Help! I need help to choose which piece I should play after Praeludium and Allegro!

April 28, 2007 at 10:59 PM · Hey Everyone,

I am finishing up Praeludium and Allegro, and I was wondering which piece I should play next. My previous repertoire included Allegro Brilliant and Mozart Concerto in G.

Mostly for an audition this fall ( in which I want to do really well in), I need a new piece that is preferably challeging and snappy. A fast compostion would also be nice. I would greatly appreciate any suggestions and ideas.

Thanks!!

Replies (23)

April 28, 2007 at 11:34 PM · Try Tambourin Chinois by Kreisler. I didn't learn that long after Praeludium and Allegro.

-EG

April 29, 2007 at 03:19 AM · Greetings,

check out the Suk Four Pieces Opus 17, or Vieuxtemps Ballade and Polonaise. Or Why not work on a Bach Solo Sonata? Viotti concerto 22 is a masterwork. Questions of repertoire really are as open ended as there are works and individual needs.

Cheers,

April 29, 2007 at 04:37 AM · Mozart Concerto in D (#4) is pretty challenging (more difficult than 5 in my opinion) and is also a great audition piece

April 29, 2007 at 05:07 AM · Great thread! I'm pretty much done with the Praeludium and Allegro myself and wondering what next. I think I'll take Buri's advice (as I always do!) and try the Bach solo again, and this time, try to do it right:)

Also, it'll be nice if I can play Beethoven "Spring" some day soon.

April 30, 2007 at 12:10 AM · Eric, you have to be out of your mind to recommend that piece as a good next step. Introduction and Rondo would be far easier than that, at least technically. However, to pull off a truly good performance of the Intro and Rondo is not easy either.

April 30, 2007 at 03:42 AM · Sarasate's Malaguena might not be a bad choice if you're looking for short pieces.

April 30, 2007 at 04:40 AM · Jenny, I'd highly recommend to try Sinding's Suite right after Preludium and Allegro. I experienced it with my two students and they both made it successfully. Best of luck.

April 30, 2007 at 04:41 AM · Hello,

I did the Viotti 22 after P&A, but I would have to agree with the suggestions of solo Bach - nothing has helped me grow more as a performer than those unaccompanied horrors, and I find that they're great for auditions (i.e. you get a great opportunity to show your confidence and intonation prowess).

April 30, 2007 at 06:12 AM · Emmanuel,

I have to disagree that introduction and rondo capriccioso is an easier piece than tambourin chinois. We're talking about 3 or 4 minutes compared to around 10, first of all. Then, to give a respectable performance of it you really should have some experience with the French style (Perhaps the meditation from thais or equivalent). With Kreisler, you have the same composer and much fewer bowing techniques (The Saint Saens has up-bow staccato and that difficult ending of rapid sautille). And she did say she wanted something quick and challenging. That's just my opinion though!

-EG

April 30, 2007 at 02:33 PM · Hello,

I did the Viotti 22 after P&A, but I would have to agree with the suggestions of solo Bach - nothing has helped me grow more as a performer than those unaccompanied horrors, and I find that they're great for auditions (i.e. you get a great opportunity to show your confidence and intonation prowess).

ha`ha ha "horrors" ;o). I do agree with this suggestion. Although I think they can be studied along side with other supporting materials. I LOVE unaccompanied Bach!

April 30, 2007 at 03:10 PM · I understand that Jenny want's something short, but I'm finishing P&A soon as well and am wondering if it will be too a big jump to Bruch g minor?

May 1, 2007 at 11:16 PM · Greetings,

you might try following Auers advice which is to pick out technically demanding passages from works across the rpeertoire and pracitc ethem to pull the level of your tehcnique up. There rae many exclelent spots in the Bruch. You might get a beeter sens eof whetehr you feel up to it from this work, too.

I suspect you can play it. Perhps leanr the slow movement first really working on color , vibrato etc. Another good apporach is to learn the work from memory withoutpicking up the instrument while working on other stuff. This is a habit that helps to prevent mistakes and saves time in the long run. Reinforces the mind over matter approach too! Vey philosophical.

Cheers,

Buri

May 1, 2007 at 11:39 PM · Buri,

Thanks for the instruction. It's stuck on the sheet music now.

Speaking of philosophical, I'm convinced that AT is true philosophy, and FMA is a great empiricist. FMA's own writing is more philosophical than any of his followers that I've read. No wonder people say his writing is hard to read, but I think his writing is extremely clear and precise.

May 2, 2007 at 04:39 AM · Greetings,

I agree he was a great empiricist. I am not so sure about the philosophy since he was so adamantly opposed to using language, although it may have been a philosophical bent that led him to conclude language was just too fuzzy to transmit the essenc eof our intellectual/physical inheritance.

I think his writing is perfectly clear. Sometimes I suspect people tend to confuse dated or rather stilted `style` with lack of clarity for some reason.

Cheers,

Buri

May 2, 2007 at 05:04 AM · Erlkonig.

May 2, 2007 at 02:39 PM · I love Erlkonig though I've never heard it on the violin

May 2, 2007 at 05:14 PM · To me, the choice of pieces in a recital have to follow an emotional sequence. Technical issues aside, it seems to me that you have to follow the Kreisler with something that follows it emotionally, yet is not in the same genre. That is, it cannot negate the Kreisler by doing the same sort of thing and doing it better. I'm thinking of something from out of left field, like the last movement of the Bartok Solo Sonata.

May 2, 2007 at 08:53 PM · I'll be finishing P&A soon and am thinking of switching gears and working on the Franck sonata for vibrato, tone color, etc. per Buri's suggestion.

May 4, 2007 at 07:29 PM · Is Henri Wieniawski: Legende, Op. 17 a good choice?

May 4, 2007 at 07:53 PM · Legende is neither snappy nor fast, but it would certainly be appropriate after P&A.

May 5, 2007 at 04:11 PM · I think I will go with viotti concerto no. 22

May 6, 2007 at 12:55 AM · Bruch is always a good choice.

May 6, 2007 at 01:55 AM · Bobby, I’m so glad to hear that. I’ve been reading the score and listening to Bruch (Heifetz, Ricci, Chung, Salerno-Sonnenberg) everyday these days. Per Buri’s advice, I’m learning it from memory without playing while still working on P&A.

BTW, I like Sonnenberg the best. Heifetz's 3rd movement is too fast for my taste.

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