Conus concerto for a music school audition?

November 9, 2006 at 06:00 AM · I can't speak about the process in Germany, but whenever this issue comes up on the forum I stress that it's the playing that matters much more than the repertoire. Unless you're playing something inappropriate for your level, or something that severely clashes with your style, you will be fine as long as you play it well. Best of luck!

November 9, 2006 at 07:40 AM · Thanks a lot Nate for your response! See, the thing is that here it's often not just the playing that counts but also the piece that you play and sadly wether the teacher knows you already or not. I'm not saying that that's the only way to get in but it's helpful. So I'm just trying to find a piece that is not too out of the mainstream repertoire, and that won't "scare" any teachers away- though I really might end up doing the Conus after all:-) But I appreciate your comment a lot, thank you!

November 9, 2006 at 01:50 PM · I agree with Nathan. The bottom line is how you play. I think playing something that isn't so mainstream, if played well, is a good idea. I know teachers get tired of hearing the same pieces over and over again. I think you would distinguish yourself to play something different. One well known teacher told her student during audition week that she thought she would go nuts if she had to listen to the Sibelius again.

November 9, 2006 at 04:42 PM · I taught at the Eastman School of Music for twenty years, and heard many, many entrance auditions. In my opinion Conus Concerto is an excellent choice for an audition because: 1.The audition commitee has likely not heard eighteen performances of it preceeding your audition. They will be grateful to hear it. 2.It is a marvelous composition, full of opportunities to sing gorgeous heartfelt melodies and to delight in exciting virtuoso passages.

November 9, 2006 at 06:02 PM · Christine,

You may have already seen it, but there was a thread a while back here about the Conus:

http://www.violinist.com/Discussion/response.cfm?ID=8616

If that link doesn't work, just search on "Conus" and it'll come up, I hope. I had scanned in some program notes from my Perlman recording for that thread.

Cheers,

Larry Samuels

November 13, 2006 at 09:40 PM · To agree with The Strad Magazine, when it comes to auditions, it is never (or shouldn't be) what you play but rather, how you play it. I see so many teenagers controlling their teachers by telling them what they want to play. It is always something hard and fast and loud but the line must be drawn somewhere. Some teachers want to give their students challenging concertos to simply "challenge" them but there is a difference in "challenging" your student and teaching them. If it is too hard, then the teacher has screwed up and you get nowhere and more than likely have to back track.

You will be fine playing a lesser played piece. Logically, would you want to listen to Tchaikovsky, Sibelius, Beethoven, Lalo, Bruch, Mendelssohn, Brahms and Mozart all day? The judges always like a change of piece and you will be remembered even if the audition doesn't go well. The whole point is to be remembered for whatever reason. That way, your chances go up.

Best of luck to you!