2nd book, and then the 3rd. I'm working on the Sibelius VC, and some unaccompanied Bach. I'm going to start the Vitali Ciaccona, a piece I was disinterested to play before, but now I'm reconsidering.
I ordered a Gotz E fine tuner. My Hill tuner is warped or something, it's not operating very smoothly anymore, and the typical fixes aren't working. I'm playing with strings. I have Dominants with a Jargar E (regular, not the forte) and though I like the Dominants, I'm not sold on the Jargar and the Dominants die quickly. I also need a different chin rest again. The Teka I have is too slanted. I need something flatter, but still side-mounted with a dip in the side.
Previous entries: April 2010
Violinist.com is made possible by...
Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.