Good Concerto to for auditions and performing/concerts? Please reply!

June 2, 2016 at 12:28 PM · Sorry, I took this question down because of all the judging. Sorry for people who were trying to help.... :(

Replies (44)

June 2, 2016 at 02:27 PM · If you're advanced enough to play these works, you are advanced enough to stop calling them "songs". I'd also argue that once you start learning big romantic concertos, they should be learned in their entirety, not piecemeal by movement, although I recognize that for audition and competition scheduling practicality, you might not necessarily learn the movements in order (although arguably in some works, you get a better musical sense if you do learn them in order).

Compared to the rest of the list, "Thais" is a piece of cake. If you can play the other works on this list, you can undoubtedly trivially sight-read it, so its existence on this list is really odd. Spend a week or two with it somewhere in your practice routine, memorize it, and use it for the nicely generic "weddings, funerals, and offertories" slot in your repertoire.

It's rare for people to play solo Bach at auditions or competitions unlike there's a compulsory selection of it. If there's a compulsory selection, people rarely play the Chaconne, as far as I know, due to its sheer length. The rest of the D minor partita is commonly taught without the Chaconne (the rest of the partita is pretty straightforward and a common entry-point to solo Bach). There's a good chance that if your teacher feels you're ready to play it, you'll probably get it assigned parallel to also learning a concerto or showpiece, though.

Ysaye No. 2 is, as far as I know, about medium-difficulty relative to the other sonatas. The Obsession (first movement) is less difficult than the rest of the sonata, in my opinion (it's single notes whereas the rest is chord-heavy). It fills the "play something" void fairly nicely in that it's unaccompanied, although I'm not sure that it's especially fun listening for a casual audience. If your teacher has suggested this, I'm assuming you've been taught the Bach E major partita, as this is what's referenced in the sonata; if not, learn the partita first.

There's an awful lot of Paganini that's no more difficult than the Tchaikovsky (arguably, by the time that you're playing the Tchaikovsky, you should have started to use Paganini Caprices as etudes). The concertos (at least the commonly-played No. 1, and the somewhat-less-common No. 2 from which "La Campanella" is taken) are very difficult, but it's also not unusual to teach No. 1 before teaching the Tchaikovsky. Ditto Sibelius, which is at a similar difficulty level to the Tchaikovsky.

The choice between Tchaikovsky and Sibelius is essentially personal. Either are "forever" concertos; the first movements are common choices for professional orchestra auditions. If your teacher is giving you a choice between them, I'd pick based on which you like better. You'll end up learning the other one soon enough, anyway.

At this level, there's not a whole lot of repertoire that's not available to you. (My comments are based on the assumption that the concertos were suggested to you by your teacher, and therefore you're ready to play works at this level, rather than this simply being your wishlist without your having a sense of whether or not you're ready to play this repertoire.)

But if you're doing this repertoire, you definitely need a better violin than your rental.

June 2, 2016 at 03:33 PM ·

June 2, 2016 at 04:12 PM · Yes. I can play Thais. Uhhh, the songs maybe hard. But I would like a challenge. How good am I? Um. I'm in the highest Youth Orchestra in Richmond, VA. I am 5th in the Central Region of Virginia. My school strings teacher has submitted me for the National Youth honor ensemble or something like that. So yes. I'm pretty good. My teacher says that if I practice, I am capable of playing. After seeing Joshua Bell play the third movement when HE was 13, I think I may be able to play that concerto in a year or so...

June 2, 2016 at 04:13 PM · I can play thais, but I've never really learned it

I just played it for fun

June 2, 2016 at 04:33 PM · While I wouldn't assume anything about your level just because you are in middle school, I do have to wonder why your teacher isn't in a better position than random people online to help you decide on a concerto and why only single movements are being chosen. I would say with the exception of Meditation from Thais, that all of these are as difficult as Paganini, which is what you weren't looking for.

June 2, 2016 at 04:52 PM · My teacher through my teenage years tended to do single movements and/or movements out of order. We practically never did 2nd movements; as an adult I went through a period of just filling in the missing 2nd movements of concertos I'd learned in childhood. It's a competition artifact, I think -- you practically never play 2nd movements for competitions or auditions, so it gets tempting to only teach the outer movements.

Also, some teachers will give students input on what they want to learn. "Tchaikovsky or Sibelius?" sounds like a reasonable question, for instance. When I was the OP's age, my teacher started asking me for input on what I wanted to do next. On reflection, he vetoed pretty much everything I wanted to play, but he'd choose something based on my preferences and/or offer a compromise ("not Introduction & Rondo Capriccioso, but Saint-Saens No. 3", "you can do the Barber for fun but you also have to learn this Webern work", "not Shostakovich No. 1, but we can do Prokofiev No. 1", etc.).

It sounds like David is claiming that his teacher says that he's capable of playing these works? What repertoire and etudes have you been working on recently, David? (That would also be useful for making suggestions, since that also indicates what you've done already.)

June 2, 2016 at 05:34 PM · You could always do Mozart. Mozart don't lie.

June 2, 2016 at 05:54 PM · "How good am I? Um. I'm in the highest Youth Orchestra in Richmond, VA. I am 5th in the Central Region of Virginia. My school strings teacher has submitted me for the National Youth honor ensemble or something like that. So yes. I'm pretty good."

I am familiar with youth orchestra seating and with all due respect, while this suggests that you *might* be advanced enough for something like Tchaikovsky, it certainly doesn't confirm it. I'd be interested in seeing a video before commenting further on repertoire. And I'm with Lydia; please stop calling concertos and sonatas "songs." A song is something that is sung. By a human voice.

June 2, 2016 at 06:33 PM · What was the last concerto you worked on?

June 2, 2016 at 08:44 PM · Sorry Lyndia, didn't mean to call that a song. My teacher and I have decided on choosing Tchaikovsky third movement. She told me that we should play that, but I was just curious on your inputs. My teacher said that I could play this song if I practice hard enough. I will put at least 2 hours of practice everyday, hoping to be able to finish this movement. Again, I have been preparing for auditions for a while, but I have been doing Wolfhart etudes. Also, my audition excerpts consisted of parts from Beethovens fifth symphony. excerpts from mov 1,2,3, and 4. Also, another excerpt was the Mozart Symphony no 39, mov 4. I think I may have decided on the Tchaikovsky. Thanks

June 2, 2016 at 09:11 PM · "Sorry Lyndia, didn't mean to call that a SONG... My teacher said that I could play this SONG if I practice hard enough". - Just saying

June 2, 2016 at 09:11 PM · "Sorry Lyndia, didn't mean to call that a SONG... My teacher said that I could play this SONG if I practice hard enough". - Just saying

June 2, 2016 at 09:24 PM · I just had a mental picture of Scott and Mary Ellen, among others, doing a big facepalm and/or jawdrop.

There is no reason why a student, especially one who wants to be more serious about the instrument, should ever spend a significant period of time doing no repertoire other than orchestra music, even if it's for audition-prep. It's mostly a waste unless you're seriously in the running to be a principal player. There are much better ways fora student to spend their practice-time; advancement in orchestra chairs will naturally occur as the student improves.

It's not even remotely believable that a student working on Wolfhart has the chops to do Tchaikovsky. What's more, I have trouble believing there's any teacher out there that's incompetent enough to suggest Tchaikovsky to a student working on Wolfhart.

So I call troll. "David Kang" has started a number of interesting threads in which people have tried to give him good advice, so that's kind of a pro for the board; hopefully other more sincere people will find those posts interesting in the archive in the future. No idea why you're trolling, OP, but surely you have something better to do with your time?

June 3, 2016 at 12:00 AM · Ok, Lyndia. I am NOT a troll. Is there something wrong with asking people questions? I said I worked on the Wolfhart a long time ago. My teacher said that I could work on this if I practiced hard enough. I am not trolling please stop saying that. I can work on whatever piece I want. I'm sorry if I am being rude, but I don't like the way you are judging me. Ok, you may not agree with my choice of music, but is there something wrong with that? I ask a lot of questions because I want more information about the hobby I do. I think is great site for people that have questions, so I don't think it's a wrong thing to ask for OPINIONS and ADVICE, not comments trying to expose me or discourage me.

And please stop insulting my teacher? I asked to play the Tchaikovsky, not her. So stop bringing her into this. I just said, I am FINISHED with my orchestra auditions, and there is almost nothing I can do during my practice time other than to work on scales. So I recommended a challenging piece.

Again, please stop. If you dont agree with my question or opinion, then why don't you please leave this thread and go answer another??? I do not want people insulting and judging. I am sorry for bringing this topic/question up, I will see if I could delete it or something.

Yes, I do have a better way of using my time, but I just check this site to see if anything new pops up.

June 3, 2016 at 01:56 AM · Obviously, there's nothing wrong with you asking questions, but at the moment your situation sounds like one that is made up rather than real.

If you're actually real and not someone making up stuff to get a reaction from people, then you should take the commentary about your teacher as a warning that you might want to reassess them, because you've said a number of things that raise red flags. A teacher can be a lovely person with a sincere desire to help you, and still not be doing the right things to prepare you for advanced repertoire. Many students stay with teachers past the time that they need to be moving on to someone better equipped to help them advance, and outside opinions are often useful for figuring out when it's time to move on.

You said, I quote, "Again, I have been preparing for auditions for a while, but I have been doing Wolfhart etudes." The verb tense implies you've been doing those etudes recently. Even if those etudes are years in your past, it begs the question of what etudes you've done since then. If you haven't been doing any etudes or repertoire, and just doing audition prep, then I double down on my previous commentary on the subject. There might be faint justification for not teaching you new repertoire while you're working on auditions, but there's no excuse for not doing core technical work in the form of etudes during that time.

To me, it sounds hugely irresponsible, almost cruel, to take a student whose most recent etudes are Wolfhart, and to tell them they're ready to play the Tchaikovsky. It's a recipe for wasted time and it's entirely unnecessary, since plenty of music exists to challenge a student at your level and that would build your technique in a methodical way.

June 3, 2016 at 04:26 AM · Wait, but how do you know if I have raised red flags?

June 3, 2016 at 10:04 AM · Yeah, Lydia. Answer him that!

Or to put it another way, you can lead the learner to knowledge, but you can't make him understand.

June 3, 2016 at 12:17 PM · Well that's an interesting topic, it's title got my attention, but then I saw the first post missing. So that's a disclaimer, and I would only add my opinion if everybody understands that some pieces of the puzzle are missing.

There is nothing more encouraging than people that want to progress. From the comments I read, maybe this particular progress could be a big one, an enormous leap or sthg like this. But, since there is a motive (I suspect), nothing could be impossible.

Generally, yes I would agree that some rules apply on most people. And YES, from Wolfhart to Tchaikovsky, it seems to be a big journey. But let's calm down, shall we?

Yes it could be a troll, but when we find something being strange, or beyond our personal path, it does not mean it's a troll.

It's really shocking or sad to watch a conversation like this, between musicians that don't really know each other. We have no real info about the personality somebody who WANTS to achieve something. We have no real info about his teacher and his/her practices. And even if we find the questions posed here strange, is it fair to denounce the whole situation? Is it alright to easily raise doubts, and make a young learner grow suspicious of his teacher? To comment on his expressions, (more than once), when we know he is a young fellow?

This whole situation reminds me of medieval history. You know, witch-hunt. And I am really sorry to say that. And I tend to watch this aggressiveness, more and more often.

Forgive me for my next thought it may sound a little "absolute", but to me, music without joy, passion, and motive is no music. It's just a procedure.

P.S. I would also love to see a vid, from the OP to further comment, as it was also asked before. But would this be necessary? Can't we treat everybody as responsible for his/her words? The whole situation here, tends to be like an interrogation. It's just my impression, again, no offence.

P.S 2. In the conservatory, during my tenure as an assistant teacher, I encountered kids coming from playing other instruments, that would easily handle Vivaldi's four seasons, in their first year of messing with the violin. With no etude background. Yes, funny. But it could happen. The real question, is how we help those special kids?

June 3, 2016 at 01:26 PM · Unfortunately, it's the Internet, and people do troll. Why they do so is mysterious, of course, but it happens, and it's happened on in the past. (Indeed, it appears that our site-owner Laurie just banned a recent prolific poster, presumably for not being who they claimed to be.) As you can tell by the early responses, people tried to give the OP the benefit of the doubt. I try to write detailed and helpful responses, and I've done so in several of the OP's threads to date. But I'm having difficulty believing his current situation; he's either faking or there's something pretty seriously wrong here.

If the OP's not faking, I'm not denouncing his teacher, but I certainly think that his teacher warrants some questioning. Teaching a student in a reasonable manner is not without "joy, passion, and motive"; indeed, to preserve such things, the student needs adept teaching!

The Four Seasons is not Tchaikovsky, not by a long shot. It's unusual to teach it early on, but not *that* unusual; there are teachers who treat it like early-intermediate repertoire, especially when not played up to tempo (I've heard plenty of tiny kids butcher it). So teaching it to a fast-progressing student in a year is exceptional but it's also not illogical.

There are various teachers who do things that are unusual -- for instance, not teaching etudes, but doing everything with repertoire and perhaps some exercises. There's nothing wrong with that, assuming that it's done deliberately and thoughtfully. It's also an approach that works for some students and not for others, though.

But we should all recognize that there's a foundation that has to be built before a student can tackle a work as difficult as the Tchaikovsky. Nothing about what the OP has said suggests that he's ready.

OP, here are the red flags regarding your teacher:

1. You haven't done any recent repertoire.

2. You might not have been playing etudes recently either.

3. The most recent etudes you've played are Wolfhart, meaning that your teacher agreed to teach one of the most difficult pieces in the repertoire with no indication that you have the technical foundation for it.

As you might be able to tell from the early responses, it's not that unusual for an especially talented and hardworking middle-school kid to be playing the Tchaikovsky. Everyone asked for an indication of the OP's playing level in order to be able to make repertoire recommendations. If the OP already had a bunch of romantic concertos under his belt, nobody would be questioning his situation.

June 3, 2016 at 02:21 PM ·

June 3, 2016 at 04:06 PM · I seem to have worked myself into a tizzy. This guy sounds fishy and posting a video would clear a lot of stuff up. Maybe he's just a naive kid, but maybe I will just skip out on the threads that really only make sense when the poster should have provided an example of their playing.

Although I don't really see the big deal about what you call the pieces. I agree with Frieda below.

June 3, 2016 at 04:16 PM · Well, I haven't been following this thread to closely but I can say that if this was a legitimate student who, regardless of his claims, really was looking for advice he very well could have been turned off of classical music and/or the violin by this thread.

The beauty of this site is that those individuals with more knowledge can gently advise and lead those who aren't as advanced and who are looking for help. The problem is that far to often that advice comes across like a steamroller and doesn't help at all. Rather it discourages the aspiring student from even seeking help here again. Not to mention any other person who might have been contemplating asking questions who then saw this thread and ran for the hills.

Could David Kang be a troll? Sure, if you think he is than ignore him. Could he be a student who exaggerates or fibs about what he's working on. Yes. So it might help to try to lead him in a more reasonable direction without bashing him upside the head with speculation and criticism. I'm not defending him or his odd order of learning pieces and etudes, I'm just saying if he was legit a number of you have probably scared him off with your responses.

On a separate note, can I just say this obsession with "pieces" and "songs" is so trivial. As a violinist and singer I am more than aware of the differences between them and I do use the correct terminology. But seriously, do we have nothing better to do than nitpick on some stranger for using incorrect terminology? Talk about alienating someone. This rigidity by classical music musicians is why so many people are turned off by it. It's no different than correcting a stranger in a music store who pronounces Chopin like Chop-in. Instead of pouncing on them for a mispronunciation, why don't we enjoy the fact that they are interested enough in the topic to try and engage with it. Whether pieces or songs - it's all music. Maybe we could try to remember that?

June 3, 2016 at 04:48 PM · I have been following D.K.s various threads over the last weeks (upgrade to a Jay Haide violin; Joshua Bell's strings; rosin; bow; case) and from them I gained the overall impression of a naive young player who wants to emulate his idol and is fibbing about his level of playing. Nothing wrong with that, and you will find that in all these threads, he received excellent and friendly advice from which many other users can profit.

Yet this thread annoyed me, because it hit me over the head with a huge red flag (e.g. Wohlfahrt - Tchaikovsky) that someone is pulling my leg. The mentioning of the "song"-terminology was not supposed to be nitpicking or snobbish, it is in the overall context just very telling.

The beauty of this forum are indeed the many excellent people giving first-class advice in their free time. And I would hate if they turned their backs to the forum if they had the feeling some people were wasting their time.

June 3, 2016 at 05:04 PM · As I noted to the OP, anyone advanced enough to play these works is advanced enough to not call them songs, but to use proper terminology. There is an enormous difference between talking to someone who is casually interested in a topic -- your aforementioned stranger in a music store -- and someone who purports to be on a Tchaikovsky trajectory, so to speak.

Teachers and peers of an advanced student should be using appropriate terminology to discuss the music. It is part of the specialized vocabulary of experts. At the level of the repertoire listed by the OP in his initial post (Tchaikovsky and Sibelius concertos, Ysaye 2nd sonata, Bach Chaconne), not only should the student not be using the word "song" to describe the pieces, but he should be able to articulate the difference between a concerto and a sonata, and arguably should be able to use the correct terminology and identify the sections of a piece written in sonata form (exposition, development, recapitulation), and so forth.

In general, posters tend to get replies geared at the level at which they present themselves. In this post, the OP essentially presented himself as an advanced student, by asking which of several works he should choose for his next piece -- and all but one were highly advanced works that are part of the professional repertoire. He therefore received responses pitched at that level. If he'd said he was a beginning to early-intermediate student -- which is what "doing Wolfhart" says to me -- he'd have gotten utterly different responses. Nobody is going to jump on a beginner for calling, say, their Suzuki-book pieces "songs", though by the time they hit the book 4 level or so, most teachers will start gently correcting their vocabulary. Here, nobody said, "you are a moron for calling these things songs", but rather, "as someone who wants to be taken seriously as an advanced student, you should stop calling these things songs".

June 3, 2016 at 05:49 PM · The most important thing, is that the original message now reads "how to delete this thread".

Someone came for advice, and now wants to delete the thread. And that's the problem.

Also, talking about someone like he is not present, is not that polite I guess. I would really consider asking anything again, if I were the OP.

When I mentioned the Four Seasons, I of course did not intend to compare them with the Tchaikovsky concerto, but to mention a certain example, regarding the lack of etudes. I am stunned that it was not that clear.

I also understand, that we are all willingly contributing to this (and other) forums no matter how much experience each and every one of us has... You know, if anybody considers a thread as a waste of time, the solution is pretty simple.

Have a nice day.

June 3, 2016 at 09:05 PM · Mary Ellen, I heard one or two songs by Mendelssohn that weren't being sung by the human voice. Should I have protested?

David, you're so confident that you are not a troll. You do know, don't you, that a certain Mr Gynt, lacking that confidence, thought he might be one.

In any case, wasn't a troll a trill played by a violist?

June 3, 2016 at 11:36 PM · Yes, after reading your comments, I do not think I am ready enough for Tchaikovsky. I just liked the song and it sounded cool, so I was just wanting to play it. I think I will just ask my teacher about my repertoire.

June 3, 2016 at 11:53 PM · I did not know it would be such hard a hard repertoire, so I think I will rethink what I want to play. I have played Accolay Concerto and Czardas.

June 4, 2016 at 12:31 AM · I will post a recording shortly... Please be patient.

June 4, 2016 at 01:34 AM · Is Zigeunerweisen harder than Tchaikovsky

June 4, 2016 at 02:06 AM · Zigeunerweisen is significantly easier than Tchaikovsky, but still quite difficult.

I think you would benefit from a discussion with your teacher about your desire to be more serious about the violin, as you put it in another thread. If you're going to practice two hours a day, you want to use that time well, and it should be split between scales/exercises, etudes, and repertoire. (If you also need to practice orchestra music, it should be a sideline; at your age, it should be low on your priority list.)

You should have moved on to more advanced etude books than Wolfhart for the level your repertoire suggests; a lot of students do Mazas, for instance, as a stepping-stone to Kreutzer. Typically Kreutzer is the core etude book for the intermediate violinist; it's very rare not to teach it.

At your level, you could probably do the De Beriot "Scene de Ballet", which is a lot of fun to play; it'll make you feel and sound like a virtuoso, but it's much less difficult than it sounds (though at your level it will still feel like a challenge). The Ten Have "Allegro Brilliante" is popular at this level too, as is Hubay's "Hejre Kati". This is also the level for a lot of the Kreisler pieces (Praeludium and Allegro is often the first one people do), Bartok's 6 Romanian Dances, and a lot of other enjoyable repertoire.

Basically, what you should be doing at this point is solidifying an array of core violin techniques that will prepare you for the Romantic concerto repertoire. You'll probably eventually do a Mozart concerto or two before then. Your intro to the Romantic concertos will probably be Bruch No. 1, and after that, concertos like Mendelssohn, Lalo, Khachaturian, and Barber (and Zigeunerweisen is about this level too), and get a few such concertos under your belt before you tackle something like Tchaikovsky.

June 4, 2016 at 01:40 PM · So you are saying that Bruch, Mendelssohn, and Zigeunerweisen are all easier than Tchaikovsky? Wow... I actually do feel like a troll now. I honestly didn't know how hard Tchaikovsky was... I see what you meant by that I seem like a troll. I'm sorry to everyone. I just heard the piece and thought it couldn't be that hard.

June 4, 2016 at 02:37 PM · David, no matter how hard the piece (and every piece) if you really like it, it's not a bad idea to get a copy of the score, and read it. Work with it as if you are reading something else, and try to figure out what you could/would do on most occasions.It is to be expected that you may come across some tricky passages that could look strange, or unplayable, right now. Repeat the process while listening to your favorite recordings of the piece, and try to keep up with the bars.

You don't need to be sorry. It's great to see people aiming high. Also, you've got some useful advice, on what to play beforehand.

You may also find that when the time comes, the easiest thing would be to play those passages correctly. The most difficult could be to understand the music, the phrasing, and how to express yourself through the piece, hopefully. This for some people is a longer journey than the technique, but you could keep it in mind from now on, and devote some time to it. And thats where the previous process could prove useful. Understanding the music is fundamental.

Try to watch masterclasses as well. You will see young players that already play the concerto at a descent level, trying to improve it. This could never stop. I recently watched on youtube a masterclass by P. Zukerman, and found out that he had a very interesting and vivid approach to the Tchaikovsky

Nowadays, we see many child prodigies, or young talents hitting the correct notes, in jawdropping tempos. We see fewer quality interpretations however. And it's quite normal I guess, given the time they've got to prepare something.

Never let go your intention of aiming high. :)

June 4, 2016 at 03:41 PM · Yup, per my first reply, Tchaikovsky (and Sibelius) are very difficult -- much more so than Bruch, Mendelssohn, the Zig, etc. The Chaconne is also very difficult, though in different ways. Ysaye No. 2 isn't a cakewalk, either.

Still concerned that your teacher said "yes" to Tchaikovsky.

June 4, 2016 at 04:56 PM · yeah, I emailed her that the Tchaikovsky might be too hard and to give me some concertos that will be challenging for my level of playing

June 4, 2016 at 05:30 PM · " I'm sorry to everyone. I just heard the piece and thought it couldn't be that hard."

You've fallen into the trap many musicians have at one point or another. Listen to a recording that makes it sound easy, then look at the music and realize you're up the creek. I've been playing for close to 30 years and it still happens to me from time to time.

The advice above of getting the score and listening while following is how I always attack a new work. The great thing about today's technology is that so many works are in the public domain, so you can pick and choose some before really settling into a new work (I typically download a potential work, listen to multiple recordings, and then order a good edition before I first set bow to string).

I finished up Ziggy a few months ago and it's great fun and challenging.

June 4, 2016 at 06:19 PM · At your level you might find that the repertoire that's more fun are the non-concertos. The concertos at your level are Viotti, De Beriot, Rode, Spohr, etc. Maybe Mozart No. 3 or Kabalevsky. But the short works in the intermediate repertoire are fun and they're keepers -- useful for recitals and encores and whatnot later on.

June 4, 2016 at 07:11 PM · David, you might find it helpful to look at some graded repertoire lists; these things are far from definitive for a variety of reasons, but they can give you some rough ideas. has some graded rep lists -- etudes, concertos, etc. -- you might find interesting.

June 4, 2016 at 11:37 PM · I enjoy teaching DeBeriot #9 (1st mvt) and my students seem to enjoy playing it, just as I did when I was about David's age.

My favorite graded repertoire list is this one:

I have to say though, part of my job as a teacher is to make sure my students are playing appropriate music. When a student asks me about playing a piece that he or she is clearly not ready for, I shut that right down immediately.

June 5, 2016 at 03:51 AM · All the recommendations for pieces to do next that Lydia mentioned are all great pieces. I myself am working on the Mozart 3, which is challenging, but loads of fun. I personally feel that the intermediate period of being a violinist is the best. A whole bunch of pieces that are not often performed are learned like Rode or De Beriot. Once you get to the big works like Sibelius and whatnot, I think you'd have a smaller list of pieces to learn since the most performed works are the famous ones, aka Tchaikovsky, Beethoven, Sibelius, Brahms. I hope to do other less well known/performed pieces like the Paganini concertos and the Dvorak concerto. Best of luck with your next concerto/sonata.

June 5, 2016 at 05:56 AM · In addition to the syllabi already mentioned I'd like to add the ASTA graded repertoire list:

and the RCM syllabus:

You will find that all those syllabi more or less complement one another very nicely. They can help you assess your current level and see what great pieces are out there at any level.

You ought to sit down with your teacher and talk about your goals and work out a plan how to reach them.

Tchaikovsky as a long-term goal is great, but Jacob Summer is right: Being an intermediate violinist is not so bad either, because there is so much great music out there. Enjoy the journey and good luck with your audition.

June 5, 2016 at 01:01 PM · Hi, after seeing the repertoire list, I see that the Wolfhart is in the book 4 level. I finished half of book six and started doing other stuff. So yeah, based off of that list, I think the wolfhart was too low for me

June 5, 2016 at 01:35 PM · It isn't just what you're playing, it's how you're playing it. Wohlfahrt covers a pretty broad range. Unless you were able to sight read it perfectly the first time through, it was not necessarily too low for you.

There's another repertoire list that I like that is specifically for intermediate violinists.*Q2R6wN6uvx0DK/IntermediateViolinRepListAnnotatedRH.pdf

If the link doesn't work, try googling Rebecca Henry Peabody.

June 5, 2016 at 05:13 PM · Jacob, I think students are very frequently taught repertoire focused on the big concertos, but it's actually worthwhile to do other things -- Bach, sonatas, showpieces, other short works -- as well. There's an enormous amount of good music out there, much of it at the late-intermediate to moderately-advanced level.

One thing that I've been looking for but haven't found is an extensive list of attractive repertoire that is not intended for pedagogical purposes, but is useful for, say, putting together recitals.

For instance, locally there's a series of masterclasses for adult amateurs, organized around themes, and I'm often on the lookout for a work that fits a particular theme, and can relatively quickly and easily be learned to a performance level. (Because I'm an extremely nervous performer, I've been on a quest to try to overcome it by performing solo as much as possible, without the works being a challenge.)

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Leatherwood Bespoke Rosin



Johnson String Instrument and Carriage House Violins

Potter Violins

String Masters

Bein & Company

Annapolis Bows & Violins

Laurie's Books

Discover the best of in these collections of editor Laurie Niles' exclusive interviews. Interviews Volume 1 Interviews Volume 1, with introduction by Hilary Hahn Interviews Volume 2 Interviews Volume 2, with introduction by Rachel Barton Pine